On Oct. 23, PPL appointed Christine M. Martin as president of PPL Electric Utilities, the regulated utility that delivers electricity to about 1.5 million customers in eastern and central Pennsylvania. Martin took that job on Oct. 23. She had served as ...

PPL to report third-quarter earnings Thursday; analysts forecast 45 cents per share

Students at Danville Primary School learned about electricity and safety during a performance by the National Theatre for Children sponsored by PPL Electric Utilities. Thursday's show, titled Space Station Safety,

Danville students learn about electricity through Space Station Safety assembly

Students at Danville Primary School learned about electricity and safety during a performance by the National Theatre for Children sponsored by PPL Electric Utilities.

It might require a double take to notice, but there’s a little more room to maneuver on some Lancaster city sidewalks thanks to PPL’s efforts to remove some unneeded utility

PPL making progress with 'double wood’; 117 poles extra utility poles removed in Lancaster city [Lancaster Watchdog]

PPL making progress with 'double wood’; 117 extra utility poles removed in Lancaster city [Lancaster Watchdog]

Fintel reports that on October 25, 2023, Morgan Stanley maintained coverage of PPL (NYSE:PPL) with a Overweight recommendation. Analyst Price Forecast Suggests 23.59% Upside As of October 5, 2023, the average one-year price target for PPL is 29.

Morgan Stanley Maintains PPL (PPL) Overweight Recommendation

PPL Electric Utilities recently announced that its Grid of the Future infrastructure project application has been selected by the U.S. Department of Energy (DOE) to potentially receive up to $49.5 million in federal funding through the Bipartisan Infrastructure Law (BIL).

DOE Selects PPL for Grid Modernization Projects

PPL Corp. has announced that 20-year PPL veteran Christine M. Martin has been appointed PPL Electric Utilities president, effective Oct. 23. Martin had been named interim PPL Electric Utilities president on Sept.

Christine M. Martin named PPL Electric Utilities president

PPL Corp. has announced that 20-year PPL veteran Christine M. Martin has been appointed PPL Electric Utilities president, effective Oct. 23.

Fintel reports that on October 24, 2023, Barclays maintained coverage of PPL ( NYSE:PPL) with a Equal-Weight recommendation.

Barclays Maintains PPL (PPL) Equal-Weight Recommendation

My story is honest, but not perfect. What you like, take. What you don't, neglect. No. 1 - Spend more time working from home than office. All the things I could've done, ppl seen, places been. No. 2 - Remote hype, down the wrong pipe. Ignored rumors about lack of glamours. No. 3 - Drew a line. Did the math. Volatility vs. stability. More money. Even more time without work. Net negative. No. 4 - Pandemic times two. Used to say welcome to my world. More inside than outside even after it was safe. No. 5 - Had a blast, but it didn't last. Returning to the office you must. (Yoda) No. 6 - In tech we trusted. Busted. AI makes me wanna cry. No. 7 - So tragic all major freelance platforms went public. Shareholders more important than clients and projects. No. 8 - So frustrated that the market became oversaturated. No. 9 - Future of work is a pitchfork. Skillful hands in demands. So many streamers, very few plumbers. No. 10 - To be everywhere is to be nowhere. Digital nomads with fastfood or Zoom friends. No. 11 - Mental health is wealth. Reality is the only thing that is real (Ready Player One). No. 12 - Kiss me like you miss me (Deadpool). How could I miss you when you're always around, dear. No. 13 - Home sweet home. Under the dome. "If I could turn back time If I could find a way Then maybe, maybe, maybe..." (Cher) My story is honest, but not perfect. What you like, take. What you don't, neglect. No. 1 - Spend more time working from home than office. All the things I could've done, ppl seen, places been. No. 2 - Remote hype, down the wrong pipe. Ignored rumors about lack of glamours. No. 3 - Drew a line. Did the math. Volatility vs. stability. More money. Even more time without work. Net negative. No. 4 - Pandemic times two. Used to say welcome to my world. More inside than outside even after it was safe. No. 5 - Had a blast, but it didn't last. Returning to the office you must. (Yoda) No. 6 - In tech we trusted. Busted. AI makes me wanna cry. No. 7 - So tragic all major freelance platforms went public. Shareholders more important than clients and projects. No. 8 - So frustrated that the market became oversaturated. No. 9 - Future of work is a pitchfork. Skillful hands in demands. So many streamers, very few plumbers. No. 10 - To be everywhere is to be nowhere. Digital nomads with fastfood or Zoom friends. No. 11 - Mental health is wealth. Reality is the only thing that is real (Ready Player One). No. 12 - Kiss me like you miss me (Deadpool). How could I miss you when you're always around, dear. No. 13 - Home sweet home. Under the dome. "If I could turn back time If I could find a way Then maybe, maybe, maybe..." (Cher)

13 Years Later - 13 Reasons Why Remote Work Wasn't Worth It

13 jaar later - 13 redes waarom werk op afstand nie die moeite werd was nie

13 anys després: 13 raons per les quals el treball a distància no valia la pena

13 años después: 13 razones por las que el trabajo remoto no valía la pena

13 évvel később – 13 ok, amiért nem éri meg a távmunka

13年後 - リモートワークが価値がなかった13の理由

13 жыл өткөндөн кийин - алыстан иштөөнүн жараксыз болушунун 13 себеби

13 Ans Après - 13 Raisons Pourquoi Mosala Na Distance Ezalaki Na Valeur Te

Po 13 metų – 13 priežasčių, kodėl nuotolinis darbas nebuvo vertas

වසර 13කට පසුව - දුරස්ථ වැඩ කිරීම වටින්නේ නැති වීමට හේතු 13ක්

13 yildan so'ng - uzoqdan ishlash bunga loyiq emasligining 13 sababi

Iminyaka eyi-13 kamva-izizathu ezili-13 zokuba kutheni umsebenzi okude wawungafanelanga

Ngemuva kweminyaka eyi-13 - Izizathu eziyi-13 zokuthi kungani umsebenzi okude wawungakufanelekeli

How Open Sourcing Code Can Help Remote Communities Navigate Unique Challenges

Authors:
(1) Prerak Gandhi, Department of Computer Science and Engineering, Indian Institute of Technology Bombay, Mumbai, prerakgandhi@cse.iitb.ac.in, and these authors contributed equally to this work;
(2) Vishal Pramanik, Department of Computer Science and Engineering, Indian Institute of Technology Bombay, Mumbai, vishalpramanik,pb@cse.iitb.ac.in, and these authors contributed equally to this work;
(3) Pushpak Bhattacharyya, Department of Computer Science and Engineering, Indian Institute of Technology Bombay, Mumbai. Table of Links Abstract and Intro
Motivation
Related Work
Dataset
Experiments and Evaluation
Results and Analysis
Conclusion and Future Work
Limitations and References
A. Appendix A. Appendix A.1. Ethics Consideration We have taken all the scripts from IMDB and IMSDb databases. The website has a disclaimer regarding using its scripts for research, which can be found at this link https://imsdb.com/ disclaimer.html. We have used the scripts fairly and without copyright violation. A.2. Annotator Profiles We required the help of external annotators in two cases: (i) Manually Annotating the Scripts and (ii) Creating scenes and their descriptions from the scripts. For the first task, we took the help of 10 annotators. Their ages ranged from 21-28, and all were Asian. They were given detailed guidelines with examples for annotating. There were also periodic sessions to confirm their understanding and solve their doubts and mistakes. For the second task, we took the help of two annotators. Both of them are Asian females aged between 21-23. Both of them were given detailed guidelines for the scene-writing task. A few data points were picked randomly and checked to find out and correct conceptual mistakes. The annotators had bachelors and masters degree in STEM and Arts. A.3. Evaluation Metrics The evaluation metrics are described below: • Perplexity (PPL): Perplexity is one of the most common metrics for evaluating language models. They are computed as exponential of entropy. The smaller the value of the PPL, the greater the fluency of the generated text. • BLEU: BiLingual Evaluation Understudy is a common metric in many NLP tasks, especially in the field of Machine Translation. It measures the overlap between the generated output and gold standard data. Although this metric does not consider the model’s creativity, we can deduce the difference between the candidate text and the reference text using BLEU. The higher the BLEU measure, the better it is. • ROUGE: Recall-Oriented Understudy for Gisting Evaluation is typically used for evaluating automatic summarization. In our case, it measures the longest overlapping sequence between the generated and original plots. The higher the ROUGE measure, the better it is. • N-grams: We measure the redundancy and diversity of the movie plots by computing the repetition and distinction n-gram scores. A.4. Screenplay Structure A movie script or a screenplay has a different format than a story. A script is a group of scenes. Each of these scenes consists of a few major components, which are discussed below: Scene Headings/Sluglines- This component describes the when and where of the scene. It can be thought of as the first shot that a camera takes of a new scene. For example, INT. - RESTAURANT - NIGHT indicates that the scene starts inside a restaurant at night. Sluglines are normally written in capital letters and are left-aligned. Character Names- they are mentioned every time a character is going to utter a dialogue. The name of each character is mentioned in uppercase and is centre aligned. Dialogues- dialogues are the lines that the characters say. They appear right after the character name in a script and are centrally aligned. Action Lines- action lines describe almost everything about a scene. They can be described as the narration of each script. Action lines can be present after either dialogues or sluglines and are left-aligned. Transitions- a transition marks the change from one scene to the next. They also depict how a scene is ended. For example, DISSOLVE, FADE, and CUT are different keywords used to indicate a transition. They are usually in upper case and are right-aligned. Figure 8 shows an example of the screenplay elements. A.5. Story Templates Over time various templates have been developed that help to create stories. One of the most famous templates is the 3-act structure (Field, 1979). This structure divides a story into a setup, confrontation, and resolution. In this work, we have used the 4-act structure which we now describe in detail. Act 1- This is the opening/introduction act. It describes the protagonist’s character and briefly introduces the movie’s theme. The act ends with the start of a new journey for the protagonist. Act 2A- Due to the vast span of Act 2, it can be divided into two acts. This act usually contains the start of a love story. It also entertains the audience as the protagonist tries to adapt to their new journey. The act ends as the movie’s midpoint, one of the film’s critical moments, with either a very positive or negative scene. Act 2B- This act usually contains the protagonist’s downfall. The villain or antagonist starts to gain an advantage, and the protagonist loses something or someone significant. The act ends with the protagonist realizing their new mission after reaching rock bottom. Act 3— The protagonist has realized the change required in them and sets out to defeat the antagonist in a thrilling finale. The movie then ends by displaying a welcome change in the protagonist that was lacking in the beginning. A.6. Fine-Tuning GPT-3 GPT-3 was deemed publicly available last year by OpenAI (Brown et al., 2020). Its best model has 175B parameters, which is much more than GPT2’s 2.9B parameters. We have fine-tuned multiple plot generation models with GPT-3 along with a scene generation model. The multiple combinations of plot generation models are short or long prompts and with or without genres. The GPT-3 model and hyperparameters remain the same for all the above combinations. We have fine-tuned the GPT-3 Curie model for four epochs. For generating text, GPT-3 offers various hyperparameters to tune and get closer to our desired results. For testing, we set other hyperparameters as follows: the temperature as 0.7, top-p as 1, frequency penalty as 0.1, presence penalty as 0.1, and max tokens as 900. This paper is available on arxiv under CC 4.0 DEED license. Authors: (1) Prerak Gandhi, Department of Computer Science and Engineering, Indian Institute of Technology Bombay, Mumbai, prerakgandhi@cse.iitb.ac.in, and these authors contributed equally to this work; (2) Vishal Pramanik, Department of Computer Science and Engineering, Indian Institute of Technology Bombay, Mumbai, vishalpramanik,pb@cse.iitb.ac.in, and these authors contributed equally to this work; (3) Pushpak Bhattacharyya, Department of Computer Science and Engineering, Indian Institute of Technology Bombay, Mumbai. Authors: Authors: (1) Prerak Gandhi, Department of Computer Science and Engineering, Indian Institute of Technology Bombay, Mumbai, prerakgandhi@cse.iitb.ac.in, and these authors contributed equally to this work; (2) Vishal Pramanik, Department of Computer Science and Engineering, Indian Institute of Technology Bombay, Mumbai, vishalpramanik,pb@cse.iitb.ac.in, and these authors contributed equally to this work; (3) Pushpak Bhattacharyya, Department of Computer Science and Engineering, Indian Institute of Technology Bombay, Mumbai. Table of Links Abstract and Intro Motivation Related Work Dataset Experiments and Evaluation Results and Analysis Conclusion and Future Work Limitations and References A. Appendix Abstract and Intro Abstract and Intro Motivation Motivation Related Work Related Work Dataset Dataset Experiments and Evaluation Experiments and Evaluation Results and Analysis Results and Analysis Conclusion and Future Work Conclusion and Future Work Limitations and References Limitations and References A. Appendix A. Appendix A. Appendix A.1. Ethics Consideration We have taken all the scripts from IMDB and IMSDb databases. The website has a disclaimer regarding using its scripts for research, which can be found at this link https://imsdb.com/ disclaimer.html. We have used the scripts fairly and without copyright violation. A.2. Annotator Profiles We required the help of external annotators in two cases: (i) Manually Annotating the Scripts and (ii) Creating scenes and their descriptions from the scripts. For the first task, we took the help of 10 annotators. Their ages ranged from 21-28, and all were Asian. They were given detailed guidelines with examples for annotating. There were also periodic sessions to confirm their understanding and solve their doubts and mistakes. For the second task, we took the help of two annotators. Both of them are Asian females aged between 21-23. Both of them were given detailed guidelines for the scene-writing task. A few data points were picked randomly and checked to find out and correct conceptual mistakes. The annotators had bachelors and masters degree in STEM and Arts. A.3. Evaluation Metrics The evaluation metrics are described below: • Perplexity (PPL): Perplexity is one of the most common metrics for evaluating language models. They are computed as exponential of entropy. The smaller the value of the PPL, the greater the fluency of the generated text. • Perplexity (PPL): • BLEU: B i L ingual E valuation U nderstudy is a common metric in many NLP tasks, especially in the field of Machine Translation. It measures the overlap between the generated output and gold standard data. Although this metric does not consider the model’s creativity, we can deduce the difference between the candidate text and the reference text using BLEU. The higher the BLEU measure, the better it is. • BLEU: B L E U • ROUGE: R ecall- O riented U nderstudy for G isting E valuation is typically used for evaluating automatic summarization. In our case, it measures the longest overlapping sequence between the generated and original plots. The higher the ROUGE measure, the better it is. • ROUGE: R O U G E • N-grams: We measure the redundancy and diversity of the movie plots by computing the repetition and distinction n-gram scores. • N-grams: A.4. Screenplay Structure A movie script or a screenplay has a different format than a story. A script is a group of scenes. Each of these scenes consists of a few major components, which are discussed below: Scene Headings/Sluglines- This component describes the when and where of the scene. It can be thought of as the first shot that a camera takes of a new scene. For example, INT. - RESTAURANT - NIGHT indicates that the scene starts inside a restaurant at night. Sluglines are normally written in capital letters and are left-aligned. Scene Headings/Sluglines- Character Names - they are mentioned every time a character is going to utter a dialogue. The name of each character is mentioned in uppercase and is centre aligned. Character Names Dialogues - dialogues are the lines that the characters say. They appear right after the character name in a script and are centrally aligned. Dialogues Action Lines - action lines describe almost everything about a scene. They can be described as the narration of each script. Action lines can be present after either dialogues or sluglines and are left-aligned. Action Lines Transitions - a transition marks the change from one scene to the next. They also depict how a scene is ended. For example, DISSOLVE, FADE, and CUT are different keywords used to indicate a transition. They are usually in upper case and are right-aligned. Transitions Figure 8 shows an example of the screenplay elements. A.5. Story Templates Over time various templates have been developed that help to create stories. One of the most famous templates is the 3-act structure (Field, 1979). This structure divides a story into a setup, confrontation, and resolution. In this work, we have used the 4-act structure which we now describe in detail. Act 1 - This is the opening/introduction act. It describes the protagonist’s character and briefly introduces the movie’s theme. The act ends with the start of a new journey for the protagonist. Act 1 Act 2A - Due to the vast span of Act 2, it can be divided into two acts. This act usually contains the start of a love story. It also entertains the audience as the protagonist tries to adapt to their new journey. The act ends as the movie’s midpoint, one of the film’s critical moments, with either a very positive or negative scene. Act 2A Act 2B - This act usually contains the protagonist’s downfall. The villain or antagonist starts to gain an advantage, and the protagonist loses something or someone significant. The act ends with the protagonist realizing their new mission after reaching rock bottom. Act 2B Act 3 — The protagonist has realized the change required in them and sets out to defeat the antagonist in a thrilling finale. The movie then ends by displaying a welcome change in the protagonist that was lacking in the beginning. Act 3 A.6. Fine-Tuning GPT-3 GPT-3 was deemed publicly available last year by OpenAI (Brown et al., 2020). Its best model has 175B parameters, which is much more than GPT2’s 2.9B parameters. We have fine-tuned multiple plot generation models with GPT-3 along with a scene generation model. The multiple combinations of plot generation models are short or long prompts and with or without genres. The GPT-3 model and hyperparameters remain the same for all the above combinations. We have fine-tuned the GPT-3 Curie model for four epochs. For generating text, GPT-3 offers various hyperparameters to tune and get closer to our desired results. For testing, we set other hyperparameters as follows: the temperature as 0.7, top-p as 1, frequency penalty as 0.1, presence penalty as 0.1, and max tokens as 900. This paper is available on arxiv under CC 4.0 DEED license. This paper is available on arxiv under CC 4.0 DEED license. available on arxiv

"Kurosawa": A Script Writer's Assistant: Appendix

"কুরোসাওয়া": একজন স্ক্রিপ্ট রাইটার সহকারী: পরিশিষ্ট

„Kurosawa“: Der Assistent eines Drehbuchautors: Anhang

"Kurosawa": asistente del guionista: Apéndice

"Kurosawa" : l'assistant d'un scénariste : annexe

"कुरोसावा": एक पटकथा लेखक का सहायक: परिशिष्ट

「黒澤」脚本家アシスタント 付録

"쿠로사와": 각본가의 어시스턴트: 부록

"Kurosawa": Assistente de Roteiro: Apêndice

«Куросава»: Помощник сценариста: Приложение

"Kurosawa": Bir Senaryo Yazarının Asistanı: Ek

"Kurosawa": Trợ lý biên kịch: Phụ lục

“黑泽明”：编剧助理：附录

Apple Uses APIs and Strategic Access Points to Insulate Itself From Competition

Things To Make by Archibald Williams is part of the HackerNoon Books Series. You can jump to any chapter in this book . A SELF-LAUNCHING MODEL AEROPLANE. here XXV. A SELF-LAUNCHING MODEL AEROPLANE. By V. E. Johnson, M.A. This article deals not with a scale model—a small copy of some full-sized machine—but with one designed for actual flight; with one not specially intended to create records either of length or duration, but which, although small details must perforce be omitted, does along its main lines approximate to the “real thing.” Partly for this reason, and partly because it proves a far more interesting machine, we choose a model able to rise from the ground under its own power and make a good flight after rising, assuming the instructions which we give to have been carefully carried out. It is perhaps hardly necessary to add that such a machine can always be launched by hand when desired. Before entering into special details we may note some broad principles which must be taken into account if success is to attend our efforts. Important Points.—It is absolutely essential that the weight be kept down as much as possible. It is quite a mistake to suppose that weight necessarily means strength. On the contrary, it may actually be a cause of weakness if employed in the wrong place and in the wrong way. The heavier the machine, the more serious the damage done in the event of a bad landing. One of the best and easiest ways of ensuring lightness is to let the model be of very simple construction. Such a model is easier to build and more efficient when constructed than one of more complicated design. Weigh every part of your model as you construct it, and do not be content until all symmetrically arranged parts which should weigh the same not only look alike but do actually balance one another. (Note.—The writer always works out the various parts of his models in grammes, not ounces.) If a sufficiently strong propeller bearing weighing only half a gramme can be employed, so much the better, as you have more margin left for some other part of the model in which it would be inadvisable to cut down the weight to a very fine limit. Details.—To pass now to details, we have four distinct parts to deal with:— The framework, or fuselage. The supporting surfaces, consisting of the main plane, or aerofoil, behind, and the elevator in front. The propellers. The motor, in this case two long skeins of rubber; long, because we wish to be able to give our motor many turns, from 700 to, say, 1,000 as a limit, so that the duration of flight may be considerable. [Illustration: FIG. 129.-Sections of backbone for model aeroplane.] The Backbone.—For the backbone or central rod take a piece of pitch pine or satin walnut 52 inches long, 5/8 inch deep, and 1/2 inch broad, and plane it down carefully until it has a T-shaped section, as shown in Fig. 129, and the thickness is not anywhere more than 1/8 inch. It is quite possible to reduce the thickness to even 1/16 inch and still have a sufficient reserve of strength to withstand the pull of 28 strands of 1/16-inch rubber wound up 1,000 times; but such a course is not advisable unless you are a skilful planer and have had some experience in model-making. If you find the construction of the T-shaped rod too difficult, two courses are open— (l) To get a carpenter to do the job for you, or (2) To give the rod the triangular section shown in Fig. 129, each side of the equilateral triangle being half an inch long. [Illustration: FIG. 150—Side elevation of model aeroplane.] The top of the T or the base of the triangle, as the case may be, is used uppermost. This rod must be pierced in three places for the vertical masts employed in the bracing of the rod, trussing the main plane, and adjusting the elevator. These are spaced out in Fig. 130, which shows a side elevation of the model. Their sectional dimensions are 1/16 by 1/4 inch; their respective lengths are given in Fig. 130. Round the front edges and sharpen the rear. In Fig. 130 is shown the correct attitude or standing pose necessary to make the model rise quickly and sweep boldly up into the air without skimming the ground for some 10 to 20 yards as so many models do. E is the elevator (7 by 3 inches); A the main plane (5-1/2 by 29 inches); W the wheels; and RS the rear skid, terminating in a piece of hooked steel wire. The vertical bracing of these masts is indicated. The best material to use for the purpose is Japanese silk gut, which is very light and strong. To brace, drill a small, neat hole in the mast and rod where necessary, pass through, and tie. Do the same with each one. To return to the central mast, which must also form the chassis. This is double and opened out beneath as shown in Fig. 131, yz being a piece similar to the sides, which completes, the triangle x y z and gives the necessary rigidity. Attach this piece by first binding to its extremities two strips of aluminium, or by preference very thin tinned iron, Tl and T2. Bend to shape and bind to xy, xz as shown in Fig. 131. [Illustration: FIG. 131.—Front elevation of chassis.] [Illustration: FIG. l32.-Wheel for model aeroplane chassis.] [Illustration: FIG. 133.—Plan of model aeroplane.] The Wheels and Chassis.—WW are the two wheels on which the model runs. They are made of hollow brass curtain rings, 1 inch in diameter, such as can be bought at four a penny. For spokes, solder two strips of thin tinned iron to the rings, using as little solder as possible. (Fig. 132.) To connect these wheels with the chassis, first bind to the lower ends of xy, xz two strips of thin tinned iron, T3 and T4, after drilling in them two holes of sufficient size to allow a piece of steel wire of “bonnet pin” gauge to pass freely, but not loosely, through them. Soften the wire by making it red hot and allowing it to cool slowly, and solder one end of this wire (which must be quite straight and 5-1/4 inches long) to the centre of the cross pieces or spokes of one wheel. Pass the axle through the holes in the ends of xy, xz, and solder on the other wheel. Your chassis is then finished. The rear skid (RS in Fig. 130) is attached to the central rod by gluing, and drilling a hole through both parts and inserting a wooden peg; or the upright may be mortised in. On no account use nail, tack, or screw. Attach the vertical masts and the horizontal ones about to be described by gluing and binding lightly with thread, or by neatly glued strips of the Hart’s fabric used for the planes. Horizontal Spars, etc.—To consider now the horizontal section or part plan of the model, from which, to avoid confusion, details of most vertical parts are omitted. Referring to Fig. 133, it will be seen that we have three horizontal masts or spars—HS1, 4 inches; HS2, 6 inches; and HS3, slightly over 12 inches long. The last is well steamed, slightly curved and left to dry while confined in such a manner as to conform to the required shape. It should so remain at least twenty-four hours before being fixed to the model. All the spars are attached by glue and neat cross bindings. If the central rod be of triangular instead of T section, the join can be made more neatly. The same remarks apply to the two 9 and 10 inch struts at the propeller end of the rod, which have to withstand the pull of the rubber motor on PPl. These two pieces will have a maximum strength and minimum weight if of the T section used for the rod. If the work is done carefully, 1/4 inch each way will be sufficient. Main Plane and Elevator.—The framework of each plane is simply four strips of satin walnut or other suitable wood, 1/4 inch broad and 1/16 inch or even less in thickness for the main plane, and about 1/16 by 1/16 inch for the elevator. These strips are first glued together at the corners and left to set. The fabric (Hart’s fabric or some similar very light material) is then glued on fairly tight—that is, just sufficiently so to get rid of all creases. The main plane is then fixed flat on to the top of the central rod by gluing and cross binding at G and H. (A better but rather more difficult plan is to fasten the rectangular frame on first and then apply the fabric.) The same course is followed in dealing with the elevator, which is fixed, however, not to the rod, but to the 4-inch horizontal spar, HS1, just behind it, in such a manner as to have a slight hinge movement at the back. This operation presents no difficulty, and may be effected in a variety of ways. To set the elevator, use is made of the short vertical mast, M1. A small hole is pierced in the front side of the elevator frame at Z, and through this a piece of thin, soft iron wire is pushed, bent round the spar, and tied. The other end of the wire is taken forward and wrapped three or four times round the mast M1, which should have several notches in its front edge, to assist the setting of the elevator at different angles. Pull the wire tight, so that the elevator shall maintain a constant angle when once set. H H1 is a piece of 25 to 30 gauge wire bent as shown and fastened by binding. It passes round the front of the rod, in which a little notch should be cut, so as to be able to resist the pull of the twin rubber motors, the two skeins of which are stretched between H H1 and the hooks formed on the propeller spindles. If all these hooks are covered with cycle valve tubing the rubber will last much longer. The rubber skeins pass through two little light wire rings fastened to the underside ends of HS2. (Fig. 133.) The front skid or protector, FS, is made out of a piece of thin, round, jointless cane, some 9 inches in length, bent round as shown in Fig. 134, in which A B represents the front piece of the T-shaped rod and x y z a the cane skid; the portion x y passing on the near side of the vertical part of the T, and z a on the far side of the same. At E and F thread is bound right round the rod. Should the nose of the machine strike the ground, the loop of cane will be driven along the underside of the rod and the shock be minimized. So adjust matters that the skid slides fairly stiff. Note that the whole of the cane is on the under side of the top bar of the T. [Illustration: FIG. 134.—Front skid and attachment to backbone.] Bearings.—We have still to deal with the propellers and their bearings. The last, TN and TNl (Fig. 133), are simply two tiny pieces of tin about half a gramme in weight, bent round the propeller spar HS3 at B and B1. Take a strip of thin tin 1/4 inch wide and of sufficient length to go completely round the spar (which is 1/4 by 1/8 inch) and overlap slightly. Solder the ends together, using a minimum amount of solder. Now bore two small holes through wood and tin from rear to front, being careful to go through the centre. The hole must be just large enough to allow the propeller axle to run freely, but not loosely, in it. Primitive though such a bearing may seem, it answers admirably in practice. The wood drills out or is soon worn more than the iron, and the axle runs quite freely. The pull of the motor is thus directed through the thin curved spar at a point where the resistance is greatest—a very important matter in model aeroplane construction. To strengthen this spar further against torsional forces, run gut ties from B and Bl down to the bottom of the rear vertical skid post; and from B to B1 also pass a piece of very thin piano wire, soldered to the tin strips over a little wooden bridge, Q, like a violin bridge, on the top of the central rod, to keep it quite taut. [Illustration: FIG. 135—“Centrale” wooden propeller.] Propellers.—To turn now to the propellers. Unless the reader has already had fair experience in making model propellers, he should purchase a couple, one right-handed and one left-handed, as they have to revolve in opposite directions. It would be quite impossible to give in the compass of this article such directions as would enable a novice to make a really efficient propeller, and it must be efficient for even a decent flight with a self-launching model. The diameter of the two propellers should be about 11-1/2 to 11-3/4 inches, with a pitch angle at the extremities of about 25 to 30 degrees as a limit. The “centrale” type (Fig. 135) is to be preferred. Such propellers can be procured at Messrs. A. W. Gamage, Ltd., Holborn, E.C.; Messrs. T. W. K. Clarke and Co., Kingston-on-Thames; and elsewhere. For the particular machine which we are considering, the total weight of the two propellers, including axle and hook for holding the rubber, should not exceed 3/4 oz. This means considerable labour in cutting and sandpapering away part of the boss, which is always made much too large in propellers of this size. It is wonderful what can be done by care and patience. The writer has in more than one case reduced the weight of a propeller by more than one-half by such means, and has yet left sufficient strength. The combined axle and hook should be made as follows:—Take a piece of thin steel wire, sharpen one end, and bend it as shown at C (Fig. 136). Pass the end B through a tight-fitting hole in the centre of the small boss of the propeller, and drive C into the wood. Solder a tiny piece of 1/8-inch brass tubing to the wire axle at A, close up to the rubber hook side of the propeller, and file quite smooth. The only things now left to do are to bend the wire into the form of a hook (as shown by the dotted line), and to cover this hook, as already advised, with a piece of valve tubing to prevent fraying the rubber skeins. [Illustration: FIG. 136.—Axle and hook for propeller.] Weight.—The weight of a model with a T-shaped central rod 1/16 inch thick should be 4-1/2 oz. Probably it will be more than this—as a maximum let us fix 6 oz.—although 4-1/2 oz. is quite possible, as the writer has proved in actual practice. In any case the centre of gravity of the machine without the rubber motor should be situated 1 inch behind the front or entering edge of the main plane. When the rubber motor (14 strands of 1/16-inch rubber for each propeller, total weight 2 oz.) is in position, the centre of gravity will be further forward, in front of the main plane. The amount of rubber mentioned is for a total weight of 6-1/2 oz. If the weight of the model alone be 6 oz., you will probably have to use 16 strands, which again adds to the weight, and makes one travel in a vicious circle. Therefore I lay emphasis on the advice, Keep down the weight. The front edge of the elevator should be set about 3/8 inch higher than the back, and the model be tried first as a glider, with the rubber and propellers in position. If it glides satisfactorily, wind up the motor, say 500 turns, and launch by hand. When a good flight has been obtained, and the correct angle of the elevator has been determined, place the model on a strip of linoleum, wind up, and release the propellers. The model should rise in its own length and remain in the air (if wound up 900 turns) at least three quarters of a minute. Choose a calm day if possible. If a wind blows, let the model face the breeze. Remember that the model flies high, and select a wide open space. Do not push the model forward; just release the propellers, held one in each hand near the boss by the fingers and thumb. As a lubricant for the rubber use pure glycerine. It is advisable to employ a geared-up mechanical winder, since to make 1,800 turns with the fingers is rather fatiguing and very tedious. Simple as this model may seem in design, one built by the writer on exactly the lines given has met the most famous flying models of the day in open competition and proved successful against them. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Archibald Williams (2005). Things To Make. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/14664/pg14664-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

A SELF-LAUNCHING MODEL AEROPLANE.

FTC v. Binance Court Filing, retrieved on March 27, 2023, is part of . You can jump to any part in this filing . This is part 15 of 31. HackerNoon’s Legal PDF Series here V. FACTS G. Binance Was Aware of United States Regulatory Requirements but Ignored Them 108. Defendants have been aware of the regulatory regime that applies to U.S. financial institutions such as FCMs, and exchanges such as DCMs and SEFs, throughout the Relevant Period, but have made deliberate, strategic decisions to evade federal law. 109. Internal messages among Zhao, Lim, and other Binance senior managers document that Binance was aware of the applicability of U.S. regulatory and legal requirements since its early days. For example, in October 2018, and before the Relevant Period, Lim wrote to Zhao: Cz I know it’s a pain in the ass but its my duty to constantly remind you 1. We have made no mention of sanctions/or support of sanctions on our platform already (done, cleaned up) 2. Are we going to proceed to block sanction countries ip addresses (we currently have users from sanction countries on .com) Or do you want to adopt a clearer strategy after we engaged and finalised our USA strategy? Downside risk is if fincen or ofac has concrete evidence we have sanction users, they might try to investigate or blow it up big on worldstage 110. Two months later, in a December 2018 chat, Lim acknowledged that Binance was operating “in the USA” and advised his colleagues that “there is no fking way in hell I am signing off as the cco for the ofac shit.” In that same chat, Lim recognized that Binance’s customer support was “teaching ppl how to circumvent sanctions.” And Lim stated in an October 2019 chat: “the ofac regulation clearly states U.S. persons, doing biz with OFAC is wrong,” but clarified that Zhao desired to place competitive advantage over compliance: “thing is [Zhao] will only agree to block US on .com once US exchange has gotten all [money transmitter licenses] (to match [a U.S.-based digital asset exchange]).” 111. In December 2019, approximately three months after Binance began offering quarterly futures and perpetual contracts, Lim wrote to a colleague in a chat: 1. We still have US users on our platform (regulatory risk) 2. We do not perform Worldcheck on .com (sanctions risk) 3. We do not perform [transaction monitoring] on .com (sanctions risk). 112. Lim has displayed a nuanced understanding of applicable regulatory requirements and the potential individual liability that may accompany a failure to comply with U.S. law. For example, in October 2020 Lim chatted to a colleague: US users = CFTC = civil case can pay fine and settle no kyc = BSA act [sic] = criminal case have to go [to] jail 113. Zhao has also been keenly aware of U.S. laws that apply to Binance’s activities. For example, Zhao explained during a June 9, 2019 management meeting: [T]here are a bunch of laws in the US that prevent Americans from having any kind of transaction with any terrorist, and then in order to achieve that, if you serve US or US sanctioned countries there are about 28 sanctioned countries in the US you would need to submit all relevant documents for review [but that is not] very suitable for our company structure to do so. So, we don’t want to do that and it is very simple if you don’t want to do that: you can’t have American users. Honestly it is not reasonable for the US to do this . . . . [U.S. regulators] can’t make a special case for us. We are already doing a lot of things that are obviously not in line with the United States. 114. Zhao has kept information reflecting Binance’s U.S. customer base secret even from certain senior managers and has been cautious in circulating internal materials to a broad audience due, at least in part, to the risk that inculpatory information could be leaked to regulators or other law enforcement personnel. On information and belief, Binance refers to this type of risk as “leak risk.” For example, in a March 2019 discussion regarding the circulation of data that categorized Binance users by geographic location, Zhao said “Let me see it first then, and not distribute it, especially guys who have to deal with US regulators.” And in an August 2020 chat, Zhao instructed a Binance employee that transaction volume data concerning U.S. API customers should not be published to a group; rather, such data should be sent only to Zhao. Continue Reading . Here About HackerNoon Legal PDF Series: We bring you the most important technical and insightful public domain court case filings. This court case 1:23-cv-01887 retrieved on September 4, 2023, from is part of the public domain. The court-created documents are works of the federal government, and under copyright law, are automatically placed in the public domain and may be shared without legal restriction. docdroid.net

FTC v. Binance: Binance Accused of Purposefully Ignoring U.S. Regulatory Requirements

Continued from Part I – Bitcoin v/s Ethereum (and Other Crypto) Culture Part II – Key Opinion Makers and Cultural Influencers The people who impact crypto culture come from multivariate backgrounds. They span geographies. Genders. Generations. Political ideologies. And social hierarchies. They are developers, entrepreneurs, investors, artists, legal eagles, writers, traders, , art collectors, , analysts, journalists, , , , , media personalities and more. Crypto has also given rise to new kinds of professionals like , , , , , etc. who influence its culture as well. heads of state aristocrats social activists economists armed force personnel MMA fighters onchain sleuths miners validators smart contract auditors NFT historians chain archaeologists Some of them are . Some are doxed. Irrespective, their impact is based more on the merit of their work than on their identities. A few of the culturally significant people in crypto are: anonymous/pseudonymous The single most impactful figure in crypto. Even after 12 years since his/her/their last ever message sent to anyone. Satoshi’s work and writings continue to effect crypto culture till this day. The aura of this mythical incorruptible persona has only built up over the years. More so because the Bitcoins believed to be mined by Satoshi have never moved from their wallets. At today’s prices, they are worth close to $30 Bn. The smallest unit of a Bitcoin is called a satoshi. 1 satoshi (or, sat) = 1/100,000,000 of a BTC. : Satoshi Nakamoto ( ) Image Source After Satoshi, if anyone influences crypto as much now, it is Vitalik. His impact on Ethereum and thus on the larger crypto culture is undeniable. His and on a variety of topics, within and outside of crypto, often signal eventual crypto trends. They go on to generate further discussions, debates and developments. In March 2022, TIME Magazine featured Vitalik in a calling him “the most influential person in crypto”. : Vitalik Buterin thoughts papers cover story ( ) Image Source Founder of Binance, the largest centralised crypto exchange (Cex) by daily trading volume. Binance Chain is a blockchain that operates independent of the Cex but is part of the same brand. Before Dex’es (Decentralised Exchanges) were a thing, a Binance listing used to be on the bucket list of many projects. It was like a seal of approval for their credibility. As a result, listing announcements used to cause price jumps for their crypto tokens. Hence the phrase “WenBinance”; which follows from “WenMoon” (see Wen + word in Part III). (Changpeng Zhao): CZ CZ is considered as a pioneer and a titan in crypto. The widespread use of Cex’es so far can be attributed largely to him, and to Brian Armstrong of Coinbase. While seen more as a positive influence, CZ sometimes faces critique. For things like enabling a Central Bank Digital Currency (CBDC) in Kazakhstan. Or for Binance’s of Lightning Network. With US regulators going after crypto firms this year, Binance has been no exception. The CFTC filed a lawsuit in late March alleging malpractice. CZ’s usual response (apart from his ) was “ ”. This is a common memetic reference to his on Twitter (see FUD in Part III). development delayed integration official response 4 pinned message A popular social media personality previously known as Crypto Cobain. Cobie is the founder of Lido Finance, a DeFi platform focused on staking crypto assets. His hosts both famous and infamous guests that many times lead to . His online persona is a reflection of CT (Crypto Twitter) as a whole. Humorous commentary on current issues. Light-hearted banter. Nuanced takes on contentious topics. Irreverence for authority figures. Engaging with individuals outside of crypto to an entertaining effect. ( ): Cobie Jordan Fish podcast hilarity In February of last year, Cobie had a tussle with Upwork over . Soon after, he to assist a young crypto-skeptic artist who had been kicked off Upwork. Cobie the artist to mint NFTs of their work and them. The ten pieces sold for hundreds of thousands of dollars as amused observers cheered on. logo design decided convinced auction ( ) Image Source Stardust was a crypto trader popular for his social commentary. After a with economist Nouriel Roubini in 2018, his account was suspended for a while. Stardust as “inversebrah” donning the role of CT’s resident historian. Inversebrah is now a  wassie; a fictitious frog-like creature that lives in the fridge. A wassie dies every two weeks to be reborn again.  Also referred to as “smolting” (i.e. small thing) or “lil shid” (i.e. little sh*t). The name “inversebrah” supposedly came from a comment that a chart (posted as a joke) was “ ”. : Inversebrah brawl returned Brah that’s inverse ( ) Image Source If you have ever been on CT, you will have noticed replies tagging @inversebrah. Or saying something to the effect of “get me in lil shid” asking to be part of some screenshot. People tag him to capture cringe/funny/important moments that could go down in crypto history books. His followers are fluent in . For years, the has even had many crypto veterans stumped. Like and . wassie-speak wassie phenomenon Vitalik Buterin Brian Armstrong The “ ” for invocation of inversebrah could involve a bat signal for emergencies. process Founder of Counsyl, a genetic testing company. And Earn.com, a paid-email and learning platform transacting in Bitcoin. He is also a former CTO of Coinbase, one of the earliest and largest Cex’es in the world by trading volume. Balaji writes on crypto. His book, The Network State, talks about the next stage of nation states. As a tech thought leader and futurist, his predictions are regarded as prescient. Especially after he accurately how the COVID-19 pandemic would play out. As a result, “Balaji was right” is a common saying in tech and VC circles ( , , , , , ). : Balaji Srinivasan extensively foresaw 1 2 3 4 5 6 In March’23, Balaji made his most astounding yet. He said in 90 days the US could go into hyperinflation as a fallout of the current banking crisis (see crypto’s banking problem in Part V). Thus creating a scenario for hyperbitcoinization (see 1 BTC = 1BTC in Part III). He even opened a million dollar wager at 40:1 odds for settling this “ ”. However, he the bet early and thus marking a rare setback to the “Balaji was right” streak. prediction ideological matter settled Prolific NFT collector, art patron and curator. 6529 is also the founder of OM (Open Metaverse), a virtual world initiative on crypto-rails. The name “6529” comes from an NFT ( ) which he owns and uses for his public image. 6529 maintains an anonymous presence and is known for writing viral threads. Eg. on , , , , , and explainers, , , and more. Sometimes it’s his or that capture CT’s imagination. : 6529 CryptoPunk #6529 life freedoms security practices bear markets regulations NFT metaverse centralisation predictions onchain courses art purchases memes Author and speaker. One of the OG teachers. Apart from Satoshi, it is rare for someone to have a near unanimous approval from most quarters in crypto. Antonopoulos has that rare distinction (except for maybe a few purists. See Infighting Among Crypto in Part VII). A lot of today’s crypto culture is a direct result of Antonopoulos’ speeches, books, presentations and courses people. His contributions are and by today’s influencers with . While he is not as active on socials now, his and are still shared as ELI5 explainers. Besides by Eric Hughes and by Saifedean Ammous, Antonopoulos’ is also viewed as essential reading for crypto. : Andreas Antonopoulos red pilling time again acknowledged high regard interviews videos A Cypherpunk’s Manifesto The Bitcoin Standard Mastering Bitcoin Back when Bitcoin wasn’t as big, Antonopoulos dedicated himself full-time into it. Speaking at events, consulting on Bitcoin and writing articles for free. As a result of this volunteerism, his expenses piled up and he went . When he was for this by the founder of Bitcoin Cash (a forked version of Bitcoin), Bitcoiners took the insult personally. Within days, donations worth millions of dollars had poured into Antonopoulos’ Bitcoin wallet. into debt poor shamed ( ) Image Source Looking for some more people to follow? Here are a 100 culturally relevant crypto personalities in no particular order: The Late , , , , , , , , , , , , , , , , , , , , , , , , , , , , , /Erick Calderon, Buidlers: Hal Finney Adam Back Jack Dorsey Brian Armstrong Hayden Adams Elizabeth Stark Stani Kulechov Jameson Lopp Erik Voorhees Hudson Jameson Kevin Owocki banteg Sergey Nazarov Emin Gün Sirer Sandeep Nailwal Samson Mow Taylor Monahan Alex Svanevik Eli Ben-Sasson Kathleen Breitman Péter Szilágyi Jesse Powell Zooko Wilcox-O'Hearn Obi Nwosu Sreeram Kannan Pieter Wuille Devin Finzer Dom Hofmann Roham Gharegozlou Snowfro statelayer , , , , , , , , , , , , , , , , , , , , , , , Teachers: Lyn Alden Schwartzer Anthony Sassano Peter McCormack hodlonaut Ryan Sean Adams Nic Carter Anita Posch Laura Shin Troy Cross Maya Zehavi Matthew Green Hasu Ari David Paul Angie Jones Nader Dabit tier10k Preethi Kasireddy dystopiabreaker Adam Cochran Ryan Selkis Dylan LeClair Eric Wall Laurence Day 0xfoobar /Mike Winkelmann, /Emily Yang, , /Justin David Blau, , , /Victor Langlois, , /Ronald Kuang, , , , , , , , /Isaac Wright, Artists: beeple pplpleasr SHL0MS 3LAU Cath Simard Jen Stark FEWOCiOUS XCOPY SeerLight Tyler Hobbs DeeKay Kwon John Knopf Pussy Riot Seneca Refik Anadol Micah Johnson Drifter Shoots Murat Pak , , , , , , , , , , , , Investors: Naval Ravikant Michael Saylor Meltem Demirors Cathie Wood Marc Andreessen Alexis Ohanian Gary Vaynerchuk Linda Xie Chris Dixon Sriram Krishnan Fred Ehrsam Avichal Garg Mike Dudas / (?), , Art Collectors: Cozomo de' Medici Snoop Dogg Vincent Van Dough Bharat Krymo , , , Policy Experts: Caitlin Long Neeraj Agrawal Hester Peirce Jake Chervinsky , , Entertainers: kmoney Sheikh Roberto Gabriel Haines , , Security Specialists: ZachXBT Samczsun CIA Officer Traders: Arthur Hayes Neither is the list and nor are the categories exhaustive. And many of those mentioned above can qualify for multiple categories. PS. If you choose to follow them on Twitter, please watch out for spambots and scammers. Crypto accounts are some of the most common subjects of impersonation. With Vitalik and CZ being top choices (apart from Elon Musk). Up Next – Part III: Lexicon and Memes NOTE: Also published . here Disclaimer: None of the information mentioned above should be construed as financial advice.

The Simple Guide to Crypto Culture for Nocoiners Pt. II

Alt title one: forgive me, HackerNoon, for I have forsaken you too long. Alt title two: I’m back? tell a friend The four questions: Who am I?


Where do I come from?


What is my purpose?


Where am I going? (note to editors: great prompt, add it to the prompts lol) 1. Who Am I? Jarett Reginald Stewart Fuckin’ Dunn. The Stewart is wrong and was a miscommunication spanning generations and a number of misnamed babies. The Dunn is my mom’s maiden name. We’ll discuss that at some length in the next section. The Reg is correct, although it’s not Reg- Reg is rightfully Reg, although Dr. Rev Reg liked to be called ‘Reg’ - although his son prefers Dr. Rex. I will not bother explaining this. Iykyk. Read again: Few. Who Am I I am less human than you. And more. Hirshprung’s dealt me a very precarious set of cards. Tl;dr I am a very, very strange individual - and that’s actually ok. It does make it -incredibly- difficult with other people, who take an awful lot for granted. I can barely, at the best of times, hold a conversation - even with people I know well and actually like, let alone anyone else. There’s not many of you I don’t like - there’s a whole lot of y’all I ain’t trusting. Who Am I Veteran isn’t a great word. A lot of other veterans will tell me that any service is service - but I left before I could do anything of consequence while I was still too young to be in service according to the UN. Autistic savant isn’t a great word, although the evidence would seem to suggest I still ain’t had that lil label realigned. Schizophrenic ‘beautiful mind’ isn’t a great set of words. Disgusting. Also, stop comparing me to Nash lol - I know I just did it myself, but it was very late in life that I personally learned the guy was a misogynistic cunt. Who Am I I forget a great deal of my life, actively, on purpose, as cope. My mind often makes shit up to the point I can’t trust my own memory - not that any of you ever should, mind you, it doesn’t even hold up in court. However, I have a habit of doublethink to keep away trauma which turns me into a pathological liar. I have a way of playing each of you like flutes, should it suit me, that makes me into a sociopath. And so? I am everything I despise. That’s who I am. There’s another Harlow lyric ( 1 or 2 here already ): the ones that hate me the most are just like me; you tell me what that means. I think therefore I am comes to mind and we might as well celebrate that weird lil French guy while we’re in French Canada - but that isn’t enough,  by and large, to define me. I have died 10 000 deaths in worlds none of you could ever begin to comprehend, many many times over. Alas - I digress - I’m not all that special, just tortured. And, the worst yet is that I am tortured -by myself and my stinky habits-. Who Am I - can I write who I was, that I will never live up to ever again? Half the man I used to be? Can I write who I aspire to be - which seems an insurmountable task, even though I am infinitely closer to that ideal than I’ve ever once been? Well, look - it’s actually phenomenal progress, all told, that I’m sure I’m Jarett Fuckin’ Dunn. Lol. Believe it or not. 2. Where Do I Come From? https://www.deviantart.com/dmitriypopov/art/These-are-my-poems-6842104 “The hours tick by and still I find myself staring at the wall, staring through the wall, staring around the wall. I am one with the wall, and the wall is one with me. The wall tells me it's thoughts, it's deepest feelings, it's most profound memories. The wall tells me how I should live my life, tells me who I should listen to and who I shouldn't. The wall determines mathematical consistensies, polynomial equations, bilateral expressions. The wall knows all, as all know the wall. I live in a little town filled to the spilling brim with little people, little minds fixed on little things. Loud music and slow cars, good food and bad indegestion. I never know who's lying and who's not, and there's always someone lying, somewhere. these are not in any order.I left out all suicidal works and all works on/about love.” - Me, in my first-ever self-published works, '04. Deep-seated trauma. Never knew me dad, and you can well be damn sure I’ve got me some superpowers - could possibly be the lawd Jebus 2.0. Nah, kidding. Fuck deadbeat dads. Fuck drunks. Enough of that; I hate focusing on the past -with an absolute passion- cuz we cannot change it - it’s done; focus forward. Next. 3. What Is My Purpose? I guess I need to stop with the macro shit. Until this very point in time, I’ve been hell-bent on making some kind of everlasting change and helping the average person - and I truly and horribly feel for the trauma and the prisons in which we find ourselves stripped of our rights, freedoms, and the ability to achieve cognition. Really, I do. Whether it be actual jail, the opiate crisis, or the ways in which you are all -so incredibly tied- to the paradigms that -are actually inhuman, evil, and taught to you sometime after birth- is unfathomably concerning lol. Herein lays my problem: How do you tell a zealot for a given cause, who doesn’t even know they’re brandishing weapons from their own graves dug hundreds of years ago - how do you tell them their fault is zealotry? I’m -very- unsure what my message, medium, or platform is. I am -entirely- sure I am not my audience. I am also 138% sure that -nobody I talk to- is my target audience, at any point in time. I find context, social nuance, and -every bit of communication- incredibly difficult. Look up Autism; I dare you. Welcome to my Ted talk. 4. My Purpose The shit you ppl like to do is boring, lol. Romance, the rat race. Interfacing with others. Giving a shit. https://open.spotify.com/track/28rFqLIV8tXfyR9rzPoCLI?si=40d05d45b8db4dc5 I ain’t here to fuck girls, I ain’t here to take drugs. I ain’t here to stop fights, I ain’t want those rights. I ain’t here to talk shit, I don’t care who you with. I just came for the music. M y p u r p o s e. My fb bio for as long as I can remember: My Twitter bio for years before I started taking it seriously was: ‘I’m still here in case a n y t h i n g interesting ever happens, or on the off-chance I manage to burn it all to the ground.’ The message, the medium, the platform. I don’t know any of it. I don’t know who I am or what my self is - I don’t have any peers - I refuse to open my brain to the possibility that maybe shit is just ok. It’s fine to be content. Life goes on. I am lost, broken, and lonely. My purpose is to find myself, heal, and start to enjoy the company of other people without faking it. To learn to be content. That’s it. 5. Where Am I Going? To hell in a handcart. Nah seriously, I am gonna tie up my laces and move to a boot. Iykyk. Nobody knows where they’re going - just flow like water, fuckers. Sui. Alt title one: forgive me, HackerNoon, for I have forsaken you too long. Alt title two: I’m back? tell a friend The four questions: Who am I? Where do I come from? What is my purpose? Where am I going? Who am I? Who am I? Where do I come from? Where do I come from? What is my purpose? What is my purpose? Where am I going? Where am I going? (note to editors: great prompt, add it to the prompts lol) 1. Who Am I? Jarett Reginald Stewart Fuckin’ Dunn. The Stewart is wrong and was a miscommunication spanning generations and a number of misnamed babies. The Dunn is my mom’s maiden name. We’ll discuss that at some length in the next section. The Reg is correct, although it’s not Reg- Reg is rightfully Reg, although Dr. Rev Reg liked to be called ‘Reg’ - although his son prefers Dr. Rex. I will not bother explaining this. Iykyk. Read again: Few. Who Am I I am less human than you. And more. Hirshprung’s dealt me a very precarious set of cards. Tl;dr I am a very, very strange individual - and that’s actually ok. It does make it -incredibly- difficult with other people, who take an awful lot for granted. I can barely, at the best of times, hold a conversation - even with people I know well and actually like, let alone anyone else. There’s not many of you I don’t like - there’s a whole lot of y’all I ain’t trusting. Who Am I Veteran isn’t a great word. A lot of other veterans will tell me that any service is service - but I left before I could do anything of consequence while I was still too young to be in service according to the UN. Autistic savant isn’t a great word, although the evidence would seem to suggest I still ain’t had that lil label realigned. Schizophrenic ‘beautiful mind’ isn’t a great set of words. Disgusting. Also, stop comparing me to Nash lol - I know I just did it myself, but it was very late in life that I personally learned the guy was a misogynistic cunt. Who Am I I forget a great deal of my life, actively, on purpose, as cope. My mind often makes shit up to the point I can’t trust my own memory - not that any of you ever should, mind you, it doesn’t even hold up in court. However, I have a habit of doublethink to keep away trauma which turns me into a pathological liar. I have a way of playing each of you like flutes, should it suit me, that makes me into a sociopath. And so? I am everything I despise. That’s who I am. There’s another Harlow lyric ( 1 or 2 here already ): the ones that hate me the most are just like me; you tell me what that means. I think therefore I am comes to mind and we might as well celebrate that weird lil French guy while we’re in French Canada - but that isn’t enough,  by and large, to define me. I have died 10 000 deaths in worlds none of you could ever begin to comprehend, many many times over. Alas - I digress - I’m not all that special, just tortured. And, the worst yet is that I am tortured -by myself and my stinky habits-. Who Am I - can I write who I was, that I will never live up to ever again? Half the man I used to be? Can I write who I aspire to be - which seems an insurmountable task, even though I am infinitely closer to that ideal than I’ve ever once been? Well, look - it’s actually phenomenal progress, all told, that I’m sure I’m Jarett Fuckin’ Dunn. Lol. Believe it or not. 2. Where Do I Come From? https://www.deviantart.com/dmitriypopov/art/These-are-my-poems-6842104 https://www.deviantart.com/dmitriypopov/art/These-are-my-poems-6842104 https://www.deviantart.com/dmitriypopov/art/These-are-my-poems-6842104 “The hours tick by and still I find myself staring at the wall, staring through the wall, staring around the wall. I am one with the wall, and the wall is one with me. The wall tells me it's thoughts, it's deepest feelings, it's most profound memories. The wall tells me how I should live my life, tells me who I should listen to and who I shouldn't. The wall determines mathematical consistensies, polynomial equations, bilateral expressions. The wall knows all, as all know the wall. I live in a little town filled to the spilling brim with little people, little minds fixed on little things. Loud music and slow cars, good food and bad indegestion. I never know who's lying and who's not, and there's always someone lying, somewhere. these are not in any order.I left out all suicidal works and all works on/about love.” - Me, in my first-ever self-published works, '04. Deep-seated trauma. Never knew me dad, and you can well be damn sure I’ve got me some superpowers - could possibly be the lawd Jebus 2.0. Nah, kidding. Fuck deadbeat dads. Fuck drunks. Enough of that; I hate focusing on the past -with an absolute passion- cuz we cannot change it - it’s done; focus forward. Next. 3. What Is My Purpose? I guess I need to stop with the macro shit. Until this very point in time, I’ve been hell-bent on making some kind of everlasting change and helping the average person - and I truly and horribly feel for the trauma and the prisons in which we find ourselves stripped of our rights, freedoms, and the ability to achieve cognition. Really, I do. Whether it be actual jail, the opiate crisis, or the ways in which you are all -so incredibly tied- to the paradigms that -are actually inhuman, evil, and taught to you sometime after birth- is unfathomably concerning lol. Herein lays my problem: How do you tell a zealot for a given cause, who doesn’t even know they’re brandishing weapons from their own graves dug hundreds of years ago - how do you tell them their fault is zealotry? I’m -very- unsure what my message, medium, or platform is. I am -entirely- sure I am not my audience. I am also 138% sure that -nobody I talk to- is my target audience, at any point in time. I find context, social nuance, and -every bit of communication- incredibly difficult. Look up Autism; I dare you. Welcome to my Ted talk. 4. My Purpose The shit you ppl like to do is boring, lol. Romance, the rat race. Interfacing with others. Giving a shit. https://open.spotify.com/track/28rFqLIV8tXfyR9rzPoCLI?si=40d05d45b8db4dc5 https://open.spotify.com/track/28rFqLIV8tXfyR9rzPoCLI?si=40d05d45b8db4dc5 https://open.spotify.com/track/28rFqLIV8tXfyR9rzPoCLI?si=40d05d45b8db4dc5 I ain’t here to fuck girls, I ain’t here to take drugs. I ain’t here to stop fights, I ain’t want those rights. I ain’t here to talk shit, I don’t care who you with. I just came for the music. M y p u r p o s e. My fb bio for as long as I can remember: My Twitter bio for years before I started taking it seriously was: ‘I’m still here in case a n y t h i n g interesting ever happens, or on the off-chance I manage to burn it all to the ground.’ The message, the medium, the platform. I don’t know any of it. I don’t know who I am or what my self is - I don’t have any peers - I refuse to open my brain to the possibility that maybe shit is just ok. It’s fine to be content. Life goes on. I am lost, broken, and lonely. My purpose is to find myself, heal, and start to enjoy the company of other people without faking it. To learn to be content. That’s it. 5. Where Am I Going? To hell in a handcart. Nah seriously, I am gonna tie up my laces and move to a boot. Iykyk. Nobody knows where they’re going - just flow like water, fuckers. Sui.

Smell You Later - It’s Not Me, It’s You

We know that CryptoPunks are the grails of PFPs, Chromie Squiggles are the grails of generative art, but what is the grail collection of Fashion NFTs? Well, it might just be Unisocks… In this post you’ll learn: What Unisocks are Why Unisocks are such a significant collection What the data tells us about Unisocks How we see the Unisocks legacy today What Are Unisocks? To understand why one pair is currently priced around , you have to understand the history of Unisocks. $46,500 On May 9th, 2019, the Uniswap team announced Unisocks. There would only ever be 500 limited edition socks whose price the market would ultimately decide. The socks were designed by Uniswap Leander Capuozzo and Dean Eigenmann (designer and security researcher respectively). The project was not only launched by arguably the most innovative dApp (decentralized application) in crypto to date but was also the first experiment linking physical fashion to cryptocurrency tokens. The Unisocks Mechanism Each sock was represented by an ERC-20 (fungible) token SOCKS. Its increase or decrease in price is based on a bonding curve (the relationship between the price and supply of two ERC-20 tokens) within an automatic market maker i.e. an automatic pricing engine. This pricing engine was Uniswap’s great innovation. Instead of relying on a centralized exchange like Coinbase or Binance, Uniswap made it possible for anyone to exchange tokens with one another without relying on intermediaries. As people buy the SOCKS token its price increases and as people sell it back into the pool, the price decreases. In addition to all this, Unisocks also have two more technically interesting properties: They marked the first primary market asset issuance by an automated market maker Technically, they are among the first fractionalized NFTs as people could (still l can) purchase fractional shares of ERC-20 tokens The First Phygital To redeem the physical socks, you have to burn the SOCKS token. By doing so you receive the physical socks and an NFT to commemorate the redemption. Currently, of the 500 total supply, 199 have redeemed their socks, 282 are holding and only 19 SOCKS tokens are in the Uniswap Liquidity Pool. As seen above you can purchase one for around $46,500. Behind the Success – The Birth of Web3 Collector Culture So why are these relatively basic-looking socks going for over $45,000 (at one point they even traded for ~$170,000)? There are two overarching reasons. 1) The Ultimate Flex via OG Provenance Unisocks was the first redeemable fashion garment on the blockchain. Just like CryptoPunks represent the rarefied space of early NFT collectors, Unisocks represent an even earlier space of DeFi enthusiasts. Because Uniswap was essentially the first protocol to successfully create a decentralized exchange, in some ways, buying Unisocks is like buying Christie’s, Sotheby’s or Art Blocks’ first piece. Depending on where Uniswap ends up in the long run, such a provenance (i.e. origin) may give a lot of credibility to its holders. The one blemish on Unisocks’ provenance is that the Uniswap team changed the sock design in July 2019 without a . At the time some were even calling for Unisocks classic fork (a reference to the Ethereum Classic fork in 2016). However, in the grand scheme of things, even with the changed design, these are still Unisocks. formal announcement THE 2) If You Know You Know Just like Mark Rothko’s paintings, Unisocks seem plain and simplistic, however, upon closer inspection, there’s a much deeper story at play. In fact, this simplicity, even gaudiness of the design, is what distills the Web3 collectibles culture. Their relatively unassuming nature is what makes their luxury status even more impressive. They’re an if you know you know (IYKYK) object not meant to be understood by the masses. On the other hand, they invite the curious to go down the rabbit hole and discover why these assets are so expensive. The IYKYK attitude isn’t unique to Web3 but is prevalent in most luxury markets like watch, art and car markets. However, what makes IYKYK assets, arguably, work even better in Web3 than more traditional markets, are its social graph creation capabilities. Since you can see which wallets hold what assets, you can instantly create a community and events around them. . Holding revered and usually, early artifacts of Web3, is a form of accreditation of one’s NFT OG status. A sort of on-chain CV if you will. (Bullish on secret societies) https://twitter.com/gmoneyNFT/status/1636346761491955714?s=20&embedable=true 3) New Economy + Self-Irony The IYKYK attitude combined with a sense of self-irony of Web3 collectibles challenges the notion of what luxury is or should be. In part, this explains why NFT collections like EtherRocks (pictures of rocks) once traded for over $1M and CryptoDickbutts (pretty self-explanatory) have a floor market cap of $13M+. I’d even attribute part of BAYC’s success to this self-irony. Ultimately, it’s up to a decentralized community (not a bank or a government) to decide what these assets should be worth. Especially as we increasingly shift toward an attention economy. Similarly, just because Bitcoin isn’t made of gold, doesn’t mean it isn’t valuable. As Naval Ravikant playfully states: ”Every generation invents its own new Ponzi scheme and rejects the previous generation's Ponzi scheme.” At their core, these assets are often meant to be anti-status quo with a pinch of white-collar punk. New movements and art forms often reject the authority of previous generations whether it’s Basquiat’s “naive” work rejecting the elitist art world, Mies Van Der Rohe’s form follows functions ethos rejecting ornamental design, Apple’s 1984 ad rejecting IBM or even . youth rejecting the traditional notion of a t-shirt and turning it into a rebellious statement What the Data Says About Unisocks SOCKS Token At a $14.8M circulating supply market cap ($23.9M if we count the redeemed socks as well), Unisocks would have the third-highest market cap among Fashion NFTs. It would have the highest if we include only non-PFP projects. The initial price of the SOCKS token was priced around $12, this means a single pair of Unisocks has appreciated around 4000x! For comparison, Chromie Squiggle’s ROI since mint is 1222x, while BAYC’s is 605x (using average prices). The Unisocks holder data shows us a few interesting things. First, the physical sock redemptions plateaued after May 2021, however, Unisocks holders have almost tripled since then. Second, there are two whale wallets that hold over ten socks (the largest holder is a Uniswap wallet). Unisocks Redeemed NFT Token Even the Unisocks NFT that holders get when they redeem their physical socks has been traded for as high as ~$30,000. While the volume is clearly not as high as for the redeemable ERC-20 SOCKS token, it goes to show the power of the Unisocks provenance discussed earlier. What’s Next for Unisocks You may have been wondering why Doodles decides to go with the golden socks collection. Likely a nod to Unisocks. In addition, Unisocks has inspired multiple derivative collections like Mango Market Caps and SolSocks on Solana. Moreover, the phygital infrastructure company 4K Protocol’s redemption mechanics has been heavily influenced by Unisocks. 4K utilizes a token-burning system very similar to that of Unisocks. Instead of burning an ERC-20 token, you have to burn an NFT to receive the vaulted physical item. Gmoney’s 9dcc uses 4K for its claims. Finally, PleasrDAO recently announced it’ll be literally burning its pair of redeemed Unisocks during a live event on March 21st to honor the Unisocks legacy. Uniswap’s founder, Hayden Adams, will be there for the event. Also, Mike Demarais, founder of the Rainbow Wallet, will also attend (based on intel from the PleasrDAO team). https://twitter.com/PleasrDAO/status/1636758148378918917?s=20&embedable=true The DAO is one of the most famous NFT collector DAOs and is known for buying a one-of-one Wu-Tang Clan unreleased album Once “Upon a Time in Shaolin” for $4M as well as pplpleasr’s iconic Uniswap ad for $525,000. Learn more about Web3 Fashion: PFP Fashion – The Future of Digital Fashion or an Overhyped Gimmick? [2022 Recap] I Researched Fashion NFTs for Over 2000 hours in 2022. Here's What I Learned. A New Way to Value NFTs – Comparing BAYC, Clone X and Azuki The Missing Piece of Web3 Fashion Thanks for Reading! ========================= Read more at https://thenakedcollector.substack.com/ DM on email me at enquiries@nakedcollector.xyz if you want to work with me. I’m constantly looking to work with new projects. Twitter DM Upgrade to the to access The Naked Collector archives. Some of the alpha is too good to keep in the public domain. paid subscription Author Bio I focus on the cross-section of NFTs, crypto and fashion: Naked Collector has been the top Web3 Fashion research/data source since 2021 6 years of experience in the crypto markets (crypto/DeFi/NFTs) Part of 100+ NFT communities Also published . here

Is This the Holy Grail of Web3 Fashion the World Has Been Waiting For?

¿Es este el Santo Grial de la moda Web3 que el mundo ha estado esperando?

Est-ce le Saint Graal de la mode Web3 que le monde attendait ?

क्या यह वेब3 फैशन का पवित्र कंघी बनानेवाले की रेती है जिसका दुनिया इंतजार कर रही है?

これは、世界が待ち望んでいた Web3 ファッションの聖杯ですか?

Este é o Santo Graal da Web3 Fashion que o mundo estava esperando?

Đây có phải là Chén Thánh của thời trang Web3 mà cả thế giới đang chờ đợi?

这是世界一直在等待的 Web3 时尚的圣杯吗？

In a turn of events that seems straight out of a palace intrigue novel, a source on has released unconfirmed audio of (allegedly) ex-Pharma exec Martin Shkreli making unverified claims that he was the one behind SBF and FTX’s stunning downfall. Twitter For all those curious, here's a link to the tweet with audio. I have archived it as well in case it evaporates: https://twitter.com/JohnBelitsky/status/1590703321438121985?embedable=true Transcript below: “FTX is done and we did what we had to do to them and it's over.  Uhm, Bankman got what he deserved and he shouldn't have talked to us like that, and now you know, you reap what you sow so I don't have any problems with doing, you know, whatever, like, you know, it's his fault, you know at the end of the day, but if we, you know, helped tip him off of the, I guess the precipice off the cliff, then you know he shouldn't have been on the cliff in the first place, so I don't feel guilty, uhm, you know, it is what it is, you know, that's life.  Uh, anyway, I gotta do this podcast or whatever, so, see you later. Alright bro, see you on Friday, alright.” The audio is allegedly from the end of a Twitter space that occurred on November 9th, 2022, according to the source who posted it. I came across this potential Shakespearean intrigue when Shkreli : tweeted I stumbled upon Martin Shkreli's tweet on the evening of November 9th, 2022. At that point, the information contained therein had not yet been confirmed, or as I’m aware, reported by any other sources. Given my interest, I reached out to Shkreli directly via InMail on LinkedIn, asking for an interview to discuss his data in greater detail. Since his tweet made it appear as though this was public information, I assumed that he would be open to discussing it further. Imagine my surprise when, less than 24 hours later, he responded with a simple message: "hey, looks like I was right lol." His reply struck me as interesting, so I doubled back to do more research. That's when I realized that something more appeared to have happened. Searching Twitter, I found a tweet (link at top of article) of the 45-second-long recording of, according to the source, Shkreli's Twitter Space. It was accompanied by the following words from the source: "I think it's crazy that of the ~350 ppl left on this zoom, nobody else even mentioned the part when Shkreli takes a call, claims to have conspired w the caller to push SBF off a cliff, and then his account is immediately suspended. Idk I find this more than mildly intriguing.” I contacted the source and also read through their tweets from the day. I pieced the following together. It appears that on the evening of November 9th, Shkreli conducted a twitter space. The source says that moments after the Space ended, Shkreli’s account was suspended. The Tweeter seemed to believe this was a "hot-mic" moment. It's unclear from the recording if it was. Many questions remain. Was it Shkreli on the recording? If it was, did he actually play a role in the FTX downfall, or was this something else entirely? Viewing the recording, it does appear to be Shkreli. However, without further evidence, we cannot say for certain that he is responsible for the FTX downfall. Shkreli’s account was indeed suspended that night, confirming that part of the source’s account. I myself witnessed this in real time. He appears to have had access to information about FTX's balance sheet, raising questions about his role in the drama. In a follow-up InMail to the former Pharma exec, I asked him if he was the source of Binance's data on FTX's insolvency. As of writing, he has yet to return a comment. His alleged remarks raise more questions than answers, but one thing is clear: it appears he had access to data that only a few people had on Wednesday afternoon. Shkreli was . He appears to have entered the Blockchain space. released from prison earlier this year Shkreli is purportedly working on . a Decentralized drug computing project He was . It's unclear how, and for how long, he had managed to have his ban lifted before being banned again on Wednesday. permanently suspended from Twitter in 2017 If his admission in the Twitter space is true, he may have been, as per CZ's tweet, the "straw that broke the camel's back". If that is true, the question remains: how? I think we may find out. This is a developing story. Featured Image created with AI. Til next time crypto explorers, stay vigilant!

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