Welcome to the first edition of a new TV series entitled The Astronauts. I'm Lynn Bondrant. This first program highlights the U.S. Project Mercury program and documents the historic training activities the first seven astronauts underwent to qualify for the program. We're going back in time to 1959. This is a press conference. April 9, 1959, Washington, D.C. One of these seven young men will be the first American into space. These are the astronauts. United States Project Mercury. A substantial part of the imagination, energy and genius of the United States is being devoted to the scientific exploration of our universe. The launching pads and gantries of the Atlantic Missile Range mount many of our experiments into the very nature of creation. It turns many hundred times, make Missile Range and be hurled headlong into space, where it's risk the unknown, whilst it is unknown. And man's nature is to know that he is a beginning for man in space. It will take him 100 miles from the earth. Here we think there are no radiation belts, solar winds or unknown cosmic forces, but man, the scientist, the explorer, must see for himself. Each component of Project Mercury will be held up and measured in the unbending light of scientific truth. From all of the active duty pilots in the Navy, Marines and Air Force, the service records of 473 test pilots were selected for review. 110 met the basic qualifications. Each must be a graduate of a Navy or Air Force test pilot school, 1500 hours of flight time, qualified in jet aircraft, an engineering background, younger than 40 at the time of selection, and 5 feet 11 or less. The National Aeronautics and Space Administration asked 69 Navy, Marine and Air Force officers of the 110 who qualified to come to Washington for a briefing. Who were interviewed, tested and asked to volunteer for the Project Mercury mission. Hicks were discovered to be too tall. 16 declined and 47 volunteered. 32 were asked to continue through a series of capability tests which would indicate not the best man in the group but the various degrees of qualification of each man. Candidates reported to the Lovelace Clinic in Albuquerque, New Mexico, for an exhaustive series of physical examinations. These tests were divided between those given under normal clinical procedures and a series used for the first time in Project Mercury. A series of dynamic tests designed to measure the candidate's abilities during physical stress. Laboratory studies were made in each physiological area. As military pilots these men had passed yearly flight physicals. Here at the Lovelace Clinic, each measurable reaction of body chemistry, each physical function was measured, probed, diagnosed. What is the specific gravity of his body? What is his blood volume? Water volume? What is his total body radiation count? We are listening to his heart. When the astronaut is orbiting in space, the measure of his heart's contraction and expansion will be telemetered to the Mercury tracking stations. After a week of examinations, the candidates were sent on to the Wright Air Development Center in Dayton for stress evaluation and psychological tests. This Project Mercury candidate is preparing for stress. The weight of eight gravities will thrust upon him as he rides the human centrifuge and are studied. The results will indicate how he fared under multiple gravity forces. Did he show a tendency to pull back? Was his tolerance level low or was it high? Does this affect his pulse and blood pressure? And what about his mental balance, his imagination, his personality, motivation? How does he see the different problems of living? And how his life affected him as an individual? Test his memory, comprehension, perception, visualization. Ask him to describe himself in a hundred different ways with a battery of tests. Now take him up to 65,000 feet for one hour in a pressure chamber. Astronauts, they sat on the cockpit. This is the beginning for each of them. Captain Donald K. Slayton, United States Air Force, age 35 from Sparta, Wisconsin. Lieutenant Commander Allen B. Shepard, United States Navy, age 35 from East Derry, New Hampshire. Lieutenant Commander Walter M. Chirot Jr., United States Navy, age 36 from Wardale, New Jersey. Captain Virgil I. Grissom, United States Air Force, age 33 from Mitchell, Indiana. Lieutenant Colonel John H. Glenn, United States Marine Corps, age 38 from New Concord, Ohio. Captain LaRoy G. Cooper Jr., United States Air Force, age 32 from Carbondale, Colorado. Lieutenant Malcolm Scott Carpenter, United States Navy, age 33 from Boulder, Colorado. These officers were detailed by their services to report to the NASA at Langley Field, Virginia. Here the National Aeronautics and Space Administration space task group under the direction of Robert Gilruth had organized a training program for the astronauts. They were excellent students and they had a realistic and tough-minded approach to Project Mercury. They had to know all the answers. Here they discussed the flight tests. In the flight program they would ride both the Redstone and the Atlas boosters. But a man would not ride either booster until the full test program was a success. The schedule included first instrumented capsules, then capsules with a monkey aboard, and then one of the seven would go into space. The schedule also provided for the problems of flying near the earth. They must maintain a proficiency in high-performance military aircraft. Out of this training together a strong esprit de corps developed. They all felt that this must be a team effort involving all of Project Mercury. Recognition would undoubtedly go to the man who makes the first flight. But the second, third, or fourth flights may produce far more scientific information than the first flight. Astronauts were busy qualifying themselves for a space flight. They rode the human centrifuges of the Air Force and the Navy. Here they trained to increase their resistance to the forces of nature that were pitted against them. New experience. Each small physical or mental victory was backed up by hours of classroom work. The time had come to select the pressurized flight suit they would wear. All of the suits tested were air-conditioned, had an attachable helmet, and would protect the pilot from heat and from the deafening 155 decibel noise of the blast off. The problem was to select a suit which had complete pressure integrity, which was resistant to temperature and was not too bulky, a suit which allowed comparative freedom of movement, yet a suit which was completely reliable. This modified US Navy Mark IV suit worn by Shepard was selected for further testing. These flight controls, this trainer at NASA's Lewis Research Center in Cleveland, demonstrates the possible motions of a capsule in space. While the astronauts perfect themselves for their mission, the hardware of Project Mercury is being tested, evaluated, reshaped, and tested again. Off Wallops Island, Virginia, capsule drops at high altitude, tests the parachute and recovery systems. At 10,000 feet the parachute will open. Riding its capsule will land in the Atlantic recovery area off the coast of Florida. It's learned to tolerate the heating he encounters during its fall back into the atmosphere. These quartz tube lats, Walter Shirai, is charged with the special problem of studying the capsule environment. Some moments of rest for the astronauts. Here they sit in a projection room and watch the films taken of their visit to the Atlantic Missile Range Cape Canaveral. On trips like this, each man gathers information concerning his particular assigned area of individual study. He is then responsible to the rest of the group for this information. The ballistic flights with the redstone missile. Shepard is concerned with tracking and recovery of the capsule. Has the cockpit area, carpenter communication and navigation. Has the responsibility for knowing ATLAS and all of its systems. Philip with the ATLAS or the redstone during the quote squarely in the eye by the astronauts and the engineers behind the projector was not a Mercury vehicle. But imagine the worst possible situation for the astronaut. That his capsule is now mounted on top of this ATLAS. The rocket takes the capsule away from the booster. Human performance and performance. This is the voice of Dr. Theodore Benzinger at the Naval Medical Center Bethesda, Maryland. The astronauts each take their afternoon of sweating it out in this gradient heat calorimeter. A temperature as hot as it is in here now for him and will later be for you. 114 degrees Fahrenheit. Your internal body temperature is protected by a physiological mechanism of very high power and precision. In the submarine carbon dioxide chamber at Bethesda the astronauts learn that space medicine and submarine medicine have common problems. Under emergency conditions there is a danger of the presence of unusual amounts of carbon dioxide in the space capsule or submarine hull. Two hours in the chamber under 3% carbon dioxide these men are tired but they were convinced that they could function for quite a long time. At least long enough to make a complete orbit of the earth and then to make an emergency re-entry and landing. If there's risk in space animals will undergo the same operational stresses. The animal research program connected with project Mercury is an important prerequisite to research with human beings in space. The essay research which created the individually molded couch was another step toward minimizing the hazard of injury during the Mercury mission. This is the same man. John Glenn sitting in his couch under 14 Gs in the centrifuge at the Naval Aviation Medical Acceleration Laboratory, Johnsville, Pennsylvania. This is Gus Grissom. The astronauts consider this experience as probably the most important phase of their space flight environmental training. Alan Shepard as he takes the G load of an emergency abort and landing. To be able to take this physical beating these men must be conditioned like athletes and the astronauts find that the physical discipline of underwater swimming is oddly effective in training toward a space mission. Supervises the instruction of the astronauts. Al Shepard and Wally Shirrah have just completed a half mile swim by compass course to the beach. Underwater swimming aside from being an excellent physical conditioner accustoms the astronaut to a forced breathing discipline and closely approximates the condition of weightlessness which will be encountered in orbital flight. Now you are watching the first project Mercury launching at the Atlantic Missile Range Cape Canaveral. At launch time the man capsule with its escape system is thrust into the sky by the two booster engines and one sustainer engine of the Atlas, about 50 miles. After some two minutes of flight the booster engines are turned off and jettisoned. The sustainer engine continues its thrust toward orbital speed as the escape rocket fires pulling the escape tower free of the capsule. It will be achieved at about 100 miles altitude. Once in orbit explosive boats release the capsule. Separation rockets on the capsule fire pushing the capsule away from the Atlas. Capsule automatic pilot rotates the capsule. If the automatic pilot fails to respond or becomes erratic the pilot has controls to maneuver the capsule into proper orbital attitude through his window. The pilot observes the earth below and the heavens beyond the horizon. Soon as several hundred miles west off the coast of california the signal for re-entry is given. Retro rockets fire causing the capsule to leave its orbital path. Now man and capsule fall and meteor like plunge toward the earth. Plunging through the atmosphere the heat shield glows white hot and must be pointed in the line of fall. Crafts sweep the re-entry area with radar. Floating some 3,000 feet under the ocean provides an accurate face. With this information patrol aircraft and ships converge on the spot where the capsule is expected to land. When the capsule hits the water the parachute is released and sea die marker spreads out on the surface of the water. As the capsule floats in the sea a signal light and automatic radio transmitter indicate the exact position. So before the earth turns many hundred times another booster will rest on the pad of the cape and one of the astronauts will ride here on the shoulders of atlas. This unmanned atlas booster and capsule proved in the flight test experiment named big joe that this vehicle could perform the mission without escape tower. Rocketed to 100 miles and was thrust downward to re-enter the earth's atmosphere at a speed just below the predicted re-entry speed. The capsule was recovered in the Atlantic Ocean. The tests will continue. The experiments and training will go on to put man into orbits are the astronauts. The United States Project Mercury. We hope that you've enjoyed the first edition of The Astronauts. Thank you for joining us. Until next time this is Lynn Bonderand saying goodbye from the NASA Lewis Research Center in Cleveland.


President, fellows, and guests, thank you so much for the privilege of speaking today. Although I never met Janet Arnold, it was through her, patterns of fashion's books, that I came to learn about costume history. I'm sorry I'm having problems making it go forward. I taught myself how to replicate garments from her pattern books, and in my work at Ryerson University, I have used her method to teach others how to replicate historic garments. Her legacy is immense, and thus it is a great honor to be the 2014 recipient of the Janet Arnold Fund Award. This award facilitated the inclusion of 150 color images in the book The Dress Detective, and I would like to formally thank the society and its members for supporting this publication. Today I would like to share some highlights from The Dress Detective, especially the slow approach to seeing, as I believe that this approach can be used for the analysis of any type of artifact, whether that is a dress or a painting. It was with great eloquence that Susan Purse wrote, objects hang before the eyes of the imagination, continuously representing ourselves to ourselves, and telling the stories of our lives in ways which would be impossible otherwise. For me, every dress has a story that can be unpicked, whether it is the story of the designer, the maker, the person that wore the garment, or the person who donated it to a museum or study collection. The story of The Dress Detective is intimately related to my work to recollect the Ryerson Fashion Research Collection, a project that I began in 2012.  To recollect means to recall to mind or to remember. A study collection, like a museum, is both a storehouse and a repository of memory, and collective memory is derived from the relationship of the objects to each other through the act of selection by the curator in creating the collection. My intent was to rediscover and remember what is important in this collection, and in the process of doing so, refocus and rebuild it for the future. The objects that had been collected to that point represented a shared memory of what donors felt was important to save and to remember. Given a passive collections policy, the accumulated items in the collection reflected the attitudes and interests of the donors, most of whom were female. This group of donors chose to save women's special occasion dress. Many of the items in the collection were evening or bridal wear, emblems of the emotional ties that such special event clothing can have for the wear, who often desires to prolong the biography of that garment. Many designers, Christabel Balenciaga, Christian Dior, and Alexander McQueen, have visited archives and museum collections for inspiration, reinterpreting the past for the present. Seeing a dress in a photo is a very different experience from feeling the weight of the fabric in hand, examining the details of cut, construction and embellishment, considering the relationship of the garment to the body, or searching for evidence of how the garment was worn, used, or altered over time. Art historian Jules David Prown put it this way, artifacts are primary data for the study of material culture, and therefore they can be used actively as evidence, rather than passively as illustrations. And so, very early on, even when the collection was barely accessible and I was uncertain as to its viability, I began to visit classes and talk about object-based research. I would often begin my talks with this beautiful quote from Christian Dior. We invent nothing, we always start from something that has come before. In terms of discussing methodology with students, I would reference the seminal article on material culture written by Jules David Prown called Mind in Matter, an introduction to material culture, theory, and method. I would methodically work through the article, reviewing in detail his three key steps of description, deduction, and speculation. In spite of my best efforts and others on faculty, we found that many students would produce accurate descriptions of the garment or accessory, but seemed unable to go beyond that and ended their analysis at speculation with a string of unanswered questions. It did not seem to matter how much time or care I took to reinterpret Prown for them. The analysis was almost always superficial and few had any idea how to relate their findings to theory. From my perspective, using Prown seemed to discourage students from using artifacts in their research process. Another observation that I made was that students would often take a quick series of photos and think that they were done. Slowing down to look, to really look and interpret the evidence was not happening. As well, I noticed that many seemed to be anxious or uncertain what to do besides taking photos. It struck me then that there had to be a better way and that is when the checklists were born. In creating checklists, I was writing down steps that I would do without thinking, but probably would not be obvious to someone who had not worked in a museum before. It was in the fall of 2013 that I met Emily Artisone of Bloomsbury and after talking about my work at Ryerson, she suggested that I write a proposal for a book that would serve as a practical guide on object-based research and fashion. I promised Emily that I'd think about it in due course, being busy with other things. And then one night a few weeks later, the entire structure of the book came to me like a dream. I got up in the middle of the night and wrote the whole thing down. I decided to show the proposal to Alexandra Kim, a former curator at Kensington Palace. She had moved to Toronto and we had worked on a number of projects together. She liked the proposal very much and encouraged me to go forward with it. Having not written a scholarly book before, I thought it would be a good idea to ask her to be my co-author and she signed on. I must bow my hat to her for her willingness to take direction from me. I'm a hardcore perfectionist and I wanted the book to read as one voice to be accessible to a range of audiences, not only scholars. Although the dress detective is an academic text, I wrote it so that anyone, scholar and layperson alike, could learn something. One question that Alexandra Kim asked me very early on was how had I figured this out? I think the secret behind my ability to see what others might miss is in part due to my training in art. I believe it is in learning to draw that one learns to see. It was actually through art that I came to study costume history. When drawing, one is constantly having to establish relationships between parts. In figuring out the length of a ruffle on a shoe to the toe box, close attention is required. To draw with accuracy, one has to slow down and look, really look. For me, time slows down when I draw and that is the basis of my approach to studying artifacts. I call it this slow approach to seeing. I encourage researchers to draw even if they do it badly. It slows down the process and helps to reveal the subtle details that take time to be uncovered. I also believe anyone can draw and it is not about drawing but rather about the looking. I also have led groups of graduate students in drawing exercises, insisting that they draw, even in classes on such unrelated topics as oral history and ethnography. And with the rare exception, their skills of observation seem to improve quite dramatically. And even if there isn't time to draw, committing to careful and systematic looking makes the difference to the results. Last year, I knew I was really onto something when the Rijksmuseum introduced an initiative to encourage visitors to draw. And this was several months after I had submitted the book manuscript. This recent screen grab from the Rijksmuseum reads, in today's world of mobile phones and media, a visit to a museum is often a passive and superficial experience. Visitors are easily distracted and do not experience beauty, magic and wonder. That's why the Rijksmuseum wants to help visitors discover and appreciate the beauty of art and history through drawing. So start drawing. And that's my mantra as well. So let's dive deeper into the book. The dress detective is the first practical guide to analyzing fashion objects, clearly demonstrating how their close analysis can enhance and enrich interdisciplinary research. The book outlines a skill set that has, until now, typically been passed on informally. The process of studying a dress artifact can be divided into three main phases, including phase one of observation, just capturing the information from the dress artifact. Phase two, reflection, considering the embodied experience of engaging with the artifact to identify changes in cultural beliefs, uncover researcher bias, and locate contextual material. And the third phase is interpretation, which is linking the observations and reflections to theory, in other words, telling a scholarly story. The observation checklist in the dress detective is a way to systematically work through the analysis of a garment. There are six sections addressing aspects that are unique to dress artifacts, including construction details, textile characteristics, inclusion of labels, and elements of use and where. There are 40 questions in total. The checklist begins with a general section that encourages a student to think broadly and take note of initial impressions before becoming overly concerned with the details. Then the idea is to methodically work through the questions of each section with the most subtle and difficult parts of this detective work left closer to the end. Before the appointment is over, the checklist alerts the researcher to ask about other garments from the same donor or same designer, as well as request supporting material that may be available, such as provenance records or photos. Question 30 asks, is there a marking inside the garment that indicates the specific owner of the garment, such as an embroidered initial, name tag, or laundry mark? For example, this cotton petticoat from 1890 includes the embroidered signature of Elizabeth Hughes, created with a bold red thread that suggests a vibrant young woman. She did this through all the petticoats that were donated in her name. Where the need for slow looking is most critical is an examination of the garment for details of how it has been used and worn, which are questions 31 to 35. Question 31 asks, has this garment been structurally altered in any way? This 1860s dress has had an extra black silk panel at the front of the bodice, and the waistband of the skirt has been unpicked. These are clues that the wearer was likely trying to accommodate an expanding figure due to pregnancy at a time when maternity wear was uncommon. It is in the reflection stage that I ask researchers to consider their sensory and personal reactions to the object as well as their biases. The reflection checklist includes a list of 20 questions and is divided into three parts that address one, sensory reactions, which are sight, touch, sound, and smell. Two, emotional reactions, which are intended to unlock researcher bias, and three, contextual material. We might not be conscious of our personal and emotional involvement with the history of the object. It is there, implicitly coloring our observations and the results of our researcher. Since each of us has a cultural stance that reflects the age in which we live in. Unconsciously, we make assumptions and judgments about class, gender, religion, politics, occupation, age, ethnicity, and sexuality during the course of our day. And in order to be objective in our research, we must acknowledge these assumptions and work to overcome those distortions and biases. In terms of contextual material, this series of questions is designed to encourage the researcher to seek out imagery, written text, and other objects that can be linked to the artifact in some way. Question 15 of the reflection checklist asks researchers to identify similar garments in other collections. Many museum collections are now online and this step is relatively easy. For example, a search for Dior garments on the collection portal at the Metropolitan Museum of Art revealed that the Dior ensemble on the right was from 1955. Both of the garments that you see on the screen were likely from the same collection since they used the same tweed. And thus, in finding this image, we can visualize what the matching skirt to the jacket on the right might have looked like. Question 18 asks researchers to consider whether there are any photographs, paintings, or illustrations of the garment. Here we see the similarities between a Castle-Beijac Unisex tunic from the 1970s and a similar type of tunic was worn in this medieval portrait from the 15th century. Question 19 of the reflection checklist asks the researcher whether this garment or others like it has been referenced in documents such as letters or receipts, magazines or novels or other forms of written material. This wedding slipper is one of a few artifacts in the Ryerson collection that was accompanied by a letter from the donor. The letter revealed that the shoes were worn to the wedding of Miss Mary Lawson to Mr. Edward Dowling, a telegraph operator in 1889 or 1890. The shoes are relatively unworn, indicating that they were probably only worn once for the wedding. The dress that she mentions in the note, the pale gray long satin dress, did not survive. Interpretation is the process by which a researcher links together all the evidence gathered during the other phases of research and creates an analysis as to its meaning. As one of the most challenging steps of the object-based research project, it is difficult to articulate the course of action definitively since the goals of each researcher are different. And for that reason, this section does not include any checklists. This stage of the process is both imaginative and highly creative, requiring the researcher to assimilate the knowledge gathered in other phases of the process to find patterns, make conjectures, and draw conclusions. Dress artifacts are unique. They are complex composites of material and cultural values. Reading a dress is like reading a painting. Both can be undertaken with precision, but the interpretation is subjective. Ultimately, the researcher must be creative, but also vigorous in interpreting results. The dress detective includes seven case studies that offer examples of how this interpretation phase may work, providing evidence from a garment used to unlock the narratives and cultural beliefs that were embodied in those artifacts. The seven garments that were selected were meant to offer a representative sample of fashionable western dress that might be available to fashion scholars, as well as addressing a variety of research questions. These objects were sourced from private collections, as well as the Ryerson collection. This beautiful yellow wool police with lilac silk lining is dated to about 1820 and comes from a private collection in the UK. There were no details about the original wearer, but the garment can be used to consider the identity of the wearer. Since it is handmade, it can also be used to discuss the production of fashionable garments prior to the invention of the sewing machine. And it can be linked to similar garments seen in fashion plates of the time to consider the dissemination of fashion in the early 19th century. One of the artifacts that is most often requested for research appointments is the corset. This undergarment is considered one of the most controversial objects in fashion history and is a continued source of fascination and inspiration. Although this corset from a private collection is relatively plain, it features a number of technological features that allowed greater ease in fastening and adjusting them, including the metal eyelets at the back and the slot and stud fastenings at the front. As a case study, the corset is made in a multitude of ways, some of which are shown above. Although most museum study collections privilege the dress of the elite, examining working class dress also offers insight into the dissemination of fashion and dressmaking practices. This brown velveteen and wool bodice is modest, but is stylish with its high, tight collar and full sleeve heads in the 1890s. This bodice illustrates both complexity in care and its construction and could also be used to consider the realities of making and wearing fashionable dress by the working class as compared to the idealized version presented in women's fashion magazines of the period. Men's wear is often underrepresented in museum collections. This case study uses a man's tailcoat and trousers from the Ryerson Fashion Research Collection that came without any provenance information. The tailcoat and trousers are made from a fine black wool woven with a delicate stripe that have been dated to about 1912 to 1922. There is no surviving vest accompanying the suit. This ensemble offers a range of possibilities for interpretation. The very fine wool of the suit suggests that it was a bespoke suit and as such could be used to consider how concepts of formality in class are expressed through the subtleties of men's clothing. The emotional poignancy associated with wedding dresses accounts for their very high survival rate in museum and study collections. However, in the case of the wedding dress and headpiece by Lamvam, someone did not know the significance of the Lamvam label and the dress was substantially altered. In fact, it was such a dramatic alteration that it was very difficult to date and authenticate the dress. The degree of alterations limited the interpretation range somewhat, but it was a dress detective challenge that I enjoyed very much, especially as it involved visiting the storage facilities of the Musee Galliera to compare early Lamvam wedding dresses in their collection. This ruby red jacket by Dior has a very distinctive pocket detail that made it very easy to date to Dior's collection for fall, winter, 1949. This stunning photo by Louise Dahl-Wolf was published in Harbour's Bazaar in September 1949 and with the help of this society I was able to secure the very expensive rights to include this photo in the book. Without this image it would be impossible to convey the effect of the ensemble as a whole, since Ryerson does not have the bone-thin pencil skirt that was designed to accompany the jacket. But even without the skirt the jacket offered a range of possibilities for interpretation, including the historical referencing of fashion as seen in the cuffs which mirror the 18th century as well as consideration of Bourdieu's Theory of Habitus with the embodied experience of wearing couture. The final case study in the book is of a jacket designed by Kenzo for fall, winter, 2004. This jacket with its widely sleeved and unfitted shape adopts elements of the kimono and uses a mixture of fabrics which is a distinctive signature of the Kenzo label. This jacket, which is one of several hundred items that were donated to Ryerson by the family of the late Kathleen Kubash offers the chance to interpret her sartorial choices and this was a runway photo that I was able to purchase with this society's help. Now I suspect Mrs. Kubash would not have worn her jacket or her breast exposed as it was styled on the runway but having this photo gives an impression of the designer's intention. As well the designer's eclectic mixing of fabrics and the spirited blending of stylistic and cultural references could be used to articulate the concept of post-modernity in fashion. What the dress detective aims to accomplish is to minimize the anxiety and confusion by articulating a systematic approach to examining dress artifacts. Since the book was published I've also tested the checklist on costume artifacts such as a ballet tutu and it works equally as well. Next month an article in the American Journal Dress will document my dress detective analysis of a ballet tutu from 1953 which was worn in an obscure ballet by Anthony Tudor called Gala Performance. In closing my talk today I'm happy to report that the book has had a very positive reception from readers since it was released in November of last year. Yesterday I gave a workshop on object based research and a public talk at the London College of Fashion and it had a very positive response. And I believe that the book has recently been added to the bookstore at the Victoria and Albert Museum. I've also heard from Bloomsbury that the book has sold through Europe and into Japan Singapore and Australia and if Amy Dillehay's prediction comes true it shall become a seminal text. I'd like to express my deep gratitude to the society for facilitating the publication of the dress detective. Members will feel that this book project was worthy of the Janet Arnold Award. Thank you.


From the ID4 and 14 to the feature-packed ID44, Audient have impressed us with some high-quality Mk2 versions of their audio interfaces, but with the sizeable gap in specs up to their flagship model, that is until now. Hi folks, I'm Mike and I hope you're well. I think everyone agrees that it's the quality of the preamps on the ID range of audio interfaces from Audient, which set them apart from some of the other audio interfaces in a similar price range. So with that as a starting point, it really comes down to which features you feel you need and what you can afford of course. Now there's actually quite a big gap in features between the ID14 and the flagship ID44, which is why I think the new ID24 is going to be a welcome addition to the family. However, I feel that Audient have missed an opportunity here. We'll talk about that later, but first of all, let's take a look at the specs. The ID24 is a 10-in 14-out 24-bit interface with sample rates up to 96 kHz. We see one of its inputs on the front in the form of a JFET instrument input, a nice place to add a little bit of analog color to things like electric guitars. This overrides the regular input one that we'll see in a moment. Also on the front we see some dual headphone connectors, but it's on the back where the real action is. This is where we see our two main analog inputs in the form of combo connections for XLR and quarter-inch jacks. And it's next to these that we see the first big step up from the ID14 in the form of two sends and returns, more on these later. To the left, we see our four balanced line-outs, and next to these we see both ADAT-in and ADAT-out, bringing us up to the full complement of 10-ins and 14-outs. The word clock connection here helps us with getting multiple digital devices in sync. And finally, we see a USB-C connection to connect up to the computer. Note we don't have any separate power connector here, as we get that from our host computer via USB. On the top we have our main gain knob for each channel, 48 volts of phantom power for microphones that need it. We also have a 10 decibel pad and a low-cut filter. To the right we have our main encoder for volume. We also have an ID button, which allows that encoder to behave like a scroll wheel. We have a configurable dim button and a cut button to mute. We also have a dedicated headphone volume control and three assignable function buttons. All of this is supported with software for us to mix our various inputs and outputs for our master mix and two Q-mixes. We can also easily assign functions to our function buttons by right clicking them here. Diving into our system panel, we can route all of our outputs in various ways and set up the talkback feature. And whilst we don't have a dedicated talkback mic, we can either use one of our various inputs or assign it to something like an internal mic on our laptop. Note that we can also configure levels for our dim control and additional outputs here. So where does this sit in terms of the current range of ID audio interfaces? Well they all use the same class A audio mic console preamps and they're all built like tanks with their metal casing, metal switches and nice quality connectors. But I actually think that the ID24 sits a little bit closer to the flagship ID44 than it does to the ID14. I say that because the main noticeable difference is in the number of inputs. The ID24 has two out of the box whereas the 44 has four. However, it's still very expandable via ADAT in and out as well as word clock to keep them all in sync. It's a pretty serious piece of gear in this way. Now I should also mention there's a difference with the headphones. With the ID24 you've got the same mix for both headphone connectors with the 44 you can actually have separate mixes for each individual headphone out but that may not matter to you as you expand and start using things like headphone amplifiers. Another thing it has which is great is the sends and returns. This is going to enable you to insert outboard gear like compressors etc into your recording chain and if you just use the return part of it you can actually bypass the onboard mic preamps and use some of your choice. That's a pretty advanced feature. Now in one way it's a little bit better than the ID44 in that it's bus powered via USB so you don't need an external brick to power it which makes it a little bit more mobile but I still think the Audient have messed up in one way. So as I say I reckon the ID24 sits a little bit closer in terms of spec to the top of the range ID44 than it does the ID14. But let's say for argument's sake that it's kind of halfway in between so it should have a kind of a halfway in between type of price right? Well currently the ID14 sells for $299 on sweetwater whereas the top of the line ID44 sells for $699. So a halfway price point would be around about $499. I think it could be worth more than that but halfway is $499. So I was a little bit surprised to find out from Audient that this is going to be selling for $399. A whole $100 cheaper than I think it should be. Audient I think you missed an opportunity here it's too cheap but hey we're the winners you keep doing what you're doing. So it's really a no brainer you've got great features out of the box but the main thing is you can expand it so that ends up being the hub of a really sophisticated project or even professional studio. Now I mentioned a couple of times about the expansion. If you want to find out exactly how to do that using ADA watch this video right here where I tell you exactly what to do.


Hi, I'm George cow and today I am with Kim Coleman and we're going to talk about a topic that is maybe a little bit difficult but important for so many people and that's the topic of Trauma and how do we deal with? painful experiences that we have been through or witnessed and Kim has just a wonderful and gentle way to help people through that so first of all before I go any further I just want to say thank you Kim for joining me for this Hi, thank you George. I'm really excited to check with you today. Yeah, thank you So Kim is a client of mine, and I just thought that she would she has some valuable wisdom to share with you all So let me first begin with her bio I'll reach her you know share with your background and then we'll get into this topic of how do we how do we work through? Painful experiences in a gentle way. All right, so here's Kim's bio Kim Coleman is an online counselor and coach who specializes in helping people work through trauma and stress in a Blind and gentle way she has over 10 years of experience working in this field and Even three years of doing volunteer work for the South African police service trauma unit Kim works with people who have been through an event that caused them great stress and helps them to understand what happens to the body In times of stress and trauma as well as finding and clearing the triggers that are associated with the event She not only provides counseling for the event But she also gives coaching to help people move forward with confidence to reach their visions or goals She walks the path together with them in simple small doable steps that allow them to quickly see Their success and they're thereby boost the momentum. So great to have you here Kim and Maybe you can start by by telling us. Why is it important? You know what one of the you know, you talk about Working through trauma and stress in a kind and gentle way and how is that different I guess then How people usually work through trauma or how they might imagine working through trauma? Yeah, George, I think that you know, I Kind of say, you know You a traumatic event You know, generally people it's something that They don't want to talk about or it's painful and we you know, we kind of think okay. Well, you know, I'm doing okay We try and be like an ostrich and we stick our head in the sand and we hope it's going to go away or we stick a band-aid on and We don't we don't want to rehash these painful memories, but if we don't try and clear the emotions or these triggers are going to come up and trip us up and There are there are ways to work through them where we don't have to rip that band-aid off We can kind of take it off gently without making it painful And it is it is vital to try and clear the emotions That are attached so that those triggers don't catch us Because you know, they could catch us 10 years further along the line All right, that makes sense and so You know, what's like the first step that someone should do when they are wanting to recover from a traumatic event? So the first step I would I would I would encourage somebody to do is you know Everybody says once you've had a traumatic event. You need to go and talk to somebody And if I can just share that was my How I came about being really passionate about this is I went through my own really traumatic event Where I had a home invasion. They came in they tied me up they beat me up and they shot my husband and That in itself, you know, you then go through the trauma of you know, giving police statements And everybody says okay now you need to go and speak to somebody about this because you have to get over this and you have to heal Once you've been through something like that The last thing you want to go and do is rehash your story to somebody be traumatized again So you just rather don't talk to anybody about it but if you don't clear those and Those emotions or those triggers that are going to keep coming up It is going to cause you stress And if you can't find a way to release the stress or release those emotions they're going to cause you more stress and health problems along the way, so it is so important to clear those and you know, that's Made me look for ways To be able to help myself So that was my whole journey to find ways that people could seek help which was kind and gentle that wasn't going to re-traumatize them Wow, that is what an amazing experience you went through What what happens physiologically to the body when when someone is going through trauma like is that something we need to be aware of? Yes, absolutely. So this was this is one of the things that I when I work with my clients is I try to If one can understand What actually happens to the body? It helps you to many times when people have been through a really traumatic experience They beat themselves up because they say gee, you know, I should have done this or I could have done this So why didn't I do that? So that plays quite dramatically and Other people judge, you know, or you know, you should have done this or you should have done that So if we can understand what our body does in the moment And you know, our body is there to keep us safe. So if we understand the stress process of what actually happens When something is going on obviously our eyes and our ears or our receptors, they sense something's going on And the amygdala is a part of our brain That contributes to the emotional processing. It sends a distress signal to the keepers of campus part of our brain and that's the area of our brain that functions like a command center and That communicates through the rest of our body through the nervous system So what that does is it activates all the hormones and it sends it releases all these hormones through the body and The result of that is it pumps More blood through the system gets your heart racing pumps more oxygen Enables you to breathe. You can hear better. You can see better. So that's actual physiological process Which our body does for us and it allows us gets us into that You know, we can run faster. We can fight. So it's a whole physiological thing So that's actually real and it's in split seconds. So we we actually not in control of that So if we understand that process, that's one process and we never know how we're gonna respond in the moment So that's the first process that we need to understand and that's and if people understand that that's normal That's nothing that we have control over The second process to understand is once that's all happened And and you know in the situation there is an emotional Thing attached to this which is an emote all the emotions of fear and So there's many emotions But there's a whole physiological side of it where the body has had all of these hormones rushed through it And it's there to keep us safe. Let us run But once all these hormones have come through our body the immediate after effect is you know, we Maybe we can't sleep. We have insomnia. We can physically have diarrhea. We can physically be ill We can lose weight. We can gain weight. So those are all the physiological sides That we experience and there are actually real so if people can understand that as well They can understand that these are actually real symptoms that they're going through So putting those two into into perspective The other thing that I wanted to chat about is you know when people hear the word trauma They often say, ah, you know trauma they often associate the word trauma is that's only for people that have had really Hectic stuff happen to them. Those are for war veterans or those are for people that have been You know really badly traumatized and when we talk of the word trauma, there's the talk of I Don't know if you've ever heard about people talk of big tea traumas and small tea traumas So I can just explain what the two differences are when we talk of a big tea trauma That's normally when somebody's life has actually been threatened. So for me, I had a big tea trauma in my life was threatened It would be in a really bad car accident or if there was a earthquake or something like that And yes, people are really traumatized in those but when we talk of small tea traumas You know, those would be if you were witness to something like that Or could be something from your childhood, but those are equally traumatic to people So a lot of people when they say, okay. Well, I've been through a trauma, but it wasn't that bad. It doesn't mean that You know, it's That that they don't need help So, you know, it's equally In need of some attention That's helpful. What about um Experiences with like relationships or with career I guess that would be Especially if you know one's life wasn't being threatened in danger, but it was like a like a really serious, you know, breakup of a relationship or You were fired from your job or humiliated at work. Would that be considered small tea trauma or Yeah, correct. That would be a small tea trauma and you know equally it's For that person it is a trauma and um, you know, they would need to address this multi trauma and be given The equal amount of attention And care and kindness as if a person had had a big tea trauma So it is just as valuable Yeah, and this is this is also applied to um grief so losing somebody uh, is that Yeah, correct. Absolutely. So that's absolutely a small tea trauma and Um needs to be dealt in exactly the same way.  So, you know, I don't really need any any assistance, but You know, everybody does, you know, for me It's so valuable that people do get the help that they need And can just clear the emotions around that And and understand that it can be done in a gentle way And what are some of the exercises or tools that you use with clients to clear these emotions and you know So one of one of the tools that I found works really well is I use EFT Or tapping. Yes. Um, and this works really well in Actually working with the emotions surrounding the trauma to clear the intensity and to bring the Yeah, to bring the huge intensity down on the emotions surrounding that EFT in short is it's emotional freedom techniques or tapping and it's almost like um acupuncture And yeah without using needles And um, it's basically working on the pressure points and they would just be tapping with with with the fingers um, it's Really simple technique that we use. It's totally Uninvasive it's used, you know with the clothes on It's a tool that we teach that I teach the clients And it's a skill that they use that they can do ongoing for themselves Um, so that's a very powerful tool to bring the emotions down um, and I also once we've brought the emotions down we can then try and identify the triggers That is triggering on these events and once they are once we've lowered the emotions we can try and look at the triggers and then Work around these often we have to work around the triggers um, and Once you've tried to work around the triggers um, and if I can just relate back Um or to my incident So when I before I was attacked I actually Went downstairs to make a cup of tea So my trigger at night was every time I went to make a cup of tea to go downstairs to make a cup of tea That was immediately my association Was going downstairs to make a cup of tea um So to take that trigger away from me what I did was I took a kettle upstairs So I was still able to make tea at night, but it wasn't my association of going downstairs to make a cup of tea So it was a very simple change of their trigger um So it's almost like Moving around the trigger so that I wasn't triggered anymore. So it's working around those triggers Yeah, that's uh, that's a good example. Um, you also have worked with Clients on these things obviously Is there any other kind of example that you could share with with us on how you help the client? Find or kind of clear these triggers There was another very powerful. Um, so as you went back before and you you say I've I volunteered with the South African police services um, and I did three years volunteer work Where if there was a crime scene they would call us on scene um And I used EFT there, um on a lady who had just been robbed and tied up um, and It was immediately to try and Calm her down because she was in a really bad bad state of shock So EFT was can be used To immediately calm you in an emotion of extreme um state of shock And this you know the police were trying to question her to get a statement Which was valid because they're there to do a job But as she was sitting in her chair She was just literally falling asleep and that again if I can relate back to She's had this incident the body flooded her with all these hormones So all these hormones were going around her and the effect was like as I said, you know You have insomnia and you have diarrhea. So they were just making her go to sleep So she couldn't help her state because that was physically what was happening to her So with EFT what I did was I asked permission if I could Hold her hand and touch her which is essential and I just started tapping on her points Um, and she was actually able to sit there and be awake and be present And she gave the most incredible statement to the police that could question her And at the time I was absolutely gobsmacked. She described The clothes that they wore down to the makeup shoes that they had on down to the hats they wore Which I was just amazed because I know when I was questioned by the police I mean I I couldn't even really when you're in such shock to try and say what color hat they had on what color shoes So it's just incredible how something like that can just focus you Um and bring all your attention. Uh, it's just incredible. Absolutely incredible. Wow That's a great. That's a great example Um, are there any other tools that you use with with clients to to help them heal from these things? The other thing I really like to do is once the clients have um Once we've tried to um Clear their triggers the one thing I really like to Um bring to mind is that you know, once they've gone through something like this You know, they've been through a negative incident to try and find a positive There's always something positive in In an even though it was a really bad experience There's there is a positive art of it. Whether the positive been, you know, you find that you have a great support structure um Or you have a bond or you find something is Is to focus on a positive art of it um And build on that positive Um, the other thing that was is very empowering as well is that you were a victim of that moment for that second But do you want to be a victim of that circumstance for the rest of your life? um No matter what the circumstance was, you know, if for example, it was A harsh robbery or whatever they, you know, they had a moment of your time But do you want to give those people a rest of your life? um and you know For me, that was the most empowering thing is that I'm not going to give them another minute of my time Um, and that is I like to empower them with that um some of the exercises I like to Is I like to give them some sort of confidence building or gratitude? I get them to do a gratitude journal um And that builds their confidence um I also find that They focus a lot on the negative because our negative our brains are very attuned to grabbing onto the negative and when we're in that state We are always going to the negative what it was so bad So to try and train their brain into seeing the positive things um So that's one thing I try and get them to do Um, I make sure that they have a way to express their anger because there's always a lot of anger Um, and it's not good to stall that anger inside. There's got to be a way to to get the anger out So in some form of exercising or journaling to to channel the anger is really important Um, I also make sure they have some sort of resource or sort of anchoring image That they can hold on to um In some form of safety or comfort um in those moments um And uh, I'm just aware of the time and I want to make sure you have a chance to share How might people work with you if they're watching this or listening to this and they want to they want to reach out to you for some support And uh, what what what service do you offer for those who are who are going through these kinds of things? um, I'd like to encourage people to um go to my website contact page um And um in the website, I just want to make sure people know it is colman kim dot com. It's c o l m a n k i m dot com so colman with a c colman kim dot com Slash contact. Yeah, and I'll be sure to put the link in the notes of the video Yes, correct. Um, they can just connect with me there. They can ask me any questions or request a complimentary call and I'd be happy to chat with them um and um I've gotten an upcoming offer for november where i'm offering a 40 discount on my one-on-one sessions um, and I've I'm extending this uh Now for the month of october as a bonus for the interview call Very wonderful. So um, if anyone is feeling connected to what kim is saying and you know that you've got some Some trauma big t or small t trauma to to work through from your past so that you can have more freedom from it and move forward in a more More courageous and and a positive way then I recommend that you give a give uh kim a contact and and have a conversation with her and And see how she might be able to help you So kim, thank you so much for your work. Is there anything else you want to share with us as we as we close No, that's it. Thank you so much George. It's been lovely chatting to you. Thank you so much. Thanks kim. Thank you


Hello everybody and welcome to kubecon and cloud native con europe 2022. This is the kubernetes sig windows maintainer talk and today we're going to be giving some project updates and to talk about windows container users and also some updates on kube proxy next gen. Let's introduce ourselves. I will start my name is mark Rossetti. I am a software engineer at microsoft. There's some contact information for me too and I am the co-chair of sig windows. Next up is brandon. Hi, I'm brandon. I am a product manager at microsoft working on pretty much all things containers and kubernetes. Also have some aliases there and always feel free to feel free to take time and reach out to me. Hey, yeah, it's jay. I work with mark and claudio on the sig windows side as a lead on the sig windows project and I also do some things in sig network as well. I work even more. Hello, my name is claudio velo. I am from cloud solutions and I am working as a cloud engineer on kubernetes and container d and I am working together with mark Rossetti and jay vias as a tech lead for sig windows. Thank you. So here's an agenda of what we're going to be covering today. First up is some project updates. Start with improvements to gmsa or group managed service accounts. Since the last maintainer series update, here are some updates for gmsa. First one is what we're just calling v2, but that really is just a way to use gmsa identities in containers without requiring that the host be domain joined through the use of a container credential guard plugin. This makes it much easier to manage your windows nodes because you don't have to worry about joining them to the active directory domain before joining them to your kubernetes cluster. We have support for this in the admission web book that's part of the windows gmsa project linked here and support was added in version 0.3.0. We also have a reference plugin implementation available on github. This reference plugin is using an azure key vault to store the credentials for doing the domain off on behalf or in place of the having the node be part of the active directory domain. And then there's more information about how all of this works under the hood at the link provided below. The other big update is we now have a helm chart used that's used to deploy the all of the gmsa work that you can find in the same windows gmsa repository. Please check that out if you're interested. The next update is this pod os field. I think we've mentioned it at one of the last cube con talks. Now this enhancement has been promoted to beta, so it's on by default. A couple of notes here that this is not currently used for scheduling. So you still will want to apply node selectors, taints, tolerations, runtime classes, or however your cluster is steering windows containers to windows nodes to make sure that they do land on their correct node. Some of the big benefits of specifying the pod os field in your spec, there's some usability, some big usability improvements most notably if your windows containers accidentally land on linux nodes. Previously, you used to see some pretty, I'd say, convoluted error messages just saying that your image failed to unpack. And usually this is one of the first issues that people who are first experimenting with windows containers in a Kubernetes cluster run into. It's really not obvious what's going on there. But now you get this nice error that just says, you know, the pod failed because you meant to schedule a windows container, but it landed on a node of a different operating system. There are a lot of other improvements or functionality that happens at API validation too. If you're interested in that, check out the Kubernetes website for more information and full docs on that. Last update I wanted to give was on this operational readiness specification for windows nodes or what we're kind of, what we're calling windows conformance. Today, there's no good way to validate that your windows node is set up correctly when it's joined into a Kubernetes cluster. And this solves that. So what we've done here is we've wrote a bunch of tests that help validate the configuration of the windows nodes and bundled them up in a Sonobu plug-in to make it easy to run. This tests just things like making sure your network, like your network rules and everything are set up correctly, making sure your defender has the correct settings, all of that kind of node level configuration work that isn't tested by any of the Kubernetes IDE tests. There's some links in a video with more information here too. Next, I'm going to hand it over to Brendan and he's going to give a deep dive on how container users actually work in the windows operating system. Brendan? Thanks, Mark. Yeah. So one of the most common questions we get from the community is how user accounts work in Windows Server containers. So I'm going to spend some time today to provide an overview of how all this works. So to start, we need to first get a grasp on how Windows Server containers are built in the first place. Remember, Windows Server containers sandbox the entire user mode portion of the OS. Because they share the host kernel, they don't need to run through the kernel init process. On boot, after configuring the OB namespace, file system and registry, an entirely new instance of the session management subsystem or SMSS is created. SMSS manages the startup processes of all of the user sessions of Windows performing the same actions within the container as it would on the host. Next slide. So why do I mention this? Well, when talking about user accounts in containers, it's important to understand the isolation properties of containers they're running in. Unlike virtual machines that virtualize at the hardware level, containers virtualize access to various namespaces, and a namespace provides access to information, objects or resources via a name. The security of a Windows container is derived from the degree of sharing that occurs with its host. The security boundary of a container is constituted by the isolation mechanisms that separate the container from said host. And most importantly, these isolation mechanisms define which processes in the container can interact with the host. So looking at this chart here, we can see where on the isolation spectrum the different container types lie. While the design of Windows Server containers differ vastly from Linux containers, they offer similar degrees of security and isolation guarantees. So you can see on the left there, we have just regular processes on your system. They have direct access to the host and directly work with the scheduler and the OS and have access to all that information that are only limited by user accounts. Whereas on the other side, we have hardware-based virtualization, which totally separates a kernel, user space and everything else from the original host. Next slide. So Windows Server containers by default offer two user accounts, container user and container administrator, each with their own specific purpose. These user accounts are only visible to the container. The host does not have any awareness of the container user accounts as they're managed using a virtualized SAM database within the container. Container accounts can be created while running or during build time and be stored within the SAM database before deployment. So because each account exists purely within the container, the host is unaware of user accounts that exist within each container. The alternative is true as well. Containers have no visibility into the user accounts available on the host. This high degree of isolation is one of the benefits of being able to run an entire copy of the user mode OS in a dedicated space. The caveat here is that if the host ever shares resources with one or more containers, it's possible to hit conflicts between user and group SIGs. Mounting volumes with specific container user access rates is not possible under this model. All container accounts will be able to see what their well-known group membership allows them to see. So here we kind of have like what I would call a sphere of influence, where the container administrator doesn't have access to pretty much any of the resources on the host unless we explicitly allow it. And both, but the interesting thing here which kind of refers to the architecture and design of Windows versus Linux is both container administrator and administrator are members of the same administrative group because they're built in a way that they assume isolation from one another. So the administrator is part of the built-in administrators group that exists on the host. It's the same SIG as the built-in administrators of the container administrator, but it's all relevant to the scope in which they have access to. Go to the next slide. So let's go dive a little bit into each specific account. So the container administrator account enables you to use the container for administrative purposes, installing services and software such as enabling IAS within a container, making configuration changes and creating new accounts. These tasks are important for several IT scenarios that may be running in custom on-premise deployment environments. By default, container administrator does not have the ability to interact with the host. Any direct interaction must be first granted explicitly by an account of higher privilege on the host. Despite its name, container administrator has very few privileges enabled by default as we can see here. As the account does have several powerful privilege granted to it though. So this emphasizes the need to one, limit usage of the account to only trusted workloads, and two, ensure trust in the source of the container image. The container administrator account can install services and perform administrative functions within the container that persists across the build and deployment cycle. Even if you enforce a policy and production to run workloads under low privilege accounts, untrusted container images can use the container administrator account to install administrative services that can still run with high privileges on boot. Granted, the impact of these services will be limited to within the container workload unless access to the host was explicitly given. Next one. The container user account exists for all of the scenarios where administrative privileges in Windows are not needed. For example, in Kubernetes, if the user is container administrator and the host volumes are permitted to be mounted into the pod, then the user could mount the .ssh folder and add a public key. As container user, this example would not be possible. It is a restricted user account designed purely for applications which do not need to interact with the host. I strongly recommend that when you deploy a Windows Server container to any multi-tenant environment, that your application runs via this account. Container administrator and the container user operate on opposite sizes of scale when it comes to granted privileges. If an application needs something with more specific access, then a custom user account can be created with a set of specific privileges granted to it. Customer user account creation works just the same in a container as it does in the host. Only the account information is stored in the virtual registry and file system. By default, container administrator and container user are passwordless accounts. If you create a custom user with password credentials, these will need to be specified when starting the container. When you are using container administrator and you try to create a custom user while you are running the container or you do it from the Docker file or such, the changes you make, the accounts you create and everything will be stored at build time. You can store these custom user accounts within the container. When you want to run in the cloud, you can run with these specific accounts which have highly specific configurations and privileges that are tuned to the needs of your application. This gives you a lot of fine green control over what the container has access to and what the capabilities of the container are. It helps you restrict your security attack surface to the principle of least privilege. If you have any more questions, we are always available to talk about these things and dive deeper into your specific concerns. Now we will hand it off to Jay. Hey, everybody. This is a project originally created by Mikhail Klusso. We over at SIG Network and SIG Windows have found that it is solving a lot of potential long-term problems, both for Windows and for the broader SIG network community. The idea, my beautiful Myro board diagram over here, is that you have the kube proxy. It breaks the kube proxy into two separate pieces. One part that is like a brain that talks to the Kubernetes API. That is the kube to store thing on the left and the top. Then it can also sort of, and as it takes in information from the Kubernetes API, it can feed that over GRPC to a back end sync, which in the Windows scenario is a go-lang program that writes HNS load balancing rules. That is how the kernel space windows proxy works now, or a user space proxy that does NetSH rules and things like that, or whatever you want to do. The KPNG Windows work is now underway, and we have about 70% ported over to run in KPNG in this new architecture, so the Windows kernel space work. I have been hacking on that with a meme, NABN, and Doug Landgraf for a while. We have got it sort of compiling, and we have got the old code working inside of the KPNG framework as shown over here, and it is not fully working with the endpoints and everything yet. That is the process. Once we get kernel space windows proxy working in KPNG, we believe that we will have a new kube proxy that is totally modular that we can use for a lot of different use cases, and even entirely replace the kube proxy entry, which is the long-term goal of this project. Next slide, please. Yeah. If you wanted to test it, I have a blog post. You can go to my blog at the bottom, and you can just grab that. I will update it. A couple of things going a little lower level and looking at it from the Windows side. Right now, the way we test it and we run it is I am testing it without a CNI. Normally, your CNI, for example, if you are running Calico or entry or something like that, your CNI will go off and do some prep work to set up your Windows networking environment so that you can write kube proxy rules however need to be done. When it comes to looking on the right here, this is an example from Calico. Calico ultimately calls this HNS-PSM module, and that creates an HNS network, sort of manually as you can see in a firewall rule. After that is created, then the kube proxy can get to work and start using those network constructs to write its rules. One of the things we are talking about doing possibly is making the kube proxy for Windows maybe a little smarter so that you don't need to do any initial bootstrapping logic, and maybe it can just write those rules for you initially before startup so that it can just kind of run standalone without having to depend on any CNI or other external scripts to bootstrap it. That is an idea we are playing with. If folks have ideas, please reach out to us on that. Yeah, next slide please. Oh, yeah, that's I think you, Mark. Or Claudio? Claudio. Yeah, next we are going to talk about what's next for Windows and what we have installed for you in the next cycles. Right now, we are working into increasing the performance for HNS. There are certain scenarios to which it might take a bit of time to sync all the rules, especially have a lot of services deployed, and we want to improve the time required to deploy all the necessary rules and configurations required for HNS. Next, we are going to look into host process containers and how to improve its usability. First of all, we are going to add more options for run as users at the moment. You only have anti-authority local service, anti-authority system and anti-authority network service as available users that you can use for host process containers. Add more fine grained scopes for new potential users that you can use. Next, we will look into predictable volume mount paths. At the moment, you basically have to use an environment variable called container sandbox mount point, which is a bit less straightforward to use, which can hinder its usage. The idea is to potentially have a union of host OS and container file systems and to have the payload of the container in a special folder, but only visible to the container itself. CTL logs work. At the moment, if you actually want to inspect the logs from all your deployed nodes, you would actually have to SSH into those nodes and inspect the logs manually. This can be quite problematic, especially if you have a lot of deployed nodes, but instead the proposal is to use CTL logs to get all the logs from the nodes. Those can also be selected through labels or filters or services and so on. This is going to improve how users can debug potential issues whenever a pod or container affairs start on Windows nodes. In that case, you can simply get the necessary logs and inspect them and address the issues if there are any. Next, we are going to look into performance tests for Windows nodes. The purpose of this is to uncover any potential performance or reliability issues that could stem from the cluster being under pressure, for an extended period of time. The idea is to use Prometheus metrics under Windows node exporter to export a couple of metrics which will be useful to detect those issues. Some metrics like memory usage, no storage, open file handers, open processes and so on. Finally, one of the things that we are going to look into is file ACL improvements. At the moment, you could specify file permissions for volumes for Linux containers and Linux pods, which they are not currently applied for Windows containers. While the Windows ACLs are a bit more fine grained, we could potentially map the regular user group another to match the user seed, the group seed and the world seed, and also match the permissions themselves to generic read, generic write, generic execute. And that's what we have planned for now for the next cycle. Next slide, please. Next, we are going to give our special thanks to our community members and to new contributors. For David Schott, for all the help related to Windows network internals, Arvind Puttyaram Bill, sorry if I butcher the names, for all the help with the docs, bug triage, code contributions and more, Jamie Phillips for contributing for the GMSA webhook and including the web, the Helm charts. Ravi Gumi Gudimetla for code contributions and running our weekly CI signal triage meetings. Young Koon Gui for performance improvements to load balancers in Windows Q proxy. Danny Cantor for Windows Container D work and the host process container support, Scott Rosenberg and Tara Sky for work on multi OS cluster and Windows and cluster API providers. Doug Schilling, Michael Clousseau, Amin Naban for helping with Windows kernel proxy KPNG and to the new contributors, Shin Lee for improving for improving GMS state tests and operation readiness specification, Mario Soprin for his work on performance testing for Windows and Christian Glombach for work on the node log viewers enhancements. Next slide. If you want to learn how to contribute to Windows and see Windows in Kubernetes, please visit our Windows committee page, follow the contributor guide, join our weekly meetings, which is every Tuesday at 12 30 Eastern Eastern time and join our see Windows sessions, which are after the main meeting. You can also help us with additional documentation and specific user stories that you may have. You can file bugs and review open PRs on our project board. And we are always welcome to join new people and contributors. You can also drop by and say hello. Next slide. Next we have here the community resources. We can contact the see Windows chair or the technical leads, which is myself, Jay and James. You can also join us on Slack on see Windows. You can group our Google group and you can read the documentation for deploying Windows and having production environments for Windows. You can contribute to Kubernetes itself under the see Windows label and you can also check out the Kubernetes community see Windows repository. You can also check the YouTube playlist which we have all our see Windows meetings and you can join our weekly Zoom meeting at the following URL. Next slide. Now we will await questions. We have the Q&A session.