1 00:00:00,000 --> 00:00:01,928 [MUSIC PLAYING] 2 00:00:01,928 --> 00:00:14,750 3 00:00:14,750 --> 00:00:16,140 DAVID MALAN: All right. 4 00:00:16,140 --> 00:00:19,890 This is CS50, and this is week 11. 5 00:00:19,890 --> 00:00:21,150 Our very last. 6 00:00:21,150 --> 00:00:23,390 And yet, curiously somehow, our second. 7 00:00:23,390 --> 00:00:25,140 But it's great to see everyone here again, 8 00:00:25,140 --> 00:00:27,330 and the goal today is several fold. 9 00:00:27,330 --> 00:00:29,340 Among the goals for today, is to introduce you 10 00:00:29,340 --> 00:00:32,280 to applications of computer science in the real world 11 00:00:32,280 --> 00:00:34,170 by way of virtual reality. 12 00:00:34,170 --> 00:00:36,840 And we'll do that by way of CS50 itself, a bit of gaming, 13 00:00:36,840 --> 00:00:39,589 as well as by the world of archaeology-- something 14 00:00:39,589 --> 00:00:41,880 that I myself took an interest in back in grad school-- 15 00:00:41,880 --> 00:00:45,870 and also we'll get, hopefully, a bit of emotional closure. 16 00:00:45,870 --> 00:00:48,940 Indeed, if you think back on what we've been doing this whole semester, 17 00:00:48,940 --> 00:00:51,780 whether you took some CS class before this or not-- I mean, 18 00:00:51,780 --> 00:00:54,180 this class is entirely about problem solving. 19 00:00:54,180 --> 00:00:56,700 And the thing I would encourage you to keep in mind 20 00:00:56,700 --> 00:00:59,790 is that, no matter how cryptic C might have felt, 21 00:00:59,790 --> 00:01:02,700 or no matter how you might have struggled with Flask, or Python, 22 00:01:02,700 --> 00:01:06,510 or any other particular implementation details of problem sets, 23 00:01:06,510 --> 00:01:10,510 at the end of the day, everything we did really boils down to this mental model. 24 00:01:10,510 --> 00:01:13,181 And so truly if you walk away with nothing else from CS50 other 25 00:01:13,181 --> 00:01:15,930 than this appreciation, that even though you might not necessarily 26 00:01:15,930 --> 00:01:20,340 know in advance what goes inside that box, algorithms are the solution. 27 00:01:20,340 --> 00:01:23,160 I mean most everything we humans do, with or without computers, 28 00:01:23,160 --> 00:01:26,670 can be reduced to this form of problem solving. 29 00:01:26,670 --> 00:01:30,450 And realize, too, that just 12 weeks ago, 73% of you 30 00:01:30,450 --> 00:01:32,642 had never taken a CS course before. 31 00:01:32,642 --> 00:01:35,850 And then you went through in Scratch, and then C, and then memory management, 32 00:01:35,850 --> 00:01:37,766 and then implement your own hash table, or try 33 00:01:37,766 --> 00:01:41,250 in your own web based application, and soon your own final project. 34 00:01:41,250 --> 00:01:45,220 So I dare say that no one here is among those less comfortable anymore. 35 00:01:45,220 --> 00:01:47,280 Indeed what ultimately matters now is not 36 00:01:47,280 --> 00:01:49,490 so much where you end up relative to your classmates, 37 00:01:49,490 --> 00:01:52,470 but where you all end up today, in this week 11, 38 00:01:52,470 --> 00:01:55,290 relative to where you were in week 0. 39 00:01:55,290 --> 00:01:58,110 Indeed, it's worth noting that most of the course's teaching 40 00:01:58,110 --> 00:02:03,570 Fellows in course assistance, were exactly where you were, just a year ago 41 00:02:03,570 --> 00:02:04,390 today. 42 00:02:04,390 --> 00:02:06,660 Indeed, I thought we would hit play on a short film 43 00:02:06,660 --> 00:02:09,840 that the staff has put together to paint the picture of exactly what it's 44 00:02:09,840 --> 00:02:13,200 been like for them, since graduating from CS50. 45 00:02:13,200 --> 00:02:16,320 I give you CS50 staff, for Fall 2016. 46 00:02:16,320 --> 00:02:17,020 [VIDEO PLAYBACK] 47 00:02:17,020 --> 00:02:19,996 - I'm Analea, and this is CS50. 48 00:02:19,996 --> 00:02:21,334 [MUSIC PLAYING] 49 00:02:21,334 --> 00:02:25,880 50 00:02:25,880 --> 00:02:28,230 - Thank you so much to this year's staff, 51 00:02:28,230 --> 00:02:31,740 without whom the course really wouldn't be what it ultimately is for students. 52 00:02:31,740 --> 00:02:33,750 Indeed, more than just videos, and problem sets, 53 00:02:33,750 --> 00:02:37,276 and tests, and quizzes, CS50 really is about the interpersonal experience, 54 00:02:37,276 --> 00:02:39,900 that students have in the course, and that connection that they 55 00:02:39,900 --> 00:02:42,320 make with the whole teaching staff. 56 00:02:42,320 --> 00:02:45,870 - So as a student, I really struggled to learn pointers, but I had great TF, 57 00:02:45,870 --> 00:02:49,236 and he was just so inspiring that I really wanted to join the team myself. 58 00:02:49,236 --> 00:02:50,985 - When I applied to Yale, I was an English 59 00:02:50,985 --> 00:02:54,990 to sociology prospective double major, and now I am a computer science major. 60 00:02:54,990 --> 00:02:57,600 So that's a little bit about how much CS50 changed me. 61 00:02:57,600 --> 00:03:01,044 - You can come in, take the class, do well, 62 00:03:01,044 --> 00:03:03,960 and even know the material so well that you're teaching the next year. 63 00:03:03,960 --> 00:03:06,030 - CS50 is one of the best opportunities you're 64 00:03:06,030 --> 00:03:08,154 going to have here, while you're and undergraduate, 65 00:03:08,154 --> 00:03:11,340 to teach a course to your peers, and to really be a leader amongst peers. 66 00:03:11,340 --> 00:03:14,340 - When you teach something, you're able to gain like 10 times as much knowledge 67 00:03:14,340 --> 00:03:15,330 as when you just learn it. 68 00:03:15,330 --> 00:03:18,288 - I've become much more comfortable with computer science fundamentals, 69 00:03:18,288 --> 00:03:20,760 just by teaching them, rather than taking classes on them. 70 00:03:20,760 --> 00:03:23,733 - It's really amazing to watch these incredibly bright eyed, incredibly 71 00:03:23,733 --> 00:03:26,850 enthusiastic, just fresh out of high school students, learning about CS, 72 00:03:26,850 --> 00:03:29,985 and asking these really intense, really detailed questions. 73 00:03:29,985 --> 00:03:32,430 Just getting really excited about the material with me. 74 00:03:32,430 --> 00:03:35,514 - It's for that aha moment, when you're helping a student in office hours, 75 00:03:35,514 --> 00:03:38,471 and they've been struggling for hours, and all of a sudden they get it. 76 00:03:38,471 --> 00:03:40,710 And it's that moment that I think is really special. 77 00:03:40,710 --> 00:03:42,585 - We are super, super excited every year when 78 00:03:42,585 --> 00:03:46,170 we have new people apply for CAs, NTFs, and greeters. 79 00:03:46,170 --> 00:03:50,550 And being on staff is the most fun part of CS50, 80 00:03:50,550 --> 00:03:53,520 it's been super, super, defining of my whole experience at Harvard. 81 00:03:53,520 --> 00:03:55,130 - To my students, I'd like to say-- 82 00:03:55,130 --> 00:03:56,070 - You're live! 83 00:03:56,070 --> 00:03:56,890 - --I love you all. 84 00:03:56,890 --> 00:03:57,910 - You guys are great. 85 00:03:57,910 --> 00:03:58,993 - --And comment your code. 86 00:03:58,993 --> 00:04:01,780 87 00:04:01,780 --> 00:04:05,805 - You should be a TF or CS50 to be able to empower others, 88 00:04:05,805 --> 00:04:08,280 it's as simple as that. 89 00:04:08,280 --> 00:04:10,780 [MUSIC PLAYING] 90 00:04:10,780 --> 00:04:23,855 91 00:04:23,855 --> 00:04:27,150 [END PLAYBACK] 92 00:04:27,150 --> 00:04:30,150 DAVID MALAN: Allow me to take a moment now, to thank a number of members 93 00:04:30,150 --> 00:04:34,740 of the teaching staff, among them Maria and Walter, Doug and Alec, 94 00:04:34,740 --> 00:04:37,082 Rob, Zamyla, and truly, CS50s whole team. 95 00:04:37,082 --> 00:04:38,790 In fact, if you've never actually clicked 96 00:04:38,790 --> 00:04:42,780 on the staff link on CS50's page, thanks to Luke in the production team, 97 00:04:42,780 --> 00:04:46,230 you'll actually see the biggest abuse of animated GIFs ever. 98 00:04:46,230 --> 00:04:50,160 But it brings to life the entirety of CS50's team here, 99 00:04:50,160 --> 00:04:54,140 and so thank you so much to the entirety of our staff, our teaching 100 00:04:54,140 --> 00:04:56,894 fellows, course assistants, producers, everyone here in Sanders 101 00:04:56,894 --> 00:04:59,810 who's been helping us out all term, and everyone who's been helping us 102 00:04:59,810 --> 00:05:01,500 out even before this term. 103 00:05:01,500 --> 00:05:05,120 In fact, one of the most frequently asked questions at CS50 lunches, 104 00:05:05,120 --> 00:05:07,220 or whenever I've chatted with folks one on one, 105 00:05:07,220 --> 00:05:09,410 has been essentially along the lines of, and we just 106 00:05:09,410 --> 00:05:13,830 got this question today, what's with the weird black and white dramas 107 00:05:13,830 --> 00:05:15,560 at the end of lectures. 108 00:05:15,560 --> 00:05:18,200 And indeed, if you haven't noticed, at the end of most 109 00:05:18,200 --> 00:05:20,870 every lecture is a little vignette inspired, in fact, 110 00:05:20,870 --> 00:05:23,510 by Citizen Kane, a film that you may have seen. 111 00:05:23,510 --> 00:05:26,750 And even if not, it's meant to, when watched contiguously, 112 00:05:26,750 --> 00:05:30,057 to tell a CS50 variants of that same story. 113 00:05:30,057 --> 00:05:33,140 And even if you haven't watched them all, they're all on CS50's home page, 114 00:05:33,140 --> 00:05:35,431 and we thought we'd give you a bit of emotional closure 115 00:05:35,431 --> 00:05:41,042 with the last such scene, wherein it is revealed what Rosebud is. 116 00:05:41,042 --> 00:05:42,040 [VIDEO PLAYBACK] 117 00:05:42,040 --> 00:05:44,540 [MUSIC PLAYING] 118 00:05:44,540 --> 00:06:25,143 119 00:06:25,143 --> 00:06:25,726 [END PLAYBACK] 120 00:06:25,726 --> 00:06:29,670 DAVID MALAN: So, if you have no idea what it is you just watched, 121 00:06:29,670 --> 00:06:30,170 that's fine. 122 00:06:30,170 --> 00:06:32,253 Take a look at CS50's home page, where all of them 123 00:06:32,253 --> 00:06:33,640 are now concatenated together. 124 00:06:33,640 --> 00:06:36,350 What you may have noticed, either from our first week's lecture, 125 00:06:36,350 --> 00:06:38,058 or from some of the videos that have been 126 00:06:38,058 --> 00:06:39,769 going online over the course of the term, 127 00:06:39,769 --> 00:06:41,310 is that there's been this thing here. 128 00:06:41,310 --> 00:06:43,381 This special camera that has eight lenses on it. 129 00:06:43,381 --> 00:06:45,380 Because for the first time this year, we thought 130 00:06:45,380 --> 00:06:47,900 we would try to push the envelope a bit technologically, 131 00:06:47,900 --> 00:06:51,380 bringing into the classroom a new form of technology that you've perhaps 132 00:06:51,380 --> 00:06:54,890 seen gaining steam in gaming, and in industry more generally, 133 00:06:54,890 --> 00:06:56,450 virtual reality, or VR. 134 00:06:56,450 --> 00:07:00,440 Which is a technology that allows a human to either, in simplest form, 135 00:07:00,440 --> 00:07:03,810 take their mobile phone, and pull up Facebook or YouTube or the like, 136 00:07:03,810 --> 00:07:07,440 and sort see around them the entirety of some three dimensional space, 137 00:07:07,440 --> 00:07:09,676 just through the lens of that rectangular region. 138 00:07:09,676 --> 00:07:12,050 But better yet, if you actually put on a special headset, 139 00:07:12,050 --> 00:07:15,980 like Google Cardboard, or Samsung Gear, or Oculus Rift, or HTC Vive, or bunches 140 00:07:15,980 --> 00:07:18,350 of others, you can actually transport yourself 141 00:07:18,350 --> 00:07:20,025 virtually to a space like that. 142 00:07:20,025 --> 00:07:22,400 So if you've been wondering what it's been like to sit-in 143 00:07:22,400 --> 00:07:25,400 on lectures all year round in Sanders, you can actually go back 144 00:07:25,400 --> 00:07:28,697 and relive that experience, thanks to this kind of camera here. 145 00:07:28,697 --> 00:07:31,280 And in fact I can draw attention to it in the photograph here, 146 00:07:31,280 --> 00:07:36,680 and I can also draw attention to CS50's Conor Doyle, a sophomore who joined us 147 00:07:36,680 --> 00:07:39,410 just over a year ago on CS50's team. 148 00:07:39,410 --> 00:07:41,570 In fact we met him at [INAUDIBLE] and he came up, 149 00:07:41,570 --> 00:07:44,990 as pre-frosh are want to do, expressing an interest in getting 150 00:07:44,990 --> 00:07:47,510 involved in CS50 goings on, since he's been 151 00:07:47,510 --> 00:07:49,850 an aspiring filmmaker and technophile. 152 00:07:49,850 --> 00:07:51,950 And so he actually joined CS50's team last year, 153 00:07:51,950 --> 00:07:55,010 has been taking CS50 this semester, and has been our go 154 00:07:55,010 --> 00:07:59,420 to guy for all things virtual reality, as well as 155 00:07:59,420 --> 00:08:01,612 alongside CS50's home production team. 156 00:08:01,612 --> 00:08:03,320 And so I thought it would be appropriate, 157 00:08:03,320 --> 00:08:06,920 given how much time the team has spent on this technology, in large part, 158 00:08:06,920 --> 00:08:10,310 not so much to simulate what it's like for Harvard students or Yale students 159 00:08:10,310 --> 00:08:12,620 to experience classes in Sanders Theater, 160 00:08:12,620 --> 00:08:15,710 but there's this whole outreach effort, these days, by way of a program 161 00:08:15,710 --> 00:08:17,550 called AP CS Principles. 162 00:08:17,550 --> 00:08:19,550 Which is a new AP course from the College Board, 163 00:08:19,550 --> 00:08:21,300 that high school students around the world 164 00:08:21,300 --> 00:08:23,750 can start taking in satisfaction of an AP credit. 165 00:08:23,750 --> 00:08:27,440 And CS50 is just one of the implementations of that new course. 166 00:08:27,440 --> 00:08:29,687 Co.org, UC Berkeley, and others have theirs. 167 00:08:29,687 --> 00:08:32,270 And so really the overarching goal of this kind of technology, 168 00:08:32,270 --> 00:08:35,240 is to give a window into a classroom, that high school 169 00:08:35,240 --> 00:08:37,880 students, or adult students online, couldn't otherwise 170 00:08:37,880 --> 00:08:40,400 participate in from such afar. 171 00:08:40,400 --> 00:08:44,000 So allow me to invite up CS50's own Conor Doyle. 172 00:08:44,000 --> 00:08:48,690 Welcome to Conor And while we get some things set up, would someone 173 00:08:48,690 --> 00:08:52,940 like to volunteer to be a participant in CS50 VR, 174 00:08:52,940 --> 00:08:57,950 putting on his or her face virtual reality goggles. 175 00:08:57,950 --> 00:09:02,150 Can't quite see them, any faces with the lights, OK, right here, OK. 176 00:09:02,150 --> 00:09:02,780 Come on down. 177 00:09:02,780 --> 00:09:05,330 Wonderful. 178 00:09:05,330 --> 00:09:07,650 Tiptoe past the camera, there we go. 179 00:09:07,650 --> 00:09:09,630 All right. 180 00:09:09,630 --> 00:09:11,940 Conor's getting things set up, and what's your name? 181 00:09:11,940 --> 00:09:12,350 JONATHAN: Jonathan. 182 00:09:12,350 --> 00:09:13,130 DAVID MALAN: Jonathan? 183 00:09:13,130 --> 00:09:14,220 David, nice to meet you. 184 00:09:14,220 --> 00:09:15,690 Come on over here. 185 00:09:15,690 --> 00:09:18,590 And so if we put you center here, Conor, as we 186 00:09:18,590 --> 00:09:22,439 get Jonathan set up here, what is it we are about to do, and what is it 187 00:09:22,439 --> 00:09:23,480 he's about to experience? 188 00:09:23,480 --> 00:09:28,370 CONOR DOYLE: Sure, so, the Nokia OZO camera has eight sensors on it, 189 00:09:28,370 --> 00:09:30,570 and it's capturing the entire world. 190 00:09:30,570 --> 00:09:34,130 So wherever you are on stage right now, it's capturing you. 191 00:09:34,130 --> 00:09:35,510 And you can't really escape it. 192 00:09:35,510 --> 00:09:38,690 So what we're doing, is we're taking the HTC Vibe, which 193 00:09:38,690 --> 00:09:42,920 is a room scale VR experience, one of the best headsets on the market, 194 00:09:42,920 --> 00:09:44,140 I think, right now. 195 00:09:44,140 --> 00:09:47,570 And we're going to put it on you, I'm we're going to go back to week zero, 196 00:09:47,570 --> 00:09:53,096 and you get relive sort of week zero experience, with this HTC Vibe headset. 197 00:09:53,096 --> 00:09:55,970 DAVID MALAN: And so after each lecture what CS50's production team is 198 00:09:55,970 --> 00:09:58,553 essentially this, it's a little washed out on the screen here, 199 00:09:58,553 --> 00:10:00,800 but it's eight images from each of the lenses, 200 00:10:00,800 --> 00:10:04,130 and then using special software, do they stitch it together in such a way 201 00:10:04,130 --> 00:10:08,897 that the resulting image is essentially a video that's a full 360 degrees. 202 00:10:08,897 --> 00:10:10,730 In fact, the reason it looks distorted here, 203 00:10:10,730 --> 00:10:12,563 is because once you put the headset on, does 204 00:10:12,563 --> 00:10:16,170 it wrap that world around your head, so that if Jonathan looks up, 205 00:10:16,170 --> 00:10:18,230 down, left, or right, his eyes are actually 206 00:10:18,230 --> 00:10:20,540 going to be seeing something a little different. 207 00:10:20,540 --> 00:10:24,059 So we'll change the screen here to Conor, and Jonathan's set up. 208 00:10:24,059 --> 00:10:25,850 So you are seeing now-- if we could perhaps 209 00:10:25,850 --> 00:10:30,560 dim the lights-- what Jonathan is seeing on his own headset. 210 00:10:30,560 --> 00:10:31,560 [VIDEO PLAYBACK] 211 00:10:31,560 --> 00:10:33,560 [MUSIC PLAYING] 212 00:10:33,560 --> 00:10:36,200 213 00:10:36,200 --> 00:10:38,810 CONOR DOYLE: This is week zero. 214 00:10:38,810 --> 00:10:40,570 - This is 215 00:10:40,570 --> 00:10:42,830 [INTERPOSING VOICES] 216 00:10:42,830 --> 00:10:45,830 - --introduction to the intellectual enterprises of computer science, 217 00:10:45,830 --> 00:10:47,540 and the art of programming. 218 00:10:47,540 --> 00:10:50,540 And my name is David Malan, and I was just thinking this morning, 219 00:10:50,540 --> 00:10:54,620 that it's been, amazingly, 20 years today, since I last 220 00:10:54,620 --> 00:10:55,980 sat where you guys do now. 221 00:10:55,980 --> 00:10:57,520 DAVID MALAN: So you'll notice, too, it's a little hard 222 00:10:57,520 --> 00:11:00,240 to see the touch screen from the headset so if Jonathan, 223 00:11:00,240 --> 00:11:02,887 you'll look toward the screen, and then look down, 224 00:11:02,887 --> 00:11:04,970 you'll see that it's digitally superimposed there, 225 00:11:04,970 --> 00:11:10,100 so that for code especially, you can see it all the more realistically. 226 00:11:10,100 --> 00:11:10,760 All right. 227 00:11:10,760 --> 00:11:11,260 Well thank you to Jonathan. 228 00:11:11,260 --> 00:11:13,408 Let me bring you back to reality if we can. 229 00:11:13,408 --> 00:11:14,472 [END PLAYBACK] 230 00:11:14,472 --> 00:11:15,430 DAVID MALAN: Thank you. 231 00:11:15,430 --> 00:11:18,250 Welcome back. 232 00:11:18,250 --> 00:11:20,250 We have time for maybe one or two other demos. 233 00:11:20,250 --> 00:11:22,340 Would a second volunteer like to come on up, now 234 00:11:22,340 --> 00:11:25,370 that you know what you're getting-- oh, now their hands are going up. 235 00:11:25,370 --> 00:11:27,980 Let's see, a little farther back, a little farther, OK, 236 00:11:27,980 --> 00:11:31,741 waving at me there, in the jacket, come on down. 237 00:11:31,741 --> 00:11:32,240 All right. 238 00:11:32,240 --> 00:11:35,450 Come on down. 239 00:11:35,450 --> 00:11:39,640 So, it's a little harder to justify this one academically, 240 00:11:39,640 --> 00:11:44,090 but you'll see artistically, what's truly possible in this virtual reality 241 00:11:44,090 --> 00:11:44,700 in space. 242 00:11:44,700 --> 00:11:48,275 In fact the game, or the program, we're about to see, Tilt Brush, 243 00:11:48,275 --> 00:11:50,650 allows you to paint, not just in a two dimensional space, 244 00:11:50,650 --> 00:11:53,149 but in a three dimensional space, so that that once painted, 245 00:11:53,149 --> 00:11:56,540 you can actually step in, and around, whatever it is you have created. 246 00:11:56,540 --> 00:11:57,259 What's your name? 247 00:11:57,259 --> 00:11:58,050 MARIANNA: Marianna. 248 00:11:58,050 --> 00:11:58,340 DAVID MALAN: Marianna? 249 00:11:58,340 --> 00:11:59,090 Nice to meet you. 250 00:11:59,090 --> 00:12:00,454 Let me introduce you to Conor. 251 00:12:00,454 --> 00:12:01,870 CONOR DOYLE: Hi, nice to meet you. 252 00:12:01,870 --> 00:12:03,760 Just going to Drop this on your face. 253 00:12:03,760 --> 00:12:04,420 Careful. 254 00:12:04,420 --> 00:12:07,461 DAVID MALAN: We can start a really, really long line afterwards, perhaps, 255 00:12:07,461 --> 00:12:08,140 to play, but. 256 00:12:08,140 --> 00:12:09,470 MARIANNA: Oh, it's a game? 257 00:12:09,470 --> 00:12:10,850 DAVID MALAN: Yeah. 258 00:12:10,850 --> 00:12:12,860 And this time, we're going to give to Marianna, 259 00:12:12,860 --> 00:12:15,680 hand controllers, that will allow her to physically move 260 00:12:15,680 --> 00:12:17,570 and manipulate this three dimensional space, 261 00:12:17,570 --> 00:12:20,500 and not just sit there experiencing what it was like. 262 00:12:20,500 --> 00:12:23,000 So if we can dim the lights here, too, you'll 263 00:12:23,000 --> 00:12:26,240 see digital representation of the game controllers, 264 00:12:26,240 --> 00:12:29,417 essentially, that are in Marianna's hands here. 265 00:12:29,417 --> 00:12:30,750 MARIANNA: I can go inside of it? 266 00:12:30,750 --> 00:12:31,630 CONOR DOYLE: Yeah. 267 00:12:31,630 --> 00:12:34,070 If you look-- 268 00:12:34,070 --> 00:12:38,270 DAVID MALAN: Want to go ahead and spell something out? 269 00:12:38,270 --> 00:12:39,192 OK. 270 00:12:39,192 --> 00:12:41,497 AUDIENCE: What's my name? 271 00:12:41,497 --> 00:12:42,420 [LAUGHTER] 272 00:12:42,420 --> 00:12:45,710 DAVID MALAN: In a really big circle, yeah. 273 00:12:45,710 --> 00:12:46,348 Oh, nice. 274 00:12:46,348 --> 00:12:49,850 275 00:12:49,850 --> 00:12:58,740 And now notice you have a few feet, you can go a few feet, 276 00:12:58,740 --> 00:13:02,960 and notice you can look around in that three dimensional space, 277 00:13:02,960 --> 00:13:07,410 because, what we have on this stand here, and this stand over here, 278 00:13:07,410 --> 00:13:10,700 are little sensors, that are essentially talking to the hand controllers 279 00:13:10,700 --> 00:13:11,810 that Marianna has. 280 00:13:11,810 --> 00:13:15,935 And it's figuring out, relatively speaking, her position in space. 281 00:13:15,935 --> 00:13:20,030 282 00:13:20,030 --> 00:13:21,028 Very nice. 283 00:13:21,028 --> 00:13:23,960 284 00:13:23,960 --> 00:13:25,522 You're not coming back, are you? 285 00:13:25,522 --> 00:13:27,980 All right, big round of applause, if we could for Marianna! 286 00:13:27,980 --> 00:13:32,028 287 00:13:32,028 --> 00:13:33,024 Thank you. 288 00:13:33,024 --> 00:13:34,450 MARIANNA: Thank you. 289 00:13:34,450 --> 00:13:35,690 DAVID MALAN: Thank you. 290 00:13:35,690 --> 00:13:38,810 And could we get one more volunteer, and then we'll move-- OK. 291 00:13:38,810 --> 00:13:41,288 Two hands, right here, come on down. 292 00:13:41,288 --> 00:13:41,996 What's your name? 293 00:13:41,996 --> 00:13:42,790 Joseph: My name's Joseph. 294 00:13:42,790 --> 00:13:43,623 DAVID MALAN: Joseph. 295 00:13:43,623 --> 00:13:46,580 All right, Conor, what do we have in store for Joseph? 296 00:13:46,580 --> 00:13:49,650 CONOR DOYLE: So this is my favorite game coming up. 297 00:13:49,650 --> 00:13:56,140 This is essentially Fruit Ninja, in VR. 298 00:13:56,140 --> 00:14:00,290 So basically, what that means is, you're going to be getting samurai swords, 299 00:14:00,290 --> 00:14:02,350 and you can go twaaa. 300 00:14:02,350 --> 00:14:03,490 Like, slice a fruit. 301 00:14:03,490 --> 00:14:04,556 It's awesome. 302 00:14:04,556 --> 00:14:05,640 Wicked. 303 00:14:05,640 --> 00:14:07,190 So we'll get this up real quick. 304 00:14:07,190 --> 00:14:10,640 305 00:14:10,640 --> 00:14:11,705 One minute. 306 00:14:11,705 --> 00:14:13,514 There we are. 307 00:14:13,514 --> 00:14:15,960 All right. 308 00:14:15,960 --> 00:14:21,341 Jump up on your head, on your eyes, can you get it? 309 00:14:21,341 --> 00:14:24,490 And this behind you. 310 00:14:24,490 --> 00:14:27,306 And give you the samurai swords. 311 00:14:27,306 --> 00:14:29,510 Could you step forwards now and hit-- if you look. 312 00:14:29,510 --> 00:14:34,046 313 00:14:34,046 --> 00:14:37,020 If you remove the cable, that isn't-- 314 00:14:37,020 --> 00:14:38,066 DAVID MALAN: Standby 315 00:14:38,066 --> 00:14:39,550 CONOR DOYLE: --isn't helpful. 316 00:14:39,550 --> 00:14:40,350 One minute. 317 00:14:40,350 --> 00:14:42,968 318 00:14:42,968 --> 00:14:43,824 [MUSIC PLAYING] 319 00:14:43,824 --> 00:14:45,740 CONOR DOYLE: It's just going to-- there we go. 320 00:14:45,740 --> 00:14:46,490 We're back. 321 00:14:46,490 --> 00:14:46,840 DAVID MALAN: All right. 322 00:14:46,840 --> 00:14:49,423 So, if you've never played this game before on IOS or Android, 323 00:14:49,423 --> 00:14:53,682 the goal is simply to slice fruit. 324 00:14:53,682 --> 00:14:54,681 CONOR DOYLE: One second. 325 00:14:54,681 --> 00:14:58,450 326 00:14:58,450 --> 00:15:00,510 But weird seeing everything. 327 00:15:00,510 --> 00:15:02,230 One sec! 328 00:15:02,230 --> 00:15:03,280 We've got this. 329 00:15:03,280 --> 00:15:04,245 All right. 330 00:15:04,245 --> 00:15:04,880 Here we go. 331 00:15:04,880 --> 00:15:05,380 Resetting. 332 00:15:05,380 --> 00:15:09,330 333 00:15:09,330 --> 00:15:09,910 Revamiping. 334 00:15:09,910 --> 00:15:12,040 DAVID MALAN: We're rebooting. 335 00:15:12,040 --> 00:15:14,670 All right, Fruit Ninja, splash screen's coming up. 336 00:15:14,670 --> 00:15:20,080 337 00:15:20,080 --> 00:15:21,000 CONOR DOYLE: Yes! 338 00:15:21,000 --> 00:15:21,550 We're back. 339 00:15:21,550 --> 00:15:23,105 Here we go. 340 00:15:23,105 --> 00:15:26,574 So if you look and slice the banana, tap eight. 341 00:15:26,574 --> 00:15:30,524 342 00:15:30,524 --> 00:15:31,690 There we go, turned them on. 343 00:15:31,690 --> 00:15:34,840 344 00:15:34,840 --> 00:15:36,410 There we go. 345 00:15:36,410 --> 00:15:36,910 Arcade. 346 00:15:36,910 --> 00:15:43,360 347 00:15:43,360 --> 00:15:45,820 [SLICING] 348 00:15:45,820 --> 00:16:15,194 349 00:16:15,194 --> 00:16:16,254 CONOR DOYLE: That's that. 350 00:16:16,254 --> 00:16:17,670 That's basically, that's the game. 351 00:16:17,670 --> 00:16:20,980 352 00:16:20,980 --> 00:16:25,450 DAVID MALAN: You have to be comfortable, by the way, being on the internet. 353 00:16:25,450 --> 00:16:27,330 Something to share at home. 354 00:16:27,330 --> 00:16:30,150 Thank you. 355 00:16:30,150 --> 00:16:32,660 And special thanks to Conor as well. 356 00:16:32,660 --> 00:16:37,150 So, truly this initiative, this experimentation with new technologies 357 00:16:37,150 --> 00:16:40,370 and academia, is in large part, in our case, inspired by our friends 358 00:16:40,370 --> 00:16:41,590 in the archeology department. 359 00:16:41,590 --> 00:16:44,440 In fact, just a year ago today, CS50 and myself 360 00:16:44,440 --> 00:16:47,140 included, had no idea what it would mean for us 361 00:16:47,140 --> 00:16:49,540 to produce CS50 in virtual reality. 362 00:16:49,540 --> 00:16:52,880 But we reached out to our friends in the archeology department, who 363 00:16:52,880 --> 00:16:55,510 had been experimenting with this technology in Egypt, 364 00:16:55,510 --> 00:16:58,370 and in actual environments where it makes 365 00:16:58,370 --> 00:17:01,150 all the more sense to be able to transport humans 366 00:17:01,150 --> 00:17:04,849 to places they might not be able to go, and experience, virtually, 367 00:17:04,849 --> 00:17:07,750 what it might be like to be inside of a tomb, or inside of a pyramid, 368 00:17:07,750 --> 00:17:11,089 or museums, that not everyone in the world could otherwise access. 369 00:17:11,089 --> 00:17:13,300 And I'll admit, a personal fancy for this field, 370 00:17:13,300 --> 00:17:18,200 I had a sort of mid grad school life crisis, some years ago, where I started 371 00:17:18,200 --> 00:17:23,230 wondering, why am I doing my Ph.D. In computer science, and not archaeology? 372 00:17:23,230 --> 00:17:25,790 And that's because of the inspiration of friends like ours, 373 00:17:25,790 --> 00:17:28,480 like Professor Peter Manuelian, who will come now up, 374 00:17:28,480 --> 00:17:30,848 and introduce us to the world of VR in Egyptology. 375 00:17:30,848 --> 00:17:37,450 376 00:17:37,450 --> 00:17:40,150 PETER MANUELIAN: Thank you. 377 00:17:40,150 --> 00:17:42,130 Emotional closure and fruit slicing. 378 00:17:42,130 --> 00:17:46,960 I'm not sure I can match that, but I'll do my best. 379 00:17:46,960 --> 00:17:50,264 So I'm going to take you back into the past, and just while he was thinking, 380 00:17:50,264 --> 00:17:51,680 why didn't he go into archaeology? 381 00:17:51,680 --> 00:17:55,570 I'm thinking, why didn't I go into computer science? 382 00:17:55,570 --> 00:17:56,300 All right. 383 00:17:56,300 --> 00:17:57,550 I'm going to take you to my favorite place 384 00:17:57,550 --> 00:18:00,883 in the world, outside of Harvard Square, of course, which is, the Giza pyramids, 385 00:18:00,883 --> 00:18:03,860 a place I've been involved with for quite some time. 386 00:18:03,860 --> 00:18:06,970 And this is all about using the tools of the future, what you're doing, 387 00:18:06,970 --> 00:18:09,110 to study the past, basically. 388 00:18:09,110 --> 00:18:12,050 The great golden age of archeology worked at the pyramids 389 00:18:12,050 --> 00:18:13,270 for many, many decades. 390 00:18:13,270 --> 00:18:14,770 And you can see it's still going on. 391 00:18:14,770 --> 00:18:17,840 The black and white shot is really from the Indiana Jones days, 392 00:18:17,840 --> 00:18:20,067 and then down below is a recent photograph. 393 00:18:20,067 --> 00:18:21,400 Why do we go back to this place? 394 00:18:21,400 --> 00:18:24,050 Because there's still a lot of really cool stuff there. 395 00:18:24,050 --> 00:18:28,390 There are tombs, all around the pyramids, from about 2500 BCE, 396 00:18:28,390 --> 00:18:32,020 and these tombs are loaded with scenes, and statues, and anything 397 00:18:32,020 --> 00:18:35,650 you want to know about ancient Egyptian culture and civilization. 398 00:18:35,650 --> 00:18:38,699 It's all there in frozen moments on the walls. 399 00:18:38,699 --> 00:18:41,490 There are gorgeous small objects that have come out of these tombs, 400 00:18:41,490 --> 00:18:43,287 and they're in museums all over the world. 401 00:18:43,287 --> 00:18:44,620 And then there's big stuff, too. 402 00:18:44,620 --> 00:18:49,510 There's hidden temples under the sand, fantastic pyramids, private structures 403 00:18:49,510 --> 00:18:52,510 as well, and some of the great statuary that we've ever found. 404 00:18:52,510 --> 00:18:55,720 These are in the Museum of Fine Arts, and you may have seen them. 405 00:18:55,720 --> 00:19:01,550 We owe all of this to one guy, and you know where that photograph was taken? 406 00:19:01,550 --> 00:19:02,780 Right outside that door. 407 00:19:02,780 --> 00:19:06,836 Yes, this is the class of 1889, and my predecessor was George Reisner, 408 00:19:06,836 --> 00:19:08,710 and there you can see him in his class photo. 409 00:19:08,710 --> 00:19:12,680 In those days, they took them right outside the doors of Mem Hall. 410 00:19:12,680 --> 00:19:16,130 So, this is the guy who created something called the Harvard University 411 00:19:16,130 --> 00:19:18,160 Boston Museum of Fine Arts expedition. 412 00:19:18,160 --> 00:19:23,800 And all of you should be feeling justly proud of a 40 year expedition 413 00:19:23,800 --> 00:19:26,412 that worked at 23 different sites, up and down the Nile. 414 00:19:26,412 --> 00:19:28,370 I'm just going to talk about the Giza pyramids, 415 00:19:28,370 --> 00:19:31,880 up towards the top of this map, here, but everything in red that you see 416 00:19:31,880 --> 00:19:35,370 is a Harvard MFA expedition site. 417 00:19:35,370 --> 00:19:37,690 So this guy died at the pyramids in 1942, 418 00:19:37,690 --> 00:19:39,280 and he's actually buried in Cairo. 419 00:19:39,280 --> 00:19:42,220 But he left behind a massive archeological archive, 420 00:19:42,220 --> 00:19:44,020 and it's full of stuff like this. 421 00:19:44,020 --> 00:19:47,260 And so problem solving, as David was saying the beginning of the hour, 422 00:19:47,260 --> 00:19:50,080 here, this is basically all about problem solving. 423 00:19:50,080 --> 00:19:53,110 So how do we take this incredible archeological archive, that's 424 00:19:53,110 --> 00:19:57,250 locked up in boxes, and rolled drawings, and diaries, and type scripts, 425 00:19:57,250 --> 00:19:58,899 and glass plate negatives. 426 00:19:58,899 --> 00:20:00,190 How do we make that accessible? 427 00:20:00,190 --> 00:20:03,932 How do we study the past, in ways that we haven't been able to do before? 428 00:20:03,932 --> 00:20:05,140 And there's great stuff here. 429 00:20:05,140 --> 00:20:08,731 There's register books, on the right, that's the SQL database of it's time, 430 00:20:08,731 --> 00:20:09,230 right? 431 00:20:09,230 --> 00:20:12,300 Enter every object, give a drawing, give it a number. 432 00:20:12,300 --> 00:20:15,520 Diaries that describe what they did every single day. 433 00:20:15,520 --> 00:20:17,720 Photographic registers, and that's what we did. 434 00:20:17,720 --> 00:20:20,080 We started out making databases of all of these things. 435 00:20:20,080 --> 00:20:21,970 This is way back in the year 2000. 436 00:20:21,970 --> 00:20:24,530 And thanks to the Mellon Foundation in New York, and about 3 437 00:20:24,530 --> 00:20:26,170 and 1/2 million dollars. 438 00:20:26,170 --> 00:20:27,250 So it's linking. 439 00:20:27,250 --> 00:20:30,730 It's intelligent connections between all these diverse types of data. 440 00:20:30,730 --> 00:20:35,740 Photographs, drawings, diaries, statuary, records, notes, cards, 441 00:20:35,740 --> 00:20:36,280 everything. 442 00:20:36,280 --> 00:20:40,840 All of it centered, in the middle there, around the tomb that relates. 443 00:20:40,840 --> 00:20:43,802 So pick a certain tomb, find out what we got. 444 00:20:43,802 --> 00:20:44,760 What do I mean by that? 445 00:20:44,760 --> 00:20:47,020 Let's walk it through one particular piece. 446 00:20:47,020 --> 00:20:51,400 So here is a statue lying in its burial pit, as it was found in 1936. 447 00:20:51,400 --> 00:20:54,700 We find it, we take it up to the dig camp-- which by the way, 448 00:20:54,700 --> 00:20:57,790 behind the pyramids, was called Harvard camp. 449 00:20:57,790 --> 00:21:00,250 We take photographs of it, and glass plate negatives. 450 00:21:00,250 --> 00:21:04,117 There you see the statue of the standing male from the Fifth Dynasty. 451 00:21:04,117 --> 00:21:05,950 It gets entered in the diary record for what 452 00:21:05,950 --> 00:21:09,130 happened that day, in April of 1936. 453 00:21:09,130 --> 00:21:12,001 Then we have the SQL database, right, the object register book, 454 00:21:12,001 --> 00:21:13,750 where it gets a sketch, and a description, 455 00:21:13,750 --> 00:21:16,690 and measurements, and photographic negative numbers, and all that. 456 00:21:16,690 --> 00:21:20,990 Plan and sections of the tomb shaft of the pit that it actually came from. 457 00:21:20,990 --> 00:21:24,427 Preparing of the manuscript for publication, eventually. 458 00:21:24,427 --> 00:21:25,510 And then the big decision. 459 00:21:25,510 --> 00:21:27,250 Does it go off to the Cairo Museum? 460 00:21:27,250 --> 00:21:29,170 Does it come all the way back to Boston? 461 00:21:29,170 --> 00:21:31,540 And the packing list tells you what went where. 462 00:21:31,540 --> 00:21:34,540 And eventually this particular statue came back to Boston, 463 00:21:34,540 --> 00:21:37,540 and you can see it today, in the Museum of Fine Arts. 464 00:21:37,540 --> 00:21:39,840 So our database-- and there's a sample page 465 00:21:39,840 --> 00:21:41,840 on the right, which is pretty confusing looking, 466 00:21:41,840 --> 00:21:44,589 and we're working on something better, now, right here at Harvard. 467 00:21:44,589 --> 00:21:47,980 That's the page that would link the tomb, and all the associated data. 468 00:21:47,980 --> 00:21:50,740 So you could do any kind of faceted search on the items 469 00:21:50,740 --> 00:21:52,916 that you see down on the right hand column there. 470 00:21:52,916 --> 00:21:54,040 Who are the people related? 471 00:21:54,040 --> 00:21:54,920 What are the objects? 472 00:21:54,920 --> 00:21:55,630 What are the photographs? 473 00:21:55,630 --> 00:21:56,546 What are the drawings? 474 00:21:56,546 --> 00:21:58,120 What unpublished, what's published? 475 00:21:58,120 --> 00:21:59,410 All of that together. 476 00:21:59,410 --> 00:22:02,390 So the relationships get pretty complex, as you can imagine. 477 00:22:02,390 --> 00:22:05,800 Here's one of our little site maps, that shows us each of those 478 00:22:05,800 --> 00:22:08,860 blue balloons, the big ones, would be a site, or a tomb, 479 00:22:08,860 --> 00:22:10,960 and you can see all the stuff spinning off of it. 480 00:22:10,960 --> 00:22:14,340 Related items, that allow you for faceted searching. 481 00:22:14,340 --> 00:22:18,100 And the more items there are, the more granular that you can get. 482 00:22:18,100 --> 00:22:19,670 So, problem solving. 483 00:22:19,670 --> 00:22:22,540 How do you take this traditional archeological archive, 484 00:22:22,540 --> 00:22:25,780 and put it in some kind of organized arrangement, that 485 00:22:25,780 --> 00:22:28,750 for today's technology, will make it useful for scholars? 486 00:22:28,750 --> 00:22:30,970 So here's our layout of our forthcoming website, 487 00:22:30,970 --> 00:22:34,570 and all the different pull down menus, and options that we're trying to do. 488 00:22:34,570 --> 00:22:38,020 And we did create this Giza website, you can see the URL at the top, there. 489 00:22:38,020 --> 00:22:39,880 That's where the traditional data is. 490 00:22:39,880 --> 00:22:42,370 Then we teamed up with a 3-D modeling company in Paris, 491 00:22:42,370 --> 00:22:43,850 called [INAUDIBLE] System. 492 00:22:43,850 --> 00:22:47,740 And we said, why don't we build a 3D model of the entire site of Giza? 493 00:22:47,740 --> 00:22:49,720 And my megalomania was, of course, to try 494 00:22:49,720 --> 00:22:52,900 to put every single tomb, and every statue, and every ceramic pot, 495 00:22:52,900 --> 00:22:54,120 back in place, eventually. 496 00:22:54,120 --> 00:22:56,170 But we're not there yet, but we're getting there. 497 00:22:56,170 --> 00:22:58,930 So down below, this website is also fairly old now, 498 00:22:58,930 --> 00:23:01,690 and it only works on PCs, unfortunately, not Macs, 499 00:23:01,690 --> 00:23:03,160 and we're working on something new. 500 00:23:03,160 --> 00:23:06,640 So the goal is to combine the traditional data, up top, 501 00:23:06,640 --> 00:23:09,490 and the 3-D data, down below, into a new, 502 00:23:09,490 --> 00:23:12,387 Harvard owned, Harvard hosted, Giza website. 503 00:23:12,387 --> 00:23:14,470 And that's where the computer technology comes in. 504 00:23:14,470 --> 00:23:17,830 So it's Studio Max, and Maya, and programs like this. 505 00:23:17,830 --> 00:23:20,920 Starting with the archeologically responsible maps, 506 00:23:20,920 --> 00:23:24,730 and plans, and drawings, creating wireframe renderings of these tombs, 507 00:23:24,730 --> 00:23:26,770 and the statues, and the objects. 508 00:23:26,770 --> 00:23:29,290 And then putting them together, and adding textures, 509 00:23:29,290 --> 00:23:31,150 and adding realistic appearances. 510 00:23:31,150 --> 00:23:34,210 So here's a cluster of tombs on the west side of the Great Pyramid. 511 00:23:34,210 --> 00:23:37,510 You can see the original archeologists plan drawings, there in front. 512 00:23:37,510 --> 00:23:41,140 From there, we get to this, and we get some pretty realistic and amazing 513 00:23:41,140 --> 00:23:42,010 things. 514 00:23:42,010 --> 00:23:45,730 Now you can start to experience a place like the Giza Plateau, 515 00:23:45,730 --> 00:23:49,150 in ways that a human being can't, when you go to the site itself. 516 00:23:49,150 --> 00:23:51,100 We can study what's above ground, we can study 517 00:23:51,100 --> 00:23:53,350 the burial shafts that are down below. 518 00:23:53,350 --> 00:23:56,770 I always dream of this, what I call the tombs eye view, of Giza. 519 00:23:56,770 --> 00:24:00,904 Being underground, in the limestone bedrock, and looking upwards. 520 00:24:00,904 --> 00:24:03,070 So we launched all of this material a few years ago, 521 00:24:03,070 --> 00:24:06,010 and it got tremendous worldwide press, in lots of different languages, 522 00:24:06,010 --> 00:24:07,540 and now we want to take it further. 523 00:24:07,540 --> 00:24:09,130 So it's time to upgrade. 524 00:24:09,130 --> 00:24:12,040 And here's a sneak peek at what I hope will be launched next year, 525 00:24:12,040 --> 00:24:14,950 early next year, just a prototype of our new Giza website. 526 00:24:14,950 --> 00:24:18,360 And there you can see the 3-D model that we've created. 527 00:24:18,360 --> 00:24:21,020 So there's a teaching classroom above the geological lecture 528 00:24:21,020 --> 00:24:22,700 hall, where we do this in VR. 529 00:24:22,700 --> 00:24:26,660 Students come in, put on the 3D glasses, and experience the model this way. 530 00:24:26,660 --> 00:24:28,970 And it's not just a video, it's a real time model. 531 00:24:28,970 --> 00:24:31,220 So I can dive down a shaft, or go to the left, 532 00:24:31,220 --> 00:24:34,160 or go to the right, whatever it is that they want to experience. 533 00:24:34,160 --> 00:24:36,326 It's a pretty cool way to look at the site. 534 00:24:36,326 --> 00:24:38,450 The next step, of course, is what you've just seen, 535 00:24:38,450 --> 00:24:41,990 is to take it to the headset level, and then get it out of the classroom, 536 00:24:41,990 --> 00:24:44,630 and make it accessible all over the place. 537 00:24:44,630 --> 00:24:47,720 So to do this kind of thing, you've got to study the reaction, the focus 538 00:24:47,720 --> 00:24:48,219 groups. 539 00:24:48,219 --> 00:24:50,720 And here's just a sample of one of our sample users, 540 00:24:50,720 --> 00:24:53,960 who would then use the web, try to search for something for a school 541 00:24:53,960 --> 00:24:56,720 report, maybe go on the website, what pages would they go to? 542 00:24:56,720 --> 00:24:59,760 Would they even end up at our home page or would they dive right in. 543 00:24:59,760 --> 00:25:02,330 We're studying this bit by bit, and we hope maybe some of you 544 00:25:02,330 --> 00:25:04,621 might be interested in checking this out, and giving us 545 00:25:04,621 --> 00:25:06,140 your feedback at some point, too. 546 00:25:06,140 --> 00:25:09,110 That allows us to lay out the various pull down menus, 547 00:25:09,110 --> 00:25:10,880 and how the searching should go. 548 00:25:10,880 --> 00:25:13,550 Suddenly, we're trying to be all things, to all people, right? 549 00:25:13,550 --> 00:25:15,800 Someone who knows nothing about the pyramids, but just 550 00:25:15,800 --> 00:25:17,480 wants to know, hey, what's cool here? 551 00:25:17,480 --> 00:25:20,690 Or, a Ph.D. candidate, who's trying to do a dissertation 552 00:25:20,690 --> 00:25:23,870 on every statue of a seated female facing to the left on a tomb wall 553 00:25:23,870 --> 00:25:27,770 that's on the south floor, or on the west side of the pyramid. 554 00:25:27,770 --> 00:25:32,070 Trying to provide everything for everybody. 555 00:25:32,070 --> 00:25:34,527 So lots of cool stuff still to come, and my fantasy 556 00:25:34,527 --> 00:25:36,860 is that eventually everyone's got one of these headsets, 557 00:25:36,860 --> 00:25:39,800 whether it's Google Cardboard, or HTC Vibe, or whatever. 558 00:25:39,800 --> 00:25:42,950 Wherever you are in the world, everyone logs into the same file, 559 00:25:42,950 --> 00:25:45,890 and we are all standing virtually together in front of the Sphinx, 560 00:25:45,890 --> 00:25:47,450 and I can be giving my lecture there. 561 00:25:47,450 --> 00:25:50,660 And then I'll say, push button two, and we'll go inside the Great Pyramid 562 00:25:50,660 --> 00:25:52,439 and continue to talk. 563 00:25:52,439 --> 00:25:54,980 So I want to leave you with just one other experiment that we 564 00:25:54,980 --> 00:25:58,430 did, which was kind of fun, and that's where the computer world has taken us 565 00:25:58,430 --> 00:26:00,140 back into the physical world. 566 00:26:00,140 --> 00:26:02,480 Normally you go from physical into virtual. 567 00:26:02,480 --> 00:26:04,680 We went backwards in this experiment. 568 00:26:04,680 --> 00:26:07,910 So in 1925, that area that you see circled right there, 569 00:26:07,910 --> 00:26:10,010 was the site of an amazing discovery. 570 00:26:10,010 --> 00:26:15,260 A hidden, disguised burial shaft, that went 100 feet down underground. 571 00:26:15,260 --> 00:26:18,710 And at the bottom of this, was a chamber that had tons of stuff, 572 00:26:18,710 --> 00:26:21,710 completely deteriorated, and in tiny little bits. 573 00:26:21,710 --> 00:26:25,189 And it turned out to be the burial place of the mother of the King 574 00:26:25,189 --> 00:26:27,230 who built that Great Pyramid, right to the right. 575 00:26:27,230 --> 00:26:30,560 Her name was Queen Hetepheres, and she had a lot of amazing furniture 576 00:26:30,560 --> 00:26:31,370 down there. 577 00:26:31,370 --> 00:26:34,790 But it was in tiny fragments, because all the wood had deteriorated. 578 00:26:34,790 --> 00:26:37,640 So there were reproductions and restorations of some of her stuff, 579 00:26:37,640 --> 00:26:39,170 but this is the fanciest one. 580 00:26:39,170 --> 00:26:41,630 This is a throne, or a chair. 581 00:26:41,630 --> 00:26:43,670 And it took about a decade for the archeologists 582 00:26:43,670 --> 00:26:45,560 to make that reconstruction drawing. 583 00:26:45,560 --> 00:26:48,980 Could we maybe dim the lights a little bit, and see the 3-D model here? 584 00:26:48,980 --> 00:26:53,180 This is our 3-D model of experiencing that chamber, with everything restored. 585 00:26:53,180 --> 00:26:56,240 So now you see all the furniture, the bed canopy, the curtain box, 586 00:26:56,240 --> 00:26:58,310 the chairs, the carrying chair. 587 00:26:58,310 --> 00:27:00,860 And over on the right, that's the fancy chair, 588 00:27:00,860 --> 00:27:06,260 with these amazing Falcon arms, and inlaid faience tiles, and gold gilding. 589 00:27:06,260 --> 00:27:08,090 So we studied the original fragments, these 590 00:27:08,090 --> 00:27:11,060 are in the basement of the Cairo Museum, and tried to figure out, 591 00:27:11,060 --> 00:27:12,650 could we put this together? 592 00:27:12,650 --> 00:27:13,820 And yes, indeed, we could. 593 00:27:13,820 --> 00:27:17,840 So we made 3-D printing models from our computer model, nice tiny little ones. 594 00:27:17,840 --> 00:27:20,030 We should sell those in the shop someday. 595 00:27:20,030 --> 00:27:22,190 There's our 3-D computer model of the chair. 596 00:27:22,190 --> 00:27:26,784 And we thought, can the computer actually drive the milling machines 597 00:27:26,784 --> 00:27:27,950 to actually make this thing? 598 00:27:27,950 --> 00:27:29,033 And sure enough, they can. 599 00:27:29,033 --> 00:27:32,450 So this is a CNC routing machine, a shop bot, 600 00:27:32,450 --> 00:27:35,750 and you see it's actually carving one of these lion shaped legs. 601 00:27:35,750 --> 00:27:39,110 And there's the arm, the Falcon is taking shape in this piece of wood. 602 00:27:39,110 --> 00:27:41,960 All made possible by ones and zeros, right? 603 00:27:41,960 --> 00:27:45,560 By the computer model, originally created from archeological plans 604 00:27:45,560 --> 00:27:50,320 and drawings, into 3D Studio Max, and then out the other end as wood, 605 00:27:50,320 --> 00:27:53,090 and as gilding, and as faience tiles, which 606 00:27:53,090 --> 00:27:56,630 we created with the ceramic center across the river, 607 00:27:56,630 --> 00:27:59,210 and my thanks to Cathy King for her help there. 608 00:27:59,210 --> 00:28:02,690 And then, wouldn't you know it, we have a full size, gold and inlaid 609 00:28:02,690 --> 00:28:04,590 chair of Queen Hetepheres. 610 00:28:04,590 --> 00:28:07,760 Which you can see in the Semitic Museum on Divinity Avenue, any time. 611 00:28:07,760 --> 00:28:08,630 Free admission. 612 00:28:08,630 --> 00:28:11,510 Come by any time and experience that chair. 613 00:28:11,510 --> 00:28:14,890 So, the computers, and the databases, and the simulations, and the VR, 614 00:28:14,890 --> 00:28:17,420 are helping us go in all these different directions, 615 00:28:17,420 --> 00:28:20,360 ask new research questions we haven't been able to ask before, 616 00:28:20,360 --> 00:28:22,770 and hopefully get new answers as well. 617 00:28:22,770 --> 00:28:25,580 So some of my classes end up in this visualization lab classroom 618 00:28:25,580 --> 00:28:30,590 that I mentioned before, where, in 3-D. Or even in aerial shots, 619 00:28:30,590 --> 00:28:33,800 like in Google Street View, and Google Maps, and things, 620 00:28:33,800 --> 00:28:37,820 we can experience the site as it is today, as it was in 1920, 621 00:28:37,820 --> 00:28:43,020 during a great discovery, or all the way back to the Fourth Dynasty in 2500 B.C. 622 00:28:43,020 --> 00:28:43,717 It's great fun. 623 00:28:43,717 --> 00:28:46,550 And as I mentioned, the next step is to get it out of the classroom, 624 00:28:46,550 --> 00:28:49,070 and into hands, like yours, so you can all 625 00:28:49,070 --> 00:28:54,470 be experiencing this type of amazing, immersive, exposure 626 00:28:54,470 --> 00:28:56,600 to digital archaeology. 627 00:28:56,600 --> 00:28:59,660 Back at the site, we're involved with some other interesting projects, 628 00:28:59,660 --> 00:29:03,020 too, such a shooting cosmic particle rays at the Great Pyramid, right there. 629 00:29:03,020 --> 00:29:05,150 These are muons, and what they tell you, is 630 00:29:05,150 --> 00:29:08,720 where there might be unknown cavities, corridors and chambers, 631 00:29:08,720 --> 00:29:09,884 inside the Great Pyramid. 632 00:29:09,884 --> 00:29:13,050 These have been announced in the news recently, and we have more work to do. 633 00:29:13,050 --> 00:29:15,380 But you're looking at the facade of the Great Pyramid, 634 00:29:15,380 --> 00:29:19,040 and all those little white dots are showing anomalies, or voids, 635 00:29:19,040 --> 00:29:22,160 where, who knows, there may be previously uncharted corridors 636 00:29:22,160 --> 00:29:23,000 and chambers. 637 00:29:23,000 --> 00:29:25,010 Stay tuned for more on that. 638 00:29:25,010 --> 00:29:27,222 So I'm also, in addition to Professor of Egyptology, 639 00:29:27,222 --> 00:29:29,180 I'm the Director of the Harvard Semitic Museum, 640 00:29:29,180 --> 00:29:32,390 and my goal is to try to blend the ancient artifacts with some 641 00:29:32,390 --> 00:29:34,640 of these new technologies, in the galleries. 642 00:29:34,640 --> 00:29:37,910 So I hope, next time you come, you'll be able to see touch tables, 643 00:29:37,910 --> 00:29:39,770 and some of these VR experiences, and ways 644 00:29:39,770 --> 00:29:42,587 to bring these ancient artifacts alive. 645 00:29:42,587 --> 00:29:44,420 And in previous years, we've actually listed 646 00:29:44,420 --> 00:29:48,050 the types of interesting projects and challenges that we face, in the hopes 647 00:29:48,050 --> 00:29:50,780 that experts like you, might want to get involved at some point, 648 00:29:50,780 --> 00:29:53,030 and build some tiny little app here and there. 649 00:29:53,030 --> 00:29:54,320 I know we're a little late in the semester 650 00:29:54,320 --> 00:29:57,320 to take on any of this this year, but keep these things in mind, if it's 651 00:29:57,320 --> 00:29:59,210 something that you want to get involved with. 652 00:29:59,210 --> 00:30:02,510 Or, just for more exposure to ancient Egypt, a couple of classes that 653 00:30:02,510 --> 00:30:03,470 are kind of fun. 654 00:30:03,470 --> 00:30:05,690 One is a Gen Ed class I do, called Pyramid Schemes, 655 00:30:05,690 --> 00:30:07,970 and the other is Just on the Giza Plateau, 656 00:30:07,970 --> 00:30:11,870 and those are coming up in the not too distant future. 657 00:30:11,870 --> 00:30:13,470 Why is this important? 658 00:30:13,470 --> 00:30:15,110 Why should we worry about this? 659 00:30:15,110 --> 00:30:18,480 Well, take a look at what's happening at the site, and at these objects. 660 00:30:18,480 --> 00:30:23,060 Things that were in great condition as late as 1920, now look like this. 661 00:30:23,060 --> 00:30:25,760 So before, above, after, down below. 662 00:30:25,760 --> 00:30:27,560 Or, over on the right, the beautiful paint 663 00:30:27,560 --> 00:30:30,199 on that sarcophagus, which today is in the Brooklyn Museum, 664 00:30:30,199 --> 00:30:32,240 and you'd never know it was decorated or painted. 665 00:30:32,240 --> 00:30:33,500 All of it is gone. 666 00:30:33,500 --> 00:30:36,830 So many ways that you can study these archeological sites better, 667 00:30:36,830 --> 00:30:39,200 from the archives, from the photographs, from the VR 668 00:30:39,200 --> 00:30:41,720 reconstructions, from the immersive modeling, 669 00:30:41,720 --> 00:30:43,670 than you can even if you go out to the site, 670 00:30:43,670 --> 00:30:46,310 or even if you look at the artifacts today. 671 00:30:46,310 --> 00:30:51,290 Which one of these things will survive longer than the other, do you think? 672 00:30:51,290 --> 00:30:54,290 I leave it to you, to be the judge of that. 673 00:30:54,290 --> 00:30:54,800 Right? 674 00:30:54,800 --> 00:30:57,530 How many devices do you have, that just don't work anymore? 675 00:30:57,530 --> 00:30:59,780 Or the disks that run on them don't play? 676 00:30:59,780 --> 00:31:02,030 Or something's locked up and frozen on you? 677 00:31:02,030 --> 00:31:05,540 Well, down below, limestone rules. 678 00:31:05,540 --> 00:31:07,050 So I will finish with that. 679 00:31:07,050 --> 00:31:09,140 I thank you for thinking about the future. 680 00:31:09,140 --> 00:31:12,110 And I thank you for taking this course, and I also 681 00:31:12,110 --> 00:31:15,080 want you to think about the past and the future together, and the ways 682 00:31:15,080 --> 00:31:19,010 that we can combine these tools, and unleash, not only where we're headed, 683 00:31:19,010 --> 00:31:21,410 as a civilization, but where we've come from. 684 00:31:21,410 --> 00:31:23,718 Thanks very much. 685 00:31:23,718 --> 00:31:26,153 [APPLAUSE] 686 00:31:26,153 --> 00:31:31,177 687 00:31:31,177 --> 00:31:33,010 DAVID MALAN: So in addition to acknowledging 688 00:31:33,010 --> 00:31:36,100 all of the course's staff, who have been so involved behind the scenes, 689 00:31:36,100 --> 00:31:37,850 we wanted to take a moment and acknowledge 690 00:31:37,850 --> 00:31:41,810 some of the course's students, by way of something 691 00:31:41,810 --> 00:31:46,880 that might offer us a bit of comfort, perhaps, versus this past weekend. 692 00:31:46,880 --> 00:31:50,520 Let me go ahead and open up a window here. 693 00:31:50,520 --> 00:31:54,420 So we have a few acknowledgements to make. 694 00:31:54,420 --> 00:31:58,640 And one of them, we thought, would be fun to do by way of this game here, 695 00:31:58,640 --> 00:32:03,650 that will rematch Harvard against Yale, and some others, for which we need, 696 00:32:03,650 --> 00:32:06,170 for just a moment, one volunteer. 697 00:32:06,170 --> 00:32:07,610 One volunteer. 698 00:32:07,610 --> 00:32:08,390 Some other hand? 699 00:32:08,390 --> 00:32:09,650 Any other hands there? 700 00:32:09,650 --> 00:32:10,927 No? 701 00:32:10,927 --> 00:32:12,260 OK, two hands, I guess, does it. 702 00:32:12,260 --> 00:32:13,202 Come on up. 703 00:32:13,202 --> 00:32:13,910 What's your name? 704 00:32:13,910 --> 00:32:14,810 Arpith: Arpith. 705 00:32:14,810 --> 00:32:15,290 DAVID MALAN: Arpith. 706 00:32:15,290 --> 00:32:17,790 All right, Arpith's going to come on up, and from here we'll 707 00:32:17,790 --> 00:32:20,330 transition to later problem sets, and a final look 708 00:32:20,330 --> 00:32:23,000 at-- nice to see you-- what lies ahead. 709 00:32:23,000 --> 00:32:26,090 So this is Ivey's Hardest Game, by one of your predecessors. 710 00:32:26,090 --> 00:32:27,304 Come on around over here. 711 00:32:27,304 --> 00:32:29,720 I'm going to go ahead and hit click the green flag, as you 712 00:32:29,720 --> 00:32:31,900 may recall from some 12 weeks ago. 713 00:32:31,900 --> 00:32:33,527 If we can crank up the volume here. 714 00:32:33,527 --> 00:32:35,902 You're going to go ahead and press the spacebar to start, 715 00:32:35,902 --> 00:32:38,315 and use the up, down, left, right arrows. 716 00:32:38,315 --> 00:32:39,225 [VIDEO PLAYBACK] 717 00:32:39,225 --> 00:32:40,142 [MUSIC PLAYING] 718 00:32:40,142 --> 00:32:40,933 - Can't touch this. 719 00:32:40,933 --> 00:32:43,376 720 00:32:43,376 --> 00:32:47,002 Can't touch this. 721 00:32:47,002 --> 00:32:48,170 Can't touched this. 722 00:32:48,170 --> 00:32:50,780 723 00:32:50,780 --> 00:32:51,900 Can't touch this. 724 00:32:51,900 --> 00:32:55,675 DAVID MALAN: So notice, of course, the loops that must be involved here, 725 00:32:55,675 --> 00:32:57,305 the if condition that just executed. 726 00:32:57,305 --> 00:33:00,110 727 00:33:00,110 --> 00:33:01,225 The copy operation. 728 00:33:01,225 --> 00:33:05,780 729 00:33:05,780 --> 00:33:06,485 Slightly faster. 730 00:33:06,485 --> 00:33:09,590 731 00:33:09,590 --> 00:33:10,550 Very nice. 732 00:33:10,550 --> 00:33:11,882 Lots of the variables. 733 00:33:11,882 --> 00:33:12,590 Up to level five. 734 00:33:12,590 --> 00:33:13,090 735 00:33:13,090 --> 00:33:14,590 - Can't touch this. 736 00:33:14,590 --> 00:33:17,090 Yeah, that's how we livin' again. 737 00:33:17,090 --> 00:33:18,084 Can't touch this. 738 00:33:18,084 --> 00:33:21,048 Look in my eyes, Can't touch this. 739 00:33:21,048 --> 00:33:24,020 740 00:33:24,020 --> 00:33:27,857 Fresh new kicks and pants, you gotta like that now you know you wanna dance. 741 00:33:27,857 --> 00:33:31,143 Now move, outta your seat, and get a fly girl and catch this beat. 742 00:33:31,143 --> 00:33:32,616 While it's rolling-- 743 00:33:32,616 --> 00:33:34,580 DAVID MALAN: You have lives you can spend. 744 00:33:34,580 --> 00:33:36,550 - Like that. 745 00:33:36,550 --> 00:33:37,975 Like that. 746 00:33:37,975 --> 00:33:38,925 DAVID MALAN: Nice. 747 00:33:38,925 --> 00:33:41,730 Nice. 748 00:33:41,730 --> 00:33:44,060 - Can't touch. 749 00:33:44,060 --> 00:33:45,458 Yo, I told you. 750 00:33:45,458 --> 00:33:48,502 Can't touch this. 751 00:33:48,502 --> 00:33:49,210 Can't touch this. 752 00:33:49,210 --> 00:33:49,960 DAVID MALAN: Nice. 753 00:33:49,960 --> 00:33:50,590 Level seven. 754 00:33:50,590 --> 00:33:51,913 - Yo, sound the bell. 755 00:33:51,913 --> 00:33:53,057 School's in, sucker. 756 00:33:53,057 --> 00:33:53,765 Can't touch this. 757 00:33:53,765 --> 00:33:57,530 Give me a song, or rhythm, making them sweat that's what I give them. 758 00:33:57,530 --> 00:33:59,280 They know, when you talk about the Hammer, 759 00:33:59,280 --> 00:34:02,220 you talk about a show that's hyped and tight. 760 00:34:02,220 --> 00:34:04,172 Singers are sweating so pass them a mic. 761 00:34:04,172 --> 00:34:07,588 Or a tape, to learn what it's gonna take and now he's gonna burn. 762 00:34:07,588 --> 00:34:11,699 The chart's legit either work hard or you might as well quit. 763 00:34:11,699 --> 00:34:12,690 That's word, 764 00:34:12,690 --> 00:34:13,938 DAVID MALAN: Level eight. 765 00:34:13,938 --> 00:34:17,639 - Can't touch this. 766 00:34:17,639 --> 00:34:19,504 Can't touch this. 767 00:34:19,504 --> 00:34:20,920 DAVID MALAN: Second to last level. 768 00:34:20,920 --> 00:34:21,560 Level nine. 769 00:34:21,560 --> 00:34:22,226 - Break it down. 770 00:34:22,226 --> 00:34:24,920 771 00:34:24,920 --> 00:34:27,780 DAVID MALAN: Level 10! 772 00:34:27,780 --> 00:34:30,280 [MUSIC PLAYING] 773 00:34:30,280 --> 00:34:34,493 774 00:34:34,493 --> 00:34:34,992 - Stop. 775 00:34:34,992 --> 00:34:37,312 Hammer time. 776 00:34:37,312 --> 00:34:41,429 [INTERPOSING VOICES] So wave your hands in the air, 777 00:34:41,429 --> 00:34:43,595 bust a few moves run your fingers through your hair. 778 00:34:43,595 --> 00:34:47,190 This is it for a winner Dance to this and you're gonna get thinner. 779 00:34:47,190 --> 00:34:52,560 Now move, slide your rump, just for a minute, let's all do the bump. 780 00:34:52,560 --> 00:34:53,909 DAVID MALAN: You all right? 781 00:34:53,909 --> 00:34:56,212 - Can't touch this. 782 00:34:56,212 --> 00:34:57,270 Arpith: Is it beatable? 783 00:34:57,270 --> 00:34:59,042 DAVID MALAN: It's beatable. 784 00:34:59,042 --> 00:35:00,770 With practice. 785 00:35:00,770 --> 00:35:02,520 - Can't touch this. 786 00:35:02,520 --> 00:35:04,520 Ring the bell, school's back in. 787 00:35:04,520 --> 00:35:05,386 Break it down. 788 00:35:05,386 --> 00:35:11,300 789 00:35:11,300 --> 00:35:14,060 DAVID MALAN: Try one or two more times. 790 00:35:14,060 --> 00:35:14,560 Two. 791 00:35:14,560 --> 00:35:18,810 792 00:35:18,810 --> 00:35:19,310 - Stop. 793 00:35:19,310 --> 00:35:19,790 Hammer time. 794 00:35:19,790 --> 00:35:20,780 DAVID MALAN: All right, one more! 795 00:35:20,780 --> 00:35:21,362 One more! 796 00:35:21,362 --> 00:35:25,520 797 00:35:25,520 --> 00:35:27,455 Oh! 798 00:35:27,455 --> 00:35:28,290 All right. 799 00:35:28,290 --> 00:35:31,380 We'll post this online, thank you. 800 00:35:31,380 --> 00:35:34,930 We'll post that online, if you'd like to tinker, as well. 801 00:35:34,930 --> 00:35:37,219 So you may recall that in addition a problem set zero, 802 00:35:37,219 --> 00:35:39,010 there was problem set four, for which there 803 00:35:39,010 --> 00:35:40,635 were some icing on the cake at the end. 804 00:35:40,635 --> 00:35:43,551 Whereby you were challenged to find as many of the computer scientists 805 00:35:43,551 --> 00:35:44,260 as you could. 806 00:35:44,260 --> 00:35:47,950 And we wanted to acknowledge a few of your classmates, Pedro, Vicki, 807 00:35:47,950 --> 00:35:52,090 and Mikhail, all of whom sent us quite a few selfies of the staff, 808 00:35:52,090 --> 00:35:53,970 beknownst or unbeknownst to them. 809 00:35:53,970 --> 00:35:57,221 So some fabulous prize awaits you, via your email. 810 00:35:57,221 --> 00:36:00,220 In problem set five, meanwhile, you'll recall that we had the big board. 811 00:36:00,220 --> 00:36:03,550 And this was an opportunity to try to minimize how much running time, 812 00:36:03,550 --> 00:36:05,680 and how much space you ultimately use. 813 00:36:05,680 --> 00:36:08,620 It turns out, that this year's big board was dominated largely 814 00:36:08,620 --> 00:36:12,970 by CS50s own staff, who were formerly students, at least, themselves, 815 00:36:12,970 --> 00:36:15,070 and had an extra year to refine their code. 816 00:36:15,070 --> 00:36:20,140 But we did want to acknowledge CS50's own Derek Wang, for being 817 00:36:20,140 --> 00:36:21,700 atop the board among the students. 818 00:36:21,700 --> 00:36:27,190 So congratulations to Derek, you, too, will see something in your email, 819 00:36:27,190 --> 00:36:28,040 as well. 820 00:36:28,040 --> 00:36:30,790 Now you might recall, this year was the first ever coding contest, 821 00:36:30,790 --> 00:36:34,150 which was either an opportunity for a well deserved week off, 822 00:36:34,150 --> 00:36:37,480 or to challenge your classmates with a number of coding 823 00:36:37,480 --> 00:36:39,580 problems that were available online. 824 00:36:39,580 --> 00:36:43,909 And you can work in teams of two-- or one, or two, or three, or four, 825 00:36:43,909 --> 00:36:45,700 and we'd like to acknowledge the teams that 826 00:36:45,700 --> 00:36:48,070 ultimately ranked atop that big board. 827 00:36:48,070 --> 00:36:51,760 In third place this year, which now feels a little dated, 828 00:36:51,760 --> 00:36:56,680 was, We Miss You HUDS, stay tuned to your e-mail for a fabulous prize. 829 00:36:56,680 --> 00:37:00,820 In second place was, The Fabulous Prizes. 830 00:37:00,820 --> 00:37:06,010 In first place, was Big Board, Big Boys. 831 00:37:06,010 --> 00:37:07,420 Congratulations to you. 832 00:37:07,420 --> 00:37:10,270 And the lucky raffle winner which has drawn pseudorandomly 833 00:37:10,270 --> 00:37:14,130 among all of those who participated, was Madeleine. 834 00:37:14,130 --> 00:37:16,660 So stay tuned to your e-mail as well. 835 00:37:16,660 --> 00:37:19,660 Now there still remains a few things for everyone else here in the room, 836 00:37:19,660 --> 00:37:22,120 and that, indeed, includes the CS50 Hackathon. 837 00:37:22,120 --> 00:37:26,320 So at the CS50 Hackathon, you'll have an opportunity to arrive around 7:00 p.m. 838 00:37:26,320 --> 00:37:28,390 and depart around 7:00 a.m., and hopefully 839 00:37:28,390 --> 00:37:31,990 bite off a huge portion of your final project along the way, 840 00:37:31,990 --> 00:37:36,550 as well as partake, after signing in, in Philippe's around 9:00 p.m., 841 00:37:36,550 --> 00:37:40,120 and Dominoes around 1:00 a.m., and if still standing around 5:00 a.m., 842 00:37:40,120 --> 00:37:44,410 will we charter some Harvard shuttle buses and head to IHOP for breakfast. 843 00:37:44,410 --> 00:37:48,430 Meanwhile, throughout the evening, will the staff 844 00:37:48,430 --> 00:37:51,300 be building their own projects, like this. 845 00:37:51,300 --> 00:37:54,910 Decorating the space and all the food in a support structure 846 00:37:54,910 --> 00:37:57,710 that you might like, but ultimately it's this kind of opportunity. 847 00:37:57,710 --> 00:38:00,700 Really one of those few collegiate experiences that, hopefully you 848 00:38:00,700 --> 00:38:02,110 take with you for some time. 849 00:38:02,110 --> 00:38:04,420 This one focused alongside classmates and staff, 850 00:38:04,420 --> 00:38:08,290 in accomplishing your very last goal for the term. 851 00:38:08,290 --> 00:38:14,290 So beyond that, oh, there will be therapy dogs, too. 852 00:38:14,290 --> 00:38:18,910 Picture here is Milo and Jordan, and Maria, from on stage. 853 00:38:18,910 --> 00:38:21,940 So, take a look at this URL here, this will be on the course's website 854 00:38:21,940 --> 00:38:24,010 if you'd like to register in advance for that. 855 00:38:24,010 --> 00:38:26,009 And we'll follow-up via email with more details. 856 00:38:26,009 --> 00:38:28,540 And then lastly, is truly the climax of the course. 857 00:38:28,540 --> 00:38:31,530 Back in the day, would we do final project presentation 858 00:38:31,530 --> 00:38:32,710 in a fairly traditional way. 859 00:38:32,710 --> 00:38:35,620 Everyone gathers in their sections, and everyone walks through their projects, 860 00:38:35,620 --> 00:38:37,210 and no one is all that inspired. 861 00:38:37,210 --> 00:38:40,960 And so a few years back, what we decided to do, was to invite the whole campus. 862 00:38:40,960 --> 00:38:44,107 And so indeed these days, do some 2000 plus people attend, 863 00:38:44,107 --> 00:38:47,440 students and faculty and staff, and even middle school students, and high school 864 00:38:47,440 --> 00:38:49,660 students, from the nearby area, to come see what 865 00:38:49,660 --> 00:38:51,260 you have accomplished by term's end. 866 00:38:51,260 --> 00:38:54,010 And we'll set up a whole lot of tables, you'll bring your laptops, 867 00:38:54,010 --> 00:38:56,260 there'll be food, friends from industry, and more. 868 00:38:56,260 --> 00:38:58,750 And it will be quite the opportunity, ultimately, 869 00:38:58,750 --> 00:39:01,750 to take pride, we hope, in all that it is, 870 00:39:01,750 --> 00:39:04,470 that you've accomplished this semester. 871 00:39:04,470 --> 00:39:06,310 Just like your predecessors past. 872 00:39:06,310 --> 00:39:09,490 And there will be cotton candy this year as well. 873 00:39:09,490 --> 00:39:12,536 So, in all seriousness, we do hope that out of this class, 874 00:39:12,536 --> 00:39:14,410 you have gotten a better appreciation for how 875 00:39:14,410 --> 00:39:17,890 to go about solving problems, and some more tools in your toolkit. 876 00:39:17,890 --> 00:39:20,714 And hopefully ultimately all the more comfort and confidence 877 00:39:20,714 --> 00:39:22,630 in approaching those problems, whether they're 878 00:39:22,630 --> 00:39:24,850 inside or outside of computer science. 879 00:39:24,850 --> 00:39:28,480 Before we adjourn to the pub downstairs, where quite a bit of cake awaits, 880 00:39:28,480 --> 00:39:32,200 allow me to dim the lights one more time for fall 2016, 881 00:39:32,200 --> 00:39:36,060 and give you what was CS50. 882 00:39:36,060 --> 00:39:37,060 [VIDEO PLAYBACK] 883 00:39:37,060 --> 00:39:39,544 [MUSIC PLAYING] 884 00:39:39,544 --> 00:39:40,996 - (SINGING) You're like gold dust. 885 00:39:40,996 --> 00:39:47,288 886 00:39:47,288 --> 00:39:50,807 It rains over 887 00:39:50,807 --> 00:39:51,890 DAVID MALAN: This is CS50. 888 00:39:51,890 --> 00:39:54,890 889 00:39:54,890 --> 00:40:00,730 - (SINGING) A foreign sun, that I thought I'd never see. 890 00:40:00,730 --> 00:40:02,666 You're like gold dust. 891 00:40:02,666 --> 00:40:08,474 892 00:40:08,474 --> 00:40:14,980 Keep coming down that street. 893 00:40:14,980 --> 00:40:19,120 There's a hollow in this house whenever you go. 894 00:40:19,120 --> 00:40:21,920 895 00:40:21,920 --> 00:40:23,872 [INAUDIBLE] 896 00:40:23,872 --> 00:40:26,312 [MUSIC PLAYING] 897 00:40:26,312 --> 00:41:03,400 898 00:41:03,400 --> 00:41:08,314 DAVID MALAN: This was CS50, 50 and cake is now served. 899 00:41:08,314 --> 00:41:15,042 [MUSIC PLAYING] 900 00:41:15,042 --> 00:41:56,590