No interest dude. Please! Yes! Let's go! The Boruto Shuffle! Give me that Rosengar! Spin me! Give me that speed! Dude, this move is so sick! Haha! I don't remember Storm looking this good! How's it going everybody? Datoi here back with something completely new to the channel, that of course being Naruto Storm 4 Online Ranked Matches. Now if you aren't already aware of what this game is, I would describe it as one of the best anime arena fighting games of all time. Of course that has helped out by the fact that I am a huge fan of the Naruto franchise and have been a fan of the Storm series since it's very first game. And because I was really itching to play one of my favorite games of all time, I decided I'd bring it to the channel and play some ranked matches and see how you all felt about it. So if you enjoy the video of me hopping online, please let me know if you want to see more down below by leaving a like or just by letting me know in the comments. But without out of the way, let's go ahead and hop into these online matches and see if I can still remember how to play all these years later. Alright, so we're in our first match and we've already got a mirror match too, both of us playing Boruto, but the instant switch to Sasuke. You know what? Get over here, bro. Let's dance. Nope, I'm subbing that. Man, it's so weird to be playing this again. It's been so long blocked that. Hold on. I know he's got a lot of clones. Yeah, I'm going to let you do your thing, Sasuke, but I got to go ahead and strike back. I got to strike back! Let's go! And he still has no subs, so we kind of have to keep pushing this problem here. Still no subs? Go for the grab. Hold on. Oh, his grab got to be before mine. I was a little slow. I was a little slow with the uptake. He's got all of his subs back up now, which is that yellow bar. So, oh, dodge that last second. Oh, that was him. Alright, I was like, why am I kicking myself? Man, it's so cool, especially because I'm playing characters that weren't available back when I used to play. It feels like, honestly, counter that. It feels like I'm playing a whole new game. You know what? I never mind. I was going to hit him with the Resengon, but you know what? I got new plans. I'm hitting you with the ultimate, bro. Go ahead, sub. I'm not even going to block that, because I'm not talented enough. Alright, he has no subs, which means he's wide open to an ultimate here. Ooh, the combo piece. Boom! I love that down combo. Hold on. Wait a minute. You might if I just go ahead and get subbed. Alright, I see you do mine. Alright, we still got a pretty sizable lead here, so I'm not worrying over the small... Block that jump. That's fine. Also fine, just counter that. Counter that. Land one myself. Strike back already. Hold on. End the sub. He's got to have the... No, I missed it. Damn. The timing on that is still tough. One sub and a couple blocks. Alright, two subs and a block. I'll take it. I'll take it. Not the deal I wanted, but the deal I will take. Alright, hold on. So when you go to a different round in this game, you actually get set up time, I guess. Not like you actually set up for much, but I'm just going to go ahead and play far back here. Hit him with the demon wind shuriken. Hey, take your time, man. I'm not in a rush. Oh, why would you do that? Go ahead.  Come on up. Alright, I'll come to you then. Let's go. No, stop that. Hey, stop running. Stop running. Stop running. Go. I got some for Boruto too. I just start kicking him in the face. Block that. Block that. Deflect that. Demon wind that. I missed. Alright, well, not gonna... Can't get them all. Don't run. Oh, I want to hit that so bad. I'm spamming it now. I'm spamming it now. Go ahead. Waste the sub. What's the awakening actually? Got the throwable or sangun. It's invisible. He can't see it. Oh, I didn't see that. I didn't see that. He must have thrown one of his own with the assist, huh? Classic maneuver. Alright. What's the normal combo look like in this? Now he can try to dodge that all he wants. Stop that, dude. He is insane. I am going to land this Ultra, dude. I'm going to... There's the sangun. Alright, we're just gonna block it. Susanoo. Oh my God. Hey, whoa, whoa.   Oh, he's built different. He is built tough. He is built tough. I'm just gonna have to Ultra you though. Oh, no. Ultimate Jutsu didn't really work on that one. That's fine. Set up the kunai. That's for later. No swap.  Alright, I don't want to block that. I do like that board, too, just because you always have access to that sangun. But, you know, I like... I was practicing with this one and I like that super a lot as well, which I hopefully will land at Subway Block that. No interest, dude. Dude. Naruto, why? Naruto Shuffle, give me that sangun. Spin me. Give me that speed. Dude, this move is so sick. I don't remember Storm looking this good. And a trophy. Oh, he's dead. Straight match on Storm 4. Well, our first win, I did a warm up and I lost, but hey, we'll take it. The Boruto and Naruto combo worked out pretty well. This time though, let's load back in and try using Sasuke as well. I think that might be a better combo. You know what, I'm going to try to get into another really high rank, or at least the highest rank I can find. I don't know if there's any actual heroes here. No, it doesn't look like it. Can I search again? Don't kick me. Just a chance, just one chance. Hey! Alright, let's see how the best of the best fight. Oh no, he's playing the all-huga team. That's how you know he has good defense. Naruto, hold him down. Hold on, you know I also used to play... I used to play this game once or twice myself. That assist is godlike. I actually remember that one. Kick him in the face! Alright, we got a sub. We got a sub and we backed up. There we go.  Rasengan? That was bad. That was really bad. We should not have given up our subs for that. We're going to have to take the space. Just kind of take that beating. Oh, he traded with us. Oh, bad trade. It's fine. It's an air combo going to do a little less. Probably just spam Rasengan. Haber bomb. Keep the space. And he used the sub for that. Just kind of blocked us though. So we got to take that. A full combo. We got to stop taking these trades. Alright. Got a Rasengan. That's big damage. Big damage. Come back to me. You're going to have to take this ult. No! Whatever. I'm awakening. I'm awakening while I have the chance.  Couldn't see it through the blast, but I was charging up one of those. Rasengan over here. Got another one coming over here. We're running low on subs. I need to get a jump in here. Here we go. That's the last sub. That assist is going to hold us back though. Don't break my guard. Yes. No guard break. We're practically in there. Go! Not getting the lead back though. I shouldn't have rolled back. Alright. We're getting a lot of subs. I'm going to stop it too though. I got to stop it too pretty much. No. No. It's not working out. No chakra. No chakra. But it doesn't matter. He laid it a clean hit. It's going to get me down. Alright. It was close. We can bring that back. We can bring that back. We need a good start. Beautiful start. Beautiful. No. Wasted a sub getting too tricky on offense. Beautiful. Give me that sub back. Beautiful. You always want to be jumping so that you can get the ball rolling. Maybe I should have taken a different combo though. We're staying on to finish it. We're tied up. The game is really close now. Alright. Our health bars are no different. If we can bring this home. This would be a big score for the Genine. I got to do this for my fellow Genine out there. Honestly, that Sasuke assist looks really cheap. I keep accidentally doing my tilt move. I'm not used to the dual sense. Oh, beautiful paper bomb. At least we're going to get blown back. I don't think he's got any offense for that. He killed his sub regen. He killed his sub regen. His own sub regen. You did that to your own sub regen. Give me that assist as well. Boom. Don't ever try it. Alright. We're still way behind though. I'm going to let mine go all the way through. No pick up there. No pick up there. He nodded. You are actually killing me. Combo. I couldn't get anything else. That might be the killer right there. I don't know if we can come back from having this few subs. I don't want to use it. Like I said, I'm not going to use it until it's really necessary. It's getting necessary. It's getting really necessary. Oh no! I got it! No, my guard! Oh, I wasn't looking at the guard. I couldn't see it through the assist. The Hugo clan. Ah! Oh my Genny! I failed you! Watch out! Oh God. Wow, my Gramps is treating me rough. Hey, what's up? It's like a family reunion. What's up, fellas? Ah! Ah! Come on, man. That was sick. Got a little anime cutscene. I'll be over here if you need me. Chillin' with my Genny friends. Alright, we are back with what will probably be the final battle of this video. And I actually created the session so that I can play on one of my favorite stages. And most of my favorite stages are ones that have the ring-out feature, which basically mean that if you get blasted into the wall, that wall can only take a set amount of damage before. What is that, dude? Let me hold that. Let me go ahead and block that. I should've dodged it for the play. No, no, no, no, no, no, no, no, no, no. Almost hit me, didn't it? That Tosuke assist looks pretty brutal.  The follow-up. Oh no, no, no. Stop that right now. Boom! Blow him into the wall. Hey, the wall can only take so much more damage. How much damage are you gonna let it take? Oh, the grab. Wow. I forgot that the first Kage has such a dangerous-looking grab. Jump that. Ooh, the dodge was looking fancy. All right, hold on. Let's play a bit of this. Let's play a bit of this. Tosuke, please. Oh, you either gotta hurry up or not do that, dude. Really? That didn't break the guard? All right, hold on. Hold on. How about a fire bomb? A paper bomb. Dude, that guard's gonna break, man. That guard is practically mine. I could see that guard. Is he gonna throw another one? All right, hold on, hold on. I can't take this anymore. I'm going in. Another ultimate. Come here, dude. Just let me talk to you up close for a second. Just let me talk to you up close for a second. All right, that guard is coming with me. Wow, this game looks so good. Comb off that as well. All right, he actually used his sub, so I'm pretty sure that is going to be down for a while. Oh, I couldn't get it to combo in time. Did I get a block off? Did I get a block off? I'm entirely sure what happened, but that was actually sick. That guard is literally breaking soon. I know I've said that a million times, but this should break it. Is it built? It's built different. It must be. Unless I'm colorblind. It's been dark red the entire time. Is my guard going to break? This is my one chance to see this. Break! It's got to break it. I cannot break this dude's guard. He's a mean machine. Break. All right, it's breaking. You've got to be kidding me. You've got to be kidding me. I'm breaking it. There it is. Finally. Talk to the hand. That didn't kill. Oh, no. Now I'm actually worried for my chances of winning this. Oh, no. I've taken so much damage trying to get the ultimate off. Wow. It's actually gone so long that the... I don't think I've ever seen the timer go off on one of these matches. Well, the coup and I got him. The timer didn't stand a chance. All right. I really want to see if these three have a team Jutsu. I don't think they do, but I don't know a lot about these new characters, so I want to give it a fair shot to impress. Switch. Boruto switch. That was sick. Oh, and I see that. Hey. Hey, I see that. Your guard's about to break. No, no, no, no, no, no. I'm going to use a Jutsu. Hey, see you later. Let's go. I told you it's too good. It is too good when it happens. I love these stages. All right. Wake up. I woke up feeling like I was going to block this morning. This guy loves the Jutsu. Oh, trophy. I got to turn those off. How do I turn off the trophies? Almighty push. One of the top tier best Jutsus in this game, especially to have in a combo. Please hit. Nice. I'm actually still comboing that wall. I have really given that wall everything I have this game. Is he going to awaken? No. He wants a team Jutsu. All right. That's fine. I will try to block that. That should hit. It does hit. We're going to see if we have a team Jutsu. No, we don't. But that's fine. Let Naruto do the talking. Wow. This looks so good. I don't think I've ever seen this. Yeah. I would say so. Wow. The tailed beast bomb, huh? We're just going to go ahead and let it rock. I like it. Oh. Oh, sorry. The poor Earth. I don't think they did much, Naruto. Let's be honest. All right. Well, hopefully you all enjoyed this video. If you did, let me know down below. I got another trophy. They just handed them out. If you did, let me know down below in the comment section what your favorite moment was and whether or not you'd want to see more of these in the future. It definitely was a different kind of video, but I had so much fun doing this, dude. I really do love this game. Other than that, while you're down there, make sure to hit the like button and subscribe to the channel and check out some other videos that should be on your screen right now if they catch your eye. Other than that, I have been Datadua, and I will see you in the next one.


Okay, thank you so much for coming, thank you so much for coming, thank you so much for coming, thank you to everybody who is watching online. This is Moving the Map, where I'm going to introduce a co-editor of The Dancers' Citizen, which is an online scholarly open access journal, exploring the work of the Indian dance artist. And we are presenting The Dancers' Citizen live, coming to the Indian Map, which features the work of the artists in five different cities, and some of the themes that come up in the journal articles. So here at the last slide we're doing Moving Our Stories, a racer, resistance, and survival, with the story around advanced collective, featuring Taylor Bird, activist Charmaine Liddyfield, live music, so in further to what we're working on. And it's knowledge that we are situated here in Atlanta, which is the traditional and ancestral blend of the Chittisaw and the peeping people, and since our four themes are about a racer and a resistance, I just wanted to call that into the space today. We've been thinking about a racer and a resistance, particularly the ways in which communities, cultures, practices and spaces are at risk of a racer, and how embodied memory and movement can serve as a way to address that racer, how amplifications can be a remedy for a racer. And so what we're going to see today is this interactive exhibit that focuses on this year-long process of the work that we've been doing about these themes. So over here we have some of the facts by we're not at Irving, featuring a number of those stories around dance collectives. We have CNN-type fabric art by a Jude Charter 8th grade dance woman. And it connects to the amplification of a racer with the use of positive and negative states in life. So we're talking about it like, yes, we need to be back in this case. I'm so grateful that they shared that with us. We have been in a year-long process of trying to even feel that her remembering as a resistance mutually mapping the racer project, because we have her projection explanation. And as you go behind, it's like experiencing the racer space from the inside out. And so there's something from the wall that explains that a little bit further. But we kind of drive from the racer to visuals of the racer while also creating kind of a contemporary aesthetic around these ideas of racer amplification. The Great Challenge is a traditional spiritual practice, African American practice created on plantations. And so, yes, we've been trying from that and honoring the communities who still preserve and continue to practice this day. Over here we have a scent station. Of course, it is a different one. This is such a multi-sensory experience without smells. So we curated these smells that can amplify our memories through our community. We invited you to go over and check out some of these different smells and memories. And then right next to it, we have our word cloud. So when do you feel erased? When do you feel amplified? Can you share some of these thoughts? Write them on a post-it up ticket on the wall to create a word cloud if you're with people. And we would love to have that practice in a collective layer of meeting around this word. And we might pull some of your word from your thoughts into the movement later on in the performance. So, yeah. And then you move on to the floor underneath each one is a real prompt. And you just follow the instruction if you're willing, or if you've had a watch and see what happens. But it's meant to create this spontaneous collective movement to amplify space, amplify work presence in space. So this is where we're starting with this interactive existence. We're inviting you to kind of get up, go explore this space, read what's on the wall, try out things, share your words and thoughts. And then when you hear, okay, okay, start to play. That is your cue to again take your seat or we'll stand around and have kind of the movement and begin. We'll sort of grab this pleasant and then we're going to invite it back into the movement later on. So, before that, I've got statements. During what you're checking on the space, I would love for you to come this way. Over here, it's Mr. Will Feedons. Pick up this microphone and share some thoughts about your experience with this space. So I want to really share your thoughts about what amplification and erasure means to you, right? So that the folks who are watching online can get a percentage of what's happening in this space. Okay, so you all are really apart from this one. Okay, so to the exact, there's the movement, our collective movement, use it for me. Does that all make sense? Yes, yes. Okay, so there are bathrooms here and here and I hope, thank you. See, I'm holding this because if I forget, I know that I'm in trouble. Thank you. Two alternate routes for the artistic analysis. Funds from the Nathan Cummings Foundation, Quora Foundation, Servers Foundation and Andrew Desumel Foundation and two of the answers to this thing for the generous support. Thank you to T.A. for facilitating the use of this space. Thank you to all the volunteers and the activists and our TV groups and everybody for helping to make this happen. And Mia, thank you. Thank you to all the collaborators and dancers and tourniquet and everybody and thank you to the audience for coming and being part of this. So I think that's our big dancer today. Thank you. At your discretion, try out this space. In fact, as I know, those who don't know, they've been trying to figure out this space. So you can try to figure it out. Thank you, thank you so much. Thank you so much. Thank you. Thank you. Thank you. Thank you. and we have it right now with us. We're going to start it up so that you can track down what's going on in the future. And so we want to encourage that everyone to check out what's happening right here. And they're following. These are the funds that we'll be carrying out. We're going to give them what they have at the side of the screen. Top. Top. Top. Top. Top. Top. Top. Top. Top. Top. Top. Top. Top. Top. Okay, now I see that everyone is still here. Okay. The followers are still here. No, it's not a problem. Okay, month. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. You have to put your head down. That's crazy. I'm just kidding. I think your bra is not that bad. I'm so happy. I'm so happy. I'm so happy. Okay. But it's been pretty good. It's not bad.    What can I say? I'm so happy. You have to step down.  You have to step down. You have to step down. You have to step down. That's crazy. I'm doing it. It's so cool to see everyone in the stands experiencing the ring sound. It's so great to be apart. And we are lifting up the voices of those that weren't remembered. And now we're remembering them. It's so cool to see everyone in the stands. Music playing. Music playing. Music playing. Music playing. Music playing. Music playing. Music playing. Music playing. Music playing. Music playing. Music playing. Music playing. And so that was kind of what was reflected here today. And throughout this year long process, we started to figure out what it feels like to follow each other, to mirror each other, to witness, just hold spaces of witness for each other, to do call and response and things like that. So I just wanted to kind of put that out there as that's the process. So I just wanted to add to what Julie said. Mirroring being a form of amplification. I see myself in the museum. And we amplify each other through that bond. And specifically for me as I was doing my part, there was amplification first. So the thought kind of comes to me as I'm moving and whatever I'm getting from, the energy that I'm getting from, okay, Corey right here. And then also thinking about this space, this idea of a ranger. And then in contrast with amplification. So I felt like I was going back and forth with those ideas. So they were sometimes going a little bit slow and thinking about that gesture. And then I would really, really amplify the movement. And I enjoyed watching that in my systems because I know that that happened to me. You know what I mean? For me, for the circle, the counterclockwise circle where we were, we looked like we were protecting each other's space as we danced inside of that. For me, kind of like Mika said, sometimes the movement would come first. It wasn't like, I think I'm going to do this movement right now because I want to express such a soul. Because it was that particular section is very improvisational. Just the feeling of being in one particular second of your body, that is such a liberating feeling. And then once I was in that process of liberating, I was like, oh, I was mad about something the other day. That's what I'm going to write. I'm just going to stay in this movement because this will allow me to express that even in just a few seconds. So that's so preplanned in terms of the intent of it. But just what comes out, allowing ourselves to amplify that in that space and feel safe in that space. And then each other, Jesus there. And then having each other bar that space while you're protecting the earth. Make an announcement about Charmaine who just left. She's walking out the door. She found her way to the Closing Exhibit of Black Angels. That's her exhibit at the Auburn Avenue Research Library. So once you're done here, go over there and check out her amazing work that's amplified by an ancestor in the Internet. But it's a really beautiful exhibit. It's super beautiful. And we are blessed to be featured in that exhibit as well. So she took some of these types of photographs and painted them. So images of us are inside of her exhibit in addition to some of the images that you see here on this. If you want to watch any of the other works that was happening today's Friday with the map and the other cities, and as mentioned before, go to DancersCitizen.org. And you will see it there in our lives. I think it's going to be over about four o'clock today, but you can go back any time. We have five of them here. We're going to show you this photograph. It says that we are going to have that photograph of the women who painted this in the field as you don't want to fool people. Isn't it so funny you say that because the way we came up with these movements, it was all fun pictures. We were like, hey, guys, five, six, seven, eight. It's so funny. And then it's like, oh, that was nice. It's really choreography. So yes and no. I did a piece that gave me a lot of great work. The gore is the color balance. It's going to be huge. I was born in Charleston, South Carolina. So that was one of the things that caused me to get up on the floor moving because you don't recognize it. I enjoyed the scene. And so I enjoyed that time. It's playing and I have to compare it. And so at first I was in your black house. But it was just giving me more of an experience as opposed to going to something else in particular, which all had a meaning to it. And I felt that because we're in the state here. And so musicians carry a lot of what I was given. They carry on. And then the audience, they're not aware of the audience. But just a bit. So thank you. Thank you. Oh, thank you. How long has it been?  About an hour. Yeah. So Sister Julie here was having some classes last summer. Some African diasporic and aesthetic classes. That's the best production. I don't know what you call them. Making our class the number one. Different people in the community were taking class too.  Okay, let's keep dancing. We don't want to get together. Cool. Let's get together that day. So it's been about a year, Zaya. And we would get together about once a week. And we would dance for about a couple of hours. And you came to one of our sessions one time. And she had some really wonderful inputs. So I was going to say, and I'm going to get to you. So Baba, you were asking about how choreographed it was. So we had a map to it. Like we knew that this particular section in solos, this particular section will case this way. This section, you face each other. This section is a frenzy. This section is a this, that, and the other. And then there were sections inside of that that were improvisational and chumps of it that were choreographed. And that choreography was based on our collective improvisation inside of rehearsal. That sounds cool. I was assured. So since our trust went into this process for each of you are helping me to respond about trusting each other with that vulnerability in rehearsals, but also in this space together. Especially during the times of brain-holding the space on the other person. Just with them. One of the things that helped build that was not having an agenda every time we met. It's just allowing whatever we needed in a moment to happen. Whether it was I just have to talk about what happened today, my day today and sitting on the ground and just talking about stuff. Or I can't say anything today. I just have to move. I'm just going to watch y'all and pull the space. But then I don't think anybody ever did that. So having that really open flow allowed us to be open. I just feel like it just hasn't. Yeah, it's present when we're in organic and back in those moments. Because we're having people. Because we're having people present. And in the second, I think that there wouldn't be a cold day to be back. A couple days ago, this space has helped me in my outside life. So it's like this is more about the healing space and the space where you can go from me. That can be more vulnerable and more open and kind of let people in and kind of see me. So for me in the beginning, it was like I'm dancing like I'm the best student. I don't want to do it. Or hey, I have an idea. Hey, what do you think? I'm like, that's ugly. I had my own self doubt and threatened myself. So throughout this whole year, just kind of being with them, talking to them and having a voice and them literally amplifying me throughout the process. It's been really healing. And I was able to really open up more.  Not for real, for real. It was just really nice to heal in this space and to see what trust is. And to allow myself to trust them. It was an experience for me. It was a process for me. So even like the ladies and people in the United States, I feel like people are in our house. Because I didn't help this race for so long with each other. And I was like, I don't want to bring people in. So for me to take a couple questions, I'm like, wow, I'm ready to bring people in. And I'm ready to tell people that. And really this space is really going to take me into that world. And I'm saying that world. We don't need to get out of here. And really be more vulnerable with myself. Be vulnerable with other people. Be able to trust myself. And I realize that I love to trust people because I love to trust myself. So I'm like, oh! I'm going to dance. You know what I'm saying? So I'm like a line about myself and trust. First of all, trust. Opening my circle of trust. So I'm going to start working with us. He was so mindful about entering this space. And I think it was pretty clear what we kind of had created. And I remember one of the questions you asked was like, you know, if the cello could be, if you could have a male energy, you could have a female energy, like what kind of energy are you wanting? And he just asked that question, which I just thought was so considerate. You know, that was the mindfulness which he had. Very much. And the cello itself is using, like it's so open to me. As I'm like, the way I feel it, it's just so open and there's space within the music to move around in. And yeah. I want to speak to trust real quick and they get my moment with this question. So I think that one of the things that helped to create a space of trust was that we don't really correct each other too much. It's not so much about your technique and whether you're, what is pointed or how high your leg is or how many turns you got. It's really just how that movement is able to come out through your body. Like we can't, we don't all have the same disabilities. I mean, we're able to compliment each other very well. But I remember something that I did and something Julie was like, oh my back doesn't do that. You know, like these are very, very file. And it worked really well. And you know, I was like, okay, well my knees don't really do that. So this judgment, just not having this judgment there, like having a really judgment free phone is really good. And then having a space where you can compliment each other so often. Like, I like that. You're like, really? You're like, yeah, I like that. And then to be able to tell each other why. I had one thing that I wanted to say, something else. So firstly, I was so proud of you for not being able to deal with me, right? Yes. You did see him. And here, obviously, he just shows how you all allowed yourself to be best at creating a space for each other, creating a space for us. So there were maybe a banana in there. So thank you for giving another space to give us a space to experience that and then come out and share it in a great way. And then I thought, you're welcome. Did you score this? Oh, you didn't provide it right along with it, was it music? It was just simultaneously. Wow, thank you. So the process that we used to create the choreography is the same process that I used to create music. So usually what happens is I take a long time to set up. They start moving. And by the time I'm set up, I'm ready to go. I just jump into something. It's usually not something I've written. It's usually just a baseline or an interior part. And they start moving to it. And then there's this kind of give and take. So like, oh, look, I like that. Do that again. So I play that part again. I try and add to it. And then sometimes I forget. I'm like, oh, I don't have my number. Typically we would have a video tape. So that was helpful. So we would improvise, sound to the movement, or the movement would sometimes come from the sound. And then we'd look at it. Oh, I like that. But in all honesty, I don't think we really nailed down more pieces of music until the last verse. Correct. So some of the movement I think had already been choreographed. And I've been playing to some of it probably over the last few months. But I think we just decide, oh, I like that. Can you make sure that you can do that again? And so that's what we do. And I would say 60% of all the songs are written. And then the remaining 40% is responsive and improvised. And hoping to kind of catch the movements. There's such graceful answers that I'm usually like two phrases behind, like, oh! Improvisational process would be even more important. A process that required that I was present and really paying attention. And then, that's certainly a question. But just a couple of comments. I'm a super animal. So that's how I found out about music. It's just how the universe brings you to where you're supposed to be. And I just felt a lot of love and light here. I invite you to continue to explore. Check out the inside out. This sounds pretty behind there. Add your thoughts to our word cloud. While that's happening, we're going to be breaking down the space because we can't stay in here past today. So just know that's happening around you. There's still refreshments out in the other studio. Please enjoy. I will not be taking any food home. So just, yeah, please share all those. Enjoy all those snacks. Watch the flexible livestream. Dancerscitizens.org. Everything will be archived there. And yeah, if you have any other questions about anything, reach out. I have a quick comment. Yes. So 75% of them are due this month. While some members of EY and Monster are getting ready to come and start rehearsing in a little while. But I just want to tell you what we're rehearsing for. So we're rehearsing for our 25th year anniversary concert. July 14th. July 14th, we're going to be performing at the Ray Charles Performing Arts Center over on the House of the Campus. And we'll have a gala and award ceremony before that and a performance and anything at day to time. And we just want to invite you all out to see the All Sister Dance Profession and vocal ensemble. Just some of the kind of where some of us are dancing from. And Julie is so freaking awesome. As like incredibly creative, intellectually minded and like grown and mature and expressive and like artistically evolved as she is. You know she comes and takes EY and lots of classes. She's like, I love this with you all and it just felt so organic and clean and smooth just to work with you this whole year. So I just want to just give you some of my shake. Thank you.


But it's better if you talk with the mic. Ah, there is the automatic mic. Everybody, thank you very much. I want to thank the organizers. It's very nice to be here. I hope I will learn a lot of things this week. I'm not an expertize in machine learning. I know a few things about quantum simulators. And also, this is kind of a call because we have some ideas that we think the field of quantum machine learning can help us very much. Machine learning also, no, quantum machine learning. So I'm very happy and open to collaborations and so on. So I'm going to give a blackboard talk because I saw this blackboard and I couldn't subtract myself to the pleasure of using it. So I'm mostly going to give some ideas of the things that we are interested on and what we are doing and how we understand a little bit this world of quantum simulators. So this is a work with Ayaka Usui, which is a Japanese postdoc now in my group and Maria García Diaz, which is in Madrid and she was also postdoc of mine. And the three of us, really, we have a lot of fun working together and we started this line. So what we were interested is in the following. What is a quantum simulator and what a quantum simulator is useful for? Okay, so we all know what it's a quantum simulator but I will give you my ideas about that, how I understand it and what it's useful. So a quantum simulator, a priori, is a system that it's able to replicate the physics of another system which is more complex, okay? And up to now, all the quantum simulators that we have are mostly analog quantum simulators so our experimental platforms that they are used, especially up to now still to simulate complex, many body physics, okay? But we expect that this idea of quantum simulators will be extended and that the quantum simulators will be platforms that they will be able to simulate many other things. Not only the physics of many body physics, quantum many body physics but also we expect that it will be able to solve, I don't know, out of equilibrium physics or that it will be able to show high energy physics and so on and so forth. So if we think on how quantum simulators they have to develop in the future or how I think that they will develop in the future, they will be platforms which are highly versatile and they should be able to use the same platform, analog or digital, to simulate many different things. So for instance, if I want to have a quantum state, I can ask a quantum simulator to give me this quantum state on demand. So this is not the real state of the art nowadays because they don't work like that and we are just starting and all the platforms and even the quantum simulators so these quantum computers which are single-purpose quantum simulators, I have to say that I am a big fan of quantum simulators and at this moment, I work in quantum information but I believe quantum simulators is really the only field that has clear quantum advantage, okay? So, but we expect that these quantum simulators will give us whatever we need, no? I need a GIC state, I need to simulate quantum chemistry, I want to do medicament and so on and so forth. So which is the definition, why definition of a quantum simulator? Well, that depends, okay? So, but if we take the most general definition of a quantum simulators, we arrive at something which is called a universal quantum simulator. So, and I will say that a universal quantum simulator, okay, is the simulator which is able to simulate any other quantum system, okay? So, has to replicate the physics of any other simulate, the physics of any other system. And what does it mean to replicate the whole physics? Replicate the whole physics means that it has to replicate, for instance, the eigenstates, eigenvalues, all possible local, all possible local expectation values of local observables, observables, okay? Replicate the same expectation values of the observables. Replicate the same out of equilibrium physics and whatever you can ask for. All the possible correlations, okay? Two point correlations, three point correlations, whatever. If we have a quantum simulator that is able to do that from any other quantum simulator, from any other quantum system, we will say that this is a universal quantum simulator. And of course, you will say this doesn't exist, but they exist, okay? Theoretically, they exist, okay? How do you know that they exist? Well, because a priori, of course, any Hamiltonian, it's unique, no? So, two Hamiltonians, if they have the same eigenvalues and the same eigenvalues and eigenvectors, they are identical. But the way to do that, it's the following. And the idea is very simple, okay? But it cannot be applied. So imagine that I have a small system that, so the dimension of my system one, which is the one that I want to simulate is given by a Hilbert space, okay? Let's say of dimension, let's assume that I have qubits, okay? I have n qubits to the n, okay? And I want to simulate, you will agree with me that if I simulate the same energy spectrum with the same eigenvalues, most of the physics will be done, no? So I have my system and it has this kind of, I don't know, some structure, okay? And now I go to another system, which is bigger. Increasing just by a qubit, I increase the Hilbert dimension by space two, okay? I double the Hilbert dimension. So if my, let's say this is my target Hamiltonian, the one that I want to simulate, and I take a quantum simulator, okay? And imagine that the dimension, so I call it target, the dimension of the quantum simulator, it's two 2D n plus one, a single qubit more, okay? I already have the double of the Hilbert space. So imagine if I take many other, okay? Instead of only one double, so not only a double, I make it much larger. Of course, I can find a state, a system, a quantum simulator that will has this kind of structure, okay? And now maybe it has that, has that, has that, and then continues and has many other things. And it's able to simulate this part of the small system, okay? So this can do, we can do it, okay? So a priori, this is a possibility and it's fantastic, okay? So I'm able to simulate that. This is a remarkable work by the group of Tony Qubit and later Tamara Coller in which they show that, which is the price to pay for that, okay? So indeed, they show even that a one-dimensional, translational invariant Hamiltonian can simulate the physics of any other quantum system, okay? But there is, of course, there is not free lunch, okay? So there is not free lunch because you need a lot, so you have to increase a lot the Hilbert space, and not only that, in order to simulate, because of course you can say, well, this can be lag, no? But you have to adjust all the couplings that you will have here in your quantum simulator in order to reproduce the physics of this one, okay? And nowadays, to adjust these couplings will mean that if I have, I don't know, imagine that my universal, so this is universal quantum simulator, okay? I will call it like that. And honestly speaking, I found it incredible that with one-dimensional, translational invariant, it is a Heisenberg model, in 1D you can simulate the physics of any other thing in the world, okay? Wow, this is something. But of course you need, yes, yes, yes. You have, of course, now we will talk about locality, okay? So then you, no, it's translational invariant, it's two-body interactions. It's very simple, this one, okay? But which is the dimension? Huge, and whatever. How are the couplings? Well, here's the other price, no? So you have to control, first of all, if we had that, we will not be here, okay? So there is not a constructive approach. So you give me a Hamiltonian and I cannot construct this universe. I have no idea. So this is a theoretical work which is proof with some perturbative gadgets and so on and so on. It's not constructive. They don't know how to do it. They know that they exist. But if that exists, it means two things. That the Hilbert space has to be huge and this is intuitively clear and that it has to be like that and the interactions between the parties in my universal Hamiltonian, they have to be adjusted with a precision which will go more than 20 orders of magnitude, which means that no experiment will do it, of course, no? We are not in this point. But this is a good point, okay? To know that there is this kind of Hamiltonians or universal simulators that they will be able at some moment, maybe, I don't know, in 10 years we know how to do that much better. Okay, so this was our starting point and we were asking ourselves, can we create a quantum simulator? Okay, but it's able to simulate the physics of another system without changing the Hilbert space dimension with the same number of qubits, okay? Or qubits or whatever. And the answer is yes to some extent and this is what I wanted to explain you and that as you for help, if you are interested, okay? In this problem, which is a little bit, well, I think it's quite close to the things that many of you know. So, and we were interested in local Hamiltonians. Why local Hamiltonians? Well, because local Hamiltonians is most of the physics of many body physics is local, so local Hamiltonians. So I write my Hamiltonian, I will say it's k local if I can write it as the sum of some Hamiltonians, h i where h i has at most, at most k local interactions, okay? Like all we know and our idea was, okay? And we assume that the dimension of this local Hamiltonian, which is my target Hamiltonian is d, whatever dimension is, so I will call it t, okay? And I want to have a quantum simulator Hamiltonian. I will call it qs that has locality, okay? Which is k prime, okay? Has the same dimension of the target. It's equal to the dimension of the quantum simulator equal to d, but k prime, it's smaller than k, so it's less local. So for instance, we were asking, is it possible to simulate lattice gauge theories which has four body interactions or three body interactions if you are in a triangular lattice, or KIT-IF models which is five local interactions in a lab just using two local interactions, Hamiltonian which is two local. This is our goal, okay? And the answer is sometimes yes, sometimes no, and we need a lot of help to do it because to an experimentalist if you go and you say listen please, can you simulate lattice gauge theories? And I give you a two local Hamiltonian that gives me the low energy physics. Well, they will be super happy and we also because five local interactions are very difficult to put in an experiment. Why we can do that? For several reasons we can do it. The first thing is because the set of local Hamiltonians is a convex structure. So local Hamiltonians for a convex set which means the following. They are like that, okay? And this is I think very interesting and we are trying to, so this is k equal one. So Hamiltonians that they have one body interaction, there is no entanglement, they don't interact with anybody else. This is k equal two, two body interactions. This is a equal, whatever, L, L body interactions and the set of, so k L, it's bigger than k L minus one, k one, okay? So these are like that. So a priori you can have, let's put here a three body Hamiltonian or for body Hamiltonian. Okay, let's assume that this is my k equal three where I have already in the triangular lattice, lattice gauge theory, which I would like to study and there is, maybe it's here. I don't know, I have no idea but I have to look if there is a closer k to Hamiltonian that it's able to reproduce some of the physics. It will not reproduce the whole physics. Yes, sorry, ground state, no. This is Hamiltonians. This is the convex structure of this is Hamiltonians of k equal one, all the Hamiltonians of k equal two, all the Hamiltonians of k equal L and of course all possible Hamiltonians which are like that, okay? All Hamiltonians. So the local Hamiltonians, so they are Hamiltonians which are not local, okay? But it's a convex set, so if I sum two Hamiltonians I have a Hamiltonian. This is what it means a convex set and this is very nice because of course it has to be like that. We have proved theoretically that it's like that but of course when I say I have a k local Hamiltonian that means that I have k local interactions but also this one, k two interactions, k one interactions because the sum of all these things, it's a convex sum so I can have and this is the reason I have a local Hamiltonian which has single interaction terms. Typical, Heisenberg sigma x sigma x plus sigma y. It's a two local but it has also sigma y which is one local, okay? So this is our starting point and now we have to go to that, okay? So I delete all these things up here and so how do we do that? Well we do it very pedestrians because we are from a small village and we don't know so much. So we say let's see first what happens in the easiest case in which the Hamiltonians commute, okay? And first we define what it means to simulate, okay? And then I want to say now we are interested here in dynamics, okay? Because you can say, listen in a statics maybe we can use NPS or tensor, well we can use, we use tensor networks and they are super good, are variational but they are super good and I can simulate the ground state and maybe I can simulate some excited states not the whole spectrum. Second thing that we assume is that we have very big system so we can not diagonalize because there is not any technique to diagonalize because if I can diagonalize it is done but if I have 100 qubits to do the 100 as far as I know, I don't know, you know much better there is not algorithm that allows me to diagonalize something like that. So I don't have access to the eigenvalues and the eigenvectors of the whole system. This is our premise. Although we are going to work with four or five qubits because we don't know how to do it better but this is the physical scenario that we have in mind. So we define what doesn't mean to do the dynamics so we make this trivial definition, okay? I say that the dynamics, okay?  If, okay, simulates with precision or error, I don't know how to call it, epsilon, if I have state plus ithqs, e to minus ithq, Hamiltonian target, my target Hamiltonian over psi, okay? The fidelity is one minus epsilon, okay? So this is quite obvious. So if these two Hamiltonians, they do the same physics that will be one, the fidelity will be one on this state psi for any time t and will simulate exactly. And if this is different, that it will be different because epsilon will be between zero and one, I will say that my quantum simulator is able to simulate this state psi up to some time t, okay? Well, with this error, if the error is small, maybe that's it enough.  The worst possible scenario, it's the minimum, okay, over all possible psi's and times, of course. This is the worst. Whatever it's better than that, it's okay. e to ith, the Hamiltonian. This is time evolution, no? Plus I, so I'm doing the time evolution on this state with my Hamiltonian target and then I'm just doing with the quantum simulator. If these two guys, okay, they get one, that means that the fidelity of the state that I'm obtaining is the same. So the h is the target Hamiltonian. You give me a target Hamiltonian. Sorry? The h here. Yes, sorry. A, sorry, sorry. I didn't realize, sorry, excuse me. Of course, of course, yes, yes, yes. Okay, exactly, okay? So this is the worst thing, okay? So let me go, yeah, okay. So let me start by exact. When I can do exact, so exact dynamics. When I will do exact dynamics. So it means that silent will be equal to zero, no? And then my dynamics will be exact. So, well, what I have to do. So let me construct the following, okay? So let me write this thing off here. It's everything, it's very basic, okay? So don't be upset. Target Hamiltonian over phi, psi, and I constructed like psi a to the i, t, hqs minus, no, let me write it like a function like that. With obviously that will be h of t will be t times the quantum simulator minus the target. Plus e, t, I think eta is squared by the, by two, the. So I use just Baker-Hausdorff formula, a qs with a target, plus now it will be all kinds of Hamiltonians I did not commute, okay? So the first case is, well, assume that my Hamiltonians commute, okay? If my Hamiltonians commute, I only have to take care of this term off here, okay? So if h target and hqs commute, then I have an object here that I'm going to call it the connector, which is the first term, is called it like that, is h of qs minus h of target, okay? And if this connector, which is a Hamiltonian, it's degenerated in some super space, of course then I will be able to reproduce the physics identical. It's not sufficient that you have two Hamiltonians that commute because in order to reproduce the physics, you have to have the same eigenvalues because it's, it goes by an exponential of the energy, of the eigenvalue of each of them. So you can have two Hamiltonians that they commute and the dynamics is completely out, okay? But you can construct it. So the first thing is, okay, I give you your Hamiltonian, construct me a Hamiltonian that commutes, okay? To with that. And again, you cannot diagonalize, okay? There is no way you can diagonalize. If you can diagonalize, you do it. So how do you do that, okay? You say, okay, one way to do it. Maybe they are more clever ones. You say, if I won, so the target Hamiltonian, it's always given. So I will put you a simple example, which is this one. Imagine that you give me as a target Hamiltonian, this one, it's a three-body, so target Hamiltonian. And it's this one. It's from j equal to one to fourth, okay? J three, and now I have sigma z of j, sigma z of j plus one, sigma z of j plus two, plus hx sigma j of x. Okay, so this is the target Hamiltonian that it's given. And now you ask me, give me a, yes. Yes, but they live in the same Hilbert space. Yeah, yeah, I ask myself, I say, what I'm going to do is to ask that the target and the Hamiltonian, they have the same dimension. I put it in some way, but for sure, I always leave, if not, I cannot do that. Okay, absolutely right. So this is what I demand. I demand because I want to do that, and because I don't find fear to go fair, to go to an experimentalist and say, okay, now you have this experimental platform increased by 20 orders of magnitude or 20 qubits. This is not practical, okay? So I say with this platform that you have same, you use that, okay? So how can I find the Hamiltonian that commutes with that? Of course, this is four bodies, so you can diagonalize and so on, but I will give you the quantum simulator Hamiltonian, and of course, the locality is smaller, okay? I want a two-body Hamiltonian, it's this one. Okay, sum over j equal one to fourth of, it's a Heisenberg one. Sigma x of j, sigma x of j plus one plus j y, sigma y of j, sigma y of j plus one plus sigma z of sigma z of j, sigma z of j plus one. Okay, so these two Hamiltonians, they commute, okay? In general, here I can do it because I can play, but imagine that in state of having four spins you'll have many more, okay? Then they will not commute, but how do you find it? So the way to find one without diagonalizing it's the following, okay? Which is the following? I take what it's called the Hilbert-Schmidt norm which you can do it without diagonalizing. So my goal here is that I want to do the things without diagonalizing and I demand that this is equal to zero because it's the Hilbert-Schmidt norm of a matrix. This is a matrix, okay? So I have to define it as a matrix. It's zero, then they commute, okay? And so for instance, in this case, what happens that when I do that, which is very easy, okay, I found the conditions, I found then the conditions. j x has to be equal to j y has to be equal to j z, it has to be equal to j and x is fixed. Okay, when I do this, I know that these two Hamiltonians commute, okay? In a super space, not the whole, they commute. They commute, okay? And now I do this, I play with these characteristics in order that there is a super space because now I'm having my connector, which is h. This is not zero, eh? They commute, but this is different from zero. This is a Hamiltonian. And now I play that I find some eigenvalues, okay? Doing that so that they are degenerated and the dynamics there, it's correct. It's the same, fine. This will not be the ground, the sit and so on. These are just plain tests, okay? So now you can say, okay, which is the priority, now let's, yes. I want to find two things that they commute, so I demand that the Hilbert-Schmidt norm, which is you have a matrix and it's the sum of all the elements of the matrix, you don't diagonalize, the square, pa pa pa pa pa pa pa pa pa is zero. That ensures me that it commutes. And in order that ensures me that it commutes, it gives me also some parameters which I will be able to play so that it commutes and it's degenerated. Because if it commutes and it's degenerated, has the same energy eigenvalues, so all the states that they live in the super space, which is degenerated, will have the same dynamics. So I'm able to reproduce with a two-body, so this is a three-body Hamiltonian, okay? I'm able to reproduce with a two-body Hamiltonian the physics in a super space of the three body, okay? It's primary, okay? But it's the weight we think we got to start. So when you are at this point, you say, okay, if I give you two, absolutely, are we trying Hamiltonians? Of course they will not commute, that's obvious, no? But how many eigenstates they will share? So this is a question that we ask ourselves. Can we see, okay, how many eigenstates? Because that will be okay, okay? So no, sorry. So this is okay, full dot, exact dynamics. Now, I can have exact dynamics even if they do not commute, okay? Because what will happen? Imagine that I give you two Hamiltonians that they do not commute, but they share some eigenvectors, okay? So what I will do? I will say that in this super space they commute, okay? The other ones, I will take it out, I don't care. And I will reproduce the same, okay? How can I do that in these ones that they commute, how can I degenerate my connector so that there I can do the physics and so on? Okay, so the question is, generally Hamiltonians they do not commute, okay? And I say, well, I don't care. Give me the target Hamiltonian, which is for body and ask me, what is the quantum simulator to body that I can go to the experimentalist that they have some common eigenvalues, eigenvectors. And in this super space they will, I will be able to manipulate and have the same dynamics. And this is the question, how many? Okay, how many, this is very difficult question, okay? So we don't know how many.  So given to Hamiltonians, well, it's not very interesting, but given to arbitrary Hamiltonians in the same dimension, obviously, the number, maximum number, whoops, I have a stone in my shoe and it's not very practical, okay? So I want to go a little bit fast because this is just the warming up. And I would like to show you the not warming up because this is where I'm sure that you will have many ideas that maybe can help there, okay? So there are some questions, that's questions. Given H target K, quantum simulator K prime with K prime smaller than K, because if not, that doesn't have sense, such that are, that they share, okay? No idea, I can only give a bound, but I don't know how to do that, okay? So, and then we can find us, no idea. So in general, the answer of this question is zero, okay? In general, if I give you arbitrary, HQS and HT is zero, but here we are asking something different. I give you the target Hamiltonian, which has K local terms, and I ask you, can you find me which is the best, okay? And what doesn't mean best? The quantum simulator, which is more local, so it has K prime, two body for instance, smaller than K, that shares a maximum number of eigenvectors with the previous one. The most that they share, the best will be to do the dynamics, okay? And I want to finish with something which maybe it's more interesting, so which is the following. So there are a lot of questions that we don't know, no? But now I want to give you another limit, okay? Indeed, this is a theorem, I think, that which is something that we have proved, but we don't understand very well, okay, theorem, okay? Every Hamiltonian, quantum simulator, so the ones that we want to do, simulates epsilon star, simulates any target Hamiltonian, any target Hamiltonian, at any state, now this is much more general than before, at any state psi and time t with this error. So it's a bound which is not very tight, but it's kind of, it's the minimum of one and then delta h time divided by two, okay? So of course, if it's one, means it doesn't simulate it because the error is one minus, horrible. But what is this? This, it's called the spectral diameter of the connector, is a Hamiltonian which is the difference of these Hamiltonians and the spectral diameter is the difference between the largest and the smallest eigenvalue, okay? So delta of h is lambda max minus lambda min, where lambda max, it's the maximum eigenvalue and lambda min, the minimum value. So again, notice that to calculate the maximum eigenvalue or the minimum eigenvalue of a matrix, you don't have to diagonalize, so it's not hard, okay? The minimum, there is SPD conditions in order to find which is the lowest energy of a Hamiltonian and the maximum is, you revert your Hamiltonian, you call it minus your original Hamiltonian and now you find the maximum. So the other ones, you cannot do it, but here you can do it without diagonalizing. Yes, I'm going to finish, I'm right, okay? So, and this is, well, so this is important because to calculate the spectral diameter of a Hamiltonian doesn't require diagonalization, okay? And it depends on that. Why? We have no idea, okay? So we have done it with some cases and we found something very surprising, which is, for instance, it's much easier to simulate the dynamics of a five-local Hamiltonian with a two-body than a three-body with a two-body, but we have just played very simple rules, so we cannot say that this is definitive, but this is a theorem, so this is proof. No, no, no, no, no, any Hamiltonian. Yeah, I mean, look, the bound, it's one, means that the error, so it's horrible, okay? But what doesn't mean that? That you have to do, obviously, that h, so the spectral diameter by time divided by two has to be smaller than one, okay? So that you have to have an spectral diameter that the smaller it is, better it will be, no? Two divided by t. So if this is a smaller, okay, then you can go up to this time and so on. And this, so the question is the following. Which many-body Hamiltonians, k-local or whatever, how is this spectral diameter? So we find that the four-five, five, but it's only some examples that we have done, the spectral diameter decreases, so we are able to reproduce it with a two-local Hamiltonian, okay? Very, for some times, of course. I mean, these times are small, so it's a tailored expansion, so our preliminary results. But these are these questions that we don't know, and with that, I would like to thank, I know to thank you, yes, to finish and to thank you for your attention, thanks. Bye. Okay, questions. Please, Marcus, wait, you need a microphone. So the folks at home can hear you. Thanks a lot for this interesting talk. I might have two questions. Like the first is that, so when writing down the fidelity as like the way to estimate how good is the precision, you could have maybe a case where your quantum simulator generates also components which are perpendicular to yet the time involved target state. Does this somewhat enter your estimates? I mean, no, it doesn't enter because I think it's super simple. What we do, so we say, it's writing a question, okay? So the evolution, it's e to minus the energy, i times the energy t. So if the energy is degenerated, fine. But if you are in an eigenstate which is perpendicular, it doesn't matter if the energy will be degenerated. So now I'm thinking, okay? So the only thing that matters, even doesn't matter. I can have, now I understand the question, yes, I can have a super space in which I have, I don't know, the states which are the ones that they are there orthogonal, doesn't matter if they are degenerated. Anything which lives in this super space will be, I will be able to dynamically evolve it with a good precision. And if I may, a second one, a short one. Good. To some extent, like when thinking about gauge theories, like the general way or like the proposals for implementation also start like from, say, two local Hamiltonians and then to generate like a three local term typically by some kind of perturbation theory. So I guess this is all covered here. No, no, no, no, no, it's like it's something different. It's different because we do it the other way around, no? So what I have in quantum simulators, okay? So how do you put three body terms? Because you have to have a flux, okay? So if you have a plaquette which is three body and then you put a flux, okay, magnetic flux in order to generate the lattice gauge theory, necessarily these three guys evolve. So I don't do it from like in high energy physics from two perturbatory to three. No, I say in the quantum simulator, for sure, they have at this moment three, if you have a triangular plaquette, four if you have a square plaquette, two deep plaquette, again, because you put magnetic fields so these four guys are involved. It's a forward interaction. And now I say, with this, can I go to the quantum simulator, not perturbative and say, I don't know how to do it if I, that will be fantastic, but this is our idea. Maybe there is a two body that is able to simulate a part of the lattice gauge theory in the lab. And I never say that in the two body, it has to be next neighbors. Maybe I will find a two body, which is this guy, which is one of that, and the experimental use will tell me, listen, this is rubbish, yeah, maybe. Other questions? Yeah, thank you for this inspiring talk. I was wondering, it's a bit off topic, perhaps, but if I'm interested in many body physics, how important is it to have the same eigen values as well? Like, what is important to have the interesting many body physics? Isn't it sufficient often to have the same eigen structure of the eigen states? Maybe apart from the generacies? For the, for the, so normally, and correct me if I'm wrong, so now what we do, so we want to, in the quantum simulators, no, so typical, no, so you do mod insulator, you do it with call gases, and then you have the ground state, okay? And you check the ground state, okay? Or maybe you are interested in the low energy physics, but as soon as you have dynamics, which has never been done, okay? Like, I want to, yes. I mean, that's obvious that the dynamics will be different, but the question is like, if I'm interested in what are the relevant ground states, like which phases exist, and then often say apart from the generacies, maybe the eigen states, yeah. If you say I have a many body system, which is very complex, so I want to study, I don't know, high TC superconductivity, and it's enough that I have, yes, absolutely. But my idea is the following, which I can be completely wrong, okay? So because I know how is the structure of the Hamiltonians, okay? And in nature, most of the Hamiltonians are two-body, and so what? Okay, because now we have quantum simulators that it doesn't have to be, so our idea, which is very normal, so we started saying we want to reproduce what is known, fantastic, but why we are not going to reproduce in few years something which is not known, okay? So it doesn't happen in nature, and so what, plastic neither, unfortunately. Okay, so we created. So I'm saying that the physics is super rich in quantum simulators, so it's not only to simulate the ground states of quantum many-body systems that we know from condensed matter that we don't know, which is super interesting and very important, but there are many other things, so maybe creating Hamiltonians that gives a physics which we never expected because it doesn't happen in a natural way, not in solids, not in anything, but we can simulate that. So for me, this is very exciting, so although, I don't know, maybe we will not find anything, but I am very surprised. Normally when the people talk about Hamiltonians, they say, these are the Hamiltonians, okay? And this is the Hamiltonians that are in nature, and my answer is, Anne, go here, okay, to see what happens. I don't know. Thank you. Other questions, comments? I will edit, because this is very disturbing. Okay, so let's thank our speaker again.


The crew aboard the USS Mount Whitney, along with French officials, participated in an at-sea wreath laying ceremony to commemorate the 69th anniversary of the Allied landing and liberation of southern France. Dignitaries threw wreaths into the Mediterranean Sea in honor of those lost. It's such an important thing to remember and to recognize and to be a part of. It was a great loss of life, so it's very important that we remember this day today. Festivities at shore included a townspeech and parade to celebrate the anniversary. It signifies not just the relationship between the Sixth Fleet and all of our allies here in the Mediterranean, the Sixth Fleet AOR, between the U.S. Navy and the French Navy, but perhaps more importantly between American people and French people and our common beliefs and freedom and liberty and democracy. The French through a Sumeric commemoration is celebrated each year on August 14th for those who paid the ultimate price for their country. According from the Mediterranean Sea, I'm Seaman Nicole Vandegren.


Hitting the ball even a fraction to the left or to the right will produce a different result than you want. Pick your spot on the ball and keep your focus until the shot is complete. Step number three, control your body. Most players only focus on their shooting leg and foot. You want to focus on your body positioning. I will send the better in one day soccer blueprint to anyone who comments hashtag soccer on this video. There are two things specifically I want you to focus on. First is your planting leg. As you approach the ball, make a strong plant and stabilize yourself with your non-shooting leg. Second is your upper body. Place your upper body over the ball and lean forward towards the net. If you like this content, check out the soccer success planner. You can download it for free. There's a link in the description below. And for advanced training, check out the online soccer academy.


So, finally, we are ready to interview our participants. We have prepared our guide to help us steer the conversation, but the interview itself tends to be a lot less predictable. It is after all a conversation between two persons and not simply a list of questions that we ask one after the other. Both participants and researchers take turns listening and responding to each other. Words, silences, gestures, and non-verbal expressions are used by both in expressing themselves and in responding to the other. And sometimes, not uncommonly, interviews include difficult interactions and conflicts too. Being aware of some basic dos and don'ts can help us navigate this terrain. First and foremost, we must respect the time given to us for the interview and not exceed it. We should try to keep the conversation fluid. Avoid abrupt beginnings and endings and sudden jumps between topics. We should make written notes or jottings as we converse. But we should not be so engrossed in not taking that the participant feels they are speaking to a recorder. And we should ensure the participants' comfort at all times, starting with their agreement to being recorded. In this section and the next, we will discuss some practical aspects of the interview. This includes how to begin the interview, how slow or fast to move the conversation, the role of silences and non-verbal expressions in our interview, how to navigate difficult or delicate topics, how to respond to participants, how to avoid digressions while still allowing for new topics to be introduced, how to transition from one topic to another, and finally, how to close the interview. We will discuss some of these in this section and the rest in the next one. As we begin, we may feel a bit awkward around each other. Being the researcher, the onus is ours to put our participant at ease. We need not rush into the interview questions, but can start with some general observations or questions that create an environment of comfort. We can make small talk like talk about the weather or picking up topics that may or may not be related to the interview. Like pointing at some artifacts in their house, complementing them on it, asking them if they made it themselves. At this point, we can introduce the participant to our research and to the interview process. And we can carry out procedures such as getting consent for interviewing and recording. Here we should again consider the practical concerns of interviewing and recording. Is the environment suitable for audio and video recordings? Is the participant comfortable with being recorded? Do we need to protect their identity and anonymize them? If the participant seems reluctant or uncomfortable with being recorded, we can just stick to making written notes. The small talk, procedure and explanations flow into the opening parts of our interview where we try to learn about the trajectory of our participant's lives. And we find ourselves settling into this dance that is the interview. As with any dance, there needs to be a rhythm to our movements. The idea is to create a conversation where both researcher and participant have equal control over the content and flow. As the researcher, we try to understand the pace of conversation which is comfortable for the participant and then try to match it. And listening is a key part of this. Some participants expect a Q&A kind of session where one question rapidly follows another. In an ethnographic interview, we try to develop an introspective discussion. And so we try to find a pace which allows reflection and also keeps the conversation going. As we have emphasized earlier, a careful balance of speaking and listening is required to do this. Some researchers suggest that by adopting a slower pace for the interview, we can encourage the participant to take greater control of the conversation. In a slower conversation, they may tend to speak more with less nudging from our end. A slower pace interview creates room for greater reflection and introspection on both sides. We can decrease the pace of the interview by using probes and follow-up questions, spending more time and thought on a single topic. Short pauses and silences, gestures such as a nod, or sounds such as hmm, can have a similar effect. Responses such as these encourage the participant to speak more on a topic, to expand upon their thoughts. In the space between the two topics or two questions, the participant can reflect some more remember related incidents or connect topics. Let's pause here for a moment and revisit a part of our discussion. We have some questions for you here. The first one is why are slow pace interviews preferable in ethnographic research? Note down at least three reasons. And the second, how do you achieve the desired pace in an interview? You may write down single sentence answers for these questions. The answers to these questions are present in the discussion we have had so far. The pace of the interview is decided by the participant and the interviewer, but a slow-paced interview is preferable. This is because a slower pace allows for greater reflection and introspection. And how can we slow down an interview? Here are some of the ways that we have discussed. Among these, silence and non-verbal expressions play a prominent role. In fact, throughout this module, we have been talking about the importance of silence and non-verbal expressions in an interview. Silence on the part of the participant can be as expressive and evocative as speech. It may indicate something that is implied but not spoken about explicitly. It can express powerful emotions and memories. Facial expressions and body gestures often indicate emotions and thoughts that the participant associates with the topic of discussion. Recall the experience of Roger Gashey as he listened to the old farm worker describing her work and what he learned from her silences and gestures. Non-verbal expressions also denote cultural norms. The same expression can mean different things to different communities. For instance, in some cultures, not looking into the other's eyes as we speak is a way of showing respect. In others, it may imply disinterest or boredom or worst-still arrogance. The idea is to be able to differentiate between the wink and the twitch and to understand the meaning of each wink. And more, we pay attention to subtle changes of tone and breathing patterns. For instance, when someone is nervous, their speed of breathing tends to increase and the pitch of their voice rises. The same may happen when someone feels excited. We need to observe all such subtle expressions during the interview. We also need to include them in our notes, either by drawing or writing or recording in any acceptable form. In all cultures and communities, there are topics that are not spoken about publicly or explicitly. People use euphisms, metaphors or particular phrases to refer to these. Often the use of tangential references or metaphors indicates that the subject is taboo or difficult to speak about. For example, in many cultures, segregation on the basis of caste, race or gender is not spoken about explicitly. I found such an incident in my field notes from my work with the coward storytellers. I was travelling with my primary participant, Koja Ram, a coward storyteller. And we were visiting the homes of his patrons in different villages. He would visit each of their houses and perform his coward recitations. Often the patrons would invite us to eat with them after the recitation. On one such occasion, Koja Ram's patron Askaran Singh invited us to stay on for lunch. Askaran Singh offered us tea and lunch. He showed us the different bowls he had for different communities to eat from. We sat in a round hut. Koja Ram did the recitation. Askaran Singh called his family members and others who had attended the recital to also sit around. One person was from the Raikajad, a community of camel herders. And he was made to sit outside. Even the food was served to him in a different bowl. When we invited him in, Askaran Singh removed the duri and so he had to sit on the bare floor. It was uncomfortable for me to be an observer and participant to this incident. However, I was a guest in Askaran Singh's house and an outsider to their community. It would have been presumptuous and judgmental on my part to question these practices. Moreover, it would have embarrassed each of them and perhaps most of all Koja Ram who had brought me there. Later, after we had left Askaran Singh's house, I asked Koja Ram about this incident. He explained it by simply saying, Oh, because he is a Raikha. Thus, without speaking of caste segregation or its rules, he explained the social structure underlying the incident. It was up to me to understand the depth of information behind his brief sentence. Often subjects such as discrimination or certain beliefs and practices evoke judgment from outsiders. For this reason, communities prefer to simply not discuss them. In situations such as these, we have to build our knowledge from sources other than from our participants. We do this by reviewing literature or by asking other participants who are more comfortable explaining such matters to us. It helps to ask these uncomfortable questions a little later after the incident has passed and when there is greater trust between our participants and us, they are more likely to share at that point. Sometimes it helps to discuss a difficult subject indirectly by talking about incidents, stories, objects and spaces that are associated with that subject. For instance, asking Rani Ben about the loss of her home could have been a very difficult conversation. Instead, we talked about the embroidered narratives she had made about the migration and the earthquake. This made it possible and relatively easier for her to speak about the loss. In describing the embroidered narratives, she was able to recount anecdotes and feelings related to that loss. In discussing difficult topics, we should be careful and conscious in our approach. We should frame our questions with utmost care to ensure that our interest in the subject is not perceived as judgmental and that in bringing up such a topic, we are not being offensive or triggering emotional pain. Throughout the discussion, we need to be keenly aware of any signs of discomfort. On sensing any, we can either pause or change the subject. Whatever the situation, it is important we do not push the participant into a discussion they do not want to have. As they build trust in us, participants are likely to feel increasingly comfortable in having conversations around difficult and delicate subjects. Before we move further on, let us review what we have learned so far. Here are some questions that I would like you to reflect on and answer. A. What can we learn from silences and non-verbal expressions of our participants? B. As researchers, how can we learn about topics that are taboo in a society? Some of you may have gone through our discussions to find the answers, but you may also have thought of answers that we did not mention. Please post your answers in the discussion forum. Remember to include points we have already discussed and be encouraged to add new ones. And then join us in our next section as we discuss more on the practice of interviewing.


I believe that the name of Jesus Christ is power and fire that causes Satan and his agents to tremble and flee. I believe when you speak the name of Jesus Christ in faith something happens which is beyond human understanding. I believe when you get into the spirit in Christ Jesus you will see the name of Jesus Christ working in your life.