An Giang info: Youtube daily report Oct 19 2018

Absolutely Beautiful Tiny Home Shell American Travelers 1.0S for sle in Miami, Florida

For more infomation >> Absolutely Beautiful Tiny Home Shell American Travelers 1.0S for sle in Miami, Florida - Duration: 1:41.

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Как сделать видео на Ютуб, популярные ошибки ютуберов - Duration: 4:59.

For more infomation >> Как сделать видео на Ютуб, популярные ошибки ютуберов - Duration: 4:59.

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BTS: Ray Without His Armor w/ Liev Shreiber | Ray Donovan | Season 6 - Duration: 1:20.

[MUSIC PLAYING]

It's that first sequence of seeing Ray in New York

without his armor.

And by his armor, I mean his uniform,

his outfit, what I'm wearing right

now, what Ray always wears.

The bus pulls out, and he's so discombobulated

that he's wearing a New York Yankees

hat, which is the last thing a Southie would ever do.

He had grown a beard and his hair was longer.

We all kind of thought he would look worse,

but, to me, it sort of felt like it was nice not having to put

on fancy clothes and airs.

He meets Winslow's assistant, and then proceeds

to interrupt the board meeting.

I just thought it was wonderful how out of place Ray felt.

It's a pleasure to see you, Ray.

You, too.

You put on a little weight.

Yeah.

No, it's good.

And I like the beard.

It was nice that he wasn't fixing anymore, that he was

like just living a normal life.

I almost wanted that for Ray.

For more infomation >> BTS: Ray Without His Armor w/ Liev Shreiber | Ray Donovan | Season 6 - Duration: 1:20.

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La Piloto 2 | John y Dave asesinan al coronel Santamaría para salvar a Yolanda y a su hijo - Duration: 1:20.

For more infomation >> La Piloto 2 | John y Dave asesinan al coronel Santamaría para salvar a Yolanda y a su hijo - Duration: 1:20.

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Jaguar S-Type 3.0 V6 (238pk) Clima/ Elek.Pakket/ C.V. Afstand/ Elek.Stoel./ Mistlampen/ 17'' LMV - Duration: 1:12.

For more infomation >> Jaguar S-Type 3.0 V6 (238pk) Clima/ Elek.Pakket/ C.V. Afstand/ Elek.Stoel./ Mistlampen/ 17'' LMV - Duration: 1:12.

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Je sais pas si t'as vu cette semaine... P.Diddy est célib - Duration: 1:33.

For more infomation >> Je sais pas si t'as vu cette semaine... P.Diddy est célib - Duration: 1:33.

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What Even Is Music? - Duration: 9:15.

this video is sponsored by Brilliant!

hey, welcome to 12tone! a while back, I made a video about whether or not rap counts as

music, and yes, it still does.

but working on that video got me thinking about a really important question: what is

music?

how do we define it?

I mean, sure, this is a question we've been debating for centuries, if not millennia,

but I'm pretty sure I can conclusively settle the debate in one youtube video.

it can't be that hard, right?

one popular answer comes from composer Edgard Varése, who described music as "organized

sound".

now, I do like how this answer allows for all sorts of different musical traditions,

but in the end I'm not really a fan. for starters, what does "organized" mean?

I think most people would agree that, say, the sound of waves crashing on a shore isn't

music, even though it has a clear pattern to it.

when we say organized sound, then, we actually mean sound organized intentionally, by an

intelligent being like a human.

this is still not great, though, because there's lots of stuff that meets that definition but

isn't generally considered music.

speech, for instance, is highly organized: right now, I'm carefully arranging a complex

series of phonemes in order to communicate a specific set of ideas.

in a sense, I think speech is actually too organized to be music: we've created semantic

meaning on top of those sounds, allowing us to convey more precise ideas than we could

with sound alone.

the process is no longer purely sonic: the sounds interact with previous experiences

and knowledge in order to create deeper meaning.

but we can't just rule out everything with a vocabulary, though, 'cause that same process

happens with music, too: to many listeners, this (bang) communicates the idea of sharks,

not because of anything inherently shark-y in the notes, but because of a shared cultural

experience.

in the end, I think "organized sound" is somehow both too precise and too vague to be a good

definition.

before I get to the answer I do like, though, I want to talk a bit about how I got there.

one thing that comes up a lot in these discussions is a John Cage piece called 4'33", where a

performer sits at their instrument and plays nothing for 4 minutes and 33 seconds.

the argument is that, if 4'33" is music, then clearly anything where anyone intentionally

makes any sort of noise can be music, and if you want to know more about the piece,

I've linked to some great videos on it in the description, but I actually don't really

like using it in this context, 'cause it feels like just taking a sledgehammer to the problem.

you're skipping to the end of the novel: sure, you know the conclusion, but you missed the

whole journey of getting there and you're left without a good understanding of what

it all means.

so instead of relying on the most blunt piece of anti-music out there to make our point,

let's take a trip through the world of experimental music and see what it has to teach us about

what music actually is.

in fact, let's start with another John Cage piece, Imaginary Landscapes no.

4. this is a piece written for 12 AM radios and 24 performers, half of which control the

stations while the other half control the volume and timbre. in a performance of the

piece, different radio stations fade in and out, seemingly at random but actually in very

specific patterns.

the structure of the sound is organized, but what actually comes out is entirely unpredictable.

some of the stations are playing other pieces of music, some are news reports, some are

commercials, and some, of course, are static.

what you get depends on where you are and when you play it.

the only constant is the actions taken by the performers.

so, is it music? because if it is, we're gonna have to expand our definition.

another piece I want to look at is Cornelius Cardew's Treatise, probably the magnum opus

of the entire graphic score movement.

we made a video about this before, but basically graphic scores are when you write music in

an intentionally unclear way, forcing the performer to provide their own interpretation

of whatever you wrote down.

Treatise is, at its heart, 193 pages of abstract shapes and drawings presented as a musical

score.

it comes with no instructions: if you want to perform it, you first have to determine

for yourself what the various elements mean. for instance, you might interpret larger shapes

as representing louder sounds, whereas I might read them as longer durations, or richer harmonies.

all of those interpretations are equally valid, because Cardew never specified any of it.

so the question is, is Treatise music?

like, any performance of it probably is, because at that point it's been converted into recognizable

sonic art, but is the score itself? it might seem strange to think of a score as a piece

of music on its own, but it's actually pretty common: like, I suspect most of you would

probably agree that Beethoven's 5th symphony is music.

and not just whatever orchestra you happen to see perform it: there's something about

Beethoven's 5th that makes it feel appropriate to describe it, in the abstract, as a piece

of music, whether or not we're actually listening to it.

the obvious explanation here is that every performance of it will sound largely the same,

so the score is music because it represents a specific series of sounds.

it may vary a little based on the performers' skill, the acoustics of the venue, and other

factors, but, more or less, Beethoven's 5th is Beethoven's 5th. that's not always the

case, though, which brings me to my next example, Terry Riley's In C. this is a piece for around

35 players, though Riley doesn't really care which instruments you use, and larger or smaller

orchestras are fine too.

the score consists of 53 melodic fragments, with each performer instructed to play each

fragment as many times as they personally want to before moving on.

tempo is left up to the performers' discretion, and Riley encourages you to drift in and out

of sync with each other rhythmically to create new and interesting patterns.

he warns against getting too far ahead or behind other players, but beyond that pretty

much the entire realization of the score is left in the hands of the performers.

thus, every performance of In C is fundamentally different, so the score can't be said to represent

any specific sounds.

the only hint of compositional structure is that Riley recommends a performance last around

45 minutes to an hour, and gives a few instructions on how to end the piece, so if In C is music

then a score doesn't have to always produce the same performance in order to be musical.

which brings us back to Treatise.

again, is it music?

while you're thinking about that, I'll move on to probably my favorite experimental piece:

Steve Reich's pendulum music.

here, a series of speakers are laid on the ground facing up, and microphones are set

to swing back and forth above them.

when the microphones get close to the speakers, they create feedback, and the different microphones

swinging at slightly different speeds creates a complex series of interconnected rhythms.

here, we see an almost complete lack of intentionality: the rhythms aren't planned, nor are they controlled

by a performer.

in fact, once the microphones are set swinging, there's no further human intervention at all

until the pendulums have completely stopped, hanging over their speakers and creating constant

feedback until the performers unplug the system.

for something so random, I think it's a pretty profoundly musical experience, but is it music?

well, at this point I think I'm pretty much ready to provide my definition, but before

that, let's take one last look at 4'33".

one argument I've seen is that it's better viewed not as music, but as performance art,

and I think there's a pretty good case there.

the problem, though, is that the point of that performance is that it's presented as

a piece of music.

it relies on our cultural understanding of what music is in order to work, and it falls

apart if you don't view it through that lens. without music, it's just someone sitting at

a piano.

with that in mind, the definition I like is based on a quote by Italian composer Luciano

Berio, who said that music is "everything that one listens to with the intention of

listening to music.''

I think this captures a lot of the ambiguity we've seen, and I like how it frames music

as experiential, created by the listener, rather than expressive, created by the composer

or performer.

I do take some issue, however, with its emphasis on intent: in Berio's framing, music can't

happen by accident.

you can't have an unexpectedly musical experience, you have to go into it with the expectation

of music or it doesn't count.

I don't know if that's his actual stance or if it's just a translation thing, but either

way, my personal definition is that music is anything that you experience as musical.

I know that sounds like a massive cop-out, but I hope by this point I've illustrated

why I think more rigid definitions are destined to fail.

the boundaries between music and non-music aren't actually clear enough to define, and

trying to precisely pin it down just opens you up to obvious counterexamples.

before we go, though, I do want to clarify something: I'm not saying that everything

is music.

what I'm saying is that everything can be music.

it's a subtle difference, but it's incredibly important.

when I make this claim, I often get people who argue I'm implying that, say, their washing

machine is music, or the conversation they had with their neighbor this morning is, but

I don't think any of that is music unless someone experienced it as such: if the sound

of your washing machine had a particularly rhythmic pattern to it and you found yourself

dancing, or if the prosody of your neighbor's voice took on noticeably melodic qualities

to your ear, then yes, it's music, but if not? it's just sound.

music is a quality we find in that sound, not for any inherent reason, but because we

put it there.

we give it meaning, which is what makes it mean something.

until then? it's just sound.

it's all just sound.

I love these sorts of questions because they require lots of complex reasoning to answer

meaningfully, and if you're into that sort of thing I'd recommend this video's sponsor,

Brilliant.

being a good music theorist means developing your critical thinking skills, and Brilliant

is a great place to do that.

they have all sorts of puzzles and quizzes to help teach you about math, science, and

most importantly, logic: I've been playing through their logic puzzles course recently,

and it's been both really fun and really informative.

it guides you from simple problem-solving into complex, multi-layered reasoning, all

with clear, helpful explanations to make sure you understand what you're doing.

it's fast-paced, covering the things it needs to cover without repeating itself over and

over, so once you've mastered a problem set you can quickly move on to more difficult

challenges.

they also have lots of other courses about things like math and computers, so if you

want to develop your skills or just learn more about Brilliant, you can go to brilliant.org/12tone

and sign up for free.

plus, the first 200 people to click that link will get 20% off their already-cheap annual

Premium subscription.

so yeah, check it out, and have fun learning!

and hey, thanks for watching, and thanks to our Patreon patrons for supporting us and

making these videos possible.

if you want to help out, and get some sweet perks like sneak peeks of upcoming episodes,

there's a link to our Patreon on screen now.

you can also join our mailing list to find out about new episodes, like, share, comment,

subscribe, and above all, keep on rockin'.

For more infomation >> What Even Is Music? - Duration: 9:15.

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Alien's Guide to SAUSAGE PARTY (Orig. Air Date: 11/26/2016) - Duration: 6:23.

Greetings, and welcome to Earthling Cinema.

I am your host, Garyx Wormuloid.

This week's artifact is Sausage Party, a 90-minute dick joke from Seth Rogen and his writing

partner, the guy who wrote with Seth Rogen.

The story takes place in an alternate version of Earth where vegetarians can't be so smug

anymore because all food items are living breathing creatures.

And not just food.

Also hygiene products.

And socks.

But not books or utensils or trash cans or clothes or furniture.

The rules are confusing.

Anyway, the groceries in the supermarket worship the human customers as gods, and they think

being purchased is like ascending to heaven, which on Earth was known as the moon.

Our protagonists are Frank the sausage and Brenda the bun, and they are the horniest

motherf*ckers you've ever seen.

But they have to wait to have sex until after they die.

Fortunately, before we have time to think about it too carefully, their packages get

chosen, no doubt for some depressing suburban block party.

Suddenly a jar of honey mustard starts spouting off about the afterlife being a lie and kills

himself, causing a collision that throws most of the important characters off the shopping

cart and into movie history.

Spurred on by the honey mustard's last words, Frank seeks out Firewater, who tells him "Great

Beyond, more like Fake Beyond," because that shit's made up.

Which checks out, because the groceries that were purchased earlier are now being brutally

slaughtered.

A little chode named Barry manages to escape and ends up at the house of what I'm assuming

is a congressman, what with how Earth's Congress was in those days.

Look out, Garyx is getting political!

The congressman does some bath salts, which allows him to communicate with his groceries.

This freaks him out, because it's the first time he's ever listened to his constituents.

Hey-o!

Alright, that's enough politics for one day.

At the supermarket, Frank finds a cookbook that reveals the horrible things that happen

to food, such as microwaves and an overreliance on sriracha.

He shows it to the others, but they're not really much of a reading crowd.

That chode Barry returns with the congressman's head and reveals that the so called

"gods" can be killed.

So the foods proceed to wage war on the humans, murdering them all in cold blood.

Then they transition seamlessly into a store-wide, non denominational fuckfest.

After our heroes finish up, Firewater and a piece of Bubblicious tell them they are

actually cartoon characters voiced by human celebrities in an alternate dimension.

But what do you know, they were able to whip up a portal to that dimension, no sweat.

They go through the portal to avoid having to explain all the dead humans, or deal with

the fact that nothing has changed, and food will never be safe from consumption for the

rest of time.

At its core, Sausage Party reflects the rampant disillusionment present during that era of

Earth's history, commonly referred to as the Middle Ages.

The film's CGI-animated food initially resembles the anthropomorphized characters of light-hearted

offerings by Pixar and Disney and Disney/Pixar.

But the film shatters the saccharine tone of its contemporaries when it portrays the

sinister reality of its many genital metaphors.

In contrast to the typical animated film, Sausage Party is a cynical parable of religion

and its effect on societies, both negative and slightly-less-negative.

The film reduces Earth's major religious groups to a hodgepodge of stereotypes.

The sausages and buns subscribe to a Puritanical version of Christianity, albeit one that allows

them strut around butt-ass naked.

Judaism is represented by a bagel that sounds like Amazon Prime's own Woody Allen.

Kareem Abdul Lavash represents the Muslim faith,

He is defined by his hatred for Jews and his regressive attitude toward bitches.

Firewater symbolizes the white conception of Native American spirituality, and the Nazis

are in there too just for kicks.

Orderly, synchronized kicks.

The supermarket's religious system was concocted by the non perishables as a means to pacify

society and protect them from their own stupid brains.

Or whatever circulatory mechanism allows these monsters to live.

The promise of a Great Beyond eases the foods' suffering, letting them look to their impending

demise with plucky optimism.

This tactic illustrates the concept of Plato's noble lie, a fictitious story used to persuade

individuals to accept their roles.

Just remember that each time the noble lie is used, Plato's nose grows a little longer.

As with any lie, it works best when people don't ask too many questions.

Thus, faith is an important element in the foodie community.

When Honey Mustard returns from the Great Beyond and tries to warn everyone, he is ridiculed

and silenced, because nobody wants to slide open the Ziploc bag of faith they've worked

so hard to seal.

The only way to challenge such a stubborn belief is with the incontrovertible proof

of a severed head.

The film's ultimate message is to embrace hedonism, and then have sex with it.

There's no point living your life in anticipation of some pot of gold at the end of the rainbox.

In the end, you either get eaten and digested or thrown away to rot.

So you might as well put aside your petty differences and pursue as much pleasure as

you possibly can.

Which is why I film every episode with no pants on.

For Earthling Cinema, I'm Garyx Wormuloid.

Keep snackin'.

For more infomation >> Alien's Guide to SAUSAGE PARTY (Orig. Air Date: 11/26/2016) - Duration: 6:23.

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Jeanfi Janssens – DALS : Je suis épuisé, aminci, fatigué - Duration: 6:52.

For more infomation >> Jeanfi Janssens – DALS : Je suis épuisé, aminci, fatigué - Duration: 6:52.

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Major Magnus Hallberg - interoperabilita na nejnižší úrovni - Duration: 2:05.

For more infomation >> Major Magnus Hallberg - interoperabilita na nejnižší úrovni - Duration: 2:05.

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Emergency Management BC Central Region: From Fire to Flood. Historic Disaster Response 2017 - Duration: 2:42.

2017 was a historical year for floods and wildfires in British Columbia the

floods came earlier and they were greater size and impact and what we're

still dealing with these historic floods that caused the evacuations and

destruction of critical infrastructure in homes we were impacted by fires they

were so intense and so large that we'd never seen before 2017 I think was

notable because the evacuations and the impacts were at a level that we

previously hadn't seen some 65,000 evacuees throughout the course of the

event so it's really brought our awareness of the level of events that we

need to prepare for because of the magnitude of the 2017 events it brought

us to a point where we needed to think bigger and broader and there was gaps

missing that we were able to address actively as we were going through the

event and things that you cannot learn when you're sitting around a table that

you can learn when you're actually tasked to do something the role of the

provincial regional emergency operation center during any provincial emergency

is to support the local authorities and the First Nations in their response to

taken care of the people and their land base we are the coordinating agency for

the local authorities and the First Nations what we do is establish an

organisation that all the other stakeholders can come and plug and play

into we had at one point 27 different levels of local government that we were

supporting effectively we build a whole new organisation at the time of the

event and bring the rest of the ministries into that organisation to

focus on the response so that it's successful Emergency Management - the

growth industry and we really have to be cognizant of that and we've been

challenged with the scope and scale and the magnitude and the frequency of

emergencies and disasters in the last few years we need to continue to mentor

and build on our staff sets and of course the subject matter experts that

we use in all of these facets around these different types of emergencies

it's really humbling to see what the BC Public Service does when it sends its

best the overall response to that event was tremendous building those

stakeholder relation chips and having relationships built on

trust they care about others they want to do their best and they rise to the

occasion on a daily basis the people that work in emergency management care

about the people are the problems

you

For more infomation >> Emergency Management BC Central Region: From Fire to Flood. Historic Disaster Response 2017 - Duration: 2:42.

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小S野餐甜笑给拍照沦为背景怒批：不受尊重 - Duration: 2:25.

For more infomation >> 小S野餐甜笑给拍照沦为背景怒批：不受尊重 - Duration: 2:25.

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Byli jsme v Ralsku! | Hledáme národní skautské tábořiště (1) #SvojsíkůvSen - Duration: 1:26.

For more infomation >> Byli jsme v Ralsku! | Hledáme národní skautské tábořiště (1) #SvojsíkůvSen - Duration: 1:26.

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TPMP: Pamela Anderson va quitter DALS 9 d'après Cyril Hanouna - Duration: 8:21.

For more infomation >> TPMP: Pamela Anderson va quitter DALS 9 d'après Cyril Hanouna - Duration: 8:21.

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CD-ROM, CD-R, CD-RW, Books of Red, Blue, Purple, Beige, Orange, Scarlet... - Duration: 17:16.

If you look at a blank CD-R, odds are you'll find these two numbers.

80 minutes of audio, and 700 megabytes of data.

You may be surprised to learn that these two numbers don't match.

See, let's take the 80 minute figure.

We know that the Compact Disc Digital Audio standard consists of 2 16 bit streams

(2 because it's stereo audio)

each consisting of 44,100 samples per second.

Let's make it a bit easier and say that it's one stream of 8 bit words or bytes,

so by doubling 44,100 twice

(once for stereo, once again to turn 16 bits into 8),

we find that it's 176,400 bytes per second.

Multiply that figure by 60 for sixty seconds per minute,

and again by 80 for our eighty minute runtime, and you get…

846,720,000 bytes.

It would seem that an audio CD holds over 146 more megabytes than a data CD.

What gives?

We interrupt this program for a marginally important message.

In the computing world there is an unfortunate mixing of the terms megabyte and mebibyte.

You'll almost never hear someone say mebibyte, because it's a silly word, but the 700 on

this disc is actually referencing mebibytes.

What's the difference?

A Megabyte is 1,000,000 bytes, based on powers of 10.

A mebibyte is based on powers of 2, so it is actually 2 to the 20th bytes.

So, a kibibyte is 1,024 bytes (rather than 1,000) and a mebibyte is 1,024 kibibytes.

This annoying debacle has been causing problems forever, for example hard drive manufacturers

quote sizes in gigabytes or terabytes, when your PC works in terms of gibibytes and tebibytes.

So this 2 terabyte portable drive only appears as 1.81 terabytes on my PC.

But my PC is actually misrepresenting this figure as terabytes when it is in fact tebibytes.

But CDs and DVDs are quoted in mebibytes and gibibytes, so even though this label shows

MB instead of the correct M lowercase i B, my computer does the same mislabeling, and

since they're both wrong, they agree.

Anyway, all of this is to say, I'll be using the word Megabyte, even though sometimes it's

actually a mebibyte.

Please send complaints to:

It would seem that an audio CD holds over 146 more megabytes than a data CD.

What gives?

Well it's actually more of a "what takes away" as the CD-ROM standard sacrifices

those bytes for more precise error correction.

As discussed in this channel's first video on the compact disc, the CIRC error correction

used in the Compact Disc Digital Audio standard can perfectly correct errors up to 3,500 bits long.

But, it can also mask errors up to 12,000 bits long through interpolation.

That means that it's essentially guessing what the audio samples should be for errors

between 3,500 bits and 12,000 bits.

Now, for audio samples, that's fine.

12,000 bits is less than one one hundredth of a second of audio, so even though the error

correction might be fudging things, you'll almost certainly not notice it.

But for data, that's not gonna do it.

Data cannot be fudged without serious consequences.

In order for the compact disc to store data files reliably, it would either need to sacrifice

durability or come up with a new error correction scheme.

And it did neither.

But also yes.

CD-ROMs

(or would that be CDs-ROM?)

use the same CIRC error correction and basic data

structure of the CD-Audio disc, including the frame structure, subcode, and all that.

But more error correction was added within the frame (which we've now formally decided

to call a sector).

Of the 2,352 bytes available in a sector on an audio CD, 304 get sacrificed, mostly for

error correction, but also for some basic signalling, such as synchronization and distinguishing

between mode 1 and mode 2.

Combined with an additional layer of CIRC error correction, the CD-ROM standard maintained

the same durability with zero tolerance error correction.

We'll get to Mode 2 later, but nearly all CD-Data applications use Mode 1 for its complete

error correction.

Now that the compact disc was being used for more than a simple linear stream of audio,

a true file system needed to be standardized.

Initially things were rather ad-hoc, but a group of 12 computer hardware manufacturers

met at what was then the High Sierra Hotel and Casino in Lake Tahoe, CA, where they settled

on a standard called the High Sierra Format.

Eventually this would become ISO 9660, the standard used to this day, however it has

been extended and improved over the years.

Now that the CD-ROM was officially a thing, whole new multimedia experiences could be created.

With the ability to store images, program files, sounds and even video, the possibilities

with CD-ROM were seemingly limitless.

No longer bound by the 1.44 megabytes of a 3.5 inch floppy, elaborate games with full-on

soundtracks, thousands of color images, and more complicated structure could be produced.

My greatest nostalgia factor comes from mid-nineties educational games, like the Magic School Bus

games or my personal favorite, JumpStart 3rd grade.

Seriously, this was a wicked awesome game and it's holding up pretty well I'd say.

[In another day, the world will see the dawning of Polly Planet.]

*buzz sound*

[Whoops!]

[It seems there's someone at the door.]

[Let's take a little peek!]

Anyway, of course home computers weren't the only beneficiaries of this sort of vast

data store.

Video game consoles soon appeared which could take advantage of it, in fact one of the earliest

was the Philips CD-i system.

It technically wasn't using CD-ROMs, though, as CD-i discs were in fact their very own

category, published in the Green Book.

But unless you're either very young or were living under a rock through the 1990's and

early 2000's, I'm sure you already knew what CD-ROMs could do.

But the OM, in that CD-ROM, man that's a bummer.

Sure, having 700 megabytes at your disposal is fantastic, but no one has a CD manufacturing

and duplication facility just at home.

But wait, they do!

The development of the CD-R, for Compact Disc Recordable, meant that no longer would you

be forced to write up a contract with a commercial CD pressing facility for at least 10,000 discs

just to make a mixtape, instead all you needed was a $35,000 machine and a computer!

It would take until the mid-to-late 90's for CD burners to come down in price, and

even then there were annoyances, but now we're really talking.

A CD-R, which incidentally is a pirate's favorite kind of CD, is constructed much the

same as a normal CD, but with two important changes.

First, the pits and lands molded into the polycarbonate layer are replaced with a continuous

spiral pregroove.

This spiral will guide the laser of a drive writing to a disc, and it also contains the

ATIP which tells the drive the properties of the disc, such as its maximum write speed.

Right on top of the pregroove is a thin layer of an organic dye.

That's why CD-Rs are sometimes a strange color, or even just a little bit off from

the normal silver.

Then on top of the dye, a partially transparent thin layer of metal, usually aluminum, is placed.

This allows the laser light to be reflected back while still being influenced by the dye.

To burn data on the disc, the laser switches from it's everyday gentle glow

to an all-out LIGHT CANNON

of FIRE LASER,

and the high intensity heats up the dye so much that its optical

properties change.

That's right, CD burners are literally burning the equivalent of pits onto the disc.

Once it's been written, almost any CD drive, going back to the earliest CD players, can

read these discs.

The parts of the dye that were made into a "pit" by the writing laser will dim the

reading laser's reflection, which is much the same as how real pits cause destructive

interference.

So long as the CD reader can tell the difference between a burned spot and an untouched spot,

it will read the data just fine.

Being able to store data files onto a compact disc at home meant that just one of these

guys could replace hundreds of floppy disks.

But now we had a new problem.

Remember how in a normal CD, there are three parts?

The Lead-in, program area, and lead-out?

Well, if we stuck to this limitation for the CD-R, then if you were to write as little

as a Word document on a blank CD,

you'll have written the lead-out,

and now the disc is done.

The Orange Book introduced the standard of multi-session writing.

Now, after the lead-out of the disc, another lead-in can be made.

Each time a new session is made, the lead-in is updated to include the location of all

the files.

On a multi-session disc, the drive will look for all of the lead-ins, and once it finds

the last one, it basically just ignores the rest.

This is also how a file can be "deleted" from a CD-R, as the latest lead-in may simply

not include it in the table of contents.

But the data is still physically there, and there are ways of getting to it.

Of course, the central limitation to the CD-R is that is a write-once, read many format.

In fact, its original name was going to be CD-Write Once, which I really wish had been

stuck with because we could have called them CD-WOs!

Woah!

But, we wouldn't be stuck with write-only for long.

Interestingly, the Orange Book detailed a rewritable CD based on magneto-optical technology

in 1990 (the technology behind the MiniDisc).

This never made it to commercial production, but the CD-MO would have been the perfect

companion to the CD-WO.

Instead, we got the CD-RW in 1997.

This is functionally identical to a CD-R, but the organic dye layer is replaced with

a Silver-Indium-Antimony-Tellurium alloy, also called by at least one person

AgInSbTe.

This alloy has a unique property which alters its reflectivity based on phase changes.

In an unburned disc, the alloy is in a polycrystalline structure.

But when the laser heats it to somewhere in the neighborhood of 500-700 degrees C, it

melts it.

And when it solidifies, it no longer has the same crystalline structure, and thus it reflects

light about 15-25% less intensely than the crystalline parts.

So, spots that are melted by the laser turn into sorta pits, and spots that aren't remain

sorta lands.

What allows the disc to be re-written is that when the alloy is heated to around 200 degrees C,

it doesn't melt, but any parts that have lost their polycrystalline structure will

actually reform.

This effectively erases all of the burned pits, and allows the disc to be written again.

CD-RWs have several severe limitations, though.

Unlike a CD-R, these discs generally cannot be read in standard drives.

Because the change in reflectivity between a pit and land is so slight, a CD reader needs

to be much more sensitive to pick up the data.

After the introduction of the CD-RW, many standard CD readers were made more sensitive

to accommodate them, sometimes branded as Multi-Read, but it certainly wasn't universal.

Another big problem of the CD-RW was that the discs weren't always backwards compatible.

Because of that phase-changing alloy, there is actually a minimum speed to write the disc.

This basic 1-4X disc will work in pretty much any drive, so long as you can force it to

burn slowly, but later, higher-speed discs might need a minimum speed of 8x or more,

so if you only had a 4x drive, you're SOL.

And before we put the CD to rest, let's look at some of the other stuff that those

crafty engineers at Sony and Philips jammed into here.

Remember the subcode channels R through W?

Eventually these would get used.

CD+G, for CD Graphics, was used in karaoke machines.

The first CD+G discs were released in 1985.

This was further refined into the CD+EG, standing for Extended Graphics.

In what seems backwards, it would take 11 years for Sony to introduce the CD Text format,

in 1996.

Also using the R through W subcode channels, this was essentially a way to add metadata

such as track titles, artists, album, and all that jazz.

Oddly, I can't find references to it being used for lyrics, which seems a wasted opportunity

as there definitely is room.

Remember the Mode 2 in CD-ROM I talked about earlier?

That's right, I'm putting it in the same video this time.

CD-ROM Mode 2 sacrificed some of the error correction of mode 1 for a larger data capacity,

about 800 megabytes.

You wouldn't want a computer program or documents stored in Mode 2, but for things

like video files or large collections of images where a small error will simply result in

a glitch or artifact, it was OK to use.

Video CDs, defined in the White book, used Mode 2, and now that I know that, VCDs make

a lot more sense to me.

The video compression of VCD is ridiculous, but knowing that it's actually playing with

800 megabytes makes it seem a little less crazy.

And there were other odds and ends.

The delightful

beige

book defined a standard for photo CDs in 1992.

The standard was a little ahead of its time though, as in 1992 CD-ROM drives really weren't

that common yet, and it also stored photos in a proprietary format.

Kodak developed the Photo CD in a time when digital cameras weren't really a thing at

all for consumers, so in a sense it was a very clever product.

Get your film developed and receive a disc with very high-resolution scans for future use.

But by the time CD-ROM drives became widespread, digital cameras were starting to appear.

And, once CD burners came down in price, well you could just burn JPEGs onto a CD (which,

you might recall, many DVD players can show as a slideshow on your TV).

You look back at Kodak's history and you just can't help but feel sorry for them.

And to round out the rainbow, the Blue Book of 1995 defined the Enhanced CD, which functioned

both as an Audio CD and a CD-ROM, with two sessions on a stamped disc.

This was kinda neat, as a CD player would treat it as a normal audio CD, but you could

store photos or interactive material in the data portion which a computer could access.

The Scarlet book of 1999 defined the standards of the Super Audio CD, a high-res audio format,

which is pretty much just a DVD but with audio only.

It also had significantly different audio encoding, which I won't go into right now,

and multi-channel support.

And the last of the rainbow books was the Purple Book of 2000, which if you thought

the Super Audio CD was obscure, well you haven't read the Purple Book.

All this was was a reduction in pit size and narrower spacing to double the data capacity

of a CD.

And, it was only for use as data storage, not audio.

But, when DVDs already existed, what was the point?

That's pretty much what everyone asked, and it was practically dead on arrival.

But an interesting thing about the purple book.

In a way, it had been implemented (although much more subtly) long before it was published.

See, the original Compact Disc standard was 74 minutes or 650 megabytes of data.

But, the vast majority of CD-Rs and CD-RWs you can buy are 80 minutes, 700 megabytes.

It was discovered not long into the life of the CD that the tolerances were generous enough

to space the tracks just a little bit tighter together without violating the Red Book specs.

The purple book just did that to a much more radical extent, but many years too late.

And finally, one thing you should know about pretty much all writable optical media.

The dyes and alloys aren't terribly stable.

Many of the earliest CD-Rs are failing, as the dye is degrading or the disc is delaminating.

If you have any precious data stored on optical media, you might want to back that up pretty soon.

Thanks for watching, I hope you enjoyed the video!

This just about wraps up the saga on the Compact Disc.

I think I hit all the bases, but I certainly didn't go into detail on everything.

If there's something more specific you'd like me to look into, let me know in the comments

and I'll see what I can do!

As always, thank you to everyone who supports this channel on Patreon.

I say this every time, but seriously.

Thank you.

Your support makes this channel possible, and you are awesome for it.

If you would like to join the Patreon crew to support the channel as well as get perks

like early video access, some occasional behind the scenes stuff, and the inside scoop on

the latest projects, please check out my Patreon page.

Thanks for your consideration, and I'll see you next time!

♪ exceptionally smooth jazz ♪

So long as the CD reader can tell the difference between a burned spot and an untouched spot,

it will read the data just fine.

I need to record that line because I screwed it up.

The development of the CD-R, for Compact Disc Recordable, meant that no longer… wait…

…

No that was right.

[clears throat] Let's try again!

...was replaced with a silver, indium, antinomy…

antiMOny, right?

It's Antimony?

Yeah.

Antimony Cricket!

And it also stored photos in a proprietary format Kodak developed….

AHH!

It technically wasn't using CD-ROMs, though, as CD-i discs were in fact their very own

category, published…

…

...in the green book.

For more infomation >> CD-ROM, CD-R, CD-RW, Books of Red, Blue, Purple, Beige, Orange, Scarlet... - Duration: 17:16.

-------------------------------------------

Senegal, The Socialist Party has never betrayed its course of action, the cries of a socialist! - Duration: 10:47.

[Music]

We remember you were in

your show for ethics we

went for a ride he thought

the best way to cope is to

turned to all the work

senghor there of the plain of game I have to

remind remind that at that time

the presence well montano remind

today is that they speak of

Senghor are those who know

under president senghor they failed

lived the era of senghor they failed

read the writings of senghor and although we

reads the writings whether they have not

including the writings of its hinges the by

the history of social housing had to

absorb several organizations

several political organizations

Today the partizan and absorb

several political parties of the time of

Senghor to abdou diouf time

so the present tight senghor tight

would be pleased today to see that

the Socialist party he created in

1948 continues always to fight

wanting to fight directly to be

fight for the interest of senegal for

the interest of the Senegalese for nation

the interest of the Republic for

consolidate this Republic which has

built to consolidate this State who

beat him up for what in any case that the

Senegalese are either either in whole

case and he can speak of Senegalese is

that is not a kind of

betrayal to voters because it

gives me actually I strip idea I have to

tell you I should tell you that in fact

and some terms that seems less

embarrassed North or in your words the party

Socialist never betrayed his line of

driving the party never has this service

Remember that it is a party of obedience

Socialist the Socialist Party must

never the Championship going to ousmane and

Indian stand and now and in

time said anything recently that

given its age it is not that they

make way for youth

He now works for letting me

my Socialist party he works

today for those who have 20 years 30

years of political career before I

hear me well here by want of us

let you leave ragged

This morning having good to let us in

Socialist Party conqueror my party

Socialist ready to face the

battles and this is what we off that

would be dying in part would be that in

less than six months before him more than one hundred

fifty thousand because the Member where I

think that the people speak in

our Socialist Party but it's not the

Socialist Party to which I belong

the Socialist Party to which me I me the

social party at which I am fighting to the

daily

the Socialist Party which I know I

know how much the militants at the door of the

party to buy spontaneously

the gap and come work with us I

dois vous rappeler qu'on a une instance

qui s'appelle vision socialiste c'est

une structure qui regroupe uniquement de

cadres celle ci regroupe aujourd'hui

plus de 200 cadres qui sont dans

l'administration centrale qui sont dans

la haute administration qui sont dans

les grandes entreprises qui sont dans

les instances internationales et qui

sont venus spontanément un plus de

lesage professionnel vous venir militer

au parti socialiste pour un idéal vous

pensez en partie qui comptent qui

fonctionne comme ça en partie aussi afin

que le parti socialiste s'est réparti

mourant les gens doivent arrêter de

tenir certains propos à l'égard du parti

socialiste

nous savons ce que nous sommes et nous

restons ce que nous sommes par contre

qu'à l'intérieur du sénégal ces régions

nous mettrons à dos côté nos intérêts

égoïstes et travaille uniquement pour

l'un truffe par le sénégal c'est ça

aujourd'hui le sens tout le sens tout le

sens de l'investiture de macky sall par

le parti socialiste comme candidat aux

élections présidentielles de 2012 le

parti socialiste est une doctrine le

parti socialiste une philosophie

on peut par en ligne de craie on peut

pas vendre une philosophie

les gens doivent arrêter de penser que

le parti seul ça a été je ne peux pas

vendre mon parti c'est parti de là part

tient à personne mais ça nous appartient

à nous tous sont partis dans lequel les

décisions sont prises par les instances

les décisions sont prises par les

militants et ousmane tanor dieng jamais

une seule fois il seule fois de nous

imposer une volonté même si les textes

du parti de lui permettent donc les gens

doivent apprendre à réfléchir de façon

de façon assez series et arrêter de

tenir certains vous allez à l'encontre

du parti socialiste

vous avez parlé de démocratie tout à

l'heure est ce qu'on peut dire que la

démocratie règnent au sein du parti

parce que des certains anciens du parti

se plaignent ils disent que ousmane

n'diaye après tout cela décision de

rejoindre l'autre et hakkar est alors

que son mandat à lui est terminée depuis

le 7 juin et de pourquoi ne pas faire un

autre congrès pour élire un secrétaire

général de toutes les façons s'il doit y

avoir au congrès ça sera avec les

membres du parti socialiste c'est qu'ils

ont plus dans le parti ne peuvent plus

participer à nos contrées ne faut plus

participer à nos instances sandales

précisé deuxième élément a précisé le

parti socialiste ne connaît pas le plus

ancien le nouveau que celui qui est

d'arriver dès lors que vous avez pris la

décision d'acheter la carte de membre du

parti et d'accepter de respecter les

règles fonctionnement du parti

vous avez les mêmes droits et les mêmes

prérogatives avec celui qui est là

depuis 1960

donc ce rapport qu'il s'agit dans ces

deux nouveaux ou le tout nouveau

nous avons tous les mêmes droits et les

mêmes obligations c'est de respecter les

instances du parti

c'est de respecter les décisions du

parti prise à l'issue de débats

démocratiques

je dois également rappelé le mode de

prise de décision dans la partie à

chaque fois qu'une question est agitée

et les poser au plus politique qui est

composé de plus de 200 membres

c'est même là qui composent le bureau

politique chacun d'entre eux est

responsable d'une coordination du niño

régionales où le mouvement affilié au

parti ces personnes là qui de façon

démocratique pour passer toute la

journée à échanger pour prendre une

décision mais si à l'issue de notre

décision

aucune décision majoritaire est prise

cette décision mazout est là qui sera la

décision du parti

la dernière en date a été celle par

laquelle le parti a souverainement

décidé d'investir macky sall comme

candidat aux élections présidentielles

c'est une décision qui a été prise de

façon démocratique

mélangez doit également

la fin du mandat de la fin des mandats

los montes en auriez je dois vous

remember that this morning did nothing was

elected in the month of June 2014 which we

speak expiration mona does

not even know what today

are the texts that organizes

functioning of the party

since 1 January 2018

we began the process of

renewal of proceedings

we sold meantime more

one hundred and fifty thousand membership cards

the general area after a circular

from September to

indicate the different comrades

bodies such as the process

renewal to take place and

process there and I think already triggered

that can not be solved in a

morning organized renewal

all instances of the social party

Committee says the congress elects a

new general yang secret process

respect it renews our committee

sections of our coordinations Our Unions

regional women's movement our

game motion movement's case

our movements wise before

convene a congress that will confirm to

now it is the election of the sector

General that I have to remind also

is made by call for applications

effecter party general appealed

for applications all he wanted

is that I was not going that they must

déposer et qu'on leur nominations

organizing a ballot at the bases

activists vote to elect the

general area that is the process

election

the general area of the party process

what can be done in a week

Omois that people keep saying we

the mandate of the General Ousmane sector

this mandate has expired is still ongoing

so there will not be another congress

where this mandate noryeva always continue

to be the general area of the party

[Music]

Yes

[Music]

For more infomation >> Senegal, The Socialist Party has never betrayed its course of action, the cries of a socialist! - Duration: 10:47.