[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.00,0:00:15.77,Default,,0000,0000,0000,,{\i1}rC3 Wikipaka Music{\i0}
Dialogue: 0,0:00:15.77,0:00:20.48,Default,,0000,0000,0000,,Herald: Dear galactic beings, get ready\Nfor the nerdiest niche topics, the most
Dialogue: 0,0:00:20.48,0:00:25.16,Default,,0000,0000,0000,,interesting ideas and the most absurd\Ndiscoveries from computers, art and the
Dialogue: 0,0:00:25.16,0:00:32.93,Default,,0000,0000,0000,,world - Operation Mindfuck! Directly from\NrC3 world to your home and into your minds
Dialogue: 0,0:00:32.93,0:00:39.50,Default,,0000,0000,0000,,and hearts. Please welcome your hosts:\Nbleeptrack and blinry!
Dialogue: 0,0:00:39.50,0:00:44.08,Default,,0000,0000,0000,,bleeptrack: Hi everyone at rC3. This is\Nbleeptrack and blinry and we are already
Dialogue: 0,0:00:44.08,0:00:50.12,Default,,0000,0000,0000,,back to our yearly little talk about\Ncomputers, art and other curious stuff.
Dialogue: 0,0:00:50.12,0:00:54.69,Default,,0000,0000,0000,,And yeah, we already reached volume 4 this\Nyear. So this is the fourth episode of
Dialogue: 0,0:00:54.69,0:00:59.65,Default,,0000,0000,0000,,this talk. And if you want to watch the\Nolder talks, you can find them on blinry's
Dialogue: 0,0:00:59.65,0:01:05.36,Default,,0000,0000,0000,,website. They're all called Operation\NMindfuck and yeah, have fun with them. I
Dialogue: 0,0:01:05.36,0:01:10.51,Default,,0000,0000,0000,,think the older ones are, some of them are\Nin German and now we do them in English so
Dialogue: 0,0:01:10.51,0:01:16.75,Default,,0000,0000,0000,,more people can have fun. And the talks\Nwork as follows: We have prepared
Dialogue: 0,0:01:16.75,0:01:22.47,Default,,0000,0000,0000,,different, very small topics and we will\Nexplain them in alternating order. And
Dialogue: 0,0:01:22.47,0:01:30.95,Default,,0000,0000,0000,,today, blinry will start with an\Ninteresting variation of keyboards.
Dialogue: 0,0:01:30.95,0:01:36.74,Default,,0000,0000,0000,,blinry: That's right. It's not the kind of\Nkeyboard you might be thinking about right
Dialogue: 0,0:01:36.74,0:01:41.96,Default,,0000,0000,0000,,now, but it's about musical instruments.\NSo this is about isomorphic keyboard
Dialogue: 0,0:01:41.96,0:01:47.98,Default,,0000,0000,0000,,layouts, because in the beginning of this\Nyear, I was like starting to learn how to
Dialogue: 0,0:01:47.98,0:01:54.94,Default,,0000,0000,0000,,play the piano. And I was researching a\Nbit of how that system works, basically.
Dialogue: 0,0:01:54.94,0:02:01.21,Default,,0000,0000,0000,,And I was a bit... started getting a bit\Nfrustrated with it for the following
Dialogue: 0,0:02:01.21,0:02:07.06,Default,,0000,0000,0000,,reason: I can't give you a whole intro\Nabout music theory right now, but what you
Dialogue: 0,0:02:07.06,0:02:12.82,Default,,0000,0000,0000,,need to know is that these little keys on\Nthe piano keyboard are specific notes and
Dialogue: 0,0:02:12.82,0:02:19.87,Default,,0000,0000,0000,,the distance between them is always one\Nsemitone, one semitone between them. And
Dialogue: 0,0:02:19.87,0:02:26.52,Default,,0000,0000,0000,,they are arranged in this linear fashion,\Nbasically. And then, if you want to play
Dialogue: 0,0:02:26.52,0:02:32.19,Default,,0000,0000,0000,,some part, what you do is that you count\Nthe right number of steps between these
Dialogue: 0,0:02:32.19,0:02:38.40,Default,,0000,0000,0000,,notes. So for example, to play a major\Nchord, what you do is always you start at
Dialogue: 0,0:02:38.40,0:02:43.83,Default,,0000,0000,0000,,the base note and then you count one, two,\Nthree, four for the second note of this
Dialogue: 0,0:02:43.83,0:02:48.81,Default,,0000,0000,0000,,chord and then one, two, three for the\Nthird. And you press those three together
Dialogue: 0,0:02:48.81,0:02:56.61,Default,,0000,0000,0000,,and then you have a major chord, which\Nsounds like this pleasant, positive chord.
Dialogue: 0,0:02:56.61,0:03:02.01,Default,,0000,0000,0000,,But then, there is this weird property of\Nthis keyboard where... it's designed in a
Dialogue: 0,0:03:02.01,0:03:09.10,Default,,0000,0000,0000,,way so that if you play all the white keys\Non the keyboard, you get the scale in C
Dialogue: 0,0:03:09.10,0:03:17.77,Default,,0000,0000,0000,,major. You can just play the whole scale\Nfrom C to the next C and the black keys
Dialogue: 0,0:03:17.77,0:03:22.06,Default,,0000,0000,0000,,are the ones you would skip in the scale.\NAnd because of that, if you start your
Dialogue: 0,0:03:22.06,0:03:30.03,Default,,0000,0000,0000,,major chord at a different note, like F#\Nfor example, you do the same counting -
Dialogue: 0,0:03:30.03,0:03:34.64,Default,,0000,0000,0000,,you would count one, two, three, four, for\Nthe second note and then one, two, three
Dialogue: 0,0:03:34.64,0:03:39.71,Default,,0000,0000,0000,,for the third. But now the shape is a bit\Ndifferent, you'll start playing on black
Dialogue: 0,0:03:39.71,0:03:45.42,Default,,0000,0000,0000,,keys and sometimes you have to mix them.\NIf you'll start playing a D-major chord,
Dialogue: 0,0:03:45.42,0:03:51.17,Default,,0000,0000,0000,,you'll have one black and two white ones,\Nfor example, which is the strange
Dialogue: 0,0:03:51.17,0:03:55.92,Default,,0000,0000,0000,,properties of this keyboard, I thought,\Nbecause often when you play the song, you
Dialogue: 0,0:03:55.92,0:04:06.14,Default,,0000,0000,0000,,play it in a specific transposition, you\Nstart playing with a specific tone. And
Dialogue: 0,0:04:06.14,0:04:11.40,Default,,0000,0000,0000,,moving all of the notes up and down by a\Nspecific amount. And then you have to kind
Dialogue: 0,0:04:11.40,0:04:14.93,Default,,0000,0000,0000,,of try to re-learn how to play all these\Nchords and the melody, because they will
Dialogue: 0,0:04:14.93,0:04:18.85,Default,,0000,0000,0000,,have this different shape. Your fingers\Nhave to do different things. And I thought
Dialogue: 0,0:04:18.85,0:04:24.78,Default,,0000,0000,0000,,this was really weird. And I researched a\Nbit about that. And the first thing I
Dialogue: 0,0:04:24.78,0:04:29.69,Default,,0000,0000,0000,,found, I think, was this instrument, which\Nis called the "Dodeka", which is just the
Dialogue: 0,0:04:29.69,0:04:35.78,Default,,0000,0000,0000,,name the company has given this thing,\Nwhere actually all the semitones are
Dialogue: 0,0:04:35.78,0:04:41.60,Default,,0000,0000,0000,,arranged next to each other without a\Nspecific shape. I think, still the black
Dialogue: 0,0:04:41.60,0:04:47.41,Default,,0000,0000,0000,,keys here are like the C, the middle C or\Nsomething here to give you an impression
Dialogue: 0,0:04:47.41,0:04:53.53,Default,,0000,0000,0000,,of where you are in the scale, but then\Nyou have 12 semitones until the next C
Dialogue: 0,0:04:53.53,0:04:59.15,Default,,0000,0000,0000,,just the way in a linear fashion, meaning\Nthat if you know the shape of the major
Dialogue: 0,0:04:59.15,0:05:03.88,Default,,0000,0000,0000,,chord, for example, like you count four\Nand you count three, you can move this
Dialogue: 0,0:05:03.88,0:05:09.43,Default,,0000,0000,0000,,shape anywhere on the keyboard to, like,\Nmove it up and down, which, I think, is
Dialogue: 0,0:05:09.43,0:05:19.61,Default,,0000,0000,0000,,pretty cool. Back then, I asked a specific\Nperson who knows how to play keyboards
Dialogue: 0,0:05:19.61,0:05:25.32,Default,,0000,0000,0000,,really well in the greater community: What\Nmight be the reason for this strange
Dialogue: 0,0:05:25.32,0:05:32.58,Default,,0000,0000,0000,,layout? And they gave me two reasons. One\Nwas that if you have this shape with the
Dialogue: 0,0:05:32.58,0:05:35.85,Default,,0000,0000,0000,,black keys sticking out, you can, kind of,\Nfeel where you are on the keyboard when
Dialogue: 0,0:05:35.85,0:05:42.44,Default,,0000,0000,0000,,you play it, which makes sense, I guess.\NAnd the other reason is that, like the
Dialogue: 0,0:05:42.44,0:05:48.95,Default,,0000,0000,0000,,classical music notation also uses that\Nsystem where notes, which are directly on
Dialogue: 0,0:05:48.95,0:05:54.90,Default,,0000,0000,0000,,the lines or in the gaps of this classical\Nmusic notation, are the white keys on the
Dialogue: 0,0:05:54.90,0:05:59.67,Default,,0000,0000,0000,,piano keyboard. And if you put a b or a #\Nin front of it, you would use the black
Dialogue: 0,0:05:59.67,0:06:06.48,Default,,0000,0000,0000,,keys. So that kind of fits together. And\Nto change the layout, you would change the
Dialogue: 0,0:06:06.48,0:06:15.11,Default,,0000,0000,0000,,past few hundred years of music notation,\Nwhich I think might be worth it, but yeah.
Dialogue: 0,0:06:15.11,0:06:24.65,Default,,0000,0000,0000,,There are some even more advanced ways to\Narrange the notes and they use hexagonal
Dialogue: 0,0:06:24.65,0:06:31.44,Default,,0000,0000,0000,,keys, which, I think, is really cool. So\Nthis is the harmonic table layout where...
Dialogue: 0,0:06:31.44,0:06:35.39,Default,,0000,0000,0000,,like you arrange the notes, according to\Nthis diagram here: If you are at a
Dialogue: 0,0:06:35.39,0:06:43.31,Default,,0000,0000,0000,,specific tone like a C here and you want\Nto go to the C#, you move one key to the
Dialogue: 0,0:06:43.31,0:06:51.51,Default,,0000,0000,0000,,right over these columns here and like \Nif you go diagonally up to the right, you do
Dialogue: 0,0:06:51.51,0:06:56.82,Default,,0000,0000,0000,,a major third, which is four semitones.\NAnd if you go directly to the left, it's
Dialogue: 0,0:06:56.82,0:07:03.63,Default,,0000,0000,0000,,three semitones. So basically to play a\Nmajor chord, for example, you would push
Dialogue: 0,0:07:03.63,0:07:09.43,Default,,0000,0000,0000,,the bass key like the C and then in\Naddition, you go four semitones up to the
Dialogue: 0,0:07:09.43,0:07:15.47,Default,,0000,0000,0000,,E, right. And then this one above it is\Nalways seven semitones up. So to play a
Dialogue: 0,0:07:15.47,0:07:19.34,Default,,0000,0000,0000,,major chord you would kind of... you can\Nplay this with one finger and you press
Dialogue: 0,0:07:19.34,0:07:24.74,Default,,0000,0000,0000,,your finger in the middle of this three\Nand then you have a major chord. And to do
Dialogue: 0,0:07:24.74,0:07:31.29,Default,,0000,0000,0000,,a minor chord, which is like a sad sounding\Nsound, you can press your finger at this
Dialogue: 0,0:07:31.29,0:07:37.61,Default,,0000,0000,0000,,corner here. This would be a C minor\Nchord. And this is a really cool property.
Dialogue: 0,0:07:37.61,0:07:41.47,Default,,0000,0000,0000,,The harmonic table layout has some\Nproperties which make it pretty weird. For
Dialogue: 0,0:07:41.47,0:07:46.48,Default,,0000,0000,0000,,example, to go an octave up, you have to\Ndo a really big jump. You have to jump
Dialogue: 0,0:07:46.48,0:07:53.30,Default,,0000,0000,0000,,from this C up to all the way over here,\Nwhich is kind of inconvenient. So people
Dialogue: 0,0:07:53.30,0:07:58.42,Default,,0000,0000,0000,,also came up with another arrangement of\Nthe Wicki-Hayden Layout. I think, this was
Dialogue: 0,0:07:58.42,0:08:04.52,Default,,0000,0000,0000,,invented in the 19th century already,\Nwhere you, if you start at a specific key,
Dialogue: 0,0:08:04.52,0:08:11.76,Default,,0000,0000,0000,,you go a whole step to the right. This is\Nlike two semitones. And then, if you go
Dialogue: 0,0:08:11.76,0:08:19.54,Default,,0000,0000,0000,,diagonally up to the right, you have seven\Nsemitones... perfect fifth. And to go an octave
Dialogue: 0,0:08:19.54,0:08:26.66,Default,,0000,0000,0000,,up, you go two rows up. And this is a\Npretty nice layout. And, I can just show
Dialogue: 0,0:08:26.66,0:08:33.93,Default,,0000,0000,0000,,you how this works, actually, because\Npeople made like a web-based demo on this.
Dialogue: 0,0:08:33.93,0:08:43.14,Default,,0000,0000,0000,,So you get this hexagon grid. If we start\Nat a D for example and want to play a
Dialogue: 0,0:08:43.14,0:08:51.78,Default,,0000,0000,0000,,major chord now, what we do is, we go four\Nsemitones up. So we end up at the E. And
Dialogue: 0,0:08:51.78,0:08:59.25,Default,,0000,0000,0000,,then we add one seven up from the original\Nbase note, so it's a G. And you can
Dialogue: 0,0:08:59.25,0:09:06.84,Default,,0000,0000,0000,,actually play this on your keyboard, like\NI pressed the E and G - we have a major
Dialogue: 0,0:09:06.84,0:09:13.96,Default,,0000,0000,0000,,chord and again, you can move this shape\Naround anywhere. So if I start here and
Dialogue: 0,0:09:13.96,0:09:24.82,Default,,0000,0000,0000,,this sounds... it's a major chord here.\NHere. Here. The minor chord is just
Dialogue: 0,0:09:24.82,0:09:32.14,Default,,0000,0000,0000,,another symmetric version of this form\Nstarting at C. We add this one and this.
Dialogue: 0,0:09:32.14,0:09:40.41,Default,,0000,0000,0000,,This is minor. This is major. And you can\Nstart transposing specific keys up and
Dialogue: 0,0:09:40.41,0:09:49.29,Default,,0000,0000,0000,,down, like this is the first inversion of\Nthe chord. And yeah, this is... for me,
Dialogue: 0,0:09:49.29,0:09:56.12,Default,,0000,0000,0000,,this was really surprising to see that you\Ncan build a structure like this, and then,
Dialogue: 0,0:09:56.12,0:10:01.77,Default,,0000,0000,0000,,if you remember the shape of melody, you\Ncan just transpose it anywhere, which is
Dialogue: 0,0:10:01.77,0:10:07.34,Default,,0000,0000,0000,,cool. People are actually building\Nhardware for this. So this is something
Dialogue: 0,0:10:07.34,0:10:12.19,Default,,0000,0000,0000,,people call a Jammer Keyboard. And if\Nyou're interested in this, you will find a
Dialogue: 0,0:10:12.19,0:10:19.37,Default,,0000,0000,0000,,small community on this who build their\Nown input devices like this. And also,
Dialogue: 0,0:10:19.37,0:10:26.52,Default,,0000,0000,0000,,while preparing this talk, I learned that\Naccordion, the specific accordion also
Dialogue: 0,0:10:26.52,0:10:31.07,Default,,0000,0000,0000,,uses structures to places where you put\Nyour hands and one of them is used for
Dialogue: 0,0:10:31.07,0:10:38.32,Default,,0000,0000,0000,,playing chords. And the other one, some of\Nthem use like a piano key layout, but some
Dialogue: 0,0:10:38.32,0:10:43.48,Default,,0000,0000,0000,,others, like this one, also have an\Nasymmetric layout where - I think it's
Dialogue: 0,0:10:43.48,0:10:50.05,Default,,0000,0000,0000,,another variation of this, where, if you\Nmove diagonally up, it's one whole step.
Dialogue: 0,0:10:50.05,0:10:56.31,Default,,0000,0000,0000,,And to go up means to go two whole steps,\Nbasically, and that defines this layout.
Dialogue: 0,0:10:56.31,0:11:02.50,Default,,0000,0000,0000,,But then it's, again, really easy to play\Na melody and move it someplace else and
Dialogue: 0,0:11:02.50,0:11:12.72,Default,,0000,0000,0000,,play another key. Yeah, you know. What\Nhave you prepared next?
Dialogue: 0,0:11:12.72,0:11:20.96,Default,,0000,0000,0000,,bleeptrack: All right, so I like a lot to\Nwork with generative art and tiles and
Dialogue: 0,0:11:20.96,0:11:27.86,Default,,0000,0000,0000,,tiling is a super simple way to make\Nreally fancy pattern. And two years ago, I
Dialogue: 0,0:11:27.86,0:11:32.72,Default,,0000,0000,0000,,looked a bit deeper into truchet tiles,\Nand that's still really fascinating to me.
Dialogue: 0,0:11:32.72,0:11:39.37,Default,,0000,0000,0000,,So I thought, might be a nice topic today\Nto show you a bit around truchet tiles.
Dialogue: 0,0:11:39.37,0:11:45.61,Default,,0000,0000,0000,,So, this was basically the first version.\NSo the idea of truchet tiles is, that you
Dialogue: 0,0:11:45.61,0:11:56.18,Default,,0000,0000,0000,,have rectangular tiles that are not\Nsymmetric along their X and Y axis. So for
Dialogue: 0,0:11:56.18,0:12:03.92,Default,,0000,0000,0000,,example... or this other... like the first\Nproposed truchet tiles are these four
Dialogue: 0,0:12:03.92,0:12:12.15,Default,,0000,0000,0000,,tiles on the top that are basically made\Noff... that are rotated by 90 degrees. So
Dialogue: 0,0:12:12.15,0:12:17.33,Default,,0000,0000,0000,,you get all variations that you can make\Nout of them. Now you can use these tiles
Dialogue: 0,0:12:17.33,0:12:21.07,Default,,0000,0000,0000,,to make larger patterns. So you put them\Nin a large grid and you have different
Dialogue: 0,0:12:21.07,0:12:27.92,Default,,0000,0000,0000,,possibilities to do so. For example, the\Nleft version and... ah, the most
Dialogue: 0,0:12:27.92,0:12:33.90,Default,,0000,0000,0000,,important: For example, like the left\Nversion here - you can just throw in
Dialogue: 0,0:12:33.90,0:12:37.74,Default,,0000,0000,0000,,always the same tile and you get a very\Nnice repeating pattern, but maybe it's a
Dialogue: 0,0:12:37.74,0:12:41.07,Default,,0000,0000,0000,,bit boring and you wouldn't really need\Ntiling for that. But it's also possible.
Dialogue: 0,0:12:41.07,0:12:46.44,Default,,0000,0000,0000,,But you can also say, like you go on\Nalternating road and switch them every
Dialogue: 0,0:12:46.44,0:12:52.73,Default,,0000,0000,0000,,second place, so you get a bit of a mosaic\Nshape. And you can also play around more
Dialogue: 0,0:12:52.73,0:12:58.89,Default,,0000,0000,0000,,of that and place them in very certain\Nways and directions to create bigger
Dialogue: 0,0:12:58.89,0:13:03.62,Default,,0000,0000,0000,,patterns. And that's usually what I find\Nreally interesting. And of course, you can
Dialogue: 0,0:13:03.62,0:13:08.100,Default,,0000,0000,0000,,just place them randomly like the example\Nbelow here, which also makes a really
Dialogue: 0,0:13:08.100,0:13:16.30,Default,,0000,0000,0000,,intriguing pattern to me, maybe a bit...\Nlike, it's not so quiet, sometimes a bit
Dialogue: 0,0:13:16.30,0:13:22.49,Default,,0000,0000,0000,,exhausting to look at, but it's fun to see\Npattern emerge that are not planned. So
Dialogue: 0,0:13:22.49,0:13:29.14,Default,,0000,0000,0000,,this is the earliest version of the\Ntruchet tiles. And I think this version
Dialogue: 0,0:13:29.14,0:13:36.87,Default,,0000,0000,0000,,here... ah, right. This is basically every\Nbit of the tiles that I just showed you.
Dialogue: 0,0:13:36.87,0:13:42.19,Default,,0000,0000,0000,,Maybe you know that one, this is called 10\Nprint. And this is basically a super
Dialogue: 0,0:13:42.19,0:13:48.37,Default,,0000,0000,0000,,famous way of pattern generation, where\Nyou just put diagonal lines instead of
Dialogue: 0,0:13:48.37,0:13:52.26,Default,,0000,0000,0000,,triangles. And in this case, you'd have\Nbasically only two tiles. Right. You have
Dialogue: 0,0:13:52.26,0:13:56.02,Default,,0000,0000,0000,,this line that is flipped to the right and\Nyou have the line that is flipped to the
Dialogue: 0,0:13:56.02,0:14:01.09,Default,,0000,0000,0000,,left side. And you can place it randomly\Nin it. This 10 print pattern became so
Dialogue: 0,0:14:01.09,0:14:08.66,Default,,0000,0000,0000,,famous because you can just write more or\Nless a one liner in nearly any coding
Dialogue: 0,0:14:08.66,0:14:14.23,Default,,0000,0000,0000,,language and this will come up in the\Narea. And yeah, in a time of Basic, when
Dialogue: 0,0:14:14.23,0:14:18.97,Default,,0000,0000,0000,,you can just write a one-liner in Basic\Nand have your whole screen field a random,
Dialogue: 0,0:14:18.97,0:14:25.63,Default,,0000,0000,0000,,nice pattern. So this is also derivative\Ntruchet tiles, actually, but these are the
Dialogue: 0,0:14:25.63,0:14:31.28,Default,,0000,0000,0000,,ones that I think most people know when\Nthey think of truchet tiles. It's a
Dialogue: 0,0:14:31.28,0:14:35.45,Default,,0000,0000,0000,,version where you don't work with\NRectangles or lines, but you have parts
Dialogue: 0,0:14:35.45,0:14:41.61,Default,,0000,0000,0000,,of, like quadrants of circles placed in\Nthe edges. And in this case, you can't
Dialogue: 0,0:14:41.61,0:14:48.68,Default,,0000,0000,0000,,make four tiles. You can only make two\Nbecause if you rotate them by ninety
Dialogue: 0,0:14:48.68,0:14:55.86,Default,,0000,0000,0000,,degrees, third flip, so you can only get\Ntwo. And when you place them in a random
Dialogue: 0,0:14:55.86,0:15:01.36,Default,,0000,0000,0000,,order, that's the example you can see\Nbelow, you get a super fancy pattern that
Dialogue: 0,0:15:01.36,0:15:06.98,Default,,0000,0000,0000,,basically contains off - either you can\Naccidentally basically form a whole circle
Dialogue: 0,0:15:06.98,0:15:13.96,Default,,0000,0000,0000,,or like parts of circles, that get\Nentangled and form super long lines. And
Dialogue: 0,0:15:13.96,0:15:19.93,Default,,0000,0000,0000,,it looks really fun. And this is also the\Nfirst picture that I saw of truchet tiles.
Dialogue: 0,0:15:19.93,0:15:25.41,Default,,0000,0000,0000,,And I found that very intriguing. And,\Nwell, it turns out, you can do even more
Dialogue: 0,0:15:25.41,0:15:33.20,Default,,0000,0000,0000,,cool stuff with that. For example, I need\Nto find my mouse. Here we go. You can,
Dialogue: 0,0:15:33.20,0:15:38.18,Default,,0000,0000,0000,,basically, you can start scaling the\Npattern in different ways. And, for
Dialogue: 0,0:15:38.18,0:15:43.07,Default,,0000,0000,0000,,example, you can use it for ditherings. So\Nhere, the background image is the image of
Dialogue: 0,0:15:43.07,0:15:51.44,Default,,0000,0000,0000,,Mona Lisa, as you might have recognized,\Nand you can take the image, darkness and
Dialogue: 0,0:15:51.44,0:15:56.80,Default,,0000,0000,0000,,then scale your pattern accordingly to\Nthat point on your image. So you get sort
Dialogue: 0,0:15:56.80,0:16:03.98,Default,,0000,0000,0000,,of a dithering and it looks super fancy.\NAnd what I also found recently, what I
Dialogue: 0,0:16:03.98,0:16:11.77,Default,,0000,0000,0000,,think is exceptionally good looking, is a\Nvery special way of scaling truchet tiles
Dialogue: 0,0:16:11.77,0:16:17.16,Default,,0000,0000,0000,,by Christopher Carlson. And he published a\Npaper at Bridges, which is a super nice
Dialogue: 0,0:16:17.16,0:16:22.41,Default,,0000,0000,0000,,math and art conference - I'm not sure if\Nit's a whole conference or more like a
Dialogue: 0,0:16:22.41,0:16:26.48,Default,,0000,0000,0000,,workshop, but they have super nice papers.\NSo if you're interested in these
Dialogue: 0,0:16:26.48,0:16:31.31,Default,,0000,0000,0000,,intertwined maths & arts stuff look into\Nthese papers, they are supercool. And
Dialogue: 0,0:16:31.31,0:16:40.23,Default,,0000,0000,0000,,Christopher Carlson came up with a nice\Nway... a nice esthetic of having these
Dialogue: 0,0:16:40.23,0:16:48.30,Default,,0000,0000,0000,,scalable truchet tiles. And you can see\Nthese are three scale sizes. So this is
Dialogue: 0,0:16:48.30,0:16:53.20,Default,,0000,0000,0000,,basically the original size and then you\Ngo one step smaller and you can see that
Dialogue: 0,0:16:53.20,0:17:01.32,Default,,0000,0000,0000,,he - in his case, he works with white and\Nblack areas and you can now combine them
Dialogue: 0,0:17:01.32,0:17:07.06,Default,,0000,0000,0000,,in ways. For example, this is a super,\Nsuper quick and easy example. So here on
Dialogue: 0,0:17:07.06,0:17:12.35,Default,,0000,0000,0000,,the left side, you have that large tile\Nand you add on the right side two of the
Dialogue: 0,0:17:12.35,0:17:18.42,Default,,0000,0000,0000,,smaller tiles. And you can see that the\Nposit let's, for the big one, let's say
Dialogue: 0,0:17:18.42,0:17:25.87,Default,,0000,0000,0000,,the dark one is the positive space, that\Nyour white space or your negative space
Dialogue: 0,0:17:25.87,0:17:31.14,Default,,0000,0000,0000,,here becomes the positive space in the\Nnext smaller scale. So this also always
Dialogue: 0,0:17:31.14,0:17:38.83,Default,,0000,0000,0000,,iterating when you go one scale-step\Nsmaller. And now you can think about how
Dialogue: 0,0:17:38.83,0:17:44.74,Default,,0000,0000,0000,,can I combine these different scale...\Nthese different scales? And he had - he
Dialogue: 0,0:17:44.74,0:17:49.27,Default,,0000,0000,0000,,prepared some examples of, for example,\Nthe left one. It's more or less like a
Dialogue: 0,0:17:49.27,0:17:54.77,Default,,0000,0000,0000,,Quadri. So you can just choose a rectangle\Nand divide it by four and you get it one
Dialogue: 0,0:17:54.77,0:18:00.04,Default,,0000,0000,0000,,scale smaller. You can do this\Nrecursively, randomly, basically. Or you
Dialogue: 0,0:18:00.04,0:18:05.52,Default,,0000,0000,0000,,can also do it in the form of a pattern or\Nmaybe in a certain shape. So, when you
Dialogue: 0,0:18:05.52,0:18:15.11,Default,,0000,0000,0000,,want to approximate certain outlines, you\Ncan go smaller there to reach a certain
Dialogue: 0,0:18:15.11,0:18:20.00,Default,,0000,0000,0000,,shape. And when you fill that in with\Nthese tiles, you get this result. And that
Dialogue: 0,0:18:20.00,0:18:25.18,Default,,0000,0000,0000,,looks super fancy, especially the left one\Nfor my taste is super awesome and looks
Dialogue: 0,0:18:25.18,0:18:32.63,Default,,0000,0000,0000,,really, really nice. And even in this\Npaper he even goes one step further and
Dialogue: 0,0:18:32.63,0:18:38.89,Default,,0000,0000,0000,,thinks about different additional motives\Nthat he could do with these different
Dialogue: 0,0:18:38.89,0:18:42.22,Default,,0000,0000,0000,,scales. So I'm not sure if this would be\Nconsidered truchet tiles, because they
Dialogue: 0,0:18:42.22,0:18:51.90,Default,,0000,0000,0000,,lose this not symmetrical attribute in\Nsome occasions like the TS version here
Dialogue: 0,0:18:51.90,0:18:56.02,Default,,0000,0000,0000,,that would be symmetrical along this axis.\NSo I'm not sure if this would actually be
Dialogue: 0,0:18:56.02,0:19:00.98,Default,,0000,0000,0000,,considered truchet tiles, but it looks\Nnice, so who cares? So he made different
Dialogue: 0,0:19:00.98,0:19:07.42,Default,,0000,0000,0000,,versions that can also be applied or added\Nto that set of tiles. So you just have,
Dialogue: 0,0:19:07.42,0:19:11.73,Default,,0000,0000,0000,,basically you have these four entry or\Nexit points like on the top, bottom left
Dialogue: 0,0:19:11.73,0:19:18.81,Default,,0000,0000,0000,,and right. And you need to have at least a\Ncircle there or connect your entry or exit
Dialogue: 0,0:19:18.81,0:19:25.82,Default,,0000,0000,0000,,points in different ways. And he just\Ntries out different shapes. And if you add
Dialogue: 0,0:19:25.82,0:19:32.88,Default,,0000,0000,0000,,this to the regular scaling truchet tiles,\Nyou get these results and that looks super
Dialogue: 0,0:19:32.88,0:19:40.80,Default,,0000,0000,0000,,fancy because you have very, very nice\Nfitting shapes that are still super
Dialogue: 0,0:19:40.80,0:19:49.04,Default,,0000,0000,0000,,randomly distributed. And, ya. So this is\Nwhere I think, I should stop maybe talk
Dialogue: 0,0:19:49.04,0:19:53.43,Default,,0000,0000,0000,,about tiles, but if you want - you fall\Ninto a rabbit hole. We have rabbit holes
Dialogue: 0,0:19:53.43,0:19:57.51,Default,,0000,0000,0000,,prepared at the end also, but if you want\Nto go further into tiling, especially
Dialogue: 0,0:19:57.51,0:20:04.10,Default,,0000,0000,0000,,maybe check out penrose tiling, this is\Nsuch a huge and fancy and complex topic. But I
Dialogue: 0,0:20:04.10,0:20:08.97,Default,,0000,0000,0000,,think that it would fill several of its\Nown talks. But if you want to dig further,
Dialogue: 0,0:20:08.97,0:20:15.62,Default,,0000,0000,0000,,I can also highly recommend penrose\Ntiling. That's it. So I will give back to
Dialogue: 0,0:20:15.62,0:20:19.68,Default,,0000,0000,0000,,blinry.\Nblinry: Yeah, penrose tiles might be a
Dialogue: 0,0:20:19.68,0:20:26.85,Default,,0000,0000,0000,,topic for some Operation Mindfuck in the\Nfuture, right. Now, the section is
Dialogue: 0,0:20:26.85,0:20:34.95,Default,,0000,0000,0000,,settled. What even is art? I'm often\Nreally fascinated by artworks and art-
Dialogue: 0,0:20:34.95,0:20:40.51,Default,,0000,0000,0000,,installations, which kind of push the\Nboundary of what's still considered to be
Dialogue: 0,0:20:40.51,0:20:49.03,Default,,0000,0000,0000,,an artwork. And I wanted to show you some\Nof those. For example, last year, there
Dialogue: 0,0:20:49.03,0:20:56.73,Default,,0000,0000,0000,,was an Italian, Mauritio Cattelan, who\Njust bought a fresh banana at a grocery
Dialogue: 0,0:20:56.73,0:21:02.30,Default,,0000,0000,0000,,store and taped it to the wall of a museum\Nand then declared this as art, the title
Dialogue: 0,0:21:02.30,0:21:10.21,Default,,0000,0000,0000,,is "Comedian". And because Cattelan was\Nrather well-known and popular, this was
Dialogue: 0,0:21:10.21,0:21:20.75,Default,,0000,0000,0000,,also worth a surprising amount of money. I\Nthink this was.... like 120000 $ was what
Dialogue: 0,0:21:20.75,0:21:30.50,Default,,0000,0000,0000,,an American couple paid for this artwork\Nto buy it. And after the sale took place,
Dialogue: 0,0:21:30.50,0:21:42.30,Default,,0000,0000,0000,,the following thing happened: Another man\Nwalked up to this artwork and explained to
Dialogue: 0,0:21:42.30,0:21:46.39,Default,,0000,0000,0000,,the people watching and recording this,\Nthat this was an art-intervention called
Dialogue: 0,0:21:46.39,0:21:55.44,Default,,0000,0000,0000,,"hungry artist" and just, yeah, said it\Nwas very tasty and that he didn't want to
Dialogue: 0,0:21:55.44,0:22:01.93,Default,,0000,0000,0000,,be disrespectful to the original artist,\Nbut this was an intervention. And yeah,
Dialogue: 0,0:22:01.93,0:22:06.99,Default,,0000,0000,0000,,this artwork came with a kind of\Ncertificate that said that you had really
Dialogue: 0,0:22:06.99,0:22:12.01,Default,,0000,0000,0000,,bought it and that it's yours now. And it\Nspecifically mentioned that you can
Dialogue: 0,0:22:12.01,0:22:16.90,Default,,0000,0000,0000,,replace the banana as needed. So after\Nthis happened, it was just like people
Dialogue: 0,0:22:16.90,0:22:23.45,Default,,0000,0000,0000,,bought a new one and taped it to the wall\Nagain and it was repaired. But yeah, I
Dialogue: 0,0:22:23.45,0:22:29.69,Default,,0000,0000,0000,,like this combination of these two\Nartworks, interleaving with each other. I
Dialogue: 0,0:22:29.69,0:22:37.33,Default,,0000,0000,0000,,think, this artist was like... he was\Nasked to leave the museum, but nobody
Dialogue: 0,0:22:37.33,0:22:47.03,Default,,0000,0000,0000,,pursued legal action. The next artwork I'm\Ngoing to show you, has to do with this
Dialogue: 0,0:22:47.03,0:22:52.28,Default,,0000,0000,0000,,material, which you might have heard\Nabout, it's called Vanta-Black, and it's
Dialogue: 0,0:22:52.28,0:23:00.77,Default,,0000,0000,0000,,one of the darkest materials known to\Nhumankind. It's a specific... on a
Dialogue: 0,0:23:00.77,0:23:06.47,Default,,0000,0000,0000,,microscopic level, it has nanotubes which\Nare in parallel, kind of sticking up from
Dialogue: 0,0:23:06.47,0:23:13.46,Default,,0000,0000,0000,,the surface where this paint is on. And\Nthen if lightweight falls on the surface,
Dialogue: 0,0:23:13.46,0:23:18.54,Default,,0000,0000,0000,,it kind of gets trapped between these\Nlittle tubes and can't escape anymore,
Dialogue: 0,0:23:18.54,0:23:23.54,Default,,0000,0000,0000,,which is why it looks so pitch black. I\Nthink like there are a numbers where
Dialogue: 0,0:23:23.54,0:23:34.21,Default,,0000,0000,0000,,people state, that this swallows 99.4% of\Nvisible light or something. And this was
Dialogue: 0,0:23:34.21,0:23:40.74,Default,,0000,0000,0000,,developed a few years ago by a company for\Na pretty diverse applications, but there
Dialogue: 0,0:23:40.74,0:23:45.45,Default,,0000,0000,0000,,was an artist who was really interested in\Nthis: Anish Kapoor, a British Indian
Dialogue: 0,0:23:45.45,0:23:52.53,Default,,0000,0000,0000,,artist, who had... who was interested in\Nplaying with black color anyway. And they
Dialogue: 0,0:23:52.53,0:23:59.17,Default,,0000,0000,0000,,came to an agreement where they said that\NKapoor was the only artist allowed to use
Dialogue: 0,0:23:59.17,0:24:06.91,Default,,0000,0000,0000,,Vanta-Black in artworks. So one example is\Nthis one, "descent into limbo", which
Dialogue: 0,0:24:06.91,0:24:14.39,Default,,0000,0000,0000,,Kapoor had already made installations of\Nlike many years back, but in a recent
Dialogue: 0,0:24:14.39,0:24:21.88,Default,,0000,0000,0000,,revival of this artwork, he actually painted \Nthe inside of this, with Vanta the hole that
Dialogue: 0,0:24:21.88,0:24:27.56,Default,,0000,0000,0000,,is several meters deep. And because he was\Nusing this special paint, you can't really
Dialogue: 0,0:24:27.56,0:24:35.98,Default,,0000,0000,0000,,see the shape of it. And at one point,\Nthere was a visitor to this artwork who
Dialogue: 0,0:24:35.98,0:24:40.47,Default,,0000,0000,0000,,tried to look into this hole and didn't\Nbelieve that this was actually a hole,
Dialogue: 0,0:24:40.47,0:24:49.100,Default,,0000,0000,0000,,tried to step into it and fell in and had\Nto be rescued after that. So, yeah, the
Dialogue: 0,0:24:49.100,0:24:55.72,Default,,0000,0000,0000,,situation where only Kapoor is allowed to\Nuse this color made several people really
Dialogue: 0,0:24:55.72,0:25:03.51,Default,,0000,0000,0000,,angry. For example, there is another\Nartist called Stuart Semple who's making
Dialogue: 0,0:25:03.51,0:25:12.49,Default,,0000,0000,0000,,his own pigments, colored pigments and he\Ndesigned the "world's pinkest pink" one
Dialogue: 0,0:25:12.49,0:25:17.34,Default,,0000,0000,0000,,time. And this is the store website where\Nyou can buy this pigment, which states
Dialogue: 0,0:25:17.34,0:25:23.73,Default,,0000,0000,0000,,that it's available to everyone except\NAnish Kapoor. Right, a kind of revenge
Dialogue: 0,0:25:23.73,0:25:30.78,Default,,0000,0000,0000,,action. And if you click on the "Buy It\NNow" button, you actually have to, like,
Dialogue: 0,0:25:30.78,0:25:39.06,Default,,0000,0000,0000,,verify that you are not Anish Kapoor and\Nyou have no plans to share it with him.
Dialogue: 0,0:25:39.06,0:25:46.45,Default,,0000,0000,0000,,Well, some time later, Anish Kapoor posted\Nthis picture on a social media channel. So
Dialogue: 0,0:25:46.45,0:25:52.89,Default,,0000,0000,0000,,apparently someone had broken this\Ncontract and sent Kapoor some of this
Dialogue: 0,0:25:52.89,0:26:01.21,Default,,0000,0000,0000,,pigment. Well, I think Stuart Semple was\Nreally angry and disappointed about this
Dialogue: 0,0:26:01.21,0:26:06.100,Default,,0000,0000,0000,,and asked him to give it back, but also\Ndidn't have really any means to take legal
Dialogue: 0,0:26:06.100,0:26:17.33,Default,,0000,0000,0000,,action against this. You might have heard\Nof Banksy, who is an English street artist
Dialogue: 0,0:26:17.33,0:26:25.20,Default,,0000,0000,0000,,who chooses to remain anonymous, and he's\Nwell known for making graffiti on just
Dialogue: 0,0:26:25.20,0:26:31.00,Default,,0000,0000,0000,,walls on the street somewhere. But at this\Npoint, he also is so famous and well known
Dialogue: 0,0:26:31.00,0:26:39.38,Default,,0000,0000,0000,,that he is starting to sell his artworks.\NFor example, this is a painting with a
Dialogue: 0,0:26:39.38,0:26:44.95,Default,,0000,0000,0000,,girl with a heart shaped balloon. And this\Nwent up for auction in an auction house
Dialogue: 0,0:26:44.95,0:26:51.99,Default,,0000,0000,0000,,some years ago. And because Banksy is such\Na mystery and so popular, this is also
Dialogue: 0,0:26:51.99,0:26:57.31,Default,,0000,0000,0000,,worth a surprising amount of money. I\Nthink, over one million US dollars was
Dialogue: 0,0:26:57.31,0:27:05.88,Default,,0000,0000,0000,,paid for this at this auction and after\Nthe hammer fell and this was sold, the
Dialogue: 0,0:27:05.88,0:27:10.63,Default,,0000,0000,0000,,following happened: I can show you the\Nvideo or the thumbnail gave it anyway. So
Dialogue: 0,0:27:10.63,0:27:17.99,Default,,0000,0000,0000,,it's just been sold and then a loud\Nbeeping noise was heard and this artwork
Dialogue: 0,0:27:17.99,0:27:26.75,Default,,0000,0000,0000,,just was sucked into the frame of itself,\Nwhich shredded the artwork. Actually,
Dialogue: 0,0:27:26.75,0:27:31.95,Default,,0000,0000,0000,,Banksy had prepared this stunt in several\Nyears in advance and built like this
Dialogue: 0,0:27:31.95,0:27:37.36,Default,,0000,0000,0000,,shredding-device into the frame. Probably\Nhe or someone he knowed was present at
Dialogue: 0,0:27:37.36,0:27:41.73,Default,,0000,0000,0000,,this auction and pressed the remote\Ncontrol button to activate the system.
Dialogue: 0,0:27:41.73,0:27:49.62,Default,,0000,0000,0000,,Yeah. So this is an example of self-\Ndestructive art, which maybe not so
Dialogue: 0,0:27:49.62,0:27:55.75,Default,,0000,0000,0000,,surprisingly even made it worth even more.\NI think at this point it's valued at
Dialogue: 0,0:27:55.75,0:28:03.03,Default,,0000,0000,0000,,around three million U.S. dollars. So,\Nyeah. Also, it was supposed to shred
Dialogue: 0,0:28:03.03,0:28:10.75,Default,,0000,0000,0000,,itself completely, but apparently some of\Nthe mechanism failed and so it's now half
Dialogue: 0,0:28:10.75,0:28:15.88,Default,,0000,0000,0000,,shredded. And yeah, I think I had that on\Nthe slide here, it's now called "Love is
Dialogue: 0,0:28:15.88,0:28:25.11,Default,,0000,0000,0000,,in the Bin" after the stunt. This is an\Nartwork, the last one I want to show in
Dialogue: 0,0:28:25.11,0:28:31.51,Default,,0000,0000,0000,,the section by the German artist Josef\NBeuys, who is often working with unusual
Dialogue: 0,0:28:31.51,0:28:37.65,Default,,0000,0000,0000,,material. And yeah, this is an artwork\Nconsisting of several kilograms of butter.
Dialogue: 0,0:28:37.65,0:28:43.20,Default,,0000,0000,0000,,It's called "Fettecke" which translates to\NFat Corner, literally. And he just took
Dialogue: 0,0:28:43.20,0:28:47.62,Default,,0000,0000,0000,,the butter, put it in the corner of the\Nmuseum and let it stay there for many
Dialogue: 0,0:28:47.62,0:28:56.96,Default,,0000,0000,0000,,years, which I'm pretty sure developed an\Ninteresting smell. Mm hmm. And after Beuys
Dialogue: 0,0:28:56.96,0:29:03.60,Default,,0000,0000,0000,,died, the custodian of the gallery where\Nthis was exhibited accidentally cleaned it
Dialogue: 0,0:29:03.60,0:29:09.69,Default,,0000,0000,0000,,up. You might have heard of that before.\NHe didn't know what it was about and just
Dialogue: 0,0:29:09.69,0:29:13.23,Default,,0000,0000,0000,,removed it and put it in the trash can.\NAnd one of the students, of course, was
Dialogue: 0,0:29:13.23,0:29:21.12,Default,,0000,0000,0000,,really angry about this, went to the trash\Ncan to recover it, treasured the remains
Dialogue: 0,0:29:21.12,0:29:26.02,Default,,0000,0000,0000,,really deeply and I think also received a\Npayment from the custodian because of this
Dialogue: 0,0:29:26.02,0:29:35.96,Default,,0000,0000,0000,,destruction. And now I also learned that\Nnot very long ago, a couple of artists got
Dialogue: 0,0:29:35.96,0:29:42.96,Default,,0000,0000,0000,,these remains of the butter and distilled\Nliquor from it. I have a picture of it
Dialogue: 0,0:29:42.96,0:29:50.41,Default,,0000,0000,0000,,here like this. Yeah. Even another\Nartistic intervention on top of this. So
Dialogue: 0,0:29:50.41,0:29:56.71,Default,,0000,0000,0000,,this is a really strong liquor. And they\Ntasted that and said that it tasted really
Dialogue: 0,0:29:56.71,0:30:07.17,Default,,0000,0000,0000,,strongly of cheese. Yeah, that's all the\Nstrange artworks I wanted to show you in
Dialogue: 0,0:30:07.17,0:30:12.66,Default,,0000,0000,0000,,this section. bleeptrack\Nbleeptrack: Oh, amazing, amazing. I think
Dialogue: 0,0:30:12.66,0:30:19.89,Default,,0000,0000,0000,,that's where the German "Ist das Kunst\Noder kann das weg?" comes from. Like "is
Dialogue: 0,0:30:19.89,0:30:30.39,Default,,0000,0000,0000,,it art or can I remove that?". Perfect.\NYeah, let's stay with art. So I really a
Dialogue: 0,0:30:30.39,0:30:34.55,Default,,0000,0000,0000,,lot enjoy watching machines work and\Nespecially pen plotters, and they are
Dialogue: 0,0:30:34.55,0:30:41.56,Default,,0000,0000,0000,,perfect to produce art. And I never, in an\NOperation Mindfuck talk, I never showed
Dialogue: 0,0:30:41.56,0:30:45.41,Default,,0000,0000,0000,,you different types of pen plotters and\Nrealized that's actually really
Dialogue: 0,0:30:45.41,0:30:50.42,Default,,0000,0000,0000,,interesting, because there are quite\Ndifferent constructions. So let's do a
Dialogue: 0,0:30:50.42,0:30:57.28,Default,,0000,0000,0000,,small walk through the history of pen\Nplotters. And this is to my knowledge, one
Dialogue: 0,0:30:57.28,0:31:03.19,Default,,0000,0000,0000,,of the oldest pen plotters. It's a\NZUSE Graphomat. And this one - I took
Dialogue: 0,0:31:03.19,0:31:08.08,Default,,0000,0000,0000,,the photo in the technical museum in\NBerlin, it's in an exhibition now, I think
Dialogue: 0,0:31:08.08,0:31:12.06,Default,,0000,0000,0000,,it's in a permanent exhibition now. Sadly,\Nit's not running, but I think they can run
Dialogue: 0,0:31:12.06,0:31:17.89,Default,,0000,0000,0000,,it. At least there is that piece of paper\Nthat is in the machine. Looked to me like
Dialogue: 0,0:31:17.89,0:31:22.70,Default,,0000,0000,0000,,they plotted it on plays. It could be. I'm\Nnot really sure, but it would be extremely
Dialogue: 0,0:31:22.70,0:31:27.40,Default,,0000,0000,0000,,awesome. And these are... what you can't\Nreally see on these photos is that these
Dialogue: 0,0:31:27.40,0:31:33.71,Default,,0000,0000,0000,,are like huge devices. If you stand before\Nthat, it's like over a meter long, over a
Dialogue: 0,0:31:33.71,0:31:43.78,Default,,0000,0000,0000,,meter deep, I guess. And it's like, I\Nthink it's also maybe, a bit, maybe l...
Dialogue: 0,0:31:43.78,0:31:52.30,Default,,0000,0000,0000,,it's about a one meter square, like it's\Nsuper huge and it just can grab a pen and
Dialogue: 0,0:31:52.30,0:31:56.69,Default,,0000,0000,0000,,draw it. There is nothing else that it can\Ndo. But of course, it's also quite an old
Dialogue: 0,0:31:56.69,0:32:06.49,Default,,0000,0000,0000,,machine. And there is a person called\NGeorg Nieß, who worked at Siemens in the
Dialogue: 0,0:32:06.49,0:32:12.28,Default,,0000,0000,0000,,60s and 70s, and he was one of the\Npioneers of generative art and plotter
Dialogue: 0,0:32:12.28,0:32:18.06,Default,,0000,0000,0000,,art. And he bought one of these \NZUSE Graphomat machines for Siemens at that
Dialogue: 0,0:32:18.06,0:32:24.15,Default,,0000,0000,0000,,time. And it was extremely modern and\Nfuturistic thing to have, like a machine
Dialogue: 0,0:32:24.15,0:32:27.76,Default,,0000,0000,0000,,that can plot, of course you have to\Nmention that they never know printers.
Dialogue: 0,0:32:27.76,0:32:34.22,Default,,0000,0000,0000,,Everything was, also in architecture was,\Nof course, still drawn by hand. So these
Dialogue: 0,0:32:34.22,0:32:41.35,Default,,0000,0000,0000,,machines that can draw extremely precise\Nlines, this is totally fancy. What you can
Dialogue: 0,0:32:41.35,0:32:48.14,Default,,0000,0000,0000,,also see these pens and ink on the bottom.\NThese are all graphed pens. You can still
Dialogue: 0,0:32:48.14,0:32:51.31,Default,,0000,0000,0000,,buy them and they are still extremely\Nexpensive, but they are really nice for
Dialogue: 0,0:32:51.31,0:32:56.56,Default,,0000,0000,0000,,pen plotting because they work a bit\Ndifferent than most other pens. They have
Dialogue: 0,0:32:56.56,0:33:06.63,Default,,0000,0000,0000,,a metal nip, a very flat metal nip and along\Nthe nip the ink will get sucked out or
Dialogue: 0,0:33:06.63,0:33:12.57,Default,,0000,0000,0000,,runs down and the nip is completely flat,\Nbecause the pen is meant to be used like
Dialogue: 0,0:33:12.57,0:33:16.41,Default,,0000,0000,0000,,on the point and dragged along on the\Npoint. Because most modern pens like
Dialogue: 0,0:33:16.41,0:33:24.97,Default,,0000,0000,0000,,roller pens will not really like that if\Nyou use them directly in 90 degrees on the
Dialogue: 0,0:33:24.97,0:33:32.28,Default,,0000,0000,0000,,paper. So these are... the Graphomats are\Nthe, basically the first drawing machines.
Dialogue: 0,0:33:32.28,0:33:39.27,Default,,0000,0000,0000,,A few years later you will find machines\Nthat were more usable for companies and
Dialogue: 0,0:33:39.27,0:33:46.30,Default,,0000,0000,0000,,they have the size of a regular printer or\Nmaybe a bit bigger for A3 plotters. And this
Dialogue: 0,0:33:46.30,0:33:54.08,Default,,0000,0000,0000,,one is from HP. And you can see that our\Nhackspace had quite a lot of fun with it
Dialogue: 0,0:33:54.08,0:34:03.63,Default,,0000,0000,0000,,and tried to get it to work again. And\Nthis model, for example, works in a way
Dialogue: 0,0:34:03.63,0:34:11.68,Default,,0000,0000,0000,,that the paper is moving forwards and\Nbackwards. And the pen, that's the blue
Dialogue: 0,0:34:11.68,0:34:19.23,Default,,0000,0000,0000,,thing you can see here. This is... ah,\Nright. There are two. Like you can store
Dialogue: 0,0:34:19.23,0:34:23.82,Default,,0000,0000,0000,,one and you can put one pen in this device\Nand the pen can only, like, move left to
Dialogue: 0,0:34:23.82,0:34:33.20,Default,,0000,0000,0000,,right. And the paper will be dragged along\Nwith two little wheels, basically, these
Dialogue: 0,0:34:33.20,0:34:39.97,Default,,0000,0000,0000,,are here and here. And then you can plot.\NThese are one kind of the devices that you
Dialogue: 0,0:34:39.97,0:34:47.55,Default,,0000,0000,0000,,can find a lot still on on your local\Ncraigslist. And these are the other ones.
Dialogue: 0,0:34:47.55,0:34:55.44,Default,,0000,0000,0000,,This one is a Rolan Pen Plotter and it\Ncompletely moves along two axes. So the
Dialogue: 0,0:34:55.44,0:35:00.85,Default,,0000,0000,0000,,paper stays in place. And these Rolan\Nplotters, they have some really nice
Dialogue: 0,0:35:00.85,0:35:10.41,Default,,0000,0000,0000,,features. For example, you can see that\Nthe plotter is standing up a bit and the bed
Dialogue: 0,0:35:10.41,0:35:14.73,Default,,0000,0000,0000,,is an electrostatic bed. So you can put\Nyour paper on, press a button and the
Dialogue: 0,0:35:14.73,0:35:20.74,Default,,0000,0000,0000,,paper gets sucked to that bed. It is super\Nfancy and also on the left side here.
Dialogue: 0,0:35:20.74,0:35:28.44,Default,,0000,0000,0000,,Oops, I lost my screen sharing for a\Nreason. I still see it. Oh, I'm sorry.
Dialogue: 0,0:35:28.44,0:35:35.02,Default,,0000,0000,0000,,It's back. Like on the left side here.\NThese are like basically parking stations
Dialogue: 0,0:35:35.02,0:35:42.32,Default,,0000,0000,0000,,for pens. So the pen plotter\N{\i1}(incomprehensible){\i0} or exchange different
Dialogue: 0,0:35:42.32,0:35:47.28,Default,,0000,0000,0000,,pens on itself. That is super fancy, and\Nif you want to get one of these older pen
Dialogue: 0,0:35:47.28,0:35:52.18,Default,,0000,0000,0000,,plotters, make sure that they are not too\Nhard to communicate with and make sure
Dialogue: 0,0:35:52.18,0:35:56.92,Default,,0000,0000,0000,,that they can do the thing that you want\Nthem that they can do. Because, for
Dialogue: 0,0:35:56.92,0:36:02.75,Default,,0000,0000,0000,,example, this older HP plotter, that was\Nreally hard to talk to, because it did
Dialogue: 0,0:36:02.75,0:36:10.25,Default,,0000,0000,0000,,only speak very... sort of proprietary\Nlanguage and only the newer HP plotters
Dialogue: 0,0:36:10.25,0:36:16.74,Default,,0000,0000,0000,,started to speak HPGL. And the Rolan\Nplotter also can do this, for example. And
Dialogue: 0,0:36:16.74,0:36:22.68,Default,,0000,0000,0000,,Rolan also has its own language. So\Njust make sure you know what the device
Dialogue: 0,0:36:22.68,0:36:30.55,Default,,0000,0000,0000,,wants to speak to with you, because this\Ncan make your life a lot easier. Yeah, and
Dialogue: 0,0:36:30.55,0:36:34.81,Default,,0000,0000,0000,,these older plotters, they also often have\Na nice function that they have a direct
Dialogue: 0,0:36:34.81,0:36:39.55,Default,,0000,0000,0000,,text mode. So you can... you need to boot\Nthem in a certain way, like flip some
Dialogue: 0,0:36:39.55,0:36:43.40,Default,,0000,0000,0000,,switches on the back side and they will\Nboot into a text mode. So you can just
Dialogue: 0,0:36:43.40,0:36:51.56,Default,,0000,0000,0000,,send text over serial and it will just\Nwrite that down. It has its own matrix of
Dialogue: 0,0:36:51.56,0:36:55.55,Default,,0000,0000,0000,,letters and its own fonts store net. And\Nthat's super fun and makes a great
Dialogue: 0,0:36:55.55,0:37:04.76,Default,,0000,0000,0000,,tutorwall plotter, for example.\NAnd then, there are also a lot of, yeah,
Dialogue: 0,0:37:04.76,0:37:09.53,Default,,0000,0000,0000,,DIY home-brew sort of plotters, and this\None is maybe the one that's the easiest to
Dialogue: 0,0:37:09.53,0:37:16.03,Default,,0000,0000,0000,,build. You can find them either under the\Nname Michaelangelo or Polargraph. I think
Dialogue: 0,0:37:16.03,0:37:21.14,Default,,0000,0000,0000,,these are the two most common names for\Nthese. And they work super differently. So
Dialogue: 0,0:37:21.14,0:37:25.64,Default,,0000,0000,0000,,on the left and on the right side, on the\Ntop here and over here, you have two
Dialogue: 0,0:37:25.64,0:37:31.65,Default,,0000,0000,0000,,motors on - also, you need some sort\Nof control device or a little computer.
Dialogue: 0,0:37:31.65,0:37:42.81,Default,,0000,0000,0000,,And around these motors, you will find a\Nstring that is attached in the middle to a
Dialogue: 0,0:37:42.81,0:37:49.45,Default,,0000,0000,0000,,gondola that can hold a pen and that\Ngondola usually also has a servo motor
Dialogue: 0,0:37:49.45,0:37:55.05,Default,,0000,0000,0000,,that can push away that gondola from your\Ndrawing area. So you can lift and put down
Dialogue: 0,0:37:55.05,0:38:00.06,Default,,0000,0000,0000,,your pen. And to make this more stable,\Nusually you put down some weight on the
Dialogue: 0,0:38:00.06,0:38:09.12,Default,,0000,0000,0000,,left and right side so that the string has\Nsome force on it and works better. Yeah,
Dialogue: 0,0:38:09.12,0:38:13.58,Default,,0000,0000,0000,,these are super easy to build and they are\Nreally nice communities around them. And
Dialogue: 0,0:38:13.58,0:38:19.42,Default,,0000,0000,0000,,the very positive thing about this\Nconstruction is that they scale extremely
Dialogue: 0,0:38:19.42,0:38:24.09,Default,,0000,0000,0000,,well, because like the way the old Rolan\Nplotters, for example, worked, you have
Dialogue: 0,0:38:24.09,0:38:29.41,Default,,0000,0000,0000,,these two Axes that can move and you are\Nvery defined on how long these Axes are.
Dialogue: 0,0:38:29.41,0:38:33.44,Default,,0000,0000,0000,,But with this, you can basically scale it\Nindefinitely. And I've seen some
Dialogue: 0,0:38:33.44,0:38:38.37,Default,,0000,0000,0000,,installations where, like, plotted over a\Nwhole five meters wall with this, because
Dialogue: 0,0:38:38.37,0:38:42.62,Default,,0000,0000,0000,,you just need to have a very long string\Nand that's basically all. That's super
Dialogue: 0,0:38:42.62,0:38:48.32,Default,,0000,0000,0000,,fun, so if you want to build one yourself,\Nthis is a very nice way to go. But there
Dialogue: 0,0:38:48.32,0:38:53.18,Default,,0000,0000,0000,,are also new commercial versions that are\Nquite fun. This one is called Linus. It's
Dialogue: 0,0:38:53.18,0:38:59.18,Default,,0000,0000,0000,,super tiny and basically only consists of,\NI guess, two servo motors and a little
Dialogue: 0,0:38:59.18,0:39:07.12,Default,,0000,0000,0000,,Arduino or something. And it can only draw\Non a super tiny area. And it's also so
Dialogue: 0,0:39:07.12,0:39:12.17,Default,,0000,0000,0000,,wiggly, it can't - no matter what - it\Ncan't draw a straight line. But it's super
Dialogue: 0,0:39:12.17,0:39:18.04,Default,,0000,0000,0000,,cute to watch and super easy to take with\Nyou and has some nice APIs and it's quite
Dialogue: 0,0:39:18.04,0:39:23.03,Default,,0000,0000,0000,,hackable. So that's also a really neat\Ndevice. And well, this is basically, I
Dialogue: 0,0:39:23.03,0:39:26.92,Default,,0000,0000,0000,,think, the most professional one that you\Ncan buy up to date, which is called
Dialogue: 0,0:39:26.92,0:39:34.60,Default,,0000,0000,0000,,AxiDraw. But I've also seen some self-\Nbuilt versions of this. And you also have
Dialogue: 0,0:39:34.60,0:39:41.23,Default,,0000,0000,0000,,your two axes, there's a little controller\Npart over here and the funny thing here is
Dialogue: 0,0:39:41.23,0:39:46.51,Default,,0000,0000,0000,,that you can put in very different types\Nof pens here. For example, this is a
Dialogue: 0,0:39:46.51,0:39:52.50,Default,,0000,0000,0000,,fountain pen, but you can basically put\Nany pen in that you want. That's different
Dialogue: 0,0:39:52.50,0:39:58.72,Default,,0000,0000,0000,,to the old plotters. They had very\Nspecific, very little, specific plotter-pens
Dialogue: 0,0:39:58.72,0:40:02.23,Default,,0000,0000,0000,,and they are really expensive now if\Nyou want to buy them and if you actually
Dialogue: 0,0:40:02.23,0:40:07.35,Default,,0000,0000,0000,,draw, you can basically use whatever you\Nwant. And you can also put your pen in a
Dialogue: 0,0:40:07.35,0:40:12.83,Default,,0000,0000,0000,,certain angel that's especially nice for\Nfountain pens or sort of brushes. And I've
Dialogue: 0,0:40:12.83,0:40:19.46,Default,,0000,0000,0000,,seen a lot of people not only using pens,\Nbut also going to use acrylic paint or
Dialogue: 0,0:40:19.46,0:40:24.88,Default,,0000,0000,0000,,very different materials or also, this is\None example, where someone just basically
Dialogue: 0,0:40:24.88,0:40:33.55,Default,,0000,0000,0000,,put in a sort of a toothpick and drew onto\Nsome sort of flat clay and made pattern in that
Dialogue: 0,0:40:33.55,0:40:38.72,Default,,0000,0000,0000,,and that's super fun. So you're not\Nlimited to going... you're not limited to
Dialogue: 0,0:40:38.72,0:40:43.94,Default,,0000,0000,0000,,use pens, but yeah, be creative and use\Nall kinds of stuff. So if you ever come
Dialogue: 0,0:40:43.94,0:40:48.40,Default,,0000,0000,0000,,around some sort of pen plotter, try it,\Nit's super fun for a very quick and nice
Dialogue: 0,0:40:48.40,0:40:55.40,Default,,0000,0000,0000,,creative coding output.\Nblinry: I really love how plotters combine
Dialogue: 0,0:40:55.40,0:41:01.79,Default,,0000,0000,0000,,this kind of handmade esthetic, which\Nimpositions and stuff with this digital input.
Dialogue: 0,0:41:01.79,0:41:04.25,Default,,0000,0000,0000,,\Nbleeptrack: Yeah, totally.
Dialogue: 0,0:41:04.25,0:41:07.51,Default,,0000,0000,0000,,blinry: And I think people sometimes joke,\Nthat it's easier to get these plotters to
Dialogue: 0,0:41:07.51,0:41:12.99,Default,,0000,0000,0000,,run and to, like, produce something\Ncompared to actual printing devices we
Dialogue: 0,0:41:12.99,0:41:14.23,Default,,0000,0000,0000,,would use.\Nbleeptrack: All right.
Dialogue: 0,0:41:14.23,0:41:18.34,Default,,0000,0000,0000,,blinry: Apparently like printing out a\Npiece of paper because of driver issues
Dialogue: 0,0:41:18.34,0:41:24.70,Default,,0000,0000,0000,,and stuff. And these are very clear\Ndefined things, yes. I wanted to show you
Dialogue: 0,0:41:24.70,0:41:33.49,Default,,0000,0000,0000,,some RFCs. That abbreviation is short\Nfor "request for comments". And it's
Dialogue: 0,0:41:33.49,0:41:38.90,Default,,0000,0000,0000,,really... it's a really common way to\Ndefine protocols for the Internet of how
Dialogue: 0,0:41:38.90,0:41:45.89,Default,,0000,0000,0000,,the Internet works. For example, TCP and\NIP would be defined in our RFCs and HTTP
Dialogue: 0,0:41:45.89,0:41:54.12,Default,,0000,0000,0000,,and how Mails work and stuff. And yeah,\Nthere are several thousands of those. And
Dialogue: 0,0:41:54.12,0:42:01.86,Default,,0000,0000,0000,,sometimes people publish RFCs on April\NFools' Day. And these are sometimes really
Dialogue: 0,0:42:01.86,0:42:09.52,Default,,0000,0000,0000,,interesting to read. One really well known for\Nexample, is "RFC 1149: IP over Avian
Dialogue: 0,0:42:09.52,0:42:16.53,Default,,0000,0000,0000,,Carriers", which suggests to use like\Ncarrier pigeons to carry information from
Dialogue: 0,0:42:16.53,0:42:20.84,Default,,0000,0000,0000,,one place to another. So it specifies that\Nyou would like put your information on a
Dialogue: 0,0:42:20.84,0:42:26.59,Default,,0000,0000,0000,,piece of paper and roll it around the leg\Nof a pigeon and then send it off that way.
Dialogue: 0,0:42:26.59,0:42:33.32,Default,,0000,0000,0000,,And it will fly to the target, maybe. And\Nthen you can retrieve the information
Dialogue: 0,0:42:33.32,0:42:42.32,Default,,0000,0000,0000,,there. And this RFC states some very good\Ntechnical properties, systems like this
Dialogue: 0,0:42:42.32,0:42:46.55,Default,,0000,0000,0000,,have, for example, that the carriers have\Nan intrinsic collision avoidance system
Dialogue: 0,0:42:46.55,0:42:53.05,Default,,0000,0000,0000,,which increases availability. Right. Or\Nthat multiple types of service can be
Dialogue: 0,0:42:53.05,0:42:59.11,Default,,0000,0000,0000,,provided with a prioritized pecking order.\NSo this could be used to prioritize
Dialogue: 0,0:42:59.11,0:43:06.66,Default,,0000,0000,0000,,certain types of information over another.\NIt says that "with time the carriers are
Dialogue: 0,0:43:06.66,0:43:12.25,Default,,0000,0000,0000,,self-regenerating", which is a nice\Nproperty to have for a network and an
Dialogue: 0,0:43:12.25,0:43:18.71,Default,,0000,0000,0000,,additional property is "built-in worm\Ndetection and eradication". And some time
Dialogue: 0,0:43:18.71,0:43:24.07,Default,,0000,0000,0000,,ago, a user group, a Linux user group in\NNorway, I think, actually implemented this
Dialogue: 0,0:43:24.07,0:43:32.05,Default,,0000,0000,0000,,system. And they got the pigeons and they\Nset up all of the required infrastructure
Dialogue: 0,0:43:32.05,0:43:38.02,Default,,0000,0000,0000,,and then tried doing a ping command from\None node to the other. And this is the
Dialogue: 0,0:43:38.02,0:43:47.37,Default,,0000,0000,0000,,result. You will see that they try to send\Nnine data packets here. And I mean, the
Dialogue: 0,0:43:47.37,0:43:53.01,Default,,0000,0000,0000,,runtimes of these ping commands are...\Nit's like most often over an hour or
Dialogue: 0,0:43:53.01,0:44:02.19,Default,,0000,0000,0000,,something for the pigeon to go to place B\Nand return. So, yeah. And only four of
Dialogue: 0,0:44:02.19,0:44:07.96,Default,,0000,0000,0000,,these packets arrived back. So they stated\Nhere that they have 55 percent packet
Dialogue: 0,0:44:07.96,0:44:21.05,Default,,0000,0000,0000,,loss. But it works. Now. Another RFC is\N6592, the "null packet". This specifies
Dialogue: 0,0:44:21.05,0:44:28.55,Default,,0000,0000,0000,,"null packet", which "are neither sent nor\Nacknowledged when not received". There is
Dialogue: 0,0:44:28.55,0:44:34.81,Default,,0000,0000,0000,,like an informal definition where they say\Nthat "The Null Packet is a zero-dimensional packet"
Dialogue: 0,0:44:34.81,0:44:39.48,Default,,0000,0000,0000,,and that it "exists since it \Nis non-self-contradictorily definable".
Dialogue: 0,0:44:39.48,0:44:46.59,Default,,0000,0000,0000,,And then in this specification\Nfollows the formal definition that it's
Dialogue: 0,0:44:46.59,0:44:56.04,Default,,0000,0000,0000,,intentionally 0 of the reference, \Nnot "NULL", and in the end of
Dialogue: 0,0:44:56.04,0:45:00.37,Default,,0000,0000,0000,,this document, there is like a list of\Nreferences and related work and there is
Dialogue: 0,0:45:00.37,0:45:06.29,Default,,0000,0000,0000,,like the key "NULL", which points to an\Nempty string. So this is all you need to
Dialogue: 0,0:45:06.29,0:45:14.89,Default,,0000,0000,0000,,know about the NULL packet. It goes on and\Nlists some properties of this packet, for
Dialogue: 0,0:45:14.89,0:45:20.44,Default,,0000,0000,0000,,example, that it is inherently good: "The\NNull Packet cannot have the Evil Bit set,
Dialogue: 0,0:45:20.44,0:45:24.97,Default,,0000,0000,0000,,by definition. Consequently, it is rather\Nclear and undeniable that the null packet
Dialogue: 0,0:45:24.97,0:45:32.65,Default,,0000,0000,0000,,is harmless, having no evil intent." Now,\Nwhat is the evil bit? - you might ask.
Dialogue: 0,0:45:32.65,0:45:40.57,Default,,0000,0000,0000,,RFC 3514, let's look at that one. The\Nauthors of this RFC noticed that the
Dialogue: 0,0:45:40.57,0:45:48.33,Default,,0000,0000,0000,,definition of an IP fragment - it is about\NIPv4 - has a single bit, which is not used
Dialogue: 0,0:45:48.33,0:45:52.12,Default,,0000,0000,0000,,for anything, it is just undefined. It\Ndoesn't have... it doesn't carry any
Dialogue: 0,0:45:52.12,0:45:59.92,Default,,0000,0000,0000,,meaning. And the authors thought we should\Nchange that and play some meaning to this bit.
Dialogue: 0,0:45:59.92,0:46:07.21,Default,,0000,0000,0000,,So here is the layout of this field.\NIt's the first bit in the sequence and
Dialogue: 0,0:46:07.21,0:46:13.23,Default,,0000,0000,0000,,they give it like this shorthand E, E for\Nevil bit. It can have two possible values:
Dialogue: 0,0:46:13.23,0:46:18.66,Default,,0000,0000,0000,,If it's set to zero, the packet has no\N"evil intent, host, network elements
Dialogue: 0,0:46:18.66,0:46:22.53,Default,,0000,0000,0000,,should assume that the packet is harmless\Nand should not take any defensive
Dialogue: 0,0:46:22.53,0:46:29.95,Default,,0000,0000,0000,,measures." And another possible value is\None. "If this bit is set to one, the
Dialogue: 0,0:46:29.95,0:46:35.88,Default,,0000,0000,0000,,packet has evil intent and secure systems\Nshould try to defend themselves", while
Dialogue: 0,0:46:35.88,0:46:42.77,Default,,0000,0000,0000,,"insecure systems may choose to crash, to\Nbe penetrated, etc." And then there's our
Dialogue: 0,0:46:42.77,0:46:47.13,Default,,0000,0000,0000,,seagull's and great detail about how\Nexactly and in which situations this bit
Dialogue: 0,0:46:47.13,0:46:52.23,Default,,0000,0000,0000,,should be set. For example, if you are\Ndoing pentesting on a system, trying to
Dialogue: 0,0:46:52.23,0:46:59.55,Default,,0000,0000,0000,,attack it, you should set this bit so that\Nthe receiving system will recognize that
Dialogue: 0,0:46:59.55,0:47:05.06,Default,,0000,0000,0000,,this packet has evil intent and can take\Ndefensive measures. And you must do this
Dialogue: 0,0:47:05.06,0:47:14.22,Default,,0000,0000,0000,,if you are attacking, yes. And here's just\Na list of some more fun RFCs. If you're
Dialogue: 0,0:47:14.22,0:47:20.91,Default,,0000,0000,0000,,interested in the stuff, you should check\Nthem out. Fun is the "Hypertext Coffee Pot
Dialogue: 0,0:47:20.91,0:47:31.35,Default,,0000,0000,0000,,Control Protocol", HTCPCP, which like\Ngives some specific HTTP requests, for
Dialogue: 0,0:47:31.35,0:47:37.24,Default,,0000,0000,0000,,example, to make sure, that a coffeepot\Nwhich is connected to the Internet, that
Dialogue: 0,0:47:37.24,0:47:43.30,Default,,0000,0000,0000,,you can request to know its status,\Nwhether it's empty or full and how full it
Dialogue: 0,0:47:43.30,0:47:50.77,Default,,0000,0000,0000,,is and stuff. And this is also where the\NHTTP Code 418 comes from, which says: I am
Dialogue: 0,0:47:50.77,0:47:54.86,Default,,0000,0000,0000,,a teapot. Now, if you try to send a packet\Nlike that to a system, which is actually a
Dialogue: 0,0:47:54.86,0:48:02.31,Default,,0000,0000,0000,,teapot, it can reply with this and this is\Nan error, sure. There is an RFC for "TCP
Dialogue: 0,0:48:02.31,0:48:10.48,Default,,0000,0000,0000,,Options to Denote Packet Mood". So this\Nallows you to set a specific mood in a TCP
Dialogue: 0,0:48:10.48,0:48:15.01,Default,,0000,0000,0000,,packet if under some circumstances... I\Ndon't know, you're building a software and
Dialogue: 0,0:48:15.01,0:48:20.100,Default,,0000,0000,0000,,the software notices that there is a lot\Nof delay in your communication and stuff,
Dialogue: 0,0:48:20.100,0:48:24.85,Default,,0000,0000,0000,,it could send an annoyed mood in the\Npackets, that it is sending, to let the
Dialogue: 0,0:48:24.85,0:48:28.83,Default,,0000,0000,0000,,other system, that it is communicating\Nwith, know. And then the system could
Dialogue: 0,0:48:28.83,0:48:38.11,Default,,0000,0000,0000,,respond to that accordingly. And there is\Nan RFC called "Scenic Routing for IPv6",
Dialogue: 0,0:48:38.11,0:48:45.50,Default,,0000,0000,0000,,which suggests, that traffic should be\Nsent over specific, very nice pathways,
Dialogue: 0,0:48:45.50,0:48:51.43,Default,,0000,0000,0000,,along with nice landscape and in a lot of\Nfresh air. For example, it says to
Dialogue: 0,0:48:51.43,0:48:58.65,Default,,0000,0000,0000,,prioritize communication channels that are\Nwireless, for example, to give the data a
Dialogue: 0,0:48:58.65,0:49:06.26,Default,,0000,0000,0000,,very scenic pathway to its destination.\NThat's the RFCs I wanted to show you. You
Dialogue: 0,0:49:06.26,0:49:12.11,Default,,0000,0000,0000,,will find a Wikipedia article with a list\Nof April Fools' RFCs. If you are
Dialogue: 0,0:49:12.11,0:49:20.100,Default,,0000,0000,0000,,interested, there are several dozen of\Nthose and take those out. Yeah.
Dialogue: 0,0:49:20.100,0:49:28.02,Default,,0000,0000,0000,,bleeptrack: I especially love the packet\Nmood, when you think about upcoming AI.
Dialogue: 0,0:49:28.02,0:49:32.13,Default,,0000,0000,0000,,That might be interesting. So it can\Ncommunicate how it feels. I don't know.
Dialogue: 0,0:49:32.13,0:49:41.93,Default,,0000,0000,0000,,Maybe that's good. Maybe it's not good,\Nwho knows. All right. To dig a bit into
Dialogue: 0,0:49:41.93,0:49:46.23,Default,,0000,0000,0000,,game development and indie game\Ndevelopment and while doing some research,
Dialogue: 0,0:49:46.23,0:49:55.45,Default,,0000,0000,0000,,I stumbled upon some people who called it\Ntheir own fancy, I guess, interesting
Dialogue: 0,0:49:55.45,0:50:02.29,Default,,0000,0000,0000,,applications. And so there are three short\Nvideos I wanted to show you around a bit
Dialogue: 0,0:50:02.29,0:50:09.92,Default,,0000,0000,0000,,and all three of them... I think they are\Nvery interesting because they try to
Dialogue: 0,0:50:09.92,0:50:17.62,Default,,0000,0000,0000,,implement game rules that could not exist\Nin our world and are very different and
Dialogue: 0,0:50:17.62,0:50:22.15,Default,,0000,0000,0000,,it's quite mind bending if you walk around\Nthere and interact with stuff. So this is
Dialogue: 0,0:50:22.15,0:50:25.63,Default,,0000,0000,0000,,the first one, as it's called Non-\NEuclidian game, which is, I think, is not
Dialogue: 0,0:50:25.63,0:50:31.05,Default,,0000,0000,0000,,really correct, because, I think, it would\Nbe still Euclidian, just insisting on
Dialogue: 0,0:50:31.05,0:50:35.42,Default,,0000,0000,0000,,Euclidian room. But as you can see, you\Ncan make photos of the scene and then put
Dialogue: 0,0:50:35.42,0:50:41.01,Default,,0000,0000,0000,,that photo in the scene and suddenly\Neverything appears there. And that's...
Dialogue: 0,0:50:41.01,0:50:45.26,Default,,0000,0000,0000,,like it's super mind bending and super fun\Nto play around with that. So far, I've
Dialogue: 0,0:50:45.26,0:50:50.66,Default,,0000,0000,0000,,just found that video and not a really\Nplayable version. But maybe there is one
Dialogue: 0,0:50:50.66,0:50:54.26,Default,,0000,0000,0000,,now and here also, for example, like\Ngravity gets applied to stuff that is
Dialogue: 0,0:50:54.26,0:50:58.95,Default,,0000,0000,0000,,placed in the scene and it's just yeah...\NIt's just super fun and crazy. Crazy to
Dialogue: 0,0:50:58.95,0:51:08.10,Default,,0000,0000,0000,,watch. Here it would like... like this\Nscenario, I think that will be... would be
Dialogue: 0,0:51:08.10,0:51:13.77,Default,,0000,0000,0000,,a really nice parlor game. All right.\NThat's the first example. Second one is
Dialogue: 0,0:51:13.77,0:51:24.43,Default,,0000,0000,0000,,this one. And this is actually really a\NNon-Euclidian room, basically. You can
Dialogue: 0,0:51:24.43,0:51:30.68,Default,,0000,0000,0000,,imagine that it works a bit like, for\Nexample, Herveini's back or the Tardis, if
Dialogue: 0,0:51:30.68,0:51:33.88,Default,,0000,0000,0000,,something looks small from the outside and\Nvery big from the inside. So you made some
Dialogue: 0,0:51:33.88,0:51:38.56,Default,,0000,0000,0000,,tunnels that have this effect. So this one\Nlooks super from the outside. But actually
Dialogue: 0,0:51:38.56,0:51:43.75,Default,,0000,0000,0000,,when you walk through it, it's quite short\Nof this one. This is the opposite one. It
Dialogue: 0,0:51:43.75,0:51:49.13,Default,,0000,0000,0000,,looks super, super small from the outside\Nand extremely large from the inside. And
Dialogue: 0,0:51:49.13,0:51:54.24,Default,,0000,0000,0000,,here's... I think the YouTube channel is\Ncalled Copen, and he has a lot of
Dialogue: 0,0:51:54.24,0:51:58.15,Default,,0000,0000,0000,,different versions of that. So this is\Nalso... this is also a nice example. So
Dialogue: 0,0:51:58.15,0:52:03.04,Default,,0000,0000,0000,,you have rooms and you can walk in a\Ncircle and the longer you walk, you start
Dialogue: 0,0:52:03.04,0:52:07.97,Default,,0000,0000,0000,,to realize it's just three rooms. There's\Njust a blue one and a red one and a green
Dialogue: 0,0:52:07.97,0:52:15.19,Default,,0000,0000,0000,,one. But the shape of the, let's say,\Nhouse lets you think there should be at
Dialogue: 0,0:52:15.19,0:52:25.33,Default,,0000,0000,0000,,least four rooms, but it's just three. So\Nyou can do these crazy effects. And yeah.
Dialogue: 0,0:52:25.33,0:52:30.69,Default,,0000,0000,0000,,I don't... I'm not sure, I don't want to\Nspoil you too bad - uh uh I made something
Dialogue: 0,0:52:30.69,0:52:38.61,Default,,0000,0000,0000,,fullscreen that I did not want to have\Nfullscreen, give me a second. Here we go.
Dialogue: 0,0:52:38.61,0:52:44.77,Default,,0000,0000,0000,,I just... I think it's codeparade, yes,\Nsorry. So check out the videos because he
Dialogue: 0,0:52:44.77,0:52:49.58,Default,,0000,0000,0000,,does a lot of fun examples if you continue\Nhere. He also has a version, where you...
Dialogue: 0,0:52:49.58,0:52:54.16,Default,,0000,0000,0000,,he still has these tunnels, but some let\Nshrink everything when you go through it,
Dialogue: 0,0:52:54.16,0:52:57.17,Default,,0000,0000,0000,,so everything... and you cover up at the\Nend everything's smaller or everything
Dialogue: 0,0:52:57.17,0:53:02.66,Default,,0000,0000,0000,,gets bigger. That's also super fun. And I\Ncan see, I can see him making super fancy
Dialogue: 0,0:53:02.66,0:53:08.66,Default,,0000,0000,0000,,tunnel games with that. We're already at\Nthe last one, which is a world in
Dialogue: 0,0:53:08.66,0:53:16.85,Default,,0000,0000,0000,,hyperbolic space. And it's also... yes,\Nit's really fascinating for me to look at,
Dialogue: 0,0:53:16.85,0:53:22.36,Default,,0000,0000,0000,,because when you walk around here,\Neverything is bended so weirdly, because
Dialogue: 0,0:53:22.36,0:53:27.08,Default,,0000,0000,0000,,when you think you could look at the sky,\Nit's just wraps around you. The world
Dialogue: 0,0:53:27.08,0:53:31.11,Default,,0000,0000,0000,,wraps around you. So you see, I don't know\Nthe other end of the world on top of you.
Dialogue: 0,0:53:31.11,0:53:36.59,Default,,0000,0000,0000,,And this is just.. it's just so crazy to\Nwalk around there. They always have a bit
Dialogue: 0,0:53:36.59,0:53:41.14,Default,,0000,0000,0000,,of problems with motion sickness. And I\Nthink this would not make it better for
Dialogue: 0,0:53:41.14,0:53:47.65,Default,,0000,0000,0000,,me. But it's so fun. And also, I think in\Na few seconds, he will also check out the
Dialogue: 0,0:53:47.65,0:53:54.45,Default,,0000,0000,0000,,house more to walk into or to in front of\Nthat house. It's just, it's just crazy.
Dialogue: 0,0:53:54.45,0:53:58.95,Default,,0000,0000,0000,,And it's hard to imagine why it should\Nlook like... now he's moving backwards and
Dialogue: 0,0:53:58.95,0:54:02.70,Default,,0000,0000,0000,,then he reaches a point where he's\Nbasically from the world side on the
Dialogue: 0,0:54:02.70,0:54:09.41,Default,,0000,0000,0000,,opposite side of the house. So the house\Nstarts walking around him. That's super
Dialogue: 0,0:54:09.41,0:54:15.66,Default,,0000,0000,0000,,funky, and I think game engines and games\Nare perfect, are a perfect medium to
Dialogue: 0,0:54:15.66,0:54:23.54,Default,,0000,0000,0000,,experience such mathematically fun ideas\Nthat you can have and I think some
Dialogue: 0,0:54:23.54,0:54:28.15,Default,,0000,0000,0000,,Operation Mindfuck talks back, blinry also\Nexplained a 4D puzzle game.
Dialogue: 0,0:54:28.15,0:54:32.10,Default,,0000,0000,0000,,blinry: In the very first one, yeah.\Nbleeptrack: Yeah, exactly. And I think that goes
Dialogue: 0,0:54:32.10,0:54:41.65,Default,,0000,0000,0000,,like in the same direction as these games\Nand these test engines. All right.
Dialogue: 0,0:54:41.65,0:54:44.94,Default,,0000,0000,0000,,blinry: I heard that it takes a long time to\Nbuild these types of games because there
Dialogue: 0,0:54:44.94,0:54:49.52,Default,,0000,0000,0000,,are basically no pre-made tools for you\Nand you have to do everything yourself.
Dialogue: 0,0:54:49.52,0:54:53.43,Default,,0000,0000,0000,,bleeptrack: Yes, right.\Nblinry: Model a four dimensional object or
Dialogue: 0,0:54:53.43,0:54:57.42,Default,,0000,0000,0000,,hyperbolic one... you have to code\Nyour tools for that, basically. Yeah.
Dialogue: 0,0:54:57.42,0:55:01.88,Default,,0000,0000,0000,,bleeptrack: Yeah, yeah.\Nblinry: It's really fun to look at. I also have
Dialogue: 0,0:55:01.88,0:55:08.95,Default,,0000,0000,0000,,some geometric things I wanted to show\Nyou, related to topology. That's a field
Dialogue: 0,0:55:08.95,0:55:14.53,Default,,0000,0000,0000,,of mathematics where you are looking like\Nmore at the geometric structure of the
Dialogue: 0,0:55:14.53,0:55:21.43,Default,,0000,0000,0000,,object, not its concrete, precise...\Ndimensions, for example. There is this
Dialogue: 0,0:55:21.43,0:55:26.02,Default,,0000,0000,0000,,joke, that for a topologist there's\Nbasically no difference between a coffee
Dialogue: 0,0:55:26.02,0:55:33.43,Default,,0000,0000,0000,,pot and a donut. Because, if you... like\Nall substance, which you can squeeze and
Dialogue: 0,0:55:33.43,0:55:39.40,Default,,0000,0000,0000,,pull, you can kind of transform the cup\Ninto a donut without making any cuts or
Dialogue: 0,0:55:39.40,0:55:44.78,Default,,0000,0000,0000,,without doing anything together. Now,\Nthat's often the rules in topological
Dialogue: 0,0:55:44.78,0:55:50.53,Default,,0000,0000,0000,,transformations, that you cannot create\Nadditional holes. And because this shape
Dialogue: 0,0:55:50.53,0:55:54.93,Default,,0000,0000,0000,,only has a single hole going through it in\Nthe middle of the donut or in the handle
Dialogue: 0,0:55:54.93,0:56:02.45,Default,,0000,0000,0000,,of the cup, these are basically the same\Nobject, topologically speaking. Right. And
Dialogue: 0,0:56:02.45,0:56:07.82,Default,,0000,0000,0000,,yeah, then you can do interesting\Nobservations with this. A really well
Dialogue: 0,0:56:07.82,0:56:13.27,Default,,0000,0000,0000,,known example is the Mobius strip, where\Nyou take a long piece of paper and you
Dialogue: 0,0:56:13.27,0:56:18.24,Default,,0000,0000,0000,,glue the ends together. But before you do\Nthat, you rotate the strip like one end of
Dialogue: 0,0:56:18.24,0:56:25.11,Default,,0000,0000,0000,,the strip once and then you paste it\Ntogether. And then this is an object that
Dialogue: 0,0:56:25.11,0:56:31.36,Default,,0000,0000,0000,,has an interesting property. It only has\None side. Now, if you were to take a pen
Dialogue: 0,0:56:31.36,0:56:35.39,Default,,0000,0000,0000,,and start drawing on the top of the\Nsurface here and follow it along the
Dialogue: 0,0:56:35.39,0:56:41.09,Default,,0000,0000,0000,,strip, you would get behind the ring here\Nand draw and then get on front here again.
Dialogue: 0,0:56:41.09,0:56:46.66,Default,,0000,0000,0000,,And then as you wrap around, you are now\Nat the back side of the strip and you like
Dialogue: 0,0:56:46.66,0:56:51.35,Default,,0000,0000,0000,,kind of opposite to where you started, but\Nyou're still not done. Now you're still
Dialogue: 0,0:56:51.35,0:56:57.74,Default,,0000,0000,0000,,drawing. You can go behind here and there\Nand under this and on the top side, on the
Dialogue: 0,0:56:57.74,0:57:03.44,Default,,0000,0000,0000,,backside of this. And then you are going\Nto where you started, you made a long line
Dialogue: 0,0:57:03.44,0:57:07.76,Default,,0000,0000,0000,,and you would do the... all of the surface\Nin one stroke, basically, because there
Dialogue: 0,0:57:07.76,0:57:15.32,Default,,0000,0000,0000,,was only one of them. There is really fun\Nstuff that happens if you try to cut into
Dialogue: 0,0:57:15.32,0:57:20.94,Default,,0000,0000,0000,,this strip. I have a video and can try to\Nfind a good point where you can see it. So
Dialogue: 0,0:57:20.94,0:57:28.20,Default,,0000,0000,0000,,this person is taking a Mobius strip and\Nis then using scissors to cut along the
Dialogue: 0,0:57:28.20,0:57:34.42,Default,,0000,0000,0000,,middle line of the strip. Something to\Ncut. And after cutting around the strip
Dialogue: 0,0:57:34.42,0:57:39.34,Default,,0000,0000,0000,,once, it doesn't fall apart into two\Npieces, it's just still a single strip.
Dialogue: 0,0:57:39.34,0:57:46.06,Default,,0000,0000,0000,,Yeah, "single strip", wow, surprise!\NRight. And yeah, the same thing could be
Dialogue: 0,0:57:46.06,0:57:51.65,Default,,0000,0000,0000,,done if you took a strip of paper and\Ntwisted it twice before doing it together
Dialogue: 0,0:57:51.65,0:57:58.39,Default,,0000,0000,0000,,and then you start cutting in the middle.\NI {\i1}(incomprehensible){\i0} for yourself, if you are
Dialogue: 0,0:57:58.39,0:58:06.30,Default,,0000,0000,0000,,intersted, it's another really surprising\Nthing that happens if you do that. But the
Dialogue: 0,0:58:06.30,0:58:11.63,Default,,0000,0000,0000,,thing I really wanted to show you is this\None. This was in a tweet I found the other
Dialogue: 0,0:58:11.63,0:58:16.73,Default,,0000,0000,0000,,day and I thought: I have to note this\Ndown into the list of ideas for Operation
Dialogue: 0,0:58:16.73,0:58:24.57,Default,,0000,0000,0000,,Mindfuck, because it's so surprising.This\Ntweet stated that if you have this, like,
Dialogue: 0,0:58:24.57,0:58:30.35,Default,,0000,0000,0000,,double donut shape and there is a long rod\Ngoing through one of the holes like this
Dialogue: 0,0:58:30.35,0:58:35.90,Default,,0000,0000,0000,,is an infinitely long rod where you can't\Ngo over the edges of it. Then this tweet
Dialogue: 0,0:58:35.90,0:58:41.07,Default,,0000,0000,0000,,said, that it's possible to transform this\Nshape so that the rod goes through both
Dialogue: 0,0:58:41.07,0:58:47.40,Default,,0000,0000,0000,,holes. And I said, what? There's no way\Nthis is possible. And then I clicked on
Dialogue: 0,0:58:47.40,0:58:50.46,Default,,0000,0000,0000,,this tweet and looked at the video. Let's\Ndo that.
Dialogue: 0,0:58:50.46,0:58:58.31,Default,,0000,0000,0000,,{\i1}[video runs]{\i0}
Dialogue: 0,0:58:58.31,0:59:00.79,Default,,0000,0000,0000,,Let's look at it again, it's seven seconds.
Dialogue: 0,0:59:00.79,0:59:06.78,Default,,0000,0000,0000,,{\i1}[video runs]{\i0}
Dialogue: 0,0:59:06.78,0:59:09.72,Default,,0000,0000,0000,,Right. So by pushing and\Nsqueezing in the right way, you can
Dialogue: 0,0:59:09.72,0:59:15.60,Default,,0000,0000,0000,,actually get to a stage where this rod\Ngoes kind of through both of these holes
Dialogue: 0,0:59:15.60,0:59:19.52,Default,,0000,0000,0000,,and this is not a trick. And this is\Nreally like a property of this shape, that
Dialogue: 0,0:59:19.52,0:59:25.51,Default,,0000,0000,0000,,you can transform it in this way. This is\Nkind of, like proof by example, which
Dialogue: 0,0:59:25.51,0:59:30.83,Default,,0000,0000,0000,,feels a bit unsatisfying to me. And that\Nreally makes me want to learn more about
Dialogue: 0,0:59:30.83,0:59:36.03,Default,,0000,0000,0000,,topology to, kind of, in a formal way,\Nstate what's going on there. But I guess
Dialogue: 0,0:59:36.03,0:59:41.95,Default,,0000,0000,0000,,the trick to, kind of, understand why this\Nworks, is that somewhere in the in the
Dialogue: 0,0:59:41.95,0:59:47.46,Default,,0000,0000,0000,,middle of this transformation, you get to\Nthe stage where you have this shape,
Dialogue: 0,0:59:47.46,0:59:53.29,Default,,0000,0000,0000,,that's basically like a symmetric... it's\Nrotational symmetrical. If you hold the
Dialogue: 0,0:59:53.29,0:59:59.94,Default,,0000,0000,0000,,bottom and the top part with your fingers,\Nthen you can imagine that like the middle
Dialogue: 0,0:59:59.94,1:00:05.50,Default,,0000,0000,0000,,of this object is hollow. And there are\Nthree holes going in from the side, one
Dialogue: 0,1:00:05.50,1:00:10.52,Default,,0000,0000,0000,,from the front, one is from the back left\Nand one is from the back right. And all of
Dialogue: 0,1:00:10.52,1:00:16.54,Default,,0000,0000,0000,,these holes connect to the interior of\Nthis hollowed out shape now. And this rod
Dialogue: 0,1:00:16.54,1:00:25.14,Default,,0000,0000,0000,,is now going through two of those to the back. \NThe two binded. if you are at this stage, it's up to
Dialogue: 0,1:00:25.14,1:00:29.54,Default,,0000,0000,0000,,you to choose in which direction you want\Nto go. You can either, like, take the
Dialogue: 0,1:00:29.54,1:00:33.74,Default,,0000,0000,0000,,front hole and, like, pull it out and\Nstretch it to make it really large and
Dialogue: 0,1:00:33.74,1:00:40.87,Default,,0000,0000,0000,,kind of disappear into the edge of the\Nshape. And then you get in this situation
Dialogue: 0,1:00:40.87,1:00:46.27,Default,,0000,0000,0000,,where you have this rod picking through\Nboth holes at the back and the front one,
Dialogue: 0,1:00:46.27,1:00:53.49,Default,,0000,0000,0000,,you can't really see it anymore. But you\Ncan also, if you were at this position,
Dialogue: 0,1:00:53.49,1:01:01.57,Default,,0000,0000,0000,,you can choose to take the right\Nhandle of the shape and push it inwards to
Dialogue: 0,1:01:01.57,1:01:06.45,Default,,0000,0000,0000,,go between the other two handles. And then\Nit's a situation where you arrive,
Dialogue: 0,1:01:06.45,1:01:13.74,Default,,0000,0000,0000,,finally, at the shape like this one, where\Nit appears to go through only one hole,
Dialogue: 0,1:01:13.74,1:01:19.04,Default,,0000,0000,0000,,but this is just this weird property of\Nthis object that you can do topologic
Dialogue: 0,1:01:19.04,1:01:23.73,Default,,0000,0000,0000,,transformations to go in both directions.\NAnd I think that's really fascinating and
Dialogue: 0,1:01:23.73,1:01:30.16,Default,,0000,0000,0000,,not very intuitive. And there is a second\Nthing like that, where you start with this
Dialogue: 0,1:01:30.16,1:01:36.53,Default,,0000,0000,0000,,kind of Bretzel-like shape, which is,\Nlike, interlinked into itself. And then
Dialogue: 0,1:01:36.53,1:01:41.39,Default,,0000,0000,0000,,the question is, can you transform this in\Na state where the handels are free? And it
Dialogue: 0,1:01:41.39,1:01:45.50,Default,,0000,0000,0000,,turns out of that you can, which is also,\Nagain, really surprising. And this is...
Dialogue: 0,1:01:45.50,1:01:51.06,Default,,0000,0000,0000,,like this diagram shows how to do it. You\Nwould start taking these two holes which
Dialogue: 0,1:01:51.06,1:01:57.76,Default,,0000,0000,0000,,interlink and stretch them out and stretch\Nthem down, make them larger until they
Dialogue: 0,1:01:57.76,1:02:04.44,Default,,0000,0000,0000,,almost touch the bottom here. And then you\Nhave this string of material, which you
Dialogue: 0,1:02:04.44,1:02:08.67,Default,,0000,0000,0000,,can still remain between these two holes.\NAnd then you're at a state where you have
Dialogue: 0,1:02:08.67,1:02:15.38,Default,,0000,0000,0000,,this little twists in the material. Then\Nyou can just start and twist this, twist
Dialogue: 0,1:02:15.38,1:02:21.44,Default,,0000,0000,0000,,once again. It was twice and then it's\Nfree and then you can make the hole
Dialogue: 0,1:02:21.44,1:02:32.63,Default,,0000,0000,0000,,smaller again until you are at this stage.\NAnd I think that's pretty cool, and that's
Dialogue: 0,1:02:32.63,1:02:42.03,Default,,0000,0000,0000,,the topological things I wanted to show.\Nbleeptrack: That's so cool, o man. I could
Dialogue: 0,1:02:42.03,1:02:49.53,Default,,0000,0000,0000,,look at these forever. Also, that clay\Nanimation of the rod... it's nice to have
Dialogue: 0,1:02:49.53,1:02:52.75,Default,,0000,0000,0000,,really an animation that's a bit easier\Nto get this...
Dialogue: 0,1:02:52.75,1:02:57.89,Default,,0000,0000,0000,,blinry: still after looking at it for ten times,\Nit is so {\i1}(incomprehensible){\i0}
Dialogue: 0,1:02:57.89,1:03:04.87,Default,,0000,0000,0000,,bleeptrack: Yeah. Like you can... yeah, completely.\NAll right. We already reached our last
Dialogue: 0,1:03:04.87,1:03:12.38,Default,,0000,0000,0000,,section, which is about PCB art. So this\Nyear, I tried to learn more about PCB
Dialogue: 0,1:03:12.38,1:03:17.42,Default,,0000,0000,0000,,design and electronics and I found that\Nnice little community about people who
Dialogue: 0,1:03:17.42,1:03:22.66,Default,,0000,0000,0000,,like to make very artsy PCBs. For example,\Nhere is a person who made a very nice
Dialogue: 0,1:03:22.66,1:03:31.82,Default,,0000,0000,0000,,schematic, an image, what possibilities\Nyou have with PCBs or if you... I'm not sure,
Dialogue: 0,1:03:31.82,1:03:39.27,Default,,0000,0000,0000,,maybe you have had one in hand, a PCB\Nusually has like a base plate, which has a
Dialogue: 0,1:03:39.27,1:03:43.98,Default,,0000,0000,0000,,yellowish color. And on top and on the\Nbottom of this plate, you have a copper
Dialogue: 0,1:03:43.98,1:03:48.53,Default,,0000,0000,0000,,layer. And on top of these you can have a\Nsolder mask, which is some sort of plastic
Dialogue: 0,1:03:48.53,1:03:55.18,Default,,0000,0000,0000,,coating that... you can cover contacts\Nthat you ... because we don't want to have
Dialogue: 0,1:03:55.18,1:04:02.13,Default,,0000,0000,0000,,every part of copper traces be open to the\Nair, open to touch. So you might want to
Dialogue: 0,1:04:02.13,1:04:06.34,Default,,0000,0000,0000,,cover that. So this is the solder mask in\Nthis example. This would be the purple
Dialogue: 0,1:04:06.34,1:04:13.17,Default,,0000,0000,0000,,color. And also, maybe you can have some\Nscreen printing on top. This is usually in
Dialogue: 0,1:04:13.17,1:04:17.46,Default,,0000,0000,0000,,a white or in a black color, in this\Nexample as white. So you can have a lot of
Dialogue: 0,1:04:17.46,1:04:22.12,Default,,0000,0000,0000,,different combinations of these materials,\Nlike you could have the copper and then
Dialogue: 0,1:04:22.12,1:04:27.31,Default,,0000,0000,0000,,put on solder mask, for example, and you\Nwill get a lighter color. This is the
Dialogue: 0,1:04:27.31,1:04:32.29,Default,,0000,0000,0000,,number four in this case. And if you just,\Nif you mill away the copper and just put
Dialogue: 0,1:04:32.29,1:04:40.71,Default,,0000,0000,0000,,the solder mask onto your base plate, you\Nwill get usually the darker color. Now,
Dialogue: 0,1:04:40.71,1:04:45.52,Default,,0000,0000,0000,,this would be the number five. And then\Nalso you can have either just the base
Dialogue: 0,1:04:45.52,1:04:51.78,Default,,0000,0000,0000,,plate. I think in this example it's number\Nthree and you can also... the copper that
Dialogue: 0,1:04:51.78,1:04:56.93,Default,,0000,0000,0000,,is open to the air or to touch, usually\Ngets a coating and often this is silver,
Dialogue: 0,1:04:56.93,1:05:04.70,Default,,0000,0000,0000,,gold or some... what's it called in\NEnglish - and solder... solder.... Yeah.
Dialogue: 0,1:05:04.70,1:05:09.64,Default,,0000,0000,0000,,Which is also like a silverish color and,\Nyeah. And the screen printing which is
Dialogue: 0,1:05:09.64,1:05:16.76,Default,,0000,0000,0000,,some white or black. So these five sorts\Nof colors are your color palette that you
Dialogue: 0,1:05:16.76,1:05:21.19,Default,,0000,0000,0000,,can play with. And when you go to\Ndifferent manufacturers, you can also get
Dialogue: 0,1:05:21.19,1:05:26.42,Default,,0000,0000,0000,,different solder mask colors. I think that\Nvery typical one would be green. In this
Dialogue: 0,1:05:26.42,1:05:33.44,Default,,0000,0000,0000,,example, it's purple. You can also get\Nblue or black or white, whatever you want.
Dialogue: 0,1:05:33.44,1:05:37.67,Default,,0000,0000,0000,,And yeah, get your stuff manufactured.\NThat's super easy. And there's also some
Dialogue: 0,1:05:37.67,1:05:41.87,Default,,0000,0000,0000,,nice examples what else you can do,\Nbecause you have these two-layered PCBs
Dialogue: 0,1:05:41.87,1:05:48.85,Default,,0000,0000,0000,,with copper on both sides. You can leave\Ncopper out on one side, only on certain
Dialogue: 0,1:05:48.85,1:05:53.81,Default,,0000,0000,0000,,places and leave it out on the other side\Ncompletely so you can get a very fancy
Dialogue: 0,1:05:53.81,1:06:00.07,Default,,0000,0000,0000,,shine through optic. Also, of course, when\Nyou work with electronics, you can very
Dialogue: 0,1:06:00.07,1:06:05.01,Default,,0000,0000,0000,,distinctively place some light sources on\Nyour board, if you want to, if you want to
Dialogue: 0,1:06:05.01,1:06:09.38,Default,,0000,0000,0000,,play with certain ways of lighting. So\Nthat's fun. And also, as you can see on
Dialogue: 0,1:06:09.38,1:06:14.74,Default,,0000,0000,0000,,the right image, you can choose your cut-\Nout shape anywhere you want, the
Dialogue: 0,1:06:14.74,1:06:21.03,Default,,0000,0000,0000,,manufacturers are usually quite open and\Ncan do, I guess, most of the shapes. And
Dialogue: 0,1:06:21.03,1:06:26.64,Default,,0000,0000,0000,,they can mill in extremely fine details,\Nespecially if they want to mill the copper
Dialogue: 0,1:06:26.64,1:06:33.07,Default,,0000,0000,0000,,on the copper layer. And that's super\Ninteresting because, when you design PCBs,
Dialogue: 0,1:06:33.07,1:06:38.61,Default,,0000,0000,0000,,you often want to have very extremely fine\Ntraces. And this is interesting for art,
Dialogue: 0,1:06:38.61,1:06:43.58,Default,,0000,0000,0000,,of course, because you can engrain\Nextremely fine details like this very nice
Dialogue: 0,1:06:43.58,1:06:49.04,Default,,0000,0000,0000,,example of a broken, half broken-down\Nleaf, where the copper layer is used to
Dialogue: 0,1:06:49.04,1:06:57.44,Default,,0000,0000,0000,,have the fine vaines that are still intact\Nand a solder mask is used to have a bit of
Dialogue: 0,1:06:57.44,1:07:02.68,Default,,0000,0000,0000,,hole leaf cells that are starting to break\Ndown. And the yellowish color that you can
Dialogue: 0,1:07:02.68,1:07:07.20,Default,,0000,0000,0000,,see, that's the color of the base plate.\NSo you can create extremely fine
Dialogue: 0,1:07:07.20,1:07:12.94,Default,,0000,0000,0000,,details. That's super fun. And then,\Nthere's, for example, boldport. I can
Dialogue: 0,1:07:12.94,1:07:18.54,Default,,0000,0000,0000,,highly recommend boldport. He does a lot\Nof extremely crazy PCB art. And this one,
Dialogue: 0,1:07:18.54,1:07:24.56,Default,,0000,0000,0000,,I think, is also very nice. It's a\Nchameleon. And he uses the PCB not only as
Dialogue: 0,1:07:24.56,1:07:30.68,Default,,0000,0000,0000,,the base material, but also he uses it in\Na very innovative way, I'd say, because he
Dialogue: 0,1:07:30.68,1:07:36.65,Default,,0000,0000,0000,,uses it, yeah, upright. This is quite\Nunusual. And you can see that he soldered
Dialogue: 0,1:07:36.65,1:07:43.69,Default,,0000,0000,0000,,the LEDs on the edge of the PCB to give\Nthat chameleon a nice LED back row of
Dialogue: 0,1:07:43.69,1:07:50.91,Default,,0000,0000,0000,,lights, that is super fun. And he also\Nsomehow got two solder mask colors on one
Dialogue: 0,1:07:50.91,1:07:56.36,Default,,0000,0000,0000,,PCB, I'm not sure who he contacted to get\Nthat. That's rather unusual, but it seems
Dialogue: 0,1:07:56.36,1:08:01.61,Default,,0000,0000,0000,,that it can be done. And he also used\Nresistors for little feet. That's also
Dialogue: 0,1:08:01.61,1:08:09.35,Default,,0000,0000,0000,,really nice. So he thought about\Nintegrating parts into the shape of the
Dialogue: 0,1:08:09.35,1:08:14.09,Default,,0000,0000,0000,,end-design that are usually more\Nfunctional and not used esthetically. And
Dialogue: 0,1:08:14.09,1:08:17.26,Default,,0000,0000,0000,,that's what's really interesting and\Nreally nice. And he has a lot of these
Dialogue: 0,1:08:17.26,1:08:23.39,Default,,0000,0000,0000,,projects, and I think you can also buy\Nthem as DIY kits. And that's really nice.
Dialogue: 0,1:08:23.39,1:08:28.88,Default,,0000,0000,0000,,And if you, yeah, if you can combine all\Nthese layers - this is a project that I
Dialogue: 0,1:08:28.88,1:08:34.85,Default,,0000,0000,0000,,came up with, because, as I said, I really\Nlike to do generative art. And of course,
Dialogue: 0,1:08:34.85,1:08:40.14,Default,,0000,0000,0000,,you can then start to write code that\Ngenerates shapes and patterns that you can
Dialogue: 0,1:08:40.14,1:08:49.02,Default,,0000,0000,0000,,put on your PCB for esthetic reasons and\Nthese boards that you can see here, they
Dialogue: 0,1:08:49.02,1:08:54.77,Default,,0000,0000,0000,,were produced or created generatically or\Nprocedurally, you would maybe say. And
Dialogue: 0,1:08:54.77,1:09:00.29,Default,,0000,0000,0000,,these three planets, they act as\Ncapacitive touch buttons, so you can touch
Dialogue: 0,1:09:00.29,1:09:07.06,Default,,0000,0000,0000,,on them and it gets recognized by the MCU\Non the board. And yeah, it was, it's
Dialogue: 0,1:09:07.06,1:09:12.44,Default,,0000,0000,0000,,really fun to... for me, when I work with\Ngenerative art to find a new material, but
Dialogue: 0,1:09:12.44,1:09:19.35,Default,,0000,0000,0000,,you need to figure out how to use it. And\NPCBs are just, for me, a super different
Dialogue: 0,1:09:19.35,1:09:22.66,Default,,0000,0000,0000,,material than paper or other stuff. And\Nit's also really nice that you get these
Dialogue: 0,1:09:22.66,1:09:28.06,Default,,0000,0000,0000,,high quality coatings like gold or silver\Nthat make stuff a lot more valuable and
Dialogue: 0,1:09:28.06,1:09:34.13,Default,,0000,0000,0000,,really nice to look at. So I can highly\Nrecommend the hashtag #pcbart on Twitter
Dialogue: 0,1:09:34.13,1:09:38.96,Default,,0000,0000,0000,,and Instagram. There are a lot of people\Nposting really, really nice stuff. All
Dialogue: 0,1:09:38.96,1:09:42.13,Default,,0000,0000,0000,,right. And I think it's time for us to\Nwrap up.
Dialogue: 0,1:09:42.13,1:09:47.77,Default,,0000,0000,0000,,blinry: Yeah. Our last slide, we thought,\Nbecause we are sending you into all kinds
Dialogue: 0,1:09:47.77,1:09:51.35,Default,,0000,0000,0000,,of rabbit holes anyway. That's what we're\Ntrying to do. We might, as well, list some
Dialogue: 0,1:09:51.35,1:09:56.89,Default,,0000,0000,0000,,of them very quickly. Mention them, just\Nmaybe see what sticks in your heads. This
Dialogue: 0,1:09:56.89,1:10:04.20,Default,,0000,0000,0000,,is very mean. So, mechanical keyboards:\NThere are huge communities around building
Dialogue: 0,1:10:04.20,1:10:10.02,Default,,0000,0000,0000,,your own keyboards, like picking different\Nkey-caps, different switches, different
Dialogue: 0,1:10:10.02,1:10:17.39,Default,,0000,0000,0000,,layout. Look into that. Some people are\Nreally interested in skin care and look
Dialogue: 0,1:10:17.39,1:10:25.18,Default,,0000,0000,0000,,into what different products do and their\Ningredients, communities are on this.
Dialogue: 0,1:10:25.18,1:10:31.22,Default,,0000,0000,0000,,Amateur astronomy. You can... if you know\Nwhere to look, you can find some really
Dialogue: 0,1:10:31.22,1:10:37.70,Default,,0000,0000,0000,,cool things in the galaxy that we can see\Nwithout any instruments - if you're in a
Dialogue: 0,1:10:37.70,1:10:46.66,Default,,0000,0000,0000,,good environment. You can try baking your\Nown bread, make your own sourdough with
Dialogue: 0,1:10:46.66,1:10:54.33,Default,,0000,0000,0000,,bacteria just from the air and use it to\Nbake your bread. Some people are into
Dialogue: 0,1:10:54.33,1:11:01.98,Default,,0000,0000,0000,,backpacking and optimize for weight, so\Nthey try to have equipment that weighs as
Dialogue: 0,1:11:01.98,1:11:06.18,Default,,0000,0000,0000,,little as possible, so that they don't\Nhave to carry as much and then come up
Dialogue: 0,1:11:06.18,1:11:10.98,Default,,0000,0000,0000,,with really interesting shapes for their\Ntents, where they spend these thin tarps
Dialogue: 0,1:11:10.98,1:11:18.33,Default,,0000,0000,0000,,basically between trees, for example, with\Nropes to sleep under that.Oh yeah. And if
Dialogue: 0,1:11:18.33,1:11:22.06,Default,,0000,0000,0000,,you have... if you're into cooking and you\Nhave these dull knives, which I am always
Dialogue: 0,1:11:22.06,1:11:28.33,Default,,0000,0000,0000,,annoyed about, you can get wet stones,\Nwhich is this abrasive material, and you
Dialogue: 0,1:11:28.33,1:11:33.50,Default,,0000,0000,0000,,put water on it and then you can remove\Nmaterial from your knives to make chop.
Dialogue: 0,1:11:33.50,1:11:44.51,Default,,0000,0000,0000,,There are really good YouTube videos about\Nthat. Yeah. And with that, we say thank
Dialogue: 0,1:11:44.51,1:11:51.22,Default,,0000,0000,0000,,you for listening to this. Greetings to\Nthe future, I guess. I hope you are having
Dialogue: 0,1:11:51.22,1:11:59.14,Default,,0000,0000,0000,,a good Remote Chaos Experience right now.\NAnd yeah, you have a link to the slides
Dialogue: 0,1:11:59.14,1:12:06.11,Default,,0000,0000,0000,,here if you are interested in any of\Nthose. And I guess, yeah, thanks for being
Dialogue: 0,1:12:06.11,1:12:14.02,Default,,0000,0000,0000,,here, and see you soon.\Nbleeptrack: All right.
Dialogue: 0,1:12:14.02,1:12:19.20,Default,,0000,0000,0000,,{\i1}wikipaka outro music{\i0}
Dialogue: 0,1:12:19.20,1:12:24.00,Default,,0000,0000,0000,,Subtitles created by c3subtitles.de\Nin the year 2021. Join, and help us!