 We're live from the Cambridge Innovation Center on the campus of MIT. I'm Dazza Greenwood with the Human Dynamics Lab at MIT in the Media Lab, and we are hosting, I've got a prop, we are hosting the Open Media Legal Hackathon, a global event happening. I said in Bushwick last week, a global event happening all over the world. People are like, but it is happening all over the world. We already had San Francisco, I just mentioned we had New York, we've got from Oakland, we have Kansas City happening this weekend, we've got Brazil, San Paolo, we've got Houston, we've got Dallas, Texas is well represented. We'll have some other venues coming up later and we'll be capping it off now. It's been so successful with a course in January at MIT. The reason we're doing this video today is because one of the really beneficial collaborations we've had leading up to the event, surface and give people good open source tools they can work with, has been this collaboration with our chain and specifically with the R-Song team. We're joined by, this is fine, we're joined by Kevan who's one of the main techno dudes working on this part of the project, to give us a little bit more context and background and overview while you're here in the Boston area for this event, which we're grateful for and especially to go through some things that people really need to know about our song, like what's in it, what does it do, and also the other side of that coin, what are things that are out of scope of our song. With that in mind, I want to thank you and also, well, let's make you up as a next step. Here you go. Thank you. Thank you so much for the awesome introduction. Thank you for having me. This is a great city. I am so glad to be in Boston. Great people, great city. It's been fantastic. I also want to touch back on some of the things that you asked. It is such a good question to actually consider what R-Song doesn't do. It's just as important as knowing what it is, that what problem that it does solve. So why don't we start with that? I made a laundry list of some of the items that R-Song is addressing, and again, please bear in mind that we're only in the beta version. So by no means, this is the final version. We have a lot of tasks that are in the pipeline to start developing. In my studies of doing blockchain and working on the blockchain, there are certain things that I noticed that are not being addressed, or at least I didn't find a solution for. So when we were tasked to do this project, R-Song, by my dear friend, colleague, and boss, Greg, we wanted to make sure that we come up with a framework, not only to develop R-Song, but for many other distributed apps that are going to come, whether these apps are going to run on R-chain or any other chain. All these apps have certain attributes, and once you start addressing those attributes, there is only so many design elements that you have, and this architecture is a compromise of those elements. So this is a very small shop. It's just me and a couple other developers working on this together. So from the get-go, it was very important for us to make sure that we have automated tooling. We use CircleCI for all of our- So now this is item one? This is item one. Let's get some video of this. All right, so thank you. As you can see, we're addressing the continuous delivery, that's a CD, and continuous integration, that's a CI, and we're using CircleCI to help us for the automation of those. So what does that really mean? I mean, it's just a bunch of buzzwords, right? But from a developer's perspective, it means I'm going to check my code into my GitHub repository, and then it just gets pushed to the environment that it needs to run and be tested. Hallelujah! Exactly, exactly. I mean, if you look at my white beard, it's white for a reason. I remember days that I would spend hours trying to get my application that run on my laptop deployed on a production or a development environment, and it would just, it would drive me crazy. What's number two? Number two. Number two is IAS, Infrastructure as Service. Thank you, I love the sound effect. So that kind of helps us to do the continuous delivery. For our song, we wanted to make sure that we cloud agnostic, because I have no clue whether we're going to run on Google Cloud or AWS. It turns out that we're running on Google Cloud today. So we use some of the industry products that are well-known, well-documented, and mature to provide that infrastructure as code. We use Terraform and HashiCorp for all of our infrastructure. We use Kubernetes for everything else, and everything is scripted. So basically now, the CI part simply is a scheduler calling these automated scripts. Fantastic. Thank you. Programmable, automatable, you know? It's like a butter. Exactly. The only thing it doesn't do is start your car early in the morning. Yes. Yeah. So item number three. Here we go. There we go. And scale up and scale down. And I want to make sure that we know that scaling down is equally as important. I mean, who wants to pay ton of money when there is no traffic? Not Ty. Exactly. And at the same time, you want to make sure you scale up fast enough. I mean, if there is traffic coming in, it's coming in now, not five minutes from now. So you need to be able to scale up instantly. And that's part of the reason we chose Kubernetes infrastructure. We could scale up into five or 10 nodes in matter of seconds, actually, sub seconds. Everything is stateless. That means when we scale down, there is no problem. The servers just go away. And thank God for Kubernetes. It made that problem so simple for us. I'm ready for number four. Put it in a queue. OK, are you ready? Yep, I'm ready. Extensible. Ta-da. So that's one of those buzzwords. Ramir, what does extensible mean to me? It may be very different for what it means to you. I go by the dictionary. What we mean by extensible here is that this architecture not only solves today it's used for musical assets. But that's not where it ends. It could actually work with any assets. The only thing it requires for you to give it the recipe how to build a product from the assets. So what do I mean by that? Today it works by music. It wants an artwork. It wants a stereo version. It wants an immersive version. And it wants a metadata. Those four assets aggregate it together and make a product. And you give it the recipe by the metadata. So tomorrow, if you wanted to, let's say, serve video, like something like Netflix, you would say, OK, here is your movie. Here is the artwork that's associated with the movie. And here is how you play that movie. These three things provide and provide a product. You give that recipe to our song via the metadata and it could serve those videos. That's what I mean by extensible. With minimal coding, you could make this musical app into a video app or a photo sharing app. Great. So it's easy to apply to multiple contexts to extend it. It is extensible. It is. It is. And it goes back to what my boss and good friend asked me. Greg asked me to build a framework. OK, go on. He said build a framework. He was still like him to MIT Labs. Everybody here said, now everyone loves Tim here, our mascot. He's a little beaver. But what did you guys talk about? He asked you to build something. What was it? He asked me to build a framework for our song in a way that we could build future distributed apps on this platform, on this framework. So flexible, extensible. Yes. OK, what's the next item? The next item is composable. There we go. So what do we mean by that? Our song is a composition of a number of services. There is the UI part of it. We talked about the acquisition where we actually get the products and make them ingestible into our pipeline. And then there is the proxy part where basically the proxy ties the two worlds, ties the outside world to the blockchain world. And then there is the blockchain component of it which composes basically it's the final composition where we actually start composing all the parts together and providing the business logic for this entire app. Nice. That's pretty cool. So there is a, I want to just flip the camera for a minute. Boom. There's another side to this coin, isn't there? There is. The other side of this coin isn't just why is our song so fabulous and what is it made of. But what is outside of the scope of our song that people might think was in? But they should be aware of kind of where that boundary is. Like what's not part of the scope of our song? Very good question. So our song is, again, we go back that we were tasked to build a framework. We were not tasked to build the marketing parts of how people are going to be attracted to our song. So the marketing aspects, it's something that our song doesn't address. It's purely a technical thing. We also don't address as to how monetization comes into picture. Now, I want you to take that with a caveat. I'm not saying that you cannot monetize. What our song gives you, the platform and the ability to envision how you want to monetize. But it doesn't come out of the box and says, this is how you're going to monetize it. There is a big difference in here. And that's been a source of confusion for a lot of our users. Makes sense. So if I was a company that was providing cash registers that could process money, I wouldn't want people thinking I was doing the marketing for them or actually acquiring customers and maintaining them for them. That's a business kind of thing. Precisely. As opposed to providing a mechanism that achieves transfer and conduct of payment. You guys have a mechanism. You have technology. It's not a business. The business dimensions of what it would take to roll this out and apply and adopt it are kind of out of scope of what your team is promising or what you're providing. Precisely. It goes out. Yeah, precisely. It's a framework to build really, really collapse. And it says, here is your hello world that you could make minimal modifications and put it in production within a matter of hours. The lovely talent in it. Of course, this is the business. So can you keep the camera one on the subject? I'm going to take camera two. We are now being filmed, by the way, by the talented, by the lovely, and by the very friendly friend of MIT's law program. Well, I'm just going to call you Aura by your nickname, if you don't mind. Another Brazilian. And thank you for filming this. So here we go. So there you have it. There's some information about some critical, almost architectural and design components of our song. What it is, what is it good for, why is it so great. And then also a few things that are out of scope that people might be confused about, especially with all these tokens flying around. And people want to know when Lambo, when Lambo. Well, some of these concerns are out of scope of the technology that you're providing. They're really business, strategy, marketing, business operations questions. That's good to know. But you know what's really great about this? Weekend, when we do the open music legal hackathon with the our song people, among others, is that you can hack the business. You can hack the law. You can hack the technology or any combination of those in scope. So if you've got some interesting ideas about how to apply this technology with a business model, come and postulate with us. Come dream with us this weekend. Form some teams, deploy the technology, and speculate about how you would roll it out, how you would acquire and maintain customers. Or if you want to kind of look at the legal part, which is kind of an extension, but it's just kind of its own thing from business. What would be the rights and obligations of the parties? What kind of legal instruments could you have? What laws apply? How do you get royalties is a whole big thing. Identity is a big thing. Absolutely. So you can hack that too. You can hack the law with us at MIT. So come and get more resources at law.mit.edu and for this weekend's festivities at legalhackathon.org. I just want to thank you both for joining us to put a little more meat on the bones of our song. Awesome. Thank you for having us. Thanks. See you online. Bye, everybody.