Thứ Hai, 29 tháng 1, 2018

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Program: Adobe Photoshop CC --Time taken: 1 hour and 5 minutes -- Music: My Demons

For more infomation >> Dark y Phantom - SPEEDPAINT#1 - Duration: 4:17.

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"BIDNEZZ" Dark Trap Beat Instrumental 2018 | Hard Lit Rap Hiphop Freestyle Trap Type Beat | Free DL - Duration: 3:18.

"BIDNEZZ" Dark Trap Beat Instrumental 2018 | Hard Lit Rap Hiphop Freestyle Trap Type Beat | Free DL

For more infomation >> "BIDNEZZ" Dark Trap Beat Instrumental 2018 | Hard Lit Rap Hiphop Freestyle Trap Type Beat | Free DL - Duration: 3:18.

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Nya Max Factor Dark Magic Mascara - ögonblicklig dramatisk volym | Max Factor Sweden - Duration: 0:21.

For more infomation >> Nya Max Factor Dark Magic Mascara - ögonblicklig dramatisk volym | Max Factor Sweden - Duration: 0:21.

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Go Fish GONE WRONG! (Dark Comedy Sketch) - Duration: 6:17.

Do you have any kings? Nope go fish. Do you

have any threes? Go Fish.

Do you have any sixes? Go Fish.

Do you have any fours? Go Fish.

Do you have any Dukes?

Go fish... wait what?

Dukes. Do you have any Dukes?

Dukes?

Yeah Dukes.

What the hell are dukes?

Come on now Dukes. You know Dukes? The little Viking looking guy carrying the mallet?

What? There aren't any Dukes in a deck of cards. All

right. Do you have any Amish? Did you just ask if I have any Amish? Yeah Amish. Are

you high? Why do I have to be high in order to ask if you have any Amish? Do

you even know what's in a deck of cards? Um yeah. Then why do you keep asking for

things that aren't in a deck of cards? I thought they were in the deck. You thought there

was a card for Amish? Forget it, let's just keep playing. All right well

still your turn. All right do you have any jockeys. I'm done.

What? I'm done playing with you. Come on now. Either you're messing with my

intellect, or you're not right in the head. Now why you gotta act like that? You're

the one who's acting like that. Acting like what? That! That. Say something like...

you're the one who's saying stuff like that. Now why you gotta say that. That! Now

why you gotta say, "that!" Whatever "that" is. I'm done I'm calling Merv. Uh, you can't

call Merv. Oh yeah and why's that. Cuz Merv's dead.

What? Dead, you know...dead. Oh no no. Merv's not dead.

I just called and talked to him this morning. Right, about that. That wasn't Merv

on phone. It was me pretending to be Merv.

Hello Bill. Jolly fine day is it not? I've got itches

in my britches...Merv. Hey, that sounds just like him, but why, why in the hell would

you do that? Why would you take his phone and imitate him? Because I shot him in

the head with my revolver. You shot Merv in the head with a

revolver? Well now that I think about it it was more like his upper neck. You damn

fool! why would you go and do that? He was being annoying. Annoying? Yeah he kept

doing this weird octopus sound with his armpit so I shot him in his left armpit.

Well you just said you shot him in the upper neck. Can't it be both? You're a

madman. A madman! You're crazy! You ought to belong in a... in an insane

asylum. Now that's not very nice. Not very ni... you just put a chunk of lead in

Merv's armpit and upper neck. I shot him right about here. Where does

the neck end in the head begin I... I'm calling the sheriff. Now why would you go

do something like that? You're gonna pay for what you've done. Put down the phone

Bill. Get away from me jack. Put it down. No! Put it down.

Never.

He couldn't just put down the damn phone.

That...that is a Duke. You're gonna tell me that that's not a Duke, that is a Duke!

Shit.

This is a lot harder than dragging Merv.

Hello? Charlie! How you doing buddy? Oh I'm doing fine just fine. Just, just doing my

thing. Just out here doing my thing, clearing out the fields like I always do.

Yeah, what's that?

Absolutely you can come over. Yeah, yeah.

Maybe, maybe Merv and Bill can join us too.

Yeah yeah. He'll definitely be here.

Yeah, yeah.

I got a new deck of cards maybe we can

play some Go Fish

For more infomation >> Go Fish GONE WRONG! (Dark Comedy Sketch) - Duration: 6:17.

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Sims Sally and Dark blood the Demon Cat Episode 1 part 1 - Duration: 0:36.

Sally:Your a good Demon cat Dark blood.

Dark Blood:Purrrrr.

Linda:Sally uhh Sally??

Linda:Where are oh there you.

Sally:Whats up vice manager Linda?

Linda:I need to talk.....to you and its....bad news and to you it may be very bad news.

For more infomation >> Sims Sally and Dark blood the Demon Cat Episode 1 part 1 - Duration: 0:36.

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"DRAMA" Hard Trap Beat Instrumental | Dark Trap Rap Beat Instrumental [FREE] - Duration: 3:03.

"DRAMA" Hard Trap Beat Instrumental | Dark Trap Rap Beat Instrumental [FREE]

For more infomation >> "DRAMA" Hard Trap Beat Instrumental | Dark Trap Rap Beat Instrumental [FREE] - Duration: 3:03.

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Japan's Secret - Dark History: Episode 6 [SEGAGAGA] - Duration: 10:26.

The Japanese video game industry is world famous, contributing to the nation's standing

as the 3rd largest economy in the world.

But is something dark lurking beneath their perfect looking facade?

Japan has enjoyed success in steel, tech, science and automobiles.

Though one of their biggest exports comes by way of entertainment.

The video game industry has provided Japan with opportunities to ship their culture and

improve their image overseas.

In keeping with tradition, Japanese companies innovated on technology that was already in

use elsewhere.

Of course, with a little of their secret sauce, they were able to wildly succeed where others

were seeing massive failure.

(Game crash of 1983, Atari).

What was in that secret sauce, you might ask?

Well, it could be the fact that Japanese companies routinely work their employees to death.

That's actually not a metaphor, Japanese employees often work so many hours at the

office that they fall ill and die.

It's gotten so bad, and happened so often, that they had to add a new word to their language

to describe the phenomenon of death-by-work.

The word Karoshi gained traction in the 1980's and has become a regular in news headlines

ever since.

According to the National Defense Council for Victims of Karoshi, "more than 10,000

workers die from work related cardiovascular diseases each year", though admittedly the

number of official claims and court settlements is much lower.

But even that's only telling half the story.

Karoshi also encompasses those who commit sucide due to the mental exhaustion and endless

cycle of day-to-day work.

This is definitely a contributing factor to Japan's extremely high suicide rate.

NHK, Japan's largest news broadcaster, reports often on the changes that Japan needs to make

in order to avoid karoshi.

However, in October of 2017, little more than a week after publishing this (dentsu) article

decrying yet another karoshi victim, NHK revealed that in 2013 one of their own employees died

of karoshi after working 159 hours of overtime in a single month.

This problem runs incredibly deep.

So deep, in fact, that when companies try to amend their policies to help alleviate

the stress on their employees, they are met with resistance from traditionalists who take

the old adage "hard work is its own reward" a little too seriously.

It's not just the companies that are liable, it's the consumers as well.

To meet the demands of the consumers, companies drive their workers, and the government stands

by for the tax revenue.

Occasionally, when things get a little out of hand (i.e. people are dying), the government

or the consumers will blame the company and force the CEO to resign, but then it's right

back to business as usual.

It's easy to point the finger, it's harder to look in the mirror.

Are the corporations so greedy?

Or are the consumers, those desperate for the wants of their heart to be inexpensive

and readily available; the greedy ones?

It's a team effort, to be sure, but it's important to recognize that each step in this

process, the consumers, the corporations, the government, all bear a heavy portion of

the responsibility when workers livelihoods are diminished, and many are overworked to

the point of death.

In the video game industry, many current and former employees have spoken out about the

harsh treatment they received while developing some of your favorite games.

People like Keiji Inafune, designer and producer of the Megaman series at Capcom, Koichi Nakamura,

director of several Dragon Quest games at Enix, and many other developers talked about

how hard it was, and how much was required of them in order to finish what they were

working on.

Stories range from a tyrannical boss who was impossible to please, to employees regularly

going 3 or 4 days without sleep, even to programmers being locked inside of a room and not allowed

out until they had finished coding their project.

All in all, there is some seriously troubling history behind the development of some of

the most influential video games that have come out of Japan.

Josh Szczepaniak, author of "The untold History of Japanese Game Companies", has

compiled a list of video game employees who were forced to work under extreme circumstances

on a blog post for the website Gamasutra.

He discovered the use of what is referred to as the Hamachi, or "crunch room".

According to Tokihiro Naito, Developer of Hydlide: "When you entered the room, the door

was locked from the outside.

Sometimes we'd throw a programmer in there, lock the door, and say, 'We'll let you out

once you finish your coding!'"

Yasuo Yoshikawa of T&E Soft said: "I never went home for six months, working and sleeping

in the Hamachi room.

One Sunday I went home, took a bath, and went to sleep.

When I woke up I was blind.

I was terrified and someone took me to the hospital because I couldn't see anything!

The doctor said it was not a condition young people are supposed to get.

So I was ordered to take rest from work."

Turns out, most developers have a crunch room.

This is, of course, not to be confused with the isolation rooms I mentioned in my video

about the video game industries ties to the Yakuza.

Isolation rooms, like the ones used by SEGA, SONY, PANASONIC, HITACHI, TOSHIBA, and many

others, are essentially solitary confinement prison cells; empty rooms that employees would

be locked in for long periods of time either as punishment, or as a means to get them to

resign without severance benefits.

Some employees reported coming in to work every day for months straight and spending

the entire work-day in an isolation room.

After a hundred or so such days, most employees would become so disheartened and depressed

that they would give in and quit the company.

In 2016, the awful business practices of Konami came to light.

They began monitoring how much time employees were taking on lunch breaks and shaming those

who stayed out too long in public announcements.

The camera's in Konami's offices aren't meant for security, but to constantly monitor

the staff as they work.

Employee's email addresses are routinely changed to random letters and numbers every

few months.

When one employee leaves the company, Konami monitors their related social media posts

and reshuffles other employees who like or favorite them within the company.

People who aren't seen as useful get reassigned as janitors and factory workers, presumably

to get them to resign, similar to the function of an isolation room.

Konami is gaining a reputation as a Black Company.

Black Companies are well known in Japan for having a high rate of harassment, unpaid overtime,

extended work hours, discrimination and short-term employment contracts.

The government has posted a list of hundreds of black companies with the likes of Dentsu

and Panasonic topping it off.

These companies have become well known for their poor treatment of employees, and even

inspired the annual Black Corporation Awards.

One interesting side note is that the winner of that award for 2017 was actually 7-Eleven.

It appears as though even foreign companies, when moving into Japan, quickly adapt to the

local customs.

Black Companies, are, of course, not to be confused with Dark Companies like Hyde, who

have worked on games like the Final Fantasy, Yakuza and Persona series; yet have never

been credited for their work.

Some Japanese companies, in order to maintain the illusion that they themselves made the

entire game you're playing, will pay smaller companies upfront for work, but not offer

them any credit.

These smaller companies are considered Dark because they help make the games you enjoy

in the shadows, while others get all of the fame and accolades.

Some of these companies are in Kyoto, and are seen as supporting acts for Tokyo or Osaka's

main studios; but most of them are actually overseas.

Japanese companies want the work these overseas companies provide, but not the negative image

that many Japanese consumers have of games made by foreign companies.

As a result, these names go uncredited.

Now based on everything we've seen here, I want to bring up an old video game called

SEGAGAGA.

This is a video game about making video games.

It follows a young talented director who needs to put together a team and make a hit video

game before the company goes under.

It plays as a typical RPG along the lines of Earthbound.

The dungeons in the game are the rooms where game developers are.

You see, due to high stress levels of gaming developers, the company locks their employees

in a room to keep them from getting out.

The programmers start acting 'strange'.

They begin turning into monsters because they are only getting 2 hours of sleep per day.

Your job is to go into the dungeon, and insult the artists and programmers to 'beat'

them into submission and get them to work on your game.

The game was being made in good fun, but it reflects a real culture that these employees

often face.

It's basically SEGA making fun of itself and the practices prevalent within their industry.

It came at the end of the Dreamcast era, so SEGA was trying to make a statement about

how hard the gaming industry is, what the employees go through to meet deadlines, and

how tough it is to make games.

Perhaps the most difficult aspect of this whole situation is how much pride salarymen

take in working such long hours.

If you've ever seen the Netflix documentary Jiro dreams of Sushi, you'll know what I mean.

It truly is inspiring to see so many people dedicate their lives to perfecting their trade.

But, that life is not for everyone, and the culture demands so much of people sometimes

that some people just aren't able to make it.

This isn't a problem unique to Japan, but it is one that Japanese society seems to have

a much harder time solving.

Japan, having such a foothold in the video game industry, has influenced the worldwide

market that has to try and compete with them.

Japanese people identify heavily with their work, and often, when working long hours,

they're doing it of their own accord.

That job is their life and they are going to put everything they have into it.

Just like they've been doing for thousands of years.

For more infomation >> Japan's Secret - Dark History: Episode 6 [SEGAGAGA] - Duration: 10:26.

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How to Get Rid of Dark Sores on the Face - Duration: 3:27.

Everyone has some kind of stain on their face.

On top of your lips, on your forehead, under your eyes.

The skin on our face is the most fragile due to constant exposure to sunlight,

pollution and the inevitable passage of years, among others.

In addition to making us look older, remove stains on the face can be expensive, since

that the creams that promise to help end up being quite expensive.

Learn how to make a totally whitening skin that will restore the natural tone of the

your skin and will eliminate stains on the face.

This recipe is easy, quick and inexpensive.

All you need are salsa and lemon.

Salsa is rich in various nutrients that revitalize the tone of the skin and aid in its regeneration.

Because it is rich in vitamin C, parsley also combat inflammation and reddish appearance

that your skin may have allergies making your skin look new.

Like parsley, lemon is also a source of vitamin C and how much it

known, has very high bleaching properties. potent

If you prefer, you can also replace the lemon for an apple cider vinegar in this recipe,

without losing any of its benefits.

When using this natural skin whitening agent, the care of applying it only at night,

because both the acid of the lemon and acid of apple cider vinegar can have the effect

and create spots on your skin.

Here's what it's like to do a skin whitening in Your Own Home: Ingredients

- 200 ml of water (1 cup); - 2 tablespoons leaves

Chopped parsley; - 1 tablespoon lemon juice or vinegar

freshly squeezed apple.

As

Warm the water in a pan and when and when raising boil add the leaves

of sauce.

Turn off the heat and let it cool.

Then add the lemon juice (or vinegar of apple).

Apply your skin lightener at night, one just before going to bed

The next day, wash your face thoroughly with your normal soap

If you'd prefer to do a larger amount for storage,

just leave the whitening lotion in the refrigerator, without problems, because it will not lose its

properties.

You saw how easy it is to make a skin lightener natural and effective?

If you have already used this recipe, tell us What did you think of the results?

For more infomation >> How to Get Rid of Dark Sores on the Face - Duration: 3:27.

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[FREE] "LIKE A BOSS" Hard Trap Beat Instrumental | Dark Trap Rap Beat Instrumental - Duration: 2:41.

[FREE] "LIKE A BOSS" Hard Trap Beat Instrumental | Dark Trap Rap Beat Instrumental

For more infomation >> [FREE] "LIKE A BOSS" Hard Trap Beat Instrumental | Dark Trap Rap Beat Instrumental - Duration: 2:41.

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"CIBLE" Hard Trap Beat Instrumental | Dark Trap Rap Beat Instrumental [FREE] - Duration: 3:42.

"CIBLE" Hard Trap Beat Instrumental | Dark Trap Rap Beat Instrumental [FREE]

For more infomation >> "CIBLE" Hard Trap Beat Instrumental | Dark Trap Rap Beat Instrumental [FREE] - Duration: 3:42.

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Dark Was The Night - Duration: 6:07.

For more infomation >> Dark Was The Night - Duration: 6:07.

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Exploring The Dark Universe - Duration: 54:46.

HSIAO-WEN CHEN: Well, good evening.

I'm very glad to be here today.

Traveling around half of the globe to visit--

Delhi.

It's my very first time in India so it's

been really fascinating.

I spent the earlier part of the week attending

a workshop organized by two real experts here from Iutah.

Dr. Shannon and also Dr. Groupdat.

So they are going to pretend they don't

know what I'm talking about.

For the next hour or so.

So I understand that many of you are students from the physics

department and you are here today on a Saturday evening.

You must be very interested in astronomy and astrophysics.

So I trust you guys have been keeping up

to date about the recent development ongoing

in astrophysics research.

And over the last few years, we've

seen a lot of exciting new discoveries,

including many exoplanets habitable zones,

and also, the detection of gravitational waves.

In one case, we even detected the optical counterpart

in the sky.

And just last week, we heard about

a new record-breaking high redshift

quasars further bringing us back in time

within 700 million years after the Big Bang.

So these are all very exciting developments.

And with more newer and more sensitive,

more powerful facilities coming online in the near future--

which I understand India is playing a big role in--

we can only expect there's more to come.

More breakthroughs will come.

So today, I'm going to talk about a research area that

addresses fundamental questions concerning

how the large-scale structures we see in the universe

today formed and evolved.

And in particular, I'm going to focus

on one important component that we know dominates in mass,

but has been largely left out because it's dark.

And because it's difficult, it's challenging

to capture this dark component.

So I will highlight the progress and the future prospects there

are in this particular area.

So you can see in the beginning slide here--

I'm not sure how many of you can recognize this place?

What you see in the background of the entire image,

you can see the beautiful Chilean night sky.

Underneath are the two Magellan telescopes

sitting on top of the Atacama desert in northern Chile.

And you can see the Milky Way, this panoramic image, that

shows you a clear, dark sky--

dark night.

This is what we can see without any help of telescopes.

So while the Milky Way, this beautiful sky

as impressive as it is, it actually

presents a confusing foreground for those of us

who try to study distant objects.

So in order to study the cosmos beyond the Milky Way,

we also have to look between stars.

So if you just focus over the last decade or so,

a lot of the exquisite images by the Hubble Space Telescope.

This is a small area that was taken using the Hubble Space

Telescope.

It's a called a Hubble ultra-deep field.

You can see that--

and this is pointing to supposedly

a blank area of the sky and integrated over a very

long exposure time.

And what you can see is what seemed

to be a blank sky, after you took this long exposure,

you see thousands of galaxies.

And every one of them looks different from the rest.

And actually, I will challenge you to find any two of alike.

So they all look different.

They have different colors.

It looks like not only the visible universe is lumpy,

is blotty, but the galaxies all look very different.

It has a diverse range of morphology.

So if I just zoom in--

So this was actually Hubble.

So Hubble discovered these galaxies beyond the Milky Way

almost a century ago.

And he did his best.

He realized everything looks different from the rest.

And he did his best to classify, to come up with this Hubble

tuning fork diagram.

You can see that he grouped the galaxies into round looking,

elliptical, to spirals, to something

with a central barred structure.

So these days we have tons of astronomical images taken.

So sometimes we see something that looks like a Mexican hat.

Sometimes it looks like a train wreck.

And sometimes this is what people a ring galaxy.

So with all the diverse range, and the seemingly random

phenomenon, the surprising thing is

it appears that there there's actually

some simple principles.

They actually follow some simple correlations.

So to start out, this is so-called Galaxy Bimodality.

What it shows here is the color in the y-axis and mass

in the x-axis.

Roughly speaking, what we find is

galaxies tend to fall into two different categories.

Red tend to be more massive than blue galaxies.

And the red galaxies, they tend to be older, more evolved.

And the blue galaxies appear to be younger.

Many of them are still forming new stars.

So despite-- no matter how weird they look,

they seem to follow this general trend.

And if you look further, there's also a very tight size

and mass correlation.

Again, I want you to remember back

the weird morphologies we saw.

So here it shows the so-called half mass radius.

Within this radius, within this size

here, we see half of the total mass versus the total mass that

shows at the top axis.

Over more than four orders of magnitude,

we see that more massive galaxies systematically

show bigger, are more extended.

Again, irrespective of what they look,

there seems to be this tight correlation.

Just one more, so there's this so-called mass metallicity

relation.

So for those who are new in astronomy,

we have a funny way of calling our heavy elements.

We call them metal.

So the metallicity is a measure of how many heavy elements are

there per hydrogen particle.

So it's a relative ratio.

If there's more heavy elements, the metallicity is higher.

And as it turns out, just like the size mass correlation,

there is also a very tight correlation

between mass in the x-axis here and the amount

of heavy elements that have been produced over time.

So somehow bigger galaxies, on average,

are older, and more massive, and also more

enriched with heavy elements irrespective of what they look.

So there is this order in chaos that

seems to tell us there are some simple, underlying driving

principles that govern the galaxy formation and evolution.

So to astrophysicists, this is good news

because there are ways-- there must

be ways to be able to reproduce the observed, large-scale

structure based on some simple principles.

And this is a struggle over two decades.

And it's a success.

So just in the last couple years,

all the numerical simulations-- most

of the numerical simulations are able to produce realistic

looking galaxies.

So here, I have to mention, these are not real.

These are simulated galaxies.

At the top are the disk spiral types

look top down, so go face on.

You can see really detailed spiral arms and also

dust lens, the dark part, and the star forming regions.

And when you see the disk spiral edge on,

the thin disk is really reproducing

the observed central bulge to the disk ratio.

Amazing.

So like I said, most simulation groups are able to do that now.

So this is a separate group that shows

that they can reproduce the Hubble tuning fork diagram

in their simulation volume.

Again, starting from elliptical galaxies evolving to the right

to spiral looking.

Even bar spirals you can see.

I also tried to capture some train wreck examples.

So it's a clear success, victory.

Are we done?

Since I'm asking, that means the answer is no.

So what is-- what is left out as I said in the beginning?

So these days, we know very well what the universe is made of.

We know about 22% of the entire mass density

resides in dark matter, whatever that is.

And 74% are in the so-called dark energy--

again, the second fairytale.

So a lot of people are pursuing the nature

of the two dark forces.

So the tiny, little sliver of 4% are what we are made of,

regular, ordinary matter.

So we know exactly what they are.

This is so-called barium.

So in principle, we should know where to find it.

Agreed?

So when you actually look into the composition--

cosmic composition trying to identify

the 4% of the total mass budget in regular matter,

we could only identify--

so the known matter, like stars or gas,

together make up just about 10% of all regular matter

that we know exists.

The rest is still to be found.

And considering this is 90% of all the regular matter,

this is a serious problem.

So now, going back to the success in simulations.

So they can reproduce realistic looking galaxies.

What about the remaining 90%?

So if we look back to, again, one

of the numerical simulations, this

is showing you the expected spatial distribution

of dark matter, over about 15 megaparsecs across.

So I'm going to use megaparsec--

I'm going to use parsec.

So this is an astronomical distance measure

unit that corresponds to about three light years.

So again, astronomical number, the universe

is so huge, vast space we have to invent a new unit.

And even after we invented three light years, parsec,

we still need to go up to million parsecs

to describe a tiny, little volume in the cosmos.

So this square here, this panel here,

is about 15 megaparsecs across.

And by the way, the solar system,

we are about 8,000 parsecs to the galactic center.

That gives you a sense of the size of the Milky Way disk.

So in the simulations, even though we

don't know what made--

what the dark matter is made of, but it follows very simple

physical principles.

So we can predict from the first initial density fluctuation

what the dark matter distribution is going

to be like in the current time.

And you can see that it's really rich in structure

on all scales.

Yes?

AUDIENCE: What is this image looking at?

Is is the galactic center?

HSIAO-WEN CHEN: No, this is just a simulation volume that covers

about 15 megaparsecs across.

You can imagine-- so the galactic center may

be one of these red dots here.

For this to be this big, it's going to be a cluster.

So since you asked where's the galactic center--

so this is what the simulation predicts

spatial distribution for dark matter, how it looks like.

So what do you think the galaxies--

the distribution for galaxies should look like?

Can you find any galaxies here?

AUDIENCE: No.

HSIAO-WEN CHEN: You need to look hard.

Maybe we need to turn the lights off.

But you can see that they are tiny, small yellow dots

in this vast volume.

This is what we expect galaxies--

how sparsely distributed galaxies are

relative to dark matter.

So remember, this is 10% of all regular matter.

What about the rest of the 90%?

So this is what the simulations predict

that the rest of the 90% should exist,

should fill up the cosmos along the so-called cosmic web,

filamentary structure.

And the filaments are the crucial fuel

that feed the formation of galaxies and continued

growth of these galaxies.

At least this is what theory expects.

So to some extent, we can actually

test whether the idea is generally correct.

So we can start looking into our own backyard.

This is an old sky map of the Milky Way.

So again, this is unwrapped.

Remember the old sky image from Chile.

It shows the central disk here.

And then, there's a bulge.

That's the galactic center.

So this is the optical view.

This is what we call optical view of the Milky Way.

When we look into 21 centimeter in radial

targeting hydrogen atom, we do see

a lot of clouds floating in the Milky Way sky.

The only caveat is we don't have the distance.

We don't know where they are really

because we are fundamentally blindsided

because of the proximity.

So if we move beyond the Milky Way to our next door neighbor

Andromeda--

so I don't know if you guys can see Andromeda from here.

You can?

Again, this is the optical image of--

also called M31.

When we look into, again, the radial,

we see, again, these clouds floating around the disk.

But the difference is this time because we

see from the outside, we know right away

that they go all the way out to as far as 50 kiloparsecs.

So 50,000 times of the parsec.

So what about further away?

So this is a galaxy group--

that means there's more than one galaxy

in this small volume that come from similar proximity.

And in the optical image-- this is a Sloan Digital Sky Survey

image--

you can see a giant spiral surrounded

by a couple of small disk galaxies and this prototype

starburst galaxy.

Just to zoom into--

to impress you the kind of detail we know these days.

So when we look into radial, what does it look like?

The space between galaxy is filled with this hydrogen gas,

again, out, extend beyond 50 KPC.

So qualitatively, at least in terms

of the comparison on the surface,

it does look like there is extended--

there's the tenuous gas around galaxies

as expected from theory.

But how consistent are the observations and simulations?

Naturally, we want to make a direct comparison

over a large volume.

But this kind of observation, radial observation,

trying to detect this tenuous gas quickly runs out of steam.

You just move slightly beyond the local volume,

it became very difficult to detect this kind of gas.

So that's why we need to have a new tool, a new way,

of probing this kind of tenuous gas a much larger distance.

So what do we do?

So we go back to physics.

So this is just to show you, again,

simulation box, the filamentary structure.

And that's filled with mostly hydrogen, 99.9% hydrogen.

So what do we think could happen when a photon hits

one of the hydrogen particles?

So physics tells us if the photon is at the right energy,

it's going to interact with the electron in hydrogen.

And it's going to accept the electron the photon gas last.

So if you have a background source,

if you have a source that serves as a backlight shine

through these filamentary, this cosmic web,

you came imagine that every time the light

hits a filament it's going to create a dip in the backlight.

And remember that the universe continues to expand.

So the light will be red shifted as things move away from us.

So along a finite path slowly you

build up this map of filaments at the right location

just by studying where the dip comes in.

So this is absorption, absorbing the background light.

So just to help you visualize what's happening,

this is a very nice movie made by Andrew Pontzen

at the University of the College of London.

As the light from the background source

traveled through the cosmos to an observer on the right,

you'll see that every time--

and this is the spectrum.

This is the light from the background source.

Every time it hits a filament, a dense filament,

it's going to create a dip.

So let's see if this works.

So you can see starting from the source location, every time it

hits a dense light it's going to create

a deeper absorption absorbing a larger fraction of the light.

And you see here, this is super dense

and it completely absorbed the light below this energy.

Yes?

AUDIENCE: What are the peaks above?

The density peaks are also the--

HSIAO-WEN CHEN: This peak?

AUDIENCE: Yeah.

HSIAO-WEN CHEN: This is from the background light.

It's like the fingerprint that's associated

with the nature of the region of the object itself.

So it has nothing to do with the space in between.

I want you to focus on the absorption forest.

This is what's called Lyman-alpha forest.

By studying the Lyman-alpha forest,

we can construct a one-dimensional map, basically

just a map of density fluctuation

along one line of sight.

So this is what we call core-sampling if you wish.

This is equivalent to core sampling of the dark universe

using the so-called absorption spectroscopy.

So here I just put this cartoon.

Again, remember this is the M81 group

with the abundant extended gas.

Imagine there's a background source

shines through the space.

And then it's going to produce this so-called Lyman-alpha

forest.

And the good thing about absorption spectroscopy is we

don't just study hydrogen. So it turns out the Lyman-alpha

forest-- a large fraction of them--

come with associated features produced by heavy elements.

So in the cosmos, in addition to hydrogen,

there's also a small fraction of heavy elements.

So again, if the condition is right,

the photon hits the heavy elements.

It will also be absorbed.

And through comparing the relative strength,

we can also constrain the chemical enrichment--

the fraction of heavy elements that have been produced.

So this provides a very sensitive empirical probe

of tenuous gas in and around galaxies.

So this is a technique that people have been using actually

for over two decades.

The advantage, as I said, is because it's very sensitive.

The disadvantage is it's a painstaking process because you

can only have 1-D probe.

And when it comes to probing gas around galaxies, it's a 3-D--

it's an extended structure.

So we need to--

we need to have a 2-D map.

So how do we do it?

Essentially, what we end up doing

is to identify a large sample of galaxies

that happen to sit in front of a background source.

So here, I just show six examples

of-- every fuzzy, yellow blob is a galaxy.

And you notice they all have a blue dot next to it

at different distances.

So this is the background light.

By taking, again, the spectrum of thee background source, we

can identify associated absorption features

that coexisted in location with the galaxy.

But as they move, you can see the strength of this absorption

actually changes as you go further out, further

away from the galaxy.

And what we can do next is to form the so-called ensemble

average.

We combine the entire galaxy together

forming some sort of cosmic average,

essentially, with quasars--

the background source showing up at different locations

in the sky.

And by examining how the signal changes with the distance

to the galaxy, we can build up a cosmic mean,

a 1-D average of the density profile

from the galaxy for the extended gas.

So just to visualize, imagine if this galaxy is surrounded

by this giant filament that we saw in simulations, presumably

every background source that hits

the filament should produce a strong absorption feature.

And by examining the strength, how that changes with distance,

we could-- that forms as the first order test of the model.

And this shows you that we can do this for hydrogen.

And this shows you how strong the signal

is as a function of distance from the galaxy.

Not surprisingly, just like what we

see in a visible optical disk how stars are distributed,

we see a very fast declining trend

as we move further away from the galaxy indicating

that the gas is thinning out as you go away

from the central mass.

And likewise, we're going to do that for heavy elements.

It also shows very similar trend,

but it stops much earlier than hydrogen gas.

It indicates that while heavy elements may exist around

galaxies, it doesn't extend as far out.

So that gives us another hint about how

the heavy elements we see away from galaxies are generated.

So now with this in mind, we can do this to distance as high--

as far away as the background light can be.

Unlike in the radial 21 centimeters,

we are limited to very nearby universe

because of the sensitivity of the instrument.

But for this, so long as you can find the background quasars,

which as I said the latest one is within 700 million years

after the Big Bang, then you can probe all the way out--

the gas all the way out into the early epoch.

So then we can compare-- with a large sample,

we can compare with simulations.

It turns out there's a problem.

So what this is showing here is from the simulations

that can successfully reproduce realistic looking galaxies--

at the top either it is red or spiral looking galaxies--

they underestimate the amount of signal

we see out into galactic halos.

So while they can--

they appear to be able to model the 4%--

10% of the regular matter, they fail

in capturing the physics that's driving the rest of the 90%.

So what can we do to help improve our understanding

of this subject?

So if we go back--

so this brings us to the ongoing research project

and the future development.

So when we come back to this image,

looking at this extended gas around M81 again,

if you look carefully, just by morphology again,

an image can tell us many different things.

If you look at the image, you see different structures.

From something as simple as a rotating disk

in the middle to--

there's the gas being stripped out of a galaxy

here, one of the group members.

To something like tidal tail--

due to tidal force gas--

material gets stripped out of the galaxy.

To some sort of free floating clouds.

And they all have different motion.

Rotating disk by design, it should be just spinning.

But stripped gas has very distinct directional motion.

And these clouds, they will just be randomly floating

around the galaxy.

So not only the spatial distribution

is distinct between these different components,

their motion is also different from

organized, coherent spinning to something that is more random.

So that gives us a hint.

To really bridge the gap between observations and simulations,

we really need to have a map.

1-D probe just doesn't seem to be enough.

I mean, it brought us closer.

It gave us new insight, but now we need more.

So what can we do?

So down here, you can see the hint of filaments coming in,

just to tie back with the simulation

result. One more component, that's

the starburst driven outflow.

So this is really energetic wings

that's being brought up by intense star

formation in the galaxy.

Contradictory to the spinning this structure,

the distinct morphology is this conical outflow.

Again, the directional, very orthogonal,

completely independent of what we see here.

Just to highlight the prospect of sorting

through these complex physical processes,

if we have a spatially resolved map of the gas--

so essentially, we want to go back

to making radial more powerful.

But we don't have to.

So one of the new approaches is to utilize

multipally lensed background source due to the foreground

mass concentration.

This is the so-called gravitational lensing.

Going back to Einstein's general relativity,

space time gets distorted when there's

a huge amount of mass present.

And through gravitational lensing,

single background source gets split into multiples.

So by observing the multipally lensed images

we immediately expand the number of probes from one to four,

in this case.

So that's a factor of four gain.

That's pretty good.

So just to give you an idea about what might be possible

with the multiple probes, in a very simplified world

imagine if there's a spiral spinning spiral galaxy.

In this case, we're seeing the galaxy from top down.

But if there's an observer that's

viewing the galaxy from sideways--

so we put the observer down here looking up through the disk.

And remember, the disk is spinning, so I'm going to use--

resort to Doppler shift again.

Different motion will move the features different according

to how fast the disk is moving.

And also, I should add that one thing you can see

is the light is brighter-- much brighter at the center

and gradually declined to the outskirts.

So you can infer that the density is dropping

as you go to the outskirts.

So coupled with the motion, what do we

expect to see in the spectral feature

due to the spinning disk?

So if I just highlight two points--

one, closer to the center of the galaxy, the motion of the disk

almost goes in parallel with the line of sight.

That means just by observing the velocity offset, we capture

most of the rotation motion.

The projection is nearly 100%.

In contrast to this point, a point in the outskirt,

further away, the density is lower.

And it's moving perpendicular to the line of sight.

That means the projection will be near zero.

I hope that's clear.

So on the left you, can see that near the center almost

parallel to the line of sight, there's a strong signal--

and most red-shifted.

It's moving away from the observer.

The strongest component is also most red-shifted.

As you go further away, the density declines.

Absorption strength declines.

And you see that the weakest component

appears as something that's closer to the systemic velocity

of the galaxy.

So if you understand this, now I'm

going to put in a second sight line opposite side from--

of the center.

So now, how does the disk move?

Also, the observer stands at the same place.

The disk here is moving--

moving toward the observer on this side of the disk.

So what we see is closer to the center

the strongest component is going to be most blue-shifted.

And the weakest component will be closer

to zero relative velocity.

So do you see the difference?

Opposite side, mirror image.

So you can call this a definitive identification

of a rotation disk, if you have more than one sight line.

A second example would be the starburst outflows

that I said before, there's this bi-conical feature.

So again, in the idealized experiment

if we put the observer on the left looking at the disk face

on, in this case now.

And again, two sight lines on the opposite side of the disk.

Instead of seeing this kind of mirror image,

or asymmetric profile, we see something

that's more or less symmetric, one blue-shifted, one

red-shifted, on both sides.

So if we see these features, we can

identify the process, the physical process,

that's driving the absorption--

the absorbing gas that produces this feature here.

And now, with a lot of all sky surveys--

so we started with Sloane Digital Sky Survey.

And now we are actively building the large synoptic telescope

in Chile that is going to do an all Southern sky

survey to very deep level.

The survey combined is going to produce thousands

of those gravitationally lensed objects that will

help with this kind of study.

So the future is really bright.

But we can actually do better than that.

So I talked about absorption.

So absorption is when a photon comes

is and interacts with an electron

and then boosts the electron charge state.

The photon gets lost.

But the electron is not going to stay out there forever.

There's the reverse process.

In very short time, especially for hydrogen, the electron

is going to come down.

It's going to lose energy.

And it will emit a photon.

So this is very obvious.

So why did we not do this in the first place?

The challenge here is when the photon--

I mean, when the electron comes down,

the photon is emitted in any random direction.

So every absorption, the signal when it gets emitted,

is diluted by the entire solid angle, the entire sky.

So you can imagine the signal is significantly weaker.

But in principle, you can do it.

And it's actually just being feasible now given

the advancement in instrumentation,

in astronomical instrumentation and also detector technology.

And here is an example of a recent detection

of this large scale low luminosity emission around very

distant objects.

So to facilitate this kind of study,

this was made possible by this idea of an image slicer.

So what is an image slicer?

Literally, we slice-- given a two-dimensional image,

essentially we put a slit along the entire frame.

We cut it up into a thin slit and re-align them

into a pseudo long slit, and send that

to a disperser, a prism, to disperse the light.

And after the light is dispersed,

we re-package the pseudo slit back to its original form.

It's like playing the Lego blocks.

But in this case, we have an image

for every photon, every photon energy.

So it's trying to highlight here, for blue photons,

we can build an image.

For green photons we can build another image.

And we can look at how different things are.

Why do we want to do that?

Because the emission I said earlier

while it's being diluted by the entire sky,

it's only coming from very narrow--

energy range.

The wavelength is narrow.

Doing this image slicer allows us

to identify the slice we want that targets

the energy range we want, that exact photon we want.

And I'm going to show you this very nice example that

was just obtained recently.

So what you see here is actually an HST image

of the field around a luminous quasar,

this supermassive black hole being powered

by a supermassive black hole.

A red-shift 0.6.

So I used another word, red-shift.

So essentially, this is about four or five billion years

from now, four or five billion years ago.

And that's the quasar in the middle.

It looks just like a star.

And surrounding the quasar you see many galaxies.

I hope you can see in the back that there

is spiral looking galaxy.

There are things that look like interacting, like in the stage

of making a train wreck.

And then there's nothing.

The rest is just dark space.

So recently, there's a new set of data obtained using

the image slicer technology.

And that allows us to build, to extract,

the spectrum of every single pixel in this image.

So what I did here is I just collect

all the pixels that coincide with the quasar

here and build the quasar spectrum down here.

These are all typical emission line features,

that you asked earlier, that's associated

with the central engine.

But because we know what they are,

we use these features to identify the exact location

of the quasar.

And because this is pretty much noiseless,

we can determine the location very precisely,

very accurately.

So now, I can-- again, going back to the image slicing idea.

Now, using the same data set, I can

focus on one specific wavelength and look at the field, what

it looks like.

And I hope you can see a very good one to one comparison.

The only difference here is this is a space telescope image.

It looks much sharper without the atmosphere.

This is obtained from the ground.

So the atmosphere, you go out to see the stars, they twinkle.

The atmosphere really smears the image quite a bit.

But aside from that, you can see there's pretty much a very good

one to one comparison.

There's all the galaxies you find

in the Hubble Space Telescope image in the ground based image

here.

And if I move to a narrow line region,

again we can look at the image side by side.

They still look pretty similar, except for this part.

I hope you can see this does not have a counterpart in the space

image.

So something different is happening.

What is this?

So what I'm going to do next is to show you

a movie of this field stepping through the wavelengths

centered around this narrow line, the entire field, though.

So the narrow line is set by the location of the quasar,

but I'm going to show you what the image, the field,

looks like as we step through different wavelengths.

And I can convert that to relative velocity.

In doing so, I will remove-- let's see.

This is not going to come.

I'm going to remove--

I removed the quasar light in this frame

just so you can see the surrounding much better.

So I'm going to start the movie at about 1,400 kilometers

per second blue-shifted in front--

well, moving toward us from the quasar position.

Does that make sense?

From negative 1,400 kilometers per second to plus,

moving toward--

further away to plus 300 kilometers per second.

What you're going to see--

I'm just going to tell you what you're going to see.

At this location, that bright stream does not--

it doesn't exist.

Disappeared.

So starting from about 1,370 kilometers per second

you will see gas signal being extended out

of this interacting pair here.

You're going to see signal from here and the track wreck mass.

And the signal is going to move to this side, the left side,

where you see one, two, three, four, five,

six, seven galaxies there.

It turns out that they are all interacting like crazy.

They are all pulling each other like crazy.

And then, you're going to see the signal

move to that streak you saw earlier,

and pointing directly to where the quasar is.

So I'm going to start the movie now.

So you see starting from here, there's

gas being pulled out of the interacting gas--

the interacting galaxy.

Then, it moves here, at the bottom,

minus 500 kilometers second.

These seemingly isolated galaxies

are interacting like crazy.

And then, there's the streak going--

feeding into the center of the quasar.

Should I do this again?

Maybe I'll do this again.

So it's starting.

Again, gas being totally stripped out of the galaxy.

And then, here, you can see the streak.

And then it's going to come in here.

There may have been a dwarf being destroyed some time ago.

And then gas started to show up right near--

right at where the quasar is.

So this is what I would say, the so-called co-evolution

between super massive black hole feeding and the halo gas

caught in action for the first time.

So again, just to summarize, this is a snapshot of that.

It's just the image highlights where the galaxies are.

And this is a different panel of the gas in different wavelength

slide, velocity slice.

So just to compare with what we saw earlier in radial,

so remember the idea is to have a spatially resolved data using

both the morphology and velocity field

to identify the process that's driving--

that's dictating the content of the halo gas.

So we are very close.

And like I said, this instrument was only commissioned

a couple of years ago.

There's a lot more to come.

So now, I'm toward the end.

This is the end of my talk.

So I just close--

I hope you are convinced that we are really--

in terms of astrophysics research,

this is really exciting time for us.

A lot has happened, but a lot more are going to happen.

And for those who are interested in pursuing this,

I want to end with this quote from Dr. Vera Rubin, who

sadly passed away last year.

Does anybody know who she is?

Yes.

AUDIENCE: She found out the [INAUDIBLE] curve [INAUDIBLE]

in the galaxies.

HSIAO-WEN CHEN: Yes.

She found the first--

she discovered the first empirical piece of evidence

for dark matter through observation of the rotation

velocity is flattened.

So she had a lot of wise words, but this one stuck with me.

So naturally, given what she did, what she accomplished,

"don't shoot for the stars.

We already know what's there.

Shoot for the space in between because that's

where the real mystery lies."

I will just end here.

For more infomation >> Exploring The Dark Universe - Duration: 54:46.

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

Cybersecurity: How Deep is the Dark Web? - Duration: 1:05.

So the majority of the internet that people know about today

represents about 5% of the data that's out there.

The remaining 95% exists in areas of the dark web

and the deep web.

And that's where all of these actors hide that information

and then monetize on it.

Cybercriminals today can go to the dark web

and get access to a number of kits that can help them hack.

They don't really need to be technically qualified to do so.

Many attackers will look across a wide spectrum of targets

and then identify the ones that have the vulnerabilities they

can go after.

So it's not necessarily that you're a targeted entity.

But you're at an opportunity for them to exploit.

The best way to stay ahead of cybercriminals

is to ensure that your information security program is

a living entity, ensuring that controls are managed

and measured on a daily basis.

For more infomation >> Cybersecurity: How Deep is the Dark Web? - Duration: 1:05.

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

Sims Sally and Dark blood the Demon cat intro - Duration: 1:18.

Dark Blood:Do you have to go to work today Mortal human Sally?

Sally:No today is my day off there is nothing for me to do but stay home and be with you.

For more infomation >> Sims Sally and Dark blood the Demon cat intro - Duration: 1:18.

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

Cybersecurity: The Dark Web Data Lake - Duration: 0:58.

[MUSIC PLAYING]

Corporate intellectual property on the dark web

is always up for sale.

But some information, by itself, doesn't have

a tremendous amount of value.

So that information is then put into sort of a bad actor data

lake, and they can then correlate

that information against other information pieces

they've taken from other areas.

And it's those small pieces that, together,

can become an answer to the puzzle

and allow them to perform an attack.

It's not the same threat for everybody.

Your organization, your assets, your type of data

attracts certain types of hackers to come to you.

So you have to protect your organization's asset,

based on the risk that you calculated, and then

tune your security controls to be able to handle and manage

that risk.

[MUSIC PLAYING]

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