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  • [MUSIC PLAYING]

  • DAVID MALAN: All right.

  • This is CS50, and this is week 11.

  • Our very last.

  • And yet, curiously somehow, our second.

  • But it's great to see everyone here again,

  • and the goal today is several fold.

  • Among the goals for today, is to introduce you

  • to applications of computer science in the real world

  • by way of virtual reality.

  • And we'll do that by way of CS50 itself, a bit of gaming,

  • as well as by the world of archaeology-- something

  • that I myself took an interest in back in grad school--

  • and also we'll get, hopefully, a bit of emotional closure.

  • Indeed, if you think back on what we've been doing this whole semester,

  • whether you took some CS class before this or not-- I mean,

  • this class is entirely about problem solving.

  • And the thing I would encourage you to keep in mind

  • is that, no matter how cryptic C might have felt,

  • or no matter how you might have struggled with Flask, or Python,

  • or any other particular implementation details of problem sets,

  • at the end of the day, everything we did really boils down to this mental model.

  • And so truly if you walk away with nothing else from CS50 other

  • than this appreciation, that even though you might not necessarily

  • know in advance what goes inside that box, algorithms are the solution.

  • I mean most everything we humans do, with or without computers,

  • can be reduced to this form of problem solving.

  • And realize, too, that just 12 weeks ago, 73% of you

  • had never taken a CS course before.

  • And then you went through in Scratch, and then C, and then memory management,

  • and then implement your own hash table, or try

  • in your own web based application, and soon your own final project.

  • So I dare say that no one here is among those less comfortable anymore.

  • Indeed what ultimately matters now is not

  • so much where you end up relative to your classmates,

  • but where you all end up today, in this week 11,

  • relative to where you were in week 0.

  • Indeed, it's worth noting that most of the course's teaching

  • Fellows in course assistance, were exactly where you were, just a year ago

  • today.

  • Indeed, I thought we would hit play on a short film

  • that the staff has put together to paint the picture of exactly what it's

  • been like for them, since graduating from CS50.

  • I give you CS50 staff, for Fall 2016.

  • [VIDEO PLAYBACK]

  • - I'm Analea, and this is CS50.

  • [MUSIC PLAYING]

  • - Thank you so much to this year's staff,

  • without whom the course really wouldn't be what it ultimately is for students.

  • Indeed, more than just videos, and problem sets,

  • and tests, and quizzes, CS50 really is about the interpersonal experience,

  • that students have in the course, and that connection that they

  • make with the whole teaching staff.

  • - So as a student, I really struggled to learn pointers, but I had great TF,

  • and he was just so inspiring that I really wanted to join the team myself.

  • - When I applied to Yale, I was an English

  • to sociology prospective double major, and now I am a computer science major.

  • So that's a little bit about how much CS50 changed me.

  • - You can come in, take the class, do well,

  • and even know the material so well that you're teaching the next year.

  • - CS50 is one of the best opportunities you're

  • going to have here, while you're and undergraduate,

  • to teach a course to your peers, and to really be a leader amongst peers.

  • - When you teach something, you're able to gain like 10 times as much knowledge

  • as when you just learn it.

  • - I've become much more comfortable with computer science fundamentals,

  • just by teaching them, rather than taking classes on them.

  • - It's really amazing to watch these incredibly bright eyed, incredibly

  • enthusiastic, just fresh out of high school students, learning about CS,

  • and asking these really intense, really detailed questions.

  • Just getting really excited about the material with me.

  • - It's for that aha moment, when you're helping a student in office hours,

  • and they've been struggling for hours, and all of a sudden they get it.

  • And it's that moment that I think is really special.

  • - We are super, super excited every year when

  • we have new people apply for CAs, NTFs, and greeters.

  • And being on staff is the most fun part of CS50,

  • it's been super, super, defining of my whole experience at Harvard.

  • - To my students, I'd like to say--

  • - You're live!

  • - --I love you all.

  • - You guys are great.

  • - --And comment your code.

  • - You should be a TF or CS50 to be able to empower others,

  • it's as simple as that.

  • [MUSIC PLAYING]

  • [END PLAYBACK]

  • DAVID MALAN: Allow me to take a moment now, to thank a number of members

  • of the teaching staff, among them Maria and Walter, Doug and Alec,

  • Rob, Zamyla, and truly, CS50s whole team.

  • In fact, if you've never actually clicked

  • on the staff link on CS50's page, thanks to Luke in the production team,

  • you'll actually see the biggest abuse of animated GIFs ever.

  • But it brings to life the entirety of CS50's team here,

  • and so thank you so much to the entirety of our staff, our teaching

  • fellows, course assistants, producers, everyone here in Sanders

  • who's been helping us out all term, and everyone who's been helping us

  • out even before this term.

  • In fact, one of the most frequently asked questions at CS50 lunches,

  • or whenever I've chatted with folks one on one,

  • has been essentially along the lines of, and we just

  • got this question today, what's with the weird black and white dramas

  • at the end of lectures.

  • And indeed, if you haven't noticed, at the end of most

  • every lecture is a little vignette inspired, in fact,

  • by Citizen Kane, a film that you may have seen.

  • And even if not, it's meant to, when watched contiguously,

  • to tell a CS50 variants of that same story.

  • And even if you haven't watched them all, they're all on CS50's home page,

  • and we thought we'd give you a bit of emotional closure

  • with the last such scene, wherein it is revealed what Rosebud is.

  • [VIDEO PLAYBACK]

  • [MUSIC PLAYING]

  • [END PLAYBACK]

  • DAVID MALAN: So, if you have no idea what it is you just watched,

  • that's fine.

  • Take a look at CS50's home page, where all of them

  • are now concatenated together.

  • What you may have noticed, either from our first week's lecture,

  • or from some of the videos that have been

  • going online over the course of the term,

  • is that there's been this thing here.

  • This special camera that has eight lenses on it.

  • Because for the first time this year, we thought

  • we would try to push the envelope a bit technologically,

  • bringing into the classroom a new form of technology that you've perhaps

  • seen gaining steam in gaming, and in industry more generally,

  • virtual reality, or VR.

  • Which is a technology that allows a human to either, in simplest form,

  • take their mobile phone, and pull up Facebook or YouTube or the like,

  • and sort see around them the entirety of some three dimensional space,

  • just through the lens of that rectangular region.

  • But better yet, if you actually put on a special headset,

  • like Google Cardboard, or Samsung Gear, or Oculus Rift, or HTC Vive, or bunches

  • of others, you can actually transport yourself

  • virtually to a space like that.

  • So if you've been wondering what it's been like to sit-in

  • on lectures all year round in Sanders, you can actually go back

  • and relive that experience, thanks to this kind of camera here.

  • And in fact I can draw attention to it in the photograph here,

  • and I can also draw attention to CS50's Conor Doyle, a sophomore who joined us

  • just over a year ago on CS50's team.

  • In fact we met him at [INAUDIBLE] and he came up,

  • as pre-frosh are want to do, expressing an interest in getting

  • involved in CS50 goings on, since he's been

  • an aspiring filmmaker and technophile.

  • And so he actually joined CS50's team last year,

  • has been taking CS50 this semester, and has been our go

  • to guy for all things virtual reality, as well as

  • alongside CS50's home production team.

  • And so I thought it would be appropriate,

  • given how much time the team has spent on this technology, in large part,

  • not so much to simulate what it's like for Harvard students or Yale students

  • to experience classes in Sanders Theater,

  • but there's this whole outreach effort, these days, by way of a program

  • called AP CS Principles.

  • Which is a new AP course from the College Board,

  • that high school students around the world

  • can start taking in satisfaction of an AP credit.

  • And CS50 is just one of the implementations of that new course.

  • Co.org, UC Berkeley, and others have theirs.

  • And so really the overarching goal of this kind of technology,

  • is to give a window into a classroom, that high school

  • students, or adult students online, couldn't otherwise

  • participate in from such afar.

  • So allow me to invite up CS50's own Conor Doyle.

  • Welcome to Conor And while we get some things set up, would someone

  • like to volunteer to be a participant in CS50 VR,

  • putting on his or her face virtual reality goggles.

  • Can't quite see them, any faces with the lights, OK, right here, OK.

  • Come on down.

  • Wonderful.

  • Tiptoe past the camera, there we go.

  • All right.

  • Conor's getting things set up, and what's your name?

  • JONATHAN: Jonathan.

  • DAVID MALAN: Jonathan?

  • David, nice to meet you.

  • Come on over here.

  • And so if we put you center here, Conor, as we

  • get Jonathan set up here, what is it we are about to do, and what is it

  • he's about to experience?

  • CONOR DOYLE: Sure, so, the Nokia OZO camera has eight sensors on it,

  • and it's capturing the entire world.

  • So wherever you are on stage right now, it's capturing you.

  • And you can't really escape it.

  • So what we're doing, is we're taking the HTC Vibe, which

  • is a room scale VR experience, one of the best headsets on the market,

  • I think, right now.

  • And we're going to put it on you, I'm we're going to go back to week zero,

  • and you get relive sort of week zero experience, with this HTC Vibe headset.

  • DAVID MALAN: And so after each lecture what CS50's production team is

  • essentially this, it's a little washed out on the screen here,

  • but it's eight images from each of the lenses,

  • and then using special software, do they stitch it together in such a way

  • that the resulting image is essentially a video that's a full 360 degrees.

  • In fact, the reason it looks distorted here,

  • is because once you put the headset on, does

  • it wrap that world around your head, so that if Jonathan looks up,

  • down, left, or right, his eyes are actually

  • going to be seeing something a little different.

  • So we'll change the screen here to Conor, and Jonathan's set up.

  • So you are seeing now-- if we could perhaps

  • dim the lights-- what Jonathan is seeing on his own headset.

  • [VIDEO PLAYBACK]

  • [MUSIC PLAYING]

  • CONOR DOYLE: This is week zero.

  • - This is

  • [INTERPOSING VOICES]

  • - --introduction to the intellectual enterprises of computer science,

  • and the art of programming.

  • And my name is David Malan, and I was just thinking this morning,

  • that it's been, amazingly, 20 years today, since I last

  • sat where you guys do now.

  • DAVID MALAN: So you'll notice, too, it's a little hard

  • to see the touch screen from the headset so if Jonathan,

  • you'll look toward the screen, and then look down,

  • you'll see that it's digitally superimposed there,

  • so that for code especially, you can see it all the more realistically.

  • All right.

  • Well thank you to Jonathan.

  • Let me bring you back to reality if we can.

  • [END PLAYBACK]

  • DAVID MALAN: Thank you.

  • Welcome back.

  • We have time for maybe one or two other demos.

  • Would a second volunteer like to come on up, now

  • that you know what you're getting-- oh, now their hands are going up.

  • Let's see, a little farther back, a little farther, OK,

  • waving at me there, in the jacket, come on down.

  • All right.

  • Come on down.

  • So, it's a little harder to justify this one academically,

  • but you'll see artistically, what's truly possible in this virtual reality

  • in space.

  • In fact the game, or the program, we're about to see, Tilt Brush,

  • allows you to paint, not just in a two dimensional space,

  • but in a three dimensional space, so that that once painted,

  • you can actually step in, and around, whatever it is you have created.

  • What's your name?

  • MARIANNA: Marianna.

  • DAVID MALAN: Marianna?

  • Nice to meet you.

  • Let me introduce you to Conor.

  • CONOR DOYLE: Hi, nice to meet you.

  • Just going to Drop this on your face.

  • Careful.

  • DAVID MALAN: We can start a really, really long line afterwards, perhaps,

  • to play, but.

  • MARIANNA: Oh, it's a game?

  • DAVID MALAN: Yeah.

  • And this time, we're going to give to Marianna,

  • hand controllers, that will allow her to physically move

  • and manipulate this three dimensional space,

  • and not just sit there experiencing what it was like.

  • So if we can dim the lights here, too, you'll

  • see digital representation of the game controllers,

  • essentially, that are in Marianna's hands here.

  • MARIANNA: I can go inside of it?

  • CONOR DOYLE: Yeah.

  • If you look--

  • DAVID MALAN: Want to go ahead and spell something out?

  • OK.

  • AUDIENCE: What's my name?

  • [LAUGHTER]

  • DAVID MALAN: In a really big circle, yeah.

  • Oh, nice.

  • And now notice you have a few feet, you can go a few feet,

  • and notice you can look around in that three dimensional space,

  • because, what we have on this stand here, and this stand over here,

  • are little sensors, that are essentially talking to the hand controllers

  • that Marianna has.

  • And it's figuring out, relatively speaking, her position in space.

  • Very nice.

  • You're not coming back, are you?

  • All right, big round of applause, if we could for Marianna!

  • Thank you.

  • MARIANNA: Thank you.

  • DAVID MALAN: Thank you.

  • And could we get one more volunteer, and then we'll move-- OK.

  • Two hands, right here, come on down.

  • What's your name?

  • Joseph: My name's Joseph.

  • DAVID MALAN: Joseph.

  • All right, Conor, what do we have in store for Joseph?

  • CONOR DOYLE: So this is my favorite game coming up.

  • This is essentially Fruit Ninja, in VR.

  • So basically, what that means is, you're going to be getting samurai swords,

  • and you can go twaaa.

  • Like, slice a fruit.

  • It's awesome.

  • Wicked.

  • So we'll get this up real quick.

  • One minute.

  • There we are.

  • All right.

  • Jump up on your head, on your eyes, can you get it?

  • And this behind you.

  • And give you the samurai swords.

  • Could you step forwards now and hit-- if you look.

  • If you remove the cable, that isn't--

  • DAVID MALAN: Standby

  • CONOR DOYLE: --isn't helpful.

  • One minute.

  • [MUSIC PLAYING]

  • CONOR DOYLE: It's just going to-- there we go.

  • We're back.

  • DAVID MALAN: All right.

  • So, if you've never played this game before on IOS or Android,

  • the goal is simply to slice fruit.

  • CONOR DOYLE: One second.

  • But weird seeing everything.

  • One sec!

  • We've got this.

  • All right.

  • Here we go.

  • Resetting.

  • Revamiping.

  • DAVID MALAN: We're rebooting.

  • All right, Fruit Ninja, splash screen's coming up.

  • CONOR DOYLE: Yes!

  • We're back.

  • Here we go.

  • So if you look and slice the banana, tap eight.

  • There we go, turned them on.

  • There we go.

  • Arcade.

  • [SLICING]

  • CONOR DOYLE: That's that.

  • That's basically, that's the game.

  • DAVID MALAN: You have to be comfortable, by the way, being on the internet.

  • Something to share at home.

  • Thank you.

  • And special thanks to Conor as well.

  • So, truly this initiative, this experimentation with new technologies

  • and academia, is in large part, in our case, inspired by our friends

  • in the archeology department.

  • In fact, just a year ago today, CS50 and myself

  • included, had no idea what it would mean for us

  • to produce CS50 in virtual reality.

  • But we reached out to our friends in the archeology department, who

  • had been experimenting with this technology in Egypt,

  • and in actual environments where it makes

  • all the more sense to be able to transport humans

  • to places they might not be able to go, and experience, virtually,

  • what it might be like to be inside of a tomb, or inside of a pyramid,

  • or museums, that not everyone in the world could otherwise access.

  • And I'll admit, a personal fancy for this field,

  • I had a sort of mid grad school life crisis, some years ago, where I started

  • wondering, why am I doing my Ph.D. In computer science, and not archaeology?

  • And that's because of the inspiration of friends like ours,

  • like Professor Peter Manuelian, who will come now up,

  • and introduce us to the world of VR in Egyptology.

  • PETER MANUELIAN: Thank you.

  • Emotional closure and fruit slicing.

  • I'm not sure I can match that, but I'll do my best.

  • So I'm going to take you back into the past, and just while he was thinking,

  • why didn't he go into archaeology?

  • I'm thinking, why didn't I go into computer science?

  • All right.

  • I'm going to take you to my favorite place

  • in the world, outside of Harvard Square, of course, which is, the Giza pyramids,

  • a place I've been involved with for quite some time.

  • And this is all about using the tools of the future, what you're doing,

  • to study the past, basically.

  • The great golden age of archeology worked at the pyramids

  • for many, many decades.

  • And you can see it's still going on.

  • The black and white shot is really from the Indiana Jones days,

  • and then down below is a recent photograph.

  • Why do we go back to this place?

  • Because there's still a lot of really cool stuff there.

  • There are tombs, all around the pyramids, from about 2500 BCE,

  • and these tombs are loaded with scenes, and statues, and anything

  • you want to know about ancient Egyptian culture and civilization.

  • It's all there in frozen moments on the walls.

  • There are gorgeous small objects that have come out of these tombs,

  • and they're in museums all over the world.

  • And then there's big stuff, too.

  • There's hidden temples under the sand, fantastic pyramids, private structures

  • as well, and some of the great statuary that we've ever found.

  • These are in the Museum of Fine Arts, and you may have seen them.

  • We owe all of this to one guy, and you know where that photograph was taken?

  • Right outside that door.

  • Yes, this is the class of 1889, and my predecessor was George Reisner,

  • and there you can see him in his class photo.

  • In those days, they took them right outside the doors of Mem Hall.

  • So, this is the guy who created something called the Harvard University

  • Boston Museum of Fine Arts expedition.

  • And all of you should be feeling justly proud of a 40 year expedition

  • that worked at 23 different sites, up and down the Nile.

  • I'm just going to talk about the Giza pyramids,

  • up towards the top of this map, here, but everything in red that you see

  • is a Harvard MFA expedition site.

  • So this guy died at the pyramids in 1942,

  • and he's actually buried in Cairo.

  • But he left behind a massive archeological archive,

  • and it's full of stuff like this.

  • And so problem solving, as David was saying the beginning of the hour,

  • here, this is basically all about problem solving.

  • So how do we take this incredible archeological archive, that's

  • locked up in boxes, and rolled drawings, and diaries, and type scripts,

  • and glass plate negatives.

  • How do we make that accessible?

  • How do we study the past, in ways that we haven't been able to do before?

  • And there's great stuff here.

  • There's register books, on the right, that's the SQL database of it's time,

  • right?

  • Enter every object, give a drawing, give it a number.

  • Diaries that describe what they did every single day.

  • Photographic registers, and that's what we did.

  • We started out making databases of all of these things.

  • This is way back in the year 2000.

  • And thanks to the Mellon Foundation in New York, and about 3

  • and 1/2 million dollars.

  • So it's linking.

  • It's intelligent connections between all these diverse types of data.

  • Photographs, drawings, diaries, statuary, records, notes, cards,

  • everything.

  • All of it centered, in the middle there, around the tomb that relates.

  • So pick a certain tomb, find out what we got.

  • What do I mean by that?

  • Let's walk it through one particular piece.

  • So here is a statue lying in its burial pit, as it was found in 1936.

  • We find it, we take it up to the dig camp-- which by the way,

  • behind the pyramids, was called Harvard camp.

  • We take photographs of it, and glass plate negatives.

  • There you see the statue of the standing male from the Fifth Dynasty.

  • It gets entered in the diary record for what

  • happened that day, in April of 1936.

  • Then we have the SQL database, right, the object register book,

  • where it gets a sketch, and a description,

  • and measurements, and photographic negative numbers, and all that.

  • Plan and sections of the tomb shaft of the pit that it actually came from.

  • Preparing of the manuscript for publication, eventually.

  • And then the big decision.

  • Does it go off to the Cairo Museum?

  • Does it come all the way back to Boston?

  • And the packing list tells you what went where.

  • And eventually this particular statue came back to Boston,

  • and you can see it today, in the Museum of Fine Arts.

  • So our database-- and there's a sample page

  • on the right, which is pretty confusing looking,

  • and we're working on something better, now, right here at Harvard.

  • That's the page that would link the tomb, and all the associated data.

  • So you could do any kind of faceted search on the items

  • that you see down on the right hand column there.

  • Who are the people related?

  • What are the objects?

  • What are the photographs?

  • What are the drawings?

  • What unpublished, what's published?

  • All of that together.

  • So the relationships get pretty complex, as you can imagine.

  • Here's one of our little site maps, that shows us each of those

  • blue balloons, the big ones, would be a site, or a tomb,

  • and you can see all the stuff spinning off of it.

  • Related items, that allow you for faceted searching.

  • And the more items there are, the more granular that you can get.

  • So, problem solving.

  • How do you take this traditional archeological archive,

  • and put it in some kind of organized arrangement, that

  • for today's technology, will make it useful for scholars?

  • So here's our layout of our forthcoming website,

  • and all the different pull down menus, and options that we're trying to do.

  • And we did create this Giza website, you can see the URL at the top, there.

  • That's where the traditional data is.

  • Then we teamed up with a 3-D modeling company in Paris,

  • called [INAUDIBLE] System.

  • And we said, why don't we build a 3D model of the entire site of Giza?

  • And my megalomania was, of course, to try

  • to put every single tomb, and every statue, and every ceramic pot,

  • back in place, eventually.

  • But we're not there yet, but we're getting there.

  • So down below, this website is also fairly old now,

  • and it only works on PCs, unfortunately, not Macs,

  • and we're working on something new.

  • So the goal is to combine the traditional data, up top,

  • and the 3-D data, down below, into a new,

  • Harvard owned, Harvard hosted, Giza website.

  • And that's where the computer technology comes in.

  • So it's Studio Max, and Maya, and programs like this.

  • Starting with the archeologically responsible maps,

  • and plans, and drawings, creating wireframe renderings of these tombs,

  • and the statues, and the objects.

  • And then putting them together, and adding textures,

  • and adding realistic appearances.

  • So here's a cluster of tombs on the west side of the Great Pyramid.

  • You can see the original archeologists plan drawings, there in front.

  • From there, we get to this, and we get some pretty realistic and amazing

  • things.

  • Now you can start to experience a place like the Giza Plateau,

  • in ways that a human being can't, when you go to the site itself.

  • We can study what's above ground, we can study

  • the burial shafts that are down below.

  • I always dream of this, what I call the tombs eye view, of Giza.

  • Being underground, in the limestone bedrock, and looking upwards.

  • So we launched all of this material a few years ago,

  • and it got tremendous worldwide press, in lots of different languages,

  • and now we want to take it further.

  • So it's time to upgrade.

  • And here's a sneak peek at what I hope will be launched next year,

  • early next year, just a prototype of our new Giza website.

  • And there you can see the 3-D model that we've created.

  • So there's a teaching classroom above the geological lecture

  • hall, where we do this in VR.

  • Students come in, put on the 3D glasses, and experience the model this way.

  • And it's not just a video, it's a real time model.

  • So I can dive down a shaft, or go to the left,

  • or go to the right, whatever it is that they want to experience.

  • It's a pretty cool way to look at the site.

  • The next step, of course, is what you've just seen,

  • is to take it to the headset level, and then get it out of the classroom,

  • and make it accessible all over the place.

  • So to do this kind of thing, you've got to study the reaction, the focus

  • groups.

  • And here's just a sample of one of our sample users,

  • who would then use the web, try to search for something for a school

  • report, maybe go on the website, what pages would they go to?

  • Would they even end up at our home page or would they dive right in.

  • We're studying this bit by bit, and we hope maybe some of you

  • might be interested in checking this out, and giving us

  • your feedback at some point, too.

  • That allows us to lay out the various pull down menus,

  • and how the searching should go.

  • Suddenly, we're trying to be all things, to all people, right?

  • Someone who knows nothing about the pyramids, but just

  • wants to know, hey, what's cool here?

  • Or, a Ph.D. candidate, who's trying to do a dissertation

  • on every statue of a seated female facing to the left on a tomb wall

  • that's on the south floor, or on the west side of the pyramid.

  • Trying to provide everything for everybody.

  • So lots of cool stuff still to come, and my fantasy

  • is that eventually everyone's got one of these headsets,

  • whether it's Google Cardboard, or HTC Vibe, or whatever.

  • Wherever you are in the world, everyone logs into the same file,

  • and we are all standing virtually together in front of the Sphinx,

  • and I can be giving my lecture there.

  • And then I'll say, push button two, and we'll go inside the Great Pyramid

  • and continue to talk.

  • So I want to leave you with just one other experiment that we

  • did, which was kind of fun, and that's where the computer world has taken us

  • back into the physical world.

  • Normally you go from physical into virtual.

  • We went backwards in this experiment.

  • So in 1925, that area that you see circled right there,

  • was the site of an amazing discovery.

  • A hidden, disguised burial shaft, that went 100 feet down underground.

  • And at the bottom of this, was a chamber that had tons of stuff,

  • completely deteriorated, and in tiny little bits.

  • And it turned out to be the burial place of the mother of the King

  • who built that Great Pyramid, right to the right.

  • Her name was Queen Hetepheres, and she had a lot of amazing furniture

  • down there.

  • But it was in tiny fragments, because all the wood had deteriorated.

  • So there were reproductions and restorations of some of her stuff,

  • but this is the fanciest one.

  • This is a throne, or a chair.

  • And it took about a decade for the archeologists

  • to make that reconstruction drawing.

  • Could we maybe dim the lights a little bit, and see the 3-D model here?

  • This is our 3-D model of experiencing that chamber, with everything restored.

  • So now you see all the furniture, the bed canopy, the curtain box,

  • the chairs, the carrying chair.

  • And over on the right, that's the fancy chair,

  • with these amazing Falcon arms, and inlaid faience tiles, and gold gilding.

  • So we studied the original fragments, these

  • are in the basement of the Cairo Museum, and tried to figure out,

  • could we put this together?

  • And yes, indeed, we could.

  • So we made 3-D printing models from our computer model, nice tiny little ones.

  • We should sell those in the shop someday.

  • There's our 3-D computer model of the chair.

  • And we thought, can the computer actually drive the milling machines

  • to actually make this thing?

  • And sure enough, they can.

  • So this is a CNC routing machine, a shop bot,

  • and you see it's actually carving one of these lion shaped legs.

  • And there's the arm, the Falcon is taking shape in this piece of wood.

  • All made possible by ones and zeros, right?

  • By the computer model, originally created from archeological plans

  • and drawings, into 3D Studio Max, and then out the other end as wood,

  • and as gilding, and as faience tiles, which

  • we created with the ceramic center across the river,

  • and my thanks to Cathy King for her help there.

  • And then, wouldn't you know it, we have a full size, gold and inlaid

  • chair of Queen Hetepheres.

  • Which you can see in the Semitic Museum on Divinity Avenue, any time.

  • Free admission.

  • Come by any time and experience that chair.

  • So, the computers, and the databases, and the simulations, and the VR,

  • are helping us go in all these different directions,

  • ask new research questions we haven't been able to ask before,

  • and hopefully get new answers as well.

  • So some of my classes end up in this visualization lab classroom

  • that I mentioned before, where, in 3-D. Or even in aerial shots,

  • like in Google Street View, and Google Maps, and things,

  • we can experience the site as it is today, as it was in 1920,

  • during a great discovery, or all the way back to the Fourth Dynasty in 2500 B.C.

  • It's great fun.

  • And as I mentioned, the next step is to get it out of the classroom,

  • and into hands, like yours, so you can all

  • be experiencing this type of amazing, immersive, exposure

  • to digital archaeology.

  • Back at the site, we're involved with some other interesting projects,

  • too, such a shooting cosmic particle rays at the Great Pyramid, right there.

  • These are muons, and what they tell you, is

  • where there might be unknown cavities, corridors and chambers,

  • inside the Great Pyramid.

  • These have been announced in the news recently, and we have more work to do.

  • But you're looking at the facade of the Great Pyramid,

  • and all those little white dots are showing anomalies, or voids,

  • where, who knows, there may be previously uncharted corridors

  • and chambers.

  • Stay tuned for more on that.

  • So I'm also, in addition to Professor of Egyptology,

  • I'm the Director of the Harvard Semitic Museum,

  • and my goal is to try to blend the ancient artifacts with some

  • of these new technologies, in the galleries.

  • So I hope, next time you come, you'll be able to see touch tables,

  • and some of these VR experiences, and ways

  • to bring these ancient artifacts alive.

  • And in previous years, we've actually listed

  • the types of interesting projects and challenges that we face, in the hopes

  • that experts like you, might want to get involved at some point,

  • and build some tiny little app here and there.

  • I know we're a little late in the semester

  • to take on any of this this year, but keep these things in mind, if it's

  • something that you want to get involved with.

  • Or, just for more exposure to ancient Egypt, a couple of classes that

  • are kind of fun.

  • One is a Gen Ed class I do, called Pyramid Schemes,

  • and the other is Just on the Giza Plateau,

  • and those are coming up in the not too distant future.

  • Why is this important?

  • Why should we worry about this?

  • Well, take a look at what's happening at the site, and at these objects.

  • Things that were in great condition as late as 1920, now look like this.

  • So before, above, after, down below.

  • Or, over on the right, the beautiful paint

  • on that sarcophagus, which today is in the Brooklyn Museum,

  • and you'd never know it was decorated or painted.

  • All of it is gone.

  • So many ways that you can study these archeological sites better,

  • from the archives, from the photographs, from the VR

  • reconstructions, from the immersive modeling,

  • than you can even if you go out to the site,

  • or even if you look at the artifacts today.

  • Which one of these things will survive longer than the other, do you think?

  • I leave it to you, to be the judge of that.

  • Right?

  • How many devices do you have, that just don't work anymore?

  • Or the disks that run on them don't play?

  • Or something's locked up and frozen on you?

  • Well, down below, limestone rules.

  • So I will finish with that.

  • I thank you for thinking about the future.

  • And I thank you for taking this course, and I also

  • want you to think about the past and the future together, and the ways

  • that we can combine these tools, and unleash, not only where we're headed,

  • as a civilization, but where we've come from.

  • Thanks very much.

  • [APPLAUSE]

  • DAVID MALAN: So in addition to acknowledging

  • all of the course's staff, who have been so involved behind the scenes,

  • we wanted to take a moment and acknowledge

  • some of the course's students, by way of something

  • that might offer us a bit of comfort, perhaps, versus this past weekend.

  • Let me go ahead and open up a window here.

  • So we have a few acknowledgements to make.

  • And one of them, we thought, would be fun to do by way of this game here,

  • that will rematch Harvard against Yale, and some others, for which we need,

  • for just a moment, one volunteer.

  • One volunteer.

  • Some other hand?

  • Any other hands there?

  • No?

  • OK, two hands, I guess, does it.

  • Come on up.

  • What's your name?

  • Arpith: Arpith.

  • DAVID MALAN: Arpith.

  • All right, Arpith's going to come on up, and from here we'll

  • transition to later problem sets, and a final look

  • at-- nice to see you-- what lies ahead.

  • So this is Ivey's Hardest Game, by one of your predecessors.

  • Come on around over here.

  • I'm going to go ahead and hit click the green flag, as you

  • may recall from some 12 weeks ago.

  • If we can crank up the volume here.

  • You're going to go ahead and press the spacebar to start,

  • and use the up, down, left, right arrows.

  • [VIDEO PLAYBACK]

  • [MUSIC PLAYING]

  • - Can't touch this.

  • Can't touch this.

  • Can't touched this.

  • Can't touch this.

  • DAVID MALAN: So notice, of course, the loops that must be involved here,

  • the if condition that just executed.

  • The copy operation.

  • Slightly faster.

  • Very nice.

  • Lots of the variables.

  • Up to level five.

  • - Can't touch this.

  • Yeah, that's how we livin' again.

  • Can't touch this.

  • Look in my eyes, Can't touch this.

  • Fresh new kicks and pants, you gotta like that now you know you wanna dance.

  • Now move, outta your seat, and get a fly girl and catch this beat.

  • While it's rolling--

  • DAVID MALAN: You have lives you can spend.

  • - Like that.

  • Like that.

  • DAVID MALAN: Nice.

  • Nice.

  • - Can't touch.

  • Yo, I told you.

  • Can't touch this.

  • Can't touch this.

  • DAVID MALAN: Nice.

  • Level seven.

  • - Yo, sound the bell.

  • School's in, sucker.

  • Can't touch this.

  • Give me a song, or rhythm, making them sweat that's what I give them.

  • They know, when you talk about the Hammer,

  • you talk about a show that's hyped and tight.

  • Singers are sweating so pass them a mic.

  • Or a tape, to learn what it's gonna take and now he's gonna burn.

  • The chart's legit either work hard or you might as well quit.

  • That's word,

  • DAVID MALAN: Level eight.

  • - Can't touch this.

  • Can't touch this.

  • DAVID MALAN: Second to last level.

  • Level nine.

  • - Break it down.

  • DAVID MALAN: Level 10!

  • [MUSIC PLAYING]

  • - Stop.

  • Hammer time.

  • [INTERPOSING VOICES] So wave your hands in the air,

  • bust a few moves run your fingers through your hair.

  • This is it for a winner Dance to this and you're gonna get thinner.

  • Now move, slide your rump, just for a minute, let's all do the bump.

  • DAVID MALAN: You all right?

  • - Can't touch this.

  • Arpith: Is it beatable?

  • DAVID MALAN: It's beatable.

  • With practice.

  • - Can't touch this.

  • Ring the bell, school's back in.

  • Break it down.

  • DAVID MALAN: Try one or two more times.

  • Two.

  • - Stop.

  • Hammer time.

  • DAVID MALAN: All right, one more!

  • One more!

  • Oh!

  • All right.

  • We'll post this online, thank you.

  • We'll post that online, if you'd like to tinker, as well.

  • So you may recall that in addition a problem set zero,

  • there was problem set four, for which there

  • were some icing on the cake at the end.

  • Whereby you were challenged to find as many of the computer scientists

  • as you could.

  • And we wanted to acknowledge a few of your classmates, Pedro, Vicki,

  • and Mikhail, all of whom sent us quite a few selfies of the staff,

  • beknownst or unbeknownst to them.

  • So some fabulous prize awaits you, via your email.

  • In problem set five, meanwhile, you'll recall that we had the big board.

  • And this was an opportunity to try to minimize how much running time,

  • and how much space you ultimately use.

  • It turns out, that this year's big board was dominated largely

  • by CS50s own staff, who were formerly students, at least, themselves,

  • and had an extra year to refine their code.

  • But we did want to acknowledge CS50's own Derek Wang, for being

  • atop the board among the students.

  • So congratulations to Derek, you, too, will see something in your email,

  • as well.

  • Now you might recall, this year was the first ever coding contest,

  • which was either an opportunity for a well deserved week off,

  • or to challenge your classmates with a number of coding

  • problems that were available online.

  • And you can work in teams of two-- or one, or two, or three, or four,

  • and we'd like to acknowledge the teams that

  • ultimately ranked atop that big board.

  • In third place this year, which now feels a little dated,

  • was, We Miss You HUDS, stay tuned to your e-mail for a fabulous prize.

  • In second place was, The Fabulous Prizes.

  • In first place, was Big Board, Big Boys.

  • Congratulations to you.

  • And the lucky raffle winner which has drawn pseudorandomly

  • among all of those who participated, was Madeleine.

  • So stay tuned to your e-mail as well.

  • Now there still remains a few things for everyone else here in the room,

  • and that, indeed, includes the CS50 Hackathon.

  • So at the CS50 Hackathon, you'll have an opportunity to arrive around 7:00 p.m.

  • and depart around 7:00 a.m., and hopefully

  • bite off a huge portion of your final project along the way,

  • as well as partake, after signing in, in Philippe's around 9:00 p.m.,

  • and Dominoes around 1:00 a.m., and if still standing around 5:00 a.m.,

  • will we charter some Harvard shuttle buses and head to IHOP for breakfast.

  • Meanwhile, throughout the evening, will the staff

  • be building their own projects, like this.

  • Decorating the space and all the food in a support structure

  • that you might like, but ultimately it's this kind of opportunity.

  • Really one of those few collegiate experiences that, hopefully you

  • take with you for some time.

  • This one focused alongside classmates and staff,

  • in accomplishing your very last goal for the term.

  • So beyond that, oh, there will be therapy dogs, too.

  • Picture here is Milo and Jordan, and Maria, from on stage.

  • So, take a look at this URL here, this will be on the course's website

  • if you'd like to register in advance for that.

  • And we'll follow-up via email with more details.

  • And then lastly, is truly the climax of the course.

  • Back in the day, would we do final project presentation

  • in a fairly traditional way.

  • Everyone gathers in their sections, and everyone walks through their projects,

  • and no one is all that inspired.

  • And so a few years back, what we decided to do, was to invite the whole campus.

  • And so indeed these days, do some 2000 plus people attend,

  • students and faculty and staff, and even middle school students, and high school

  • students, from the nearby area, to come see what

  • you have accomplished by term's end.

  • And we'll set up a whole lot of tables, you'll bring your laptops,

  • there'll be food, friends from industry, and more.

  • And it will be quite the opportunity, ultimately,

  • to take pride, we hope, in all that it is,

  • that you've accomplished this semester.

  • Just like your predecessors past.

  • And there will be cotton candy this year as well.

  • So, in all seriousness, we do hope that out of this class,

  • you have gotten a better appreciation for how

  • to go about solving problems, and some more tools in your toolkit.

  • And hopefully ultimately all the more comfort and confidence

  • in approaching those problems, whether they're

  • inside or outside of computer science.

  • Before we adjourn to the pub downstairs, where quite a bit of cake awaits,

  • allow me to dim the lights one more time for fall 2016,

  • and give you what was CS50.

  • [VIDEO PLAYBACK]

  • [MUSIC PLAYING]

  • - (SINGING) You're like gold dust.

  • It rains over

  • DAVID MALAN: This is CS50.

  • - (SINGING) A foreign sun, that I thought I'd never see.

  • You're like gold dust.

  • Keep coming down that street.

  • There's a hollow in this house whenever you go.

  • [INAUDIBLE]

  • [MUSIC PLAYING]

  • DAVID MALAN: This was CS50, 50 and cake is now served.

  • [MUSIC PLAYING]

[MUSIC PLAYING]

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