What is up, guys, and welcome back to the John- I think that was a bug. Let's start that over. Welcome to the- Thanks so much for watching the Johnny Q- Wow, that just threw me off. That sucked. This is gonna be a quick tutorial, a quick guide on what not to do as a photographer. If you're a photographer and you do this, you should most definitely stop because it just looks unprofessional. And that's chimping. Not like a chimp or a monkey, but you should stop chimping. Let me tell you what I mean. So let's say you're at a wedding or you're like at a park with your family or you're just out and about shooting photos, right? And this is what I mean. It's so annoying. I'll take the picture, look at it. Okay, cool. Another picture, another picture, another picture, picture, picture, picture, picture. Just constantly like, do you see how unprofessional that looks? And I understand that you have to get your shot. You have to see what's on the screen to like maneuver your settings. I understand. But there's this really cool thing within the camera. There's called a light meter. That light meter in photography is very important because it lets you know whether you're over or under exposed.  And this is what I learned in like my first day of photography class, like out in the field, don't be chimping because it just doesn't look good.  It doesn't look like you know what you're doing. So if you're gonna be out there shooting, take your photo and look at the screen but also adjust within like one or two frames. And then once you're like in the zone, keep taking photos and adjust using the scrollies and the buttons. It's not, that's not what they're called, but you understand. So tip of the day for those photographers, don't chimp. It's not cool. It looks weird and doesn't look professional. Some of you photographers out there are going to rip me apart in the comments and that's fine. But I generally think that this tip for photographers will actually help you in the long run because again, it makes you look better. It makes you look like you know what you're doing. And if you keep taking photos and you keep looking at LCD screen, to me especially and other photographers maybe, it might not make you look the best. So stop chimping. It'll help everyone and it'll help you. Now if you're taking photos on your iPhone, it's okay to take photos and look at them like it's fine. But if you're like on a professional shoot, if you're getting paid to take photos and or video, a big event or like something that's of substance and you're getting paid for it, don't be that guy that takes photos. Hmm, looks cool. Photo, hmm, looks cool. Photo, hmm, looks cool. Just look at your camera one or two times, fix the settings and then use your buttons and your scrollies to fix the rest. Like use your exposure meter and go from there. And I think that's what every photographer should learn. Every photographer should take into consideration because also makes your workflow a lot faster. And you can quickly maneuver within settings a lot quicker. That's part of being a professional photographer, guys. It's true. And that is all for today's photography tip of the week or of the day. It's not even a thing on my channel, but hey, whatevs. Thanks so much for watching. Leave a like, please subscribe and I'll catch you next time on the Johnny's Channel. Peace. All right, photo, looks good. Photo, looks good. Photo, looks good. Don't do that.


Oral Tradition, Oral Tradition, or Oral Lore, is a form of human communication where and knowledge, art, ideas and cultural material is received, preserved and transmitted orally from one generation to another. The transmission is through speech or song and may include four cattails, ballads, chants, prose or verses. In this way, it is possible for a society to transmit oral history, oral literature, oral law and others knowledge across generations without a writing system, or in parallel to a writing system. Indian religions such as Buddhism, Hinduism and Jainism, for example, have used an oral tradition, in parallel to a writing system, to transmit their canonical scriptures, secular knowledge such as Sukshruta Samatha, Kins and Mythologies from one generation to the next. Oral tradition is information, memories and knowledge held in common by a group of people, over many generations, and it is not same as testimony or oral history. In a general sense, oral tradition refers to the recall and transmission of a specific, preserved textual and cultural knowledge through vocal utterance. As an academic discipline, it refers both to a set of objects of study and a method by which they are studied. The study of oral tradition is distinct from the academic discipline of oral history, which is the recording of personal memories and histories of those who experienced historically rizwar events. Oral tradition is also distinct from the study of orally defined as the and its verbal expression in societies where the technologies of literacy especially writing and print are unfamiliar to most of the population. A folklore is a type of oral tradition, but knowledge of urban folklore has been orally transmitted and thus preserved in human history.


As a kid, I always loved the show on Nickelodeon called SpongeBob SquarePants. Though I did always think some episodes were very weird, such as the one where SpongeBob and Patrick raised a clam. Was it rock-a-bye by Valve? Anyway, I loved the series so much that I even bought the video games to go with the show. I bought stuff like Battle for Bikini Bottom and the SpongeBob SquarePants movie game, but I recently discovered a new game. While surfing on YouTube for SpongeBob videos, I came across a let's play of a game called SpongeBob SquarePants, Legend of the Lost Spatula, for the Nintendo Game Boy Color. I still had my old Game Boy Advance, so I wanted to try this game really bad. I didn't look on eBay, as I am a huge fan of creepypastas and horror stories in general, and here suppose a bad experience is with people who buy games on eBay. Rather, I decided to go ask my friend, Kyle, as he had owned lots of video games. He said that he didn't own it, but likely his older brother who runs a shop with lots of used video games had it, and could send it. I said sure, and Kyle said I would have the game in no more than 10 days. The game came 9 days after I asked for it, and Kyle drove it over to me. It looked like it was in really good condition, save for some scratches and a letter on SpongeBob, F, written in permanent marker. I noticed that the game came with a small piece of paper with letters and numbers on it. I thought it was a password, but I wanted to play the game, so I did. I started it up, and everything looked fine, great even. I came to the title screen, and I didn't want to start a new game, but try out the old file that the previous owner had. Of course, it was a password function, and I was in a rut. I then thought about the paper. I was right. It was a password. I inserted them into the password screen. Boy, that was a huge mistake I would regret. The game booted up, and I was in some light blue area, on top of a bubble cloud. I watched the Let's Play again to find that this was the gulagoo level of the game. Everything looked perfectly normal, and I was ready to play this new game. I noticed that there were no other platforms or bubble clouds around, so I had no choice but to jump off the platform. I landed in the lagoon, just like the Let's Play showed, but I drowned after my head was in the water. I heard a faint cry come from my Game Boy, and could have sworn I heard laughter mixed in with it. It was a bit, of course, but felt strangely realistic. A death screen came up saying, strike one, and I was taken to a new area. It was under the ocean, and had brown and spikes everywhere, looking like a cave. I saw that a treasure chest was to my left, so I went up to it and it said, Spikes are the only way out. The chest was right.  I jumped on one, and died, now with the laugh louder, almost as if it was echoing in the cave. It was deep, almost demonic laughter. The screen cut to black, and I was presented with strike two. Was this baseball or a video game, I thought. I was now in SpongeBob's neighborhood, only the water was a dark gray, similar to smoke. I went to Squidward's house to find that he wasn't there, but Patrick was at his house. He had on a barrel, just like the normal Game showed, except he wasn't sad about his missing clothes. No, he was smiling. A text box in a red-bold font came up, with Patrick talking. He asked. Hey SpongeBob, wanna go to the carnival? It seemed innocent. A yes or no option came up, and I chose yes. Yet another regretful mistake. I was now at the carnival level, on top of a hook, standing next to Patrick. His grin was now wider, and he had red eyes. It was much like the scene from the episode cookie, only it was so much worse. The hook shot up, and allowed a pit screen erupting from the speakers. Patrick jumped off, but SpongeBob stayed, and was torn to shreds as he hit the top of the screen, and blood flow everywhere. The screen cut to black one last time, saying, you're out. After cutting to black again, the screen came back. I was at Goolagoon again, only SpongeBob was gray, and the sand wasn't eerie black. I went up to Larry the Lobster, who had just said three dots in a white font. I kept going until I hit the dock. I realized I either jumped off or stayed in this level. Patrick, in the barrel and with that horrid grin, came up. He said again in a red font, What? You don't want to be with me? I'm. I'm. Your best friend. After this, a loud snap was heard, and Patrick now held a knife.  Patrick then ran towards SpongeBob incredibly fast, and SpongeBob ran into the lagoon. The screen popped up now with SpongeBob in the cave area, only it was red now and looked like hell. SpongeBob was dead. And after looking at a dead SpongeBob for 10 seconds, Patrick appeared, along with that loud laughter.  I wanted to get rid of it. I went to Kyle's, and I threw the game at him before stepping on it and crushing it. I yelled at him and left, still horrified by my experience. Or sometimes, you can't even trust your own best friend.


In this video, I want to show you how very easy it is to do LU decomposition of a matrix. You might be given this as some problem exercises and you just want to check yourself whether your LU decomposition is correct. Very easy to do in Python and we're going to do it in Sympi. I've already created a new notebook here and I've clicked on it at the top there and renamed it LU decomposition. So let's turn this very first cell into just a markdown cell. Remember that will be escape, enter or return. I'm going to put one hashtag or pound sign there and we'll call it LU decomposition. Shift enter, shift return and we have a beautiful title there. Now I want to create a matrix to do my LU decomposition with. So I've got to import Sympi but I'm going to show you something slightly different this time. Instead of importing and using an abbreviation and I have to refer to that abbreviation, I can import specific functions all on their own so that I can just use them directly. Watch this. From Sympi import matrix. As simple as that. Now I have not imported all of Sympi. I've only imported the matrix function and I can now use it directly. I'm not using an abbreviation here to refer to it. I can use it absolutely as is. Shift enter, shift return and it is there now. Let's create a matrix. I'm going to call my matrix matrix A and I don't have to say SYM. Because I haven't imported Sympi. I haven't created an abbreviation anyway. So I can't use that but I can use matrix directly. Matrix. Remember I've got to use parentheses here and I've got to use square brackets and I've got to do row by row. Let's do a 3 by 3 matrix and our first row will have 1, 2, 3 outside of my square brackets. New square brackets for the new row. Let's make it 4, 5 and 6 and let's make the last row. Let's make it something like 10, 11 and 9. As simple as that. I go to the end. Hit return and enter for a new line and I'm going to say just hit A again because I want this new matrix to be written to the screen. Now watch what's going to happen because we do not have in it printing initialized that LaTeX printing. I'm going to get something that looks, well we can see what's going on there. We can see that it is a matrix but we don't have that pretty LaTeX printing. So let's do that. We're going to say from Sympi import in it printing. As simple as that. In it printing. So now that's imported and I can refer to it directly. Hitting the tab for auto-completion there. Open close parentheses. Shift and enter. Shift return. Let's print A now. And we see beautiful matrix there. Much better. And that is why one of the many, many reasons why I love Sympi. So what is LUD composition? Remember you take your matrix and you do your set of elementary row operations on it except for swapping rows. We don't do that. So it is only a constant that you multiply out by row or a constant multiple of a row plus another row or minus another row depending on how you were taught. And that is going to give you an upper triangular matrix. Remember where there are values on the main diagonal and everything below that main diagonal is going to be a zero. And an upper, that's an upper triangular and a lower triangular where everything is ones on the main diagonal and everything zeroes above that. Let's have a look. I'm going to use a method on my matrix. And that method, and I'll show you now what it is, is going to return three values to me. And I've got to store each of those three values in a separate computer variable name. So I'm going to call that L, U, I'm not interested in the last ones. I'll just put an underscore because I'm not really interested in that. And I'm going to say a.LUDComposition. Hit my tab key there, auto-complete. I see LUDComposition there, open, close, parentheses. So I'm using a, and there's a lot of properties or things that we can do to a this matrix. One of the things is LUDComposition. And because a was created as a matrix object, a simple matrix object that has these properties, it has these functions that I can apply to it. And I'm doing this with a dot notation. So it's a.LUDComposition. And that's going to give me three things. It's going to return three things, a lower triangular matrix, the upper triangular matrix, and then just this term where it shows what rows were swapped. But we're not swapping rows here. We're just keeping things simple. And now let's look at the upper triangular form. As you can see there, upper triangular, I have my main diagonal, which here is one, negative three, negative three. Everything below that main diagonal is zero. So this is the upper triangular. If you were just doing your two row operations on it, you would have gotten to this form. Let's look at the lower triangular matrix. And we see all ones. So it's proper. All ones on the main diagonal and everything above that is zero. And if I say L times U, I'm going to get back exactly A. I can even test for that. I can say A equals equals L times U. That double equal sign asks a question, is this true or false? Is the left-hand side really equal to the right-hand side? Shift, enter, shift, return. And I get this Boolean answer back, which says true. Indeed, LU decomposition, multiplying L by U in that order. Remember, these things do not commute. Multiplication matrices do not commute. I'm going to get A back. So this is how simple it is to do LU decomposition in some pi.


So Microsoft set out to simplify the challenges with ARM templates and they wanted to create something that had a concise syntax, reliable type safety and support for code reuse. That's what Bicep is. It's a domain specific language or a DSL that provides a much richer and more productive environment than what we get with ARM. In fact, you can compile a Bicep file down to an ARM template in vice versa. Now Bicep has a ton of benefits and Microsoft touts that Bicep has support for all resource types and API versions. It's also got a simple syntax, especially when you compare it to those ARM JSON templates. A better authoring experience thanks to a VS code extension that gives us type safety, intelligence, syntax validation and a bunch of other stuff. The result of a deployment to Azure with Bicep is repeatable, giving you confidence in your CINCD process. You don't have to worry about the ordering complexities of resource creation. You simply deploy with one command and Azure takes care of all that stuff for you. And it's also very modular so that you can break it up into different components that we call modules and Bicep. You can even preview what's going to happen to your deployment with the what if operation. You can see what's gonna be created, deleted or updated and any of the properties that are gonna be changed as well with that operation. And best of all, Bicep is included with Azure. You don't pay a thing and it's fully supported by Microsoft support.


Today I have the pleasure of speaking with Sue from X-Row Technologies. How are you today, Sue? I'm great. How are you, Tracy? Sue, I have so many questions for you. Just starting with the fact that your stock's up 43.92% in April alone from your clean seed electric motors deal. I'm dying to ask you about this, but let's start first and foremost with the obvious. Why are you defying gravity during the pandemic, Sue? I think we have been really working smart and hard. So we reallocated all of our travel budgets into keeping our team busy through different marketing campaigns, both commercially facing and investor relations facing. And so we've been doing an enormous amount of Zoom calls, webinars, running campaigns off our website and social media. And we feel like it's starting to show the results of that. Well, I have to agree with you. I think we've tried to do this interview half a dozen times because you're so intensely busy. But also I think investor intel members are fascinated with the topic of clean tech. They're using this time to investigate topics that they're not usually familiar with. So why don't you start by giving us really why everybody is looking at you, Sue, right now when they're thinking about clean tech, for instance, and electric motors? Yes. I think what we really bring to the table that's really different than anybody else is that we're looking at how we control efficiency through the power electronics, but working with the motor. So we're looking at that complete system optimization. And I think that by doing that, we really got this huge market that is interested in what we're doing because it doesn't matter if you're just into green space, greener technology or motors or power electronics, we're kind of covering all three of it. All right. Well, let's start with the clean seed deal. I like that deal in particular. I found the farm equipment. It's something, I'm always talking about electric cars and Tesla, but farm equipment, wow. Can you imagine what you can do for the planet just in that sector alone? Can you tell us more? I'm interested. Yeah, for sure. We are so excited about that deal. It's a deal we've been working for quite a few months, and well, clean seed is like us in that they're a smaller organization. They're industry experts in the agricultural segment. And Graham, their CEO, told me when he first contacted me that he really wanted to electrify the egg industry. And I thought, you know, it's so true, Tracy. Everybody concentrates on vehicles, us included, but agricultural still has 45% of the industry using non-electric methods, non-green methods. So for one, it was really important to us that we played a part in that being that we're based in Canada and they're Canadian, that we help bring technology from Canada around the world. They're very, very innovative, so we were excited. They've paid into the development, which is, you know, a big step for X-Row, but for us, it also brings us into this huge proof of concept. So in December, we did the one with the electric bike, which is small. The clean seed equipment is humongous. It's the equivalent of a large truck. So we're just entering and really showing that scalability for the entire mobility industry. So in addition, of course, to hitting milestones and working on that proof of concept as you were discussing with electric bikes, I noticed you've been doing some exciting things that investors like. They love management. And you announced a leading engineer from Siemens joining your advisory board. Would you like to comment on this addition? Yes, absolutely. So Josh Sybil joined as our chief commercial officer just before the end of the new year. And he's been doing an absolutely outstanding job with business development. We have many, many deals in our pipe right now. We're talking to customers large and small. And that's thanks to Josh's effort. Josh is a mechanical engineer. He was a motor design engineer at Peterborough at the same time that I worked at GE. He was in the same division as I was. He went on to work for Siemens. And so he was with Siemens as their mining segment leader when I recruited him in November. And of course, just jumping back to the electric bike steel, can you comment and provide us with an update on how that's proceeding? Yeah, it's been going very well. So we've supplied into motor Renault. We got a standing results of 25% increase in torque and speed.  But when BC is up and running or Ontario or any of the locations where he has an outfit, then hopefully we'll be able to get some feedback from him on the test results as well. And of course, with what's happening with COVID-19 right now, are you able to talk about what you're anticipating for the next quarter or two for shareholders? Are you kind of holding back right now? Now we're going full force ahead, Tracy. So one of the things that we've kind of made a decision together as our executive team and our board was that we were really in a really good position at XRO right now. So we weren't going to let the economy stop us. And so our teams have been working hard. We've got rotations on so that we respect social distancing. But our lab has been going in and finishing testing. From a commercial perspective, there is areas as we cover customers globally. There's areas in Europe where we found it's when a little smaller or deals have slowed down. But we actually have no deals that have been canceled. And in fact, we found a lot of people more available to talk. So the most exciting thing for XRO right now is definitely our deal for Potencia. We are finishing our final testing this month and it will deliver to the customer probably the first week of June, which will give us our first proof of concept in an electric vehicle. Well, thank you so much for joining us today. And Sue, can you update us and say six weeks? Because I don't think we can keep up with you unless we speak with you regularly. I would love to do that. Thank you, Tracy.


Hello, this is Janzor of External Actions with a message on this amazing National Day of Action on behalf of Napoli, for Napoli, by Napoli. We all know what this is about, don't we? Debt. We know how the powerful use debt as a chain.  Debt is not about economics. It is not about sensible management of public money. Austerity is hidden class war. It is a modern way of keeping the weak and the majority in their place of denying democracy, of taking the demos out of democracy. So today, on Saturday the 40th of April, you are saying no to your subjugation, to the denial of your agency. And the most remarkable thing today, the thing to celebrate is that you are no longer alone. Just like we here in Athens are comrades in Portugal, in Poland, in Denmark, they are not alone. And we are not alone because on the 10th of March in Napoli, Luigi de Magistris, representatives of the Generation Movement in France, of the Rasm political party in Poland, of the Danish alternative, of us from Mera25 in Greece, of a multitude of progressives, we in Napoli on the 10th of March decided to do something unique in Europe, to band together and to create the first transnational political party to contest the May 2019 elections. We those of us who met in March last month and were now standing together, united against both the deep establishment of Europe and those who want to disintegrate Europe, supposedly to find a solution in the bosom of some kind of revived nationalism. We have a plan A for Europe, for Napoli, for Italy, for Greece, for Poland. A sensible, moderate plan A that can be implemented tomorrow morning without waiting for Europe to change. We also have a plan B. These are disobedience, saying no to them, to their face, as Luigi de Magistris said to Rome, as I said to the Eurogroup, as the peoples of Europe, around Europe, are telling the deep establishment. We also have a plan C, or call it the plan X, plan Z, give it some name, of what happens if Europe disintegrates as a result of the deep establishment's denial of the truth, of the reculture trance of stopping us from implementing our plan A. Because somebody needs to pick up the pieces when the whole thing comes down if our plan A and our plan B do not work. But today, on Saturday the 14th of April, this national demonstration day by the people of Napoli, by the people of Athens, by the people of Italy, by the people of Greece, by the people of Europe, we have something to celebrate and something to proclaim. We shall persevere. We shall prevail. So here is to the disobedient, to the responsible Napoli. Here is to every distant city, region, country in Europe. Here is to those who refuse to be compromised. And here is to the Athens Spring, to the Napoli Spring, to the Rome Spring, to the Warsaw Spring, to the Berlin Spring, to the Paris Spring, to the Lisbon Spring that are coming. Here is to Europe's Spring, Viva Napoli.


Good evening super computing superstars and welcome back to Denver, Colorado. My name's Savannah Peterson. We're here on theCUBE with live coverage of the biggest high performance computing event of the year. We have one more segment left before we get to have a little Colorado Kool-Aid. And no, I'm not talking about cannabis, I'm talking about cores. Don't know if you guys knew that term. I sense the nervousness over here on that open. Everyone, oh come on. We are talking about very cool, very nerdy technical stuff. We are. Got to make sure the audience is listening and on their toes. Lisa, let's open it up to you. Yes. First full day of super computing ever. I know. So exciting for you. I nerd it out. Takeaways, standouts, what you see, what you hear. Huge. Got to talk with some great companies today that all had great customer stories about how they're really helping customers embrace the AI revolution. So it moves from the peak of the hype cycle into a reality for businesses to really bring it into their organizations to make business impact. So that embracing the AI revolution was, I think, one of the themes that I heard throughout the conversations I had. Talked with some folks from Dell, Denver, DataWorks. We had Von Steward on from Vast Data and really kind of talking about the revolution there that they're seeing from a data management, data platform perspective. So the acceleration, John, you were talking this morning about how one of our sessions, how the change is happening overnight. And that was the vibe that I got today with all the customers and vendors I spoke with, how rapidly the pace of innovation is and has to be. I love that. And I couldn't agree more. I mean, it really feels like we're at a moment where lots of these things were happening in silos, perhaps pun intended, because there's a lot of conversations about silos on the show this week. But now the water level is rising together with all of us and the ships are able to sail into a place of applicability, which is what you touched on, which I think is super important. David, what about you? You've been roaming the floor, charming. Yeah, charming, charming everyone that I can. I think it's, what I really like about this conference is that there's a certain kind of hype that doesn't exist here. And the hype that does not exist here is the hype around this idea that everything that we do in the information technology world needs to be abstracted to some essence.  It's like, no, no, it's GPUs and CPUs and TPUs and storage and network gain. This is metal, this is cable, this is glass, this is water. There are freaking pool pumps. Because thermal dynamics are something that need to be dealt with. So it's really refreshing to actually be able to see, to step back and look at the big picture, but also have permission to look at the individual Legos themselves and take seriously this idea that it's really important to focus on infrastructure. I say this to my students all the time. If you take your eye off of the infrastructure ball, you're going to regret it. And I think there are a lot of companies here that would agree with that. It's been very, very interesting. And this is just really the, well, I guess sort of second day. First day for me, though. Well, I mean, we were all hot shots and early achievers in yesterday, nerding out, but I think it's really the first full day of people on the floor. John, this has got to be a really interesting full circle moment for you. You are one of these folks to begin with.  I started, you know, as a software engineer, Eula Packard got out of the software business. That was my first real job. And so I had to become a hardware engineer and SE. And so they had PCs, they had mini computers. And so you had to connect stuff together. And you had applications. People would buy stuff and businesses would run on them. And there's a practical nature of it. And I think, you know, today's point, there's a lot of blocking and tackling that goes into the infrastructure that enables and powers applications to run. And then you've got middleware, you've got the concepts of that hardware and middleware applications.  And I think, to me, this game is changing, but it's still the same. And you got, still got to store stuff. Now stores ain't going to look like it was before. You still got to move packets from point A to point B. That's networking. Server's got to run stuff. And more cores, more GPUs. And then you still got the same developers trying to build applications. Now, what I love about this world is that HPC has been grinding since 1998 on one mission. High-performance computing, make stuff go faster and power and cooling in large density. Things are things that they've grinded on. Now all of a sudden liberation is here. You got AI and HPC together. And then the perfect storm is the semiconductors are getting better. Fabulous and fab oriented. You got cloud scale going next level. And then data's exploding. So to me, I look at this as more of an opportunity recognition dream for entrepreneurs, people who are change agents, young students, looking at the landscape to make impact. And that's going to be about, you know, have an idea, sparking some creativity. And again, we heard from the CEO from Grock that as inference becomes big, the ability to create is going to change. You can actually get answers back faster from these streaming AIs, which will inject- Quick iteration from the AI to get you to a point of ideation. So I have been on this train of this creative culture is going to explode technically. And so I kind of see it here. So as the entrepreneurial side of me is like, wow, there's so much opportunity. Like, where do you, where do you go? And everybody sees it. Sorry, John. Along the creative cultural front, we had a great conversation with the Ohio Supercomputer Center. Go Ohio. And they were talking about this solution. The pride was real with that squad. He was amazing. The things, I appreciate that dedication. It all ends, you know? He was good. He was amazing. They talked about this solution they have called open on demand and how it's empowering everybody, from students, from like art students or life sciences students in completely different areas, researchers, industry professionals to have remote access to super computers. And that was something that really kind of was accelerated during COVID. He was talking about allowing the creativity to John's point of so many different types of non-technical people to harness the power of HPC and AI to really be creative and explore and make impacts within their industries. And that was such an interesting conversation that we had with him. And the wide adoption that open on demand has had in its first 10 years is remarkable. I think it's so, it's really great that you just brought that up. I mean, you're talking about people being able to do their area, their subject area of expertise, right? We just had a fantastic segment with Dell, they've had, well, a lot of fantastic segments with Dell over the course of the day and over the course of the week. But they were just on with Texas A&M and their ACES project and talking about that collaboration. They want researchers just to be able to come in and research. They want scientists to be able to come in and sequence the genome. Or in the case of one of their student projects which I really fell in love with, folks to be able to go in and recruit more STEM teachers for K through 12 so that not just this gen or the gen with previous to us, but the youngest of us are, you know, the we ones are growing up in a place where they can learn this technology natively in the way that I was a digital native. Imagine being an AI or quantum native. That I think is really fascinating. I think you brought up Dell. Dell, we appreciate them sponsoring theCUBE to be here and letting us program in our way which is get the audience the best content. Cause it's about unpacking the trends and that's a special gift. I want to thank Dell for that. But if you look at Dell, you know, I'll Dave, I never forget the Dell tech role a few years ago. They were on the theme of don't talk speeds and feeds. We'll talk solutions back in that day. And we were like, man, no, no, because we were on the hardware matters ban with like guys, if you look at the cloud, there's Silicon, Amazon was talking about Graviton early then. Well, let's go to swing back to hardware. And I remember Jeff Clark was on theCUBE and now the charge of Dell, Dave has hardware matters and he's like, of course it does, he had to think. And at that moment, it hit me that it's going to happen. And Dell's in a good position now to retool and be positioned, take advantage of the GPU wave and the integrated networking around it. And so I think you're going to see Dell catch this tailwind. So they have an opportunity to reset their systems and hardware matters. That's the show here. We did that a couple of years ago. It's like, oh yeah, we started hardware matters. But look at, that's all they're talking about. Speeds and feeds, but also the enablement. Because it's not about just some solution. They're all solutions. And so I think Dell's got a great sweet spot here. Yeah, it's interesting because this is very much hardware focused. Yet, when you look at AI infrastructure at least, the majority of AI infrastructure is actually software. And so there is that whole stack on top of the hardware stuff. And yes, things like connectivity become critical when we're talking about hardware specifically. I wonder, and we've got a couple of days left. I was struck when the internet was a new thing by people who complained that this new internet thing would stifle creativity. The kind of creativity that arose from going through a physical card catalog in a library and having serendipitous things happen. Oh, hey look, I'm looking for this book. What is this book? Well, the people who worried about that fundamentally didn't understand the power of the internet and how serendipity would be magnified immensely. I found myself being concerned that the sort of standardization of AI tools isn't going to lead to greater creativity, but it's gonna create this great narrowing to single sources of truth where all other options have been weeded out. And maybe that's, I hope that's a function of age and I am just as wrong as those people were wrong about the effect of the internet. But I am hearing people who are so afraid of missing out they're running towards standardization very, very quickly. So I think we're going to see this sort of running towards standardization and then I think there's going to be backlash. We've seen companies like Oracle go through this where they create their walled garden and it's great for a period of time. It doesn't work in the long term. The best indication of success in a tech company is to become the most hated tech company, right? Because you're indispensable. Oracle's doing great there. You're indispensable, you're indispensable. So people are frustrated because they no longer have the same leverage over you that they otherwise would. So it's interesting. So who is that now? Is that NVIDIA? Is it going to be? Well NVIDIA definitely overplayed their hand on the GPUs. That is definitely clear here. And from our other reporting, they kind of had a nice price market on the GPUs and they made a boatload of cash. Still are. And they still are. Look at that stock price. So barriers. What does classic business school tell you? Barriers to entry. That's my market. Your margin is my opportunity, Jeff Bezos said. So I think there's going to be a GPU opportunity. And now should I worry that an AI is going to pull out of this conversation? Dave Nicholson hates NVIDIA? Just to be clear, that is not true. No, they'll say I said it. You'll say it's not true. Well, if anything, if anything, you were saying that as a compliment, right? When you're the big power player, oh, I just about said something that I'm really glad I didn't caught myself right on the end of the day there. But I actually, I'm going to lovingly disagree with you, David. Which part? I don't think, well, there could be a few parts. I'm going to focus on the goal is to be hated or you know that you've made it when you're hated. I think there are actually very big players in the space that are adored and loved. And I don't just mean open AI and chat GPT. I mean, we are seeing, I mean, we were just at KubeCon all week last week and open source movement is huge. Enterprise is playing with these startups. We talked to Johnny Dallas. I'm going to bring it up multiple times on the show. If we've got engineering teams of three doing the same thing as 500. Or for example, I chatted with IQM earlier today. They're one of the other companies that are building quantum computers here. They only started four years ago and they only have 300 employees. They are building machines that are deploying AI and ML. Do you want me to finish the sentence or would you just like to talk? Because that's fine if that's what you would like to do. I'd like you to finish so I can chime in. I'm going to let you go because you are so excited to say whatever it is that it's just going to lose out of your body. I think Dave's point was not so much about that. He's talking about the old school enterprise companies. Back in the old days, you had to have a lock in. You had to actually extract rents from customers. Where I think you're getting at the point is with open source, the value creation is different. The sustainability advantage is different. So, yeah. Don't defend me, John Furrier. No, I'm trying to defend you. Savannah and I were arguing. Okay. I'm going to leave now. Okay. I love it though. But you're moderating, you're facilitating. Well, I was being sarcastic Savannah when I, I mean of course they don't want to be hated. It's just when you're in a position. Please man, explain to me what you meant. I love that. I love that. I, you know, I do a lot of work here to make y'all look sexy. The point is when you're so successful that companies feel like they have to do business with you because you're so good, there's a little bit of frustration there. There's a little bit of frustration there. Of course. No, there is. And I just wanted to play on that tension. I mean. Because I think we're in a very unique space where everyone's actually, yes, there are a few AI chip manufacturers that are obviously vying for what's going to be a very large market for the coming future. But my point there was we're seeing a lot more collaboration than you would see in historical industries, both from the student level all the way to the government. There's multiple government organizations in here, which I think is really interesting. You've got the NSA just around the corner here. Everyone beyond your best behavior. We've got NASA and then you've got universities literally advertised right behind us. So it is this very collaborative. I don't know that I like the term democratization. Maybe it's just because I studied political science in school and it's not exactly the right application. However, I do love seeing this emphasis on collaboration across teams and this less bully. I'm not going to tell you what I'm working on because the reality is everyone's going to need each other's tools and their multi-cloud setup. Well, access was what they talked about on their projects that are winning the Ohio project and Dr. Lisa was mentioning access. Getting people access. I just love to let researchers be researchers. Yeah. That's it in a nutshell. It's just the simplicity of that. Just let them. I'm excited about that with a lot of companies, vendors and folks today in terms of meeting the customers where they are, who are the users are and making sure that the experience to them is seamless. So to your point, they can do what their talents are really best suited for. I love Dell. Absolutely. I love Dell. I wouldn't have guessed from this segment. Since they are recording this, I want to thank Dell. You want to make sure. I want to make sure you go on record. I love my mom. Okay. Because everyone's wondering. You're going on record. Dell deserves a shout out for allowing us to have theCUBE here. Dell Technologies, enabling next generation AI. I love Dell for the record. Well, I have a question, I have a question. I have a question for Lisa. Yes. Have you noticed, if you haven't yet, be sure to get around. But have you noticed all the university stuff? Yes. Sab mentions it. Yes. I mean, it's. It's so cool. I love it. It's so cool. It's not trivial. It infiltrated across the entire show. No, it's not trivial. And this is, and I will, this is a hill all day on, I have fundamentally believed that one of the things that has held us back as a society is the lack of collaboration between the front lines of people in academia and research and the front lines of entrepreneurship. And when those two things intersect, people like to call it startups. No, it's not startups. Academics are over here in a complete and total different silo. And you've got venture capital and young guns with confidence over here or older guns with confidence over here in an entirely different silo. This is the only event that I personally go to and I would be very curious if you two feel that way where I see not only illustrative collaboration where someone's trying to do a little halo effect. Here's what we're doing for this group of minorities or younger people or less affluent people. But no, active collaboration, multiple projects with enterprise, with the academics and with the chipset manufacturers and new up and commerce that are coming into this. Yes. And yes, I am excited about it. It was collaboration and action. We can make fun of my gesticulation, all you want. 100%. Dammit, I care about this. I totally disagree with you. No, I totally agree. If, and I'll bet there are some large vendors who are cringing because they're saying, but we have students at our show. Well, I didn't notice them. Honey, they ain't coming up and talking to us about their projects. I haven't noticed them. I think that at every big tech show, it should be noticeable. Invites should go out, scholarship should be put together to pay, to have, make them stay four to a room because they're kids, but these shows should have these folks involved, if for no other reason. Look, it's going to be beneficial to those companies who want to hire these people. Exactly, talent attraction. So, that's why I love them. And to your point, the next generation is upon us. This summer, we call it the summer of AI love in San Francisco because they had the most meetups. I think New York was second, but I think San Francisco had over 100 different meetups, mostly under the age of 30. No wonder I didn't get a date, it was the summer of AI love. And so, they're totally into this, like standing up models, playing in open source. So, it's a ripe environment to entice and bring people in and send them and entice them, motivate them. And around the world, like, I mean, we're talking to Dell in Romania, I was speaking to Dell, and they've got a big community in Romania around this too, so it's not, I mean, Silicon Valley, we think of it as a tech hub and there are events there, I get that and I watch that as well. But what I love is these different groups popping up everywhere. It's kind of like we see with the CNCF community, the cloud community is so global, so many different countries involved and active and just curious about what's next. Well, why don't I ask you a question since it's your turn to answer. What was your favorite part about today? What interviews jumped out at you? What was the tea leaves saying to you? What were you seeing today? What jumped out at you, was it?  But I was deeply motivated by our conversation with Grock. I thought Jonathan had a lot to say, both from an architecture perspective as well as just an implied perspective. So I mean, we're going to be, and he said something that I want to summarize that I thought was great, with risk for example, we're going to be going from risk detection to risk prevention. And if you apply that, we were talking about the financial industry there, but if you apply that to healthcare for example, or general avenues of safety, the difference between processing a batch at night once a day or once a week versus every second saves lives quite literally. And that brings me a lot of hope and a lot of joy that this boom will not go down the sky net side that you see a lot of people being fearful of, but that will end up in a place where we're doing more good faster across generations. I think that's because you're literally a lifesaver. So are you. That's a story I think we'll probably have to keep. On that note. Yeah, I was just going to say on that note, if you would like to see more heroics by theCUBE staff, please continue to tune into our coverage all week here live from supercomputing in the mile high city. My name is Savannah Peterson and thank you for tuning into theCUBE, the leading source for technology coverage.


I believe in underdogs I believe in people that like some of you in this room right now people like dude That guy's a loser.  We're all losers until we're not okay And I always say people either suffer as a kid or they're suffer as an adult think about something for a minute And the people that are in this room, right? How many of you have had you don't have to raise your hands But it had some grind when you were young, right?  You felt abandoned.


I'm recording this now just okay we're excited to have Jonas on the business exec creative and the author of sell the truth as I guess speaker Jonas would you be willing to introduce yourself and your team and briefly tell us about yourselves and your before your presentation and just give us a little bit of a history as to how did you come into this space of blockchain and hyper ledger and then afterwards we can have a Q&A session so without further ado I would like to present you to you Jonas. Thank you very much and with me I have Hugo my colleague and Max and we will do an introduction soon but I first I want to say thank you so much guys for inviting us and I realized that it might be a bit early for some of you so thank you it's a pleasure to be here and to be able to share a little bit about our brain children snow driver and play it forward but before we start off however we get it we thought we might want to get in the mood with our core passion which of course is music and my colleague here Matz is going to play a tune for us on this unique instrument called Nikkelharpa in Swedish which is a fascinating instrument and and it's many hundred years old not his instrument though he built that one himself so Matz what what do you plan to play for us? Well I'm a traditional folk music musician in Sweden and I play folk music of course but I also play pop and rock and I combine that but now I will play an old Swedish tune maybe a couple of hundred years old so you can get a clue of what I'm doing so this is it that's it thank you very much that's outstanding thank you that's a great introduction very unique Jonas and Matz thank you so much thank you and I thought we also give you a sort of an introduction of where we come from and how we ventured into the whole blockchain music space from a personal point of view and I will start off and to me music always felt I thought like something more real actually than everyday life even and it was as if music was able to connect with the essence of my very being as a kid I was drawn into these fascinating imaginary worlds of bands like Adam and the Ants and Twisted Sister, Motha Crew, Wasp on the one hand and the soothing and comforting landscapes of easy listening music by for example Roger Whitaker or the older records that I found in my parents collections from Elvis Presley, Polanka, Bobby B etc. I knew I wanted to live in this world of music one line among many that are stuck with me is from Twisted Sister actually and there is song King of the Fools which goes better a fool than just a clone which resonated so strongly with me I wanted to live in this world on my own terms I played in bands I wrote songs I developed my singing and I got a reggae deal but I also got experience that the music industry is all about something else that I had somewhat overlooked money and that the competitive culture in the industry can be cut throat serious so after some time I realized it was time for me to move on and venture into advertising communication strategic brand development and management consulting in a career as an entrepreneur and I enjoyed that journey very much and then a few years ago when I got in contact with the blockchain space I felt that familiar spark of potentiality there was an ideal of freedom creativity and the redistribution of power fantastic so I took part in conducting a few ICOs and other blockchain based projects and now I feel like I've come to sort of full circle connecting with my younger self and the wonderful landscapes of music combining my experiences into an attempt to bring something both wonderful and useful to the world of music Hugo hi everyone and so I'm also a musician but I became a musician when I was maybe I began playing music when I was maybe six years old and by playing piano and music has always been a part of my life and whether it's by playing it or listening to it I've always enjoyed it and what I find interesting in music was the fact that it's something similar to a second language something that you can practice and learn and you have some phrases some movements and so and indirectly this led me to begin working and studying programming which is also another kind of language and I found some similarities between programming and music which made it quite easy for me to begin working with within programming fast forward a few years and after working with web technologies in 2017 I began working with blockchain technologies so it was the time where the hype was high and that it's not high anymore but the hype was quite high in 2017 and I began working with cryptocurrencies blockchain technologies back then and I try to use my experience as a web developer to apply it to blockchain concepts and so building large-scale applications within the web sphere was not the same as within large-scale applications within the blockchain ecosystem so that's where I began encountering various protocols and one of them was hyperlogia back in the days it was the only the only protocol where you could have large-scale applications in 2017 and so that's when I began working with hyperlogia as well as also technical changes and I met Jonas and Matt a few months ago it's quite recent actually and they began to talk to me about their their projects and I became really interested because it appealed to my to my childhood with the beginning of the piano lessons that I had and so that's why I became involved in it. All right well I am a musician I write music and I produce records and that's been my work my whole life actually and my passion is to combine and experiment with different kinds of music so in the 90s I connect my folk music experiences with pop and rock I love both parts and I love every kind of music but at the time at that time I found a singer and we started a band and it called Nordman and we wrote music and released an album and became the most successful band in Sweden actually in the 90s so I've been through a big journey of combining different kind of music and that's still what I love with music to explore different kind of things I actually been touring in in this in the United States with a guy Joe Bonamas if you if it's familiar with you guys blues guitarist so I also work combine my folk music with blues and work pretty well I must say so and I'm running a label a small record company as well called Falk Pop that says pretty much about what it's about and I'm very curious about finding new ways of release music because the landscape of the business today is quite different than it was before when I started to work with this so I can see this blockchain and all this about that could be something really good for music that's what I believe and it's a lot more to explore and find out about it so that's why we started up this idea to to find out what to do with it thanks guys so we'll share a bit about what what the whole thing is no drive I played forward that should work I think let me know if it doesn't work so I will first talk a bit about snow driver and then the method we call plate forward snow driver that started with a conversation between Muts and myself and where we concluded that there is a need for something new in the music space really as a as a professional music as Muts portrayed he saw a big problem with the way the centralized platforms are making it increasingly difficult to get a fair share of the pie as a musician and with my background as a strategic brand developer I saw a need for renewed creativity and reconnecting with my inner child as I mentioned before and we noticed the potentiality in blockchain based solutions and NFTs in particular and grounded in a love for music we agreed that we would love to bring creativity and change into the music space and we summed up our ambitions into these three pillars that we wanted it to be creative decentralized and easy to use so that everyone not just not just the major corporations are able to use it and we put the name snow driver on a project so snow driver was a snow driver well it's snow that Eva actually in swedish which means snow drift which is hugely fun to play in and which fits our intent plus that we believe that the name works pretty well in English as well and Muts has an in-depth experience of the music industry with a lifelong career as a musician and producer I could add my own journey to the mix and not least strategic brand development and when we connected with Hugo we got a really cool triad here and with his expertise in blockchain development we we now think that we have something strong to build on and with and with a love for music as a uniting vision so the essence of snow driver is co-creativity and decentralization while the traditional music industry is mostly linear in its fashion with middlemen such as streaming platforms and large corporations standing between music creators and their audiences we want snow driver to enable a reshuffling of the cards so to speak we don't know yet the exact format of snow driver maybe we'll become a decentralized agency of some sort building on the creativity what we do know though is that we want to enable new relationships between music creators investors and audiences and encourage co-creativity we have identified three central conventions that we want snow driver to be a disruption for here is convention number one it's our underlying belief that artistry has become a commodity to much extent and a product and over time the market becomes over became oversaturated and there is too little differentiation the result is a music scene dominated by a few large corporations where too many artists look the same sound the same and distribute their music on a monopolized distribution platforms so then and the next convention is a core cultural belief that has been building up for quite a while and that is the connection between music and and fame there isn't necessarily anything wrong with a quest for fame obviously but what was once a music career became 15 minutes of fame famously expressed and even less so today to 15 seconds of fame sometimes and creativity is now more decentralized than ever which is kind of weird and we believe that music carries more than just fame and entertainment is a universal language of human emotions and we want to explore ways to to re-encourage that and thirdly is about linearity and mediation before the dawn on music recording technology there was only live music after all and each performance was a little unique and different with media and the music record we got standardization and with time music became media and this created a gap in the distance between musicians and audiences as well as a gap between writers composers musicians and artists with the identification of these three conventions we would like to contribute to six pieces of disruption at least so we think we will we would like to to contribute to new stories for music that there are new stories to be told where music can make a difference and we can expand the universe of of artists really and we want to explore what music can become once it is free to reinvent new values and stories we want to reshuffle the cards from music distribution and that is obviously very much happening with the NFTs and DOWs and other types of co-production and ownership which connects to the next point that we want to encourage co-creation in a non-linear fashion why can't more people take part in co-creating music and we think that shared ownership of created outcome is in itself more fair and it creates incentives for co-creation in itself and why not explore what music could be beyond the standard three minutes of mediated audio if video killed a radio star then maybe NFTs can go beyond the music videos and that transparency is a way to spark trust and fairness and this is where we started off with played forward as a as a first idea so to speak in order to to make this this vision real and as a first product with no driver of creating solution called played forward and played forward is basically a method to connect stakeholders around music production as well as enable shared ownership of NFTs our goal is to build a minting process of fragmented and NFTs which will offer musicians songwriters artists investors and audiences a decentralized form of shared ownership solution with shared commission so just to take back the core principle again where we think this the play forward is a way to put this basic problem principle of decentralization into practice played forward is meant to be a method to bring these different stakeholders together some of you may remember a novel called pay it forward and it also became a Hollywood big Hollywood hit movie was about a boy who starts a chain reaction of good deeds the idea behind paying it forward is that whenever you benefit of a good deed you let others participate by doing a random good deed to others instead of repaying the benefactor we were inspired by this it was a great movie as well I thought and played forward works in a similar way anyone can create the first NFT and pass it on to someone else who adds to the creative solution making the NFT co-owned and by each step of creative add-ons the ownership is shared between all stakeholders and offered for sale in any NFT gallery and we think that the result can then become a dynamic and fragmented NFT process for cross creative music production and what can that be used for you might want to know and so we're thinking there are quite a few interesting applications and it could open up many different pathways and hopefully in more ways than we can imagine here but these are some of the applications that we would like to encourage and we could see happening obviously the first one co-production of music so new and different collaboration between creators and audiences and investors potentially as well co-ownership of music so we can make a fair open transparent commission of the system we also believe that in the name of creativity that we could mix genres in different and new ways not only for music actually but maybe for all sorts of creative output maybe we can see new combinations of creativity and just like we have seen in other cases actually there are interesting ways for creating different kinds of VIP access admission where there is a utility built into the NFT as well and as the play it forward network grows it can enable network effects when it comes to communication and I think we can see a huge a lot of synergy being built around the creative output once the different stakeholders have come come together and see that it that it can become fair and transparent it's also interesting to consider that music and art production can become more fluid sort of in a constantly evolving state rather than fixed and ready once and for all which was obviously what we pointed out in the convention there with the mediation of music created standards for music it doesn't have to be that way and we also believe that play it forward can encourage unorthodox collaborations and pop up constellations of participants so it can become more short-term fun and interesting in some kind of way and last here that play it forward can be a way to pay it forward by including underserved audiences into the mix and this is where I pass on to Hugo who will tell us a little about the tech stuff yeah and so I don't know how technical the the audiences so I'm going to try to not go into too much details in any case I would confuse you and so basically the question was how do we build a platform that is that is easily accessible in a way but also when I mean accessible I mean accessible to any kind of users so whether they are tech savvy or maybe not so tech savvy again and if you want to have a broad audience you need to have lots of UX user experience design and you need to have an easy to use platform which is which will most likely hide most of the technical parts that are on the blockchain side but you will also want to yeah so I'm going to try to answer the question robots in the storage but so to answer to this challenge of having both an easy to use platform as well as a decentralized platform we are going to have to put in place an an architecture that is the one that you see there with which is a bit more complex than just a full decentralized application we need to have an architecture that is central in some way centralized to address the UX issues that we will include so for instance to address users that don't want to manage wireless users that don't want to see that there is some NFTs behind the scene so we need to have a platform that is easy to use for any kind of user but we also need to be able to prove the transparency and the decentralization of the platform so that's where we need to have some blockchain aspects as well and so the architecture that we've come up with is a semi centralized semi decentralized architecture where there is a part which is the other the backend the API relating to the message to the transactions work and so on that will mirror the blockchain the blockchain data and when I when I say mirror I say you will interact with the application as if it was a centralized application everything will be replicated on the blockchain and we are trying to have something that is quite agnostic in terms of technology so we have begun working with Tezos technology for instance because we need to have some way of transparency as well as scalability and low fees but we will also be able to take this architecture and put it on another blockchain whether it's hyperlogic or basic for instance and this is where hyperlogic could be interesting it's in the way that if we have something like hyperlogic or basic we can have a smartphone triplet easy to use easy to access that will allow us to mirror quite rapidly the transactions that we will then maybe anchor on the public blockchain such as this here as to how we will we will start the media on the on the blockchain that is where IPFS comes in so IPFS is a decentralized storage solution that you can call from any protocol in the blockchain and so we will also obviously mirror the music and video files but they will also be able to be stored on IPFS which makes them accessible to any user which makes them accessible to any user even though the platform is not online for instance you are able to to access the media through IPFS so having a semi centralized semi decentralized architecture allows us to leverage the use cases that we can find in blockchain technologies such as the transparency transparency the transfer of value the modellization of the NFTs and so on and this is really key for the project because we will need to have something that is usable by inexperienced users as well transparent and fully accessible to for more experienced users that have the experience of blockchain technologies and back to you Jonathan I think we can take some questions great thank you Hugo and yeah let's take just a thank you and yeah that's that's where we are so it's it's a it's a cultural thing on in the one hand and the tangible product on the other and we're trying to find better ways to reinvent the ways we appreciate music I'll stop there you have a couple of questions here Jonas I just want to take one from the the chat here if you guys are ready for some questions absolutely are you all in conversation this is from staff C black are you all in conversation with any other blockchain music platforms yes we are and we we have compared different solutions currently we have been in in the most deepest connected with the tesos and exploited their permission less blockchain and obviously for in comparison to some other permission less platforms their their transactions are are pretty decent and maybe Hugo you can say something about the tech tech comparisons that we are conducted yeah so basically there is the other blockchain layer which is the protocol and so then there are also there is also some other tools that have been built on those protocols so maybe maybe that's what you meant by blockchain music platforms but it's interesting to to be able to build your own your own solution on top of protocol and that's why we are trying to be agnostic because which is interesting what's interesting in the project for us it's mostly the fragmented NFT approach so the way that you have where you can and modelize the intellectual property where you have co-creation this is something that is key and that we are trying to provide to as many actors as possible oh we have we have a i'm sorry go Jonas we have a clarification on that question there from sassy uh she uh uh or he uh i meant to have you've been in contact with platforms on eith like catalog sound xyz zoro mint songs for the company i work for our peggy labs she excuse me thank you we have uh not been in in contact with specifically those platforms know what we would love to uh if possible uh we have a few relationships both on ethereum and tesos and uh and we are we're seeing ourselves as something that can sort of be in between those platforms and uh we'd love to explore relationships for sure i've put the uh information up for Jonas mats and uh hugo on the chat here so you guys have uh i think their website as well as their linkedin profiles i think i have a question here from sachin for hugo and that is is ipfs same as database tier in your architecture and thanks for the question no it's not exactly the same thing um so the the database tier is mostly uh it can be a sequel or most kind of database such as mycicle or what's really secure or what db and so on it's basically to store the metadata of the um of the of the platform as well as the user information because we're going to need if you want to have some uh broad UX we need to have a database to store the user data such as uh username password and so on so um this is where the database comes in it it is also to mirror some of the metadata from the blockchain uh aspects such as uh whom into the which nft and what is the relationship between the nfts and so on the the ipfs storage is more like a file storage uh platform so we will have some mirror of that as well but the ipfs is the decentralized aspect of the media storage so basically that's where we'll store the video files the song files and so on another question from uh sharin so in simple terms you tend to create an nft-based marketplace for artists to sell music video which will eliminate the media production houses in short yes but uh the longer answer is no no really i mean those i mean i'm not trying to eliminate anyone really but uh we want to encourage and enable uh co-creativity that is not defined by the media or the production houses as they are constructed currently in the music industry so we see it more like a parallel sort of landscape where we're not trying to compete with the music industry we're trying to create something parallel to it where um where something new is possible to happen in the first place well we're on that i have a question uh with there's a couple more questions in the chat but i have a question while we're on that topic of uh eliminating the uh the middlemen as we'll call it a lot of the success in music and film television is is created by many of the middlemen the marketers the distribution houses and the money that goes into that the investors etc etc as we decentralize music film tv and we start to share that uh do you see any sort of uh change in how people view how much they want to invest in these projects if they're not going to get the returns the roi that uh that they're so accustomed to so you know the uh the uh the some of the big names are selling their entire portfolios to some of the big guys and they're just going to go out and make tons of money for the next hundred years and the the artist got one big lump sum so that's not going to happen in decentralized music it's not going to happen in nfts it's going to happen only in the we'll call it the legacy format of music so what are your guys thoughts on that sort of thing and how some of the missing parts may have some impact on the success of music good question and uh so um i i don't think that is necessarily anything wrong with with that those kinds of solutions that's fine uh but i i see that sort of as an end cry to something sort of sell it off in a bunch of make a lot of money then you're done with it it's not about creating something new or more more alive new create new creativity and more different solutions so um if anything if if that approach works so that's fine but again i see that we see it as a sort of a parallel approach where uh we we can create something more interesting to the audience is and uh what kind of business models that might might emerge out of that will be interesting to see and we think that fragmented nfts is a very good input for for uh reinventing the business models around it um in terms of of how the industry might react actually i'm gonna pass that on to months because maybe you have the most deepest experience of the the music traditional music industry and i i know that you see a lot of of things moving there as well you're muted now as you say i don't think we should compete with with the the other parts of the business with this idea uh but i believe uh new kind of uh collaborations will will appear with this new method with fragmented nfts as you say so well i can just see possibilities and perhaps we could add to that uh we do have a problem with the centralized platforms as it is because it's somewhat difficult for a lot of of musicians to be um to make a living excellent point uh and all you guys i see that and i imagine i i i do see the uh it's a different uh it's a different venue altogether i think is what uh and you're not going to compete with the legacy we have another question here from bastion i think is the name regarding musician payments do you plan on building some smart contracts for it to be simplified and automated if so would you offer this solution for web 2 streaming platforms for example to make sort of a transition between web 2 and web 3 brilliant question and uh uh you're exactly right that what that is a venue we are exploring and we are having conversations with um with a platform like that and i think it is an excellent way to transition into web 3 building on on a traditional more traditional sort of a patreon like platforms for example and um regarding smart contracts yes uh so the the minting process itself is a smart contract so the you have a decentralized uh minting process for the fragmented NFTs and uh those can if we do it in a clever way we will be able to use like uh hugo said that we will be able to have an api that will uh we can connect to any different kind of gallery or platform be it uh web through web 2 or web 3 oh we have a another question how will marketing of such music on on your platform happen as in traditional music industry is done by those middlemen which are not in the version of your music industry uh yes and uh this is where we believe that uh we we can create networks effects and synergy effects in new and hopefully unexpected ways when when audiences and creators and all types of shareholders uh come together both both to co-produce but also co-own i think we create uh mini ecosystems in themselves which is an excellent platform for marketing so it's not the idea is not uh sort of the traditional uh linear marketing strategy pushing something out but rather having those relationships um become become more intimate and um uh we believe that is smart marketing actually and now i've just to piggyback on that question um how have you been received by the industry um i would say leaders in terms of the business in terms of the the audience and the musicians and the artists how well has your pro your your program your platform's been received by those various audiences yeah good question and that that uh remains to be seen actually because we're right in the in the process of of uh connecting with these properly through these audiences and learn from them and see how we can create value to them and also exploring how the decentralized agency of snow drive it can be become a home uh for for these kinds of people would like to see a destruction of the not necessarily of the in music industry but disruption on music itself and uh i think um um or and we hope uh and we believe that this can be utilized by a lot of people and while we aim to for snow driver to become some kind of decentralized DAO based entity uh we're we're not we're not seeing played forward necessarily as anything more than an open source method and we hope more people will join in and contribute and uh bring this solution further we have another question from charange so you mentioned hyper ledger and tezos so are you considering permissioned and permissionless platforms or a combination of both like tezos for nft marketplace and hyper ledger to add transparency and security in some way that's good yeah good question and so for the um we are actually considering uh so that's when it's a nice centralized solution comes in so uh we are considering an an architecture where we would have the uh mirror of the data on the hyper ledger vision and so basically uh something like that is permissioned and and then be able to incur some of those data on on the ethereum through storage so that's one of the solutions that we are considering the other one is more on the on the uh permission less platforms so that's where uh tezos would come in and uh so the um uh this is indeed uh a good platform from the nfts where you have multiple marketplaces standards that are already available uh that would allow us to to be able to to sell uh and to have more uh value proposition solutions for the uh for the artists and maybe we we have i'm sorry go ahead and maybe we can just add that uh it's really up to the creators and the stakeholders to show us the way how they want to combine and bridge uh uh the uh different solutions and if they see uh there might be sometimes needs for permission based solutions and sometimes permission less is better or a combination it's really up to the solution we have uh another question from basin do you plan on selling nfts to be used as a licensing catalog for example music supervisors uh that is also a very good question and we uh it's always always so far we have realized that it's it's tricky to to deal with licensing and we need to tread carefully there uh and uh so i i i'd see ourselves uh using um other other kinds of solutions rather than than license and catalogs but it could definitely happen i don't have a better question than that i'm sorry or a better answer than that sorry from night the uh schmidt uh how do you technically fractionalize an nft example how do you tokenize the shares in the song to go question yeah so basically the the fractionalization of the nft is mostly a way to identify who or thought what in the song so to take an example if i'm building a simple melody with my guitar and i create an nft about that but uh then there is some uh a pop singer that wants to have a song on top of that and so the the pop singer takes my nft and creates a new nft that refers to the first one so there is some fractionalization not in the nft that as such but there is a fractionalization on the uh revenue stream that will be directly sent to the uh to the nft chain basically that you will have on this side uh if there is another artist that wants to take the same guitar riff but put it within an electro song for instance uh then it will create the the artist will create an nft a new nft with the first nft as well and if there is some people that buy this song like 50 50 or depending on the contracts that will build but let's say it's 50 50 and 50 percent will go to the original artist with the riff uh with the guitar riff and 50 percent will go to the 20 music artists that will create the rest of the song um yeah exactly so that that is a co-ownership and uh divining the shelves of revenue but what what we have in the uh in the nft is basically a nft chain uh so it's not on the nft but the fractionalization goes to the and basically for the uh absolutely no i was on the other question but i would say uh and maybe join us answer this one from vipal is how will you control the cost of such nfts i mean if if too many parties are involved in in a voluntary manner to produce this music will there be a policy of controlling price good answer so fractionalization is basically not the direct value but sort of co-ownership and then dividing shares of revenue yeah so so that's what yeah that's exactly that's any other questions oh i'm sorry randy go ahead i'm sorry oh oh no it's okay i was just going to ask um then um how would that be done in terms of dividing the um co-ownership would that be done through the um smart contracts um like exactly how i mean not to go into a really deep in depth explanation but just kind of a general idea on how that would be done done on a technical level here we go what do you sorry i didn't i didn't get the question um like would how would you um do the fractionalization um would you create a separate token um to sort out the ownership and be able to um divide up the shares of revenue and your example if you say like if you had someone sample a rift um exactly how how would that so so that would be uh that would be on the nft smart contract um basically the um the initial nft editor would say if you want you to use my creation uh as your as your nft you can use it to up to x percent of revenue sharing and this will go down as well so basically um all right i'm i'm creating a guitar riff as it's a simple guitar riff i don't want to do and i and since i want to people to use my riff i will say that since it's just a guitar riff you can use this as up to five to ten percent revenue sharing so using this riff you can choose which percentage you want between five and ten percent that's the low and the upper edge and then the the next creator will take my nft and say okay there is five to ten percent my new nft is maybe just a baseline on top of this guitar riff i think it goes well with it i created the baseline uh i think my creation is worth maybe 10 to 15 percent of the next nfts that will use the guitar riff plus the um the plus the uh the baseline and so on and so on and if i want to say okay my nft uses uh if you want to reuse the the the nft it's a hundred percent of of revenue stream so the hundred percent is divided at least by two then because if i i have some creations i at least divided by two but that's uh so with the nft chain i put on the nft smart contract percentage of revenue stream that and then when the nft is paid because it's used in in any way when the nft is paid then it will divide according to the the nft chain okay thank you regarding uh now we have another question i'm based in regarding the in uh the music nft in itself as files a share a size is limited for nfts how do you plan on selling the best audio quality possible as the file size might be too much to be become an nft yeah so that's um the ipfs storage is united indeed and um so that's where the file size comes in and there is multiple ways to tackle that and to be honest we didn't choose one yet but one of the ways that we will probably begin with is by the through the mirroring of media so in this case i think we will store on the platform not directly on the ipfs storage but on the platform we'll store the the maximum version that is upon and we will try to to to secure storage uh so basically half back as and so and and then we will store a lower version on the ipfs storage so that we can have uh something that is a proof of the ip basically but if you want to have higher quality then we can go to the platform get the higher quality so that's the way that is semi-synchronized and i know it's not ideal and another way to do that would be to split the file across multiple ipfs storages but in this case it would cost a bit more and it would probably be harder to manage so that's something that we have to consider and maybe by the time we come to this um the technology will have improved and we'll be able to store those files anyway well we're at our one hour here and i think that was a pretty outstanding presentation jonas matz at hugo and uh i want to thank you guys for taking the time to put this on and uh will you uh will you come back in a couple few months and uh and uh or six months and show us what your progress is can we can we count on that and everybody here can get an invite to that event up to that sounds outstanding for having us you're very welcome and thank you for taking the time to uh to a great presentation we've got the recording here it'll be up on the uh on the wiki so anybody that is participating today i put a link into our wiki and ask that you uh have a look at that maybe connect with us and we're there's also a link to the discord there we'd love to see you guys there as well uh and jump in the music one we'll put a a copy of the video up on discord so you'll see uh everything there and matz that was some cool uh instrument that you have there i wanted to just clarify you made that yourself yeah i i build instruments uh yeah that's unreal unreal unreal i have a personal friend of mine in candor that makes guitars i'm going to send him that uh i'll send him that video he's uh he's uh he's he's gonna be totally impressed but thank you thank you all again randy did you have something you want to say to everybody thank you all for coming i just wanted to reiterate thank you so much for attending thank you so much to jonis and matz and hugo wonderful presentation thank you very much thank you thank you all right we'll see you and talk to you again see you yes have a good day thank you bye bye bye everybody


Vice President of Kentucky Nature Preserve and we are here in Astel County today in the knobs region of Kentucky and you can see behind me the knobs are characterized by these conical shaped hills and we are going to see habitats varying from dry ridge tops to some of more music creek side stuff so hope you enjoy this. Hey everybody this is Vanessa, I'm a botanist with Kentucky Nature Preserves and I'm out here at Lely Mountain with Heidi today to see what's blooming. I am a huge fan of violets so I'm especially excited to see how many different violet species we encounter today and I'll talk about some key features for each species as well as how to tell some of the similar ones apart. This is Viola soraria, the common blue violet. This is really the standard model of violets. This is pretty much what most people think of when they hear the word violet. It's also the state flower of five or six different US states. It is a stemless violet so all of the leaves and the flowers arise from the same point in the ground right there. The leaves are heart shaped. They can be hairless or hairy, it's a pretty variable species. It's common in lawns, it's common in woodlands, it's pretty much all around. It's probably present in every county in Kentucky. Here we have Viola subsinuata. This violet is superficially similar to Viola palmata but this is what we would call a homophilus-leaved violet whereas Viola palmata is heterophilus because it starts out with heart shaped leaves and then becomes lobed over time. Viola subsinuata actually starts out with lobed leaves. On the top of Lily Mountain and have a lovely surprise of having the Columbine in bloom, Aqualigia canadensis and you see it has these beautiful two-tone flowers with the reddish maroon and yellow and it likes growing on these dry open rock outcrops. Here on the top of Lily Mountain is this beautiful redbud, fully in bloom, lovely springtime flowering tree here in Kentucky. Another flowering shrub on top of Lily Mountain. This is Roos aromatica or fragrant sumac. The flowers are just starting to bloom and the leaves are just starting to come out. We are here at this beautiful shale glade along the trail that is an open habitat with open rockiness and there are two beautiful species in bloom. We have this moss flox, flox subulata with the cleft petals, nice pink shade and then the darker shade in the middle and then we also have this birds foot violet Viola pedata with the deep purple and the light purple.  Here we are at a large patch of what is undoubtedly our showiest native violet. This is birds foot violet Viola pedata and here we've got two varieties. One is the solid colored form and the other is kind of a bi-colored form that looks like a bit like a cultivated pansy. The leaves are finely divided like a birds foot and this yellow beauty growing right in the middle of the trail is called hypoxis hirsutis also known as eastern stargrass. It's very common, can grow in a variety of dry to music habitats. Here is a really nice population of perfolia at Belworth, you can see here it has a yellow flower that hangs down and this is as much as it opens up it's not quite as showy as some plants. There are two uvularios common in Kentucky. The way to tell them apart is that this one has hairless undersides to the leaf and then uvulari grandiflora has tiny little hairs on the underside of the leaf that's how you tell them apart. Here is Solomon seal also known as polyanatum biflorum it's not quite open yet but you can see in the axles of the leafs there's two little dangling flower buds. We have a flowering tree which is a flowering dogwood Cornish Florida and the interesting thing about this plant is that you can see here the flowers what looks like the petals are actually white bracts and the flowers are these little green things here in the middle. This is Viola palmata the palmate leaf violet it's similar to common blue violet it's stemless so the leaves and the flowers come from the same point in the ground but unlike the usual blue violet which always has heart shaped leaves the leaves of palmate violet become divided and each successive leaf becoming more divided so usually they start out like this heart shaped we get a little bit more divided a little bit more divided and then later in the summer they'll be quite lobed very cool it likes dry woods and you might mistake it for a regular blue violet but just check out the leaves it's real cool you see these here are actually a wild orchid this is Cipropidium acoly or the pink lady slipper and you'll find it in these dry acidic sites and right now we are in the knobs of Kentucky so common and they're just starting and you can see they're very fuzzy here is another native orchid this is called rattlesnake plantain or good year of pubescence it's not a spring wildflower but I just think the foliage is so beautiful that it's worth mentioning this will bloom sometime in mid-summer this violet would sorrel oxalis firelacy and it's one of the in my opinion prettier of the oxalis species the leaves have this pretty green shine to the top and then on the underside are actually purple if I can get one to show you there and the neat thing about this genus oxalis is that it's named after the fact that these plants actually have oxalic acid in them which is what makes them such a tasty treat if you are along the trail and need something tangy to munch on this is early Maddowoo the Lyftrum Diocum and you can see it has very dainty little flowers with those stamen hanging down and it is growing here on the edge of this little moist creek which is a common habitat for it and growing alongside it we have a little rostratum we also have a nice cluster of iris crostata dwarf crusted iris which I'm only seeing buds but maybe in another week or so this will be nicely in bloom here we have viola rostrata this is the long-sperd violet it is lavender-hued it's a dark purple center and the most interesting feature of this guy are these long spurs on the lower petal and that is what it's Latin name means rostrata it's a beak-like projection these are one of the stemmed violets so instead of all of the flowers and leaves coming from the same point at the base of the plants it sums up multiple stems and it has alternating leaves and flowers coming off the stems and this is just a super super cute violet here is a spring beauty in the Portula Casey family Claytonia virginica and you can see these petals they can vary from white to pink and have these pretty pink stripes throughout them they're often found on the forest floors as well as in lawns and you can see we are in a floodplain of this creek here and they're everywhere so here is a neat little plant it is a fern called southern adder's tongue also known as opio glossum picnosticum and the neat thing about this is that it has a sterile blade and a fertile stalk called sporophyte so much like other ferns and you can see them usually in little clusters we can see here there's about maybe five or six growing in this cluster and we are still in the floodplain of this little creek here we have ragweed which is pecra obelveda and you can see it has these beautiful yellow flowering heads and then the leaves along the stem can be very dissected whereas the basil leaves kind of have this roundish tapering down to the patio and oftentimes if you look at the underside of the leaf of the basil leaves they're purple so here we have may apple it's a very iconic spring wildflower here in Kentucky you can see when it has these two leaves like this that right in the middle is where the bud of the flower will be which may be in another week will be in flower and the neat thing about this plant is that it's clonal so if you look behind me there's just a large patch all of may apple all around me here we have a single-headed pussy toes also known as antinaria solitaria here at the base of this tree it's a spring ephemeral that will come out march and april and it likes these shaded music slopes my favorite thing about this plant is if you look at the underside of the leaf it is as soft as petting a cat hence the name pussy toes and then right next to it we have our native chickweed starry chickweed stelleria pubera and if you look closely the neat thing about this plant is where it looks like it has eight petals it's actually just four petals that are split down the middle here we have a nice cluster of three common spring ephemeral the first one which is very common spring i'm sorry through an enemy phylloctrum galactroides we have slender tooth wart which is cardamony angostata which it's helpful to know that angostata means slender so that would be easy way to remember this one the basil leaves of cardamony angostata have very large leaves compared to their carline leaves or their stem leaves which are much slender that's a good way to find this one and then the last one here is histonia cerulia or common bluits also known as quaker ladies this is one of my favorite spring ephemeral as it has this beautiful blue color contrasted by that yellow center and this one you can find commonly in these nice mossy patches along trail sides and it also grows commonly in people's yards here's another nicer example of the slender leaves cardamony tooth wart you can see it has the very slender leaves along the stem and then it has the thicker fatter leaves at the base that can have the purple sometimes underside here's a nice little cluster of toad shade which is a species of trillium sessil trillium trillium sessili it has the three leaves three sepals three petals and the petals are typically marooned and then unfortunately this little cluster is also being choked out by Japanese honeysuckle which is a very invasive vine that you can see crawling all around here but it still seems to be hanging on just fine this is a native but somewhat weedy violet species called viola bicolor the common name is American field pansy this is it's usually got light purple flowers with white and yellow centers some of the flowers are almost all white it has small spoon shaped leaves and very large foliaceous stipules and here you can see that the stipules are kind of cleft and they're wrapped around the stem it's a very cute little violet it's common and you can find it in relatively weedy places like pastures or on the trails thank you for joining me today for our hike at lily mountain I hope you've enjoyed it