Hi everyone, Joe for jaspyscasebreaks.com. Always a great moment, a league of their own right here. Jimmy Duggan signs. Avoid the, avoid the clap, Jimmy Duggan. This is the Ravens, Bills, Panthers, Bangles, Chargers, Rams, Vikings, Jets, Number Block, Randomizer, for Flaws Football, first off the line number two. We just sold out, that'll be in a separate video. If you're new to this, that's how it works. Big thanks to these folks for getting into the Baltimore Number Block. There are the numbers right there. Let's roll it, let's randomize it. Three and a four, seven times for each list. And seventh and final time. After seven times, we got Chris down to George. And seven times for the numbers. Seventh and final time. After seven, we got four down to three. All right, so Chris, with four, six and zero, you'll get any and all redemptions for those teams right there. Including one of one redemptions. Danny, you'll get live one of ones. Although, not sure if there's redemptions in Flawless. Chris with five, Danny with two. Chris with seven, Danny with nine. George with eight, Danny with one. George with three. Let's order these numerically right here. There you have it. Break itself, separate video, jaspyscasegrays.com.


Hello, everybody. Welcome back to Esoteric Atlanta. Of course, my name is Bryce. I hope each and every single one of you had a very happy new year. Happy 2023. I cannot believe it's 2023, January 4th of 2023. I am one month away from my 40th birthday and I cannot believe I am almost 40 years old. But anyway, I hope you guys once again had a very happy holiday season. Today in our study of the return of the Divine Sophia very appropriately with the start of the new year, we are starting with the section three in this book called The Return. This section starts on my book on page 391. And before we get started, as always, because we know that the dark ones do not want us talking about this stuff, I'm going to ask for Michael, Gabriel, and all of the beings of the highest light that are here for our highest good and our highest protection to come into this reading with me to help me say the words that need to be said and to guard the reading, guard the equipment, guard the recording, guard the camera. If there are any beings here, human or otherwise, that are not here for our highest good who are here to infiltrate, to try to stop this information from getting out, I ask that Michael and Gabriel please remove those beings. Now, I'm going to make it very clear that I do not consent to any beings, nefarious beings being around me in my home, in my recording. I do not consent. You do not have my permission to be here and I revoke any permission that you think you have by my own wounds or by my own shadow side. My shadow side is a very holy side that I use to work on myself and you have no right, no permission to use that to be anywhere around me or around this recording. All right, with that being said, let's get started on part three, the return.  You are the heart of creation and I am the arrow that flies true and swift to the center mark. I hear your voice, I feel your presence, your sweet divine presence all around me. How can I not serve if that is what you have asked of me? How can I turn away from the face of the divine? I cannot and so I bend my knees to you and in that releasing of myself I become you.  I breathe you, I embrace you and in every issue of every particle moving through the space you embrace me. As we approach the door of the abyss of light, there is only one way to enter with our eyes open, with our hearts open as animations of the divine mother, animations of ourselves, with dignity and nobility and the acknowledgement of all good. Upon this planet and every other planet that we are each joined to the thread of life, the red thread of the grandmother spider, let us spin it out now, let us travel to the rivers of time and space that leads us to ourselves. Tricia McCannon. Chapter 20, Calling Down the Goddess. Mother God of all gods, avatars, and saints. The childish artist who craved to touch her shape. Even the evil ones crushed in your inscrutable heart. Why Sophia, Shakina, hear my prayer. Janine Cannon. She rises like the sun. I returned to the circle at the end of May. Shasta had said that we would spend the day watching a three-part documentary called The Burning Times. We're finally moving this film traced the history of the centuries of atrocities against women. I've seen The Burning Times. As we watched the beauty, loss, and pain of the films, our group of women sat on the floor on blankets holding one another for comfort. Many wept silent tears, and two of the women sobbed openly. When the films were over, none of us could speak.  She gave us time to let this hidden chapter of human's history seek in, and then she began to speak. During the church's persecution of women in the Middle Ages, the archetype that we once knew of the sagely queen or the wise grandmother was dramatically changed by the patriarchy. The original triple goddess was the maiden, the mother, and the matriarch, the empress in the tarot deck. This is the partner of the emperor, the king and queen, who could rule their people wisely. Yet during the Burning Times, women's rights evaporated. They had no legal rights to own their land, even when their husbands had died. So women who outlived their husbands and whose sons had been killed in battle were turned out of their houses and their lands forfeited to the church. This not only overturned the old ways that had once honored women's property rights, but it became a form of property seizure by the church fathers who were intent upon accumulating as much wealth and power as possible. Sounds very similar to what's going on with the deep state. You will own nothing and you will be happy. Are you guys really starting to see how evil the church is? The church is not. The God of the church is not Source God. It's Lucifer. I really hope people start. The more people can see this, the quicker we can move into a new timeline. The God of the church is Lucifer. The God of the Bible is Lucifer. The God of this world has been Lucifer, not the true God. Having nowhere else to go, these outcast women lived in caves and forests, eking out a living from their knowledge of medical plants. They ate fruits and berries and roots and food brought by their clients in lieu of payment. These women were later depicted as crones by the church, carrying brittle sticks of firewood to their fires. This became the archetype of the discarded hag who no longer had a value to men because she was past her breeding years. And as we have seen, the crone of herbal wisdom was then converted into the witch. Shasta looked around the circle at her faces. We all wore a look of pain for the unacknowledgment in women who had paid the price of this disenfranchisement. She went on. Even the word crone derives from patriarchy. It comes from Kronos, the male ruler of the gods, the lord of linear time. Yet this name has nothing to do with the circular nature of the goddess, the one who is both within creation and also outside of it. She is the one who reminds us of the eternal now. We nodded in silence. Linear time is masculine, a straight line. Goddess time is circular and encompasses all of the seasons of life. We all took a deep breath, which I have said in the Sun Salutations, Saryanamaskar at the beginning of the Ashtanga practice. Saryanamaskar A is the masculine because it goes very linear. Saryanamaskar B is the feminine because we get the hips involved. We start to go circular. They both exist together, each countering the other one and partnering with the other one. Then Shasta stood up clapping her hands. All right, you have seen the film, you have heard the stories and many of you have lived through these tragedies and your past incarnations. But now it is time for a change. While many of our sisters are still enslaved by the patriarchal system around the world, we must give thanks for the things that we have changed here in our own country. We must take the time to celebrate the victories of today and the men and women who have made them possible. Look around you. You are moving into a new age of awakening where there are many wonderful men who support this vision of true partnership and equality. There are husbands and wives who work and play together as equals. There are men who change diapers and babysit and women who have careers. Lawmakers are petitioning for equal pay and women have found their way back into medicine, law, healing, science and teaching once again. They are using their voices to help make the world a better place once more. We all nodded slowly giving silent thanks that we have lived in a country where things were better than they were for our Muslim sisters and brothers. I reflected on what I had learned about the partnership model created by Yashua and Magdalene and how different the world would have been at the church to only allow these teachings to be heard. But even today, Vatican leaders are still arguing about whether male priests should marry or whether women should be allowed to be priests. It didn't seem as if they had matured much in their understanding of Yashua's true message. Rather, they seemed intent on clinging to their outdated chauvinistic ways. Yes, because the church doesn't worship Yashua or Yashua actually should never be worshiped because he was a teacher. The church changed Yashua's name to Jesus. Jesus was not his name. The J did not even exist back then. So why did they change his name to Jesus? Why did they turn his story into Mithra's story? Yashua was never crucified. So the church, Catholic and Protestant both are not interested in teaching you the true teachings of Yashua because they're Luciferian. Once you see it, you can't unsee it. The church is the biggest infiltrator of them all. Shasta continued to speak. We can make a difference in the world whether we are men or women. We can stop competing with one another. We can stop competing with one another for men, for jobs, for recognition, and for beauty. We can celebrate our differences and support one another teaching others to embrace a cooperative model of sharing instead of a competitive one. If we can find a better way of being friends and allies, perhaps we can teach that approach to our men and help them also find a way back to unity and partnership. This will create a better world for everyone. Some of the women were nodding, Meg blew her nose loudly, and we all laughed. Shasta went on. It is my hope that each of you will find a way to bring healing back to our planet one decision at a time. How you do it will be unique to each of you, but today we make the first step by discovering who your spiritual allies will be. She looked around the circle. Today you choose your first goddess. We all began to whisper. Were we going to choose a goddess? Really? What did this mean? How would it impact our lives? Shasta stood up. All right, let's go into the garden and do some ceremony. We scrambled to our feet, grateful for the change. We made our way out the back door and down the stairs, moving into the sunlit garden. Suddenly I could feel the sun on my face and the breeze of the perfect spring day. Yes, we were here in the world of light and shadows, but there was love in the world and beauty to as well as horror and sadness. We gathered at the lowest point of the garden around the medicine circle. I stood in the north with Sophia, Mahat and white buffalo calf woman at my back. To my left was the eastern gate and the statues of Mary, Kwanian and Isis. I felt grateful for their soothing presence and now Shasta explained I will call in the seven directions and some of the powers to join our circle so pay attention. She turned her body to face the east and a group turned with her. She raised her arms and her voice took on a new residence as she began the invocation. Spirits of the golden east, we call you now into our circle and we ask that you hear our prayers. Guardians of the glorious sun place a new beginnings as we summon now the sweet goddess of compassion to aid us in our journey. We call upon Mary, Kwanian and Isis, lady of a thousand faces and beloved Mary of the chalice, Magdalene, to come into our circle now and grace us with your light. Hail guardians of the eastern gate, the energy of the circle had suddenly shifted. I could feel the invisible presence of love moving through it. It was as if a holy wind had blown over the group quickening everything. A shiver went at my spine. Suddenly the robin started to sing and the entire grove came alive as the divinities entered. Shasta swiveled next to face the southern altar raising her arms in salute. Spirits of the faithful south, Gaia, turtle mother, grandmothers of the earth. We thank you for our food, our homes and the clothing on our back. Join us. Hail, demeanor of the harvest and Diana of the animals. Hail, many breasted mothers and goddesses of the seas. Join us in the sacred circle, guardians of the southern gate. We turn to the west as one, the power of invocation electrifying. Hail, powers of the western gate and places of hidden mysteries. Come, Shekmet, Athena and Iniana, warrior goddess of the sacred west. Come, Magdalene of the holy chalice and bring the wisdom of the black Madonna to aid us in the ceremony.  It is time to reclaim that ancient wisdom and to end the fear and oppression and ignorance of the light and the balance and love might now return to the world. We turn to face the north as we were all just one entity. Shasta raised her arms, welcome powers of the great white north, the council of the sages. For all the wise ones who have come before us, all the sages whose spirits still live, we ask for your guidance that we might learn from you. Hail, teachers from the halls of wisdom at Sophia and white buffalo calf woman. Hail, white wolf woman who teaches us the strange powers of the north. Now Shasta turned inward to face the circle and we joined her. She lifted her chin to the sky and she called down the powers from above. Come, angels of the celestial skies. Come, newt and hathor of the great star nations who love humanity and help us grow. Goddesses of the eternal stars inspire us so that we might stand united beneath the canopy of your splendor. The energy had risen to a crescendo. I could feel these vast energy stretching above us like the great shelter of protection. Shasta's hand went down to the earth, her palm flattened as if she were connecting with the ground. Listen, powers of the great below, we are speaking to you. Ground us now so that we might walk with humanity and connect with the sacred earth. The earth who has seen all ages move across and whose heart beats inside our own. Without the earth's mother grace, we would not be here. I felt a deep, snowless move in my heart and I realized that the entire group had knitted itself together in a web of intention. The deep throbbing pulse of the earth moved through us. At last, Shasta placed a hand upon our heart and closed her eyes. We joined her in reverence. We honor now the sacred center, the spring of endless life. Come, lady of the healing waters. Come, Isis of the holy center. Come, spider woman who joins all things in sacred union within our hearts and minds. Come, lady of the silver lake and weave our circle together with light, a hum of electricity, energy saying through us, vibrating the call of stretching between heaven and earth. I felt the presence of many celestial beings enveloping us with love. The goddess chooses us. The directions had been called and the circle was established. Shasta reached down and picked up a large scallop seashell from the center of the circle. Inside were slips of paper. It is now time to draw your first goddess. She said, passing the bowl to the left, Meg took it. See what the goddess has in store for you. The women's faces were apprehensive now as the bowl made its way around the circle. One by one, we pulled a selection from the open shell. When it was my turn, I pulled out a folded strip of paper and passed the shell on. Finally, the shell returned to Shasta. There are many goddesses in the universe and many expressions of women, Shasta said. Let's see now who has chosen you. Meg, you may begin. I can tell how nervous we all were. Delicate little Meg opened up her slip of paper. Lakshmi, she whispered, Hindu goddess of abundance. Perfect. Meg was raising funds in Washington to help single women and children survive. I can tell she was happy. But I do have to correct you there, Trisha McCannon. Lakshmi is not the goddess of wealth. When we say abundance, she's the goddess of spiritual abundance. That's a big no-no in the Hindu tradition. Lakshmi is not going to bring you material wealth. She brings you spiritual wealth. Sarah was next.  Ah, she had gotten aphrodite, the goddess of love. I wondered what would happen in her love life. Claudia's voice quivered a little as she read. Timat, the chaos dragon at the beginning of time. Holy smokes, this primordial energy was associated with the rebirth of one's entire life. I couldn't even imagine what would happen to her. Emerald was next. The full-figured legal secretary read out bravely, Kali, the mother of transformation. Kali was the female counterpart to Shiva, the lord of transformation. A virtual powerhouse that seemed to totally suit Emerald. Not necessarily true. But Trisha McCannon, if we ever get to meet, I'll tell you a little bit more about where you might be going astray with some of these Hindu goddesses and gods. Kali is also associated with Mother Mary or Alma Mari, which is her real name, and Isis. Slender Alexis came next. Diana, goddess of the hunt, she read. Petrectoris of animals and women, fabulous. Alex was very much like Diana, trim, athletic, and strong. Susan was next. She raised her chin in red. Seibel, mother goddess of Rome. I knew very little about her, but I didn't know that there were a black stone of Kaaba, or meteorite, associated with her that the Romans used to worship. Just as today the Muslims honor the black meteorites in their mosque in Jerusalem, the dome of the rock, paintings of Seibel showed her writing a chariot pulled by lions. That was definitely cool. Donna opened her paper. Demeter, goddess of the harvest, incredible.  She even reminded me of Demeter. Sharon was next. She opened her slip of paper and read uncertainly. Emiratsu, Japanese goddess of renewal. Hmm. Wasn't one of Emiratsu's symbols the life-giving sun? It was my turn now and my heart was thumping in my chest. I opened my slip of paper and read Ishtar, Queen of Heaven and Earth. Ishtar of all the goddesses. She had been there from the beginning and the story of her journey into the underworld in search of Tamuz had moved to be greatly. I brought my attention back to the group just as Shasta was speaking. All right. Your new assignment is to find out everything you can about this goddess. Remember that she has come with you with a very important message and you will know why she has chosen you once you have integrated her story into your own life. We will reconvene on the summer solstice in three weeks time and you will each share what you have learned. Over the next few months you will also prepare a ceremony to honor your goddess. That is enough for today.


April 3rd is U.S. Army Europe's Ready and Resilient Day. Sharp. All user personnel must participate. Contact your unit leadership for details and specifics and help end sexual assault. Strong soldiers, strong teams.


All right, thank you. Damian, is our sound OK? Yeah, all right, cool. So welcome, everybody, on my behalf as well. My name is Jonas Ukra, and this is my first WordComp. Any other first timers here? Raise your hand. OK, cool. That's good. I'm not alone. So I'm just going to quickly talk a little bit about myself. Basically, I am a marketer. I think we have a lot of very technical people here, a lot of developers. Let's just get a little poll here to figure out what kind of audience we have. So how many of you consider yourself mainly as a developer? Raise your hand. Yeah, I think that's the vast majority. OK, how many of you consider you mainly as a marketer or digital marketer? OK, cool. And how many of you consider yourself you're an entrepreneur or an individual blogger, something like that? OK, a few hands. OK, cool. So yeah, so I consider myself mainly a marketer. I have a little bit of a technical background. I used to do websites when I was in my teens, basically, because at that time, I was playing a lot of contest trike, and I wasn't very good at it. So I basically had to have some additional skill to get into clients. And for me, it was doing websites. Currently, I work for a company called Seo Seon. We're mainly doing digital marketing for the Nordic market. Before that, I was working a little bit more than two years, two and a half years in China, in Shanghai, running digital marketing operations of a consulting firm called Desensure and Associates. And basically, my job there was to handle all of the channels, including the websites. And during my time there, we launched like we had kind of an ecosystem of websites, and we launched like eight websites. And currently, at that time, I was more like an in-house marketer, and now I'm more of a working with clients and help them with their marketing problems. So basically, that brings me to the fact that it doesn't really matter if I'm dealing with a client or if I'm dealing with my boss or somebody, you know, the partners of the firm, shareholders. There seems to be a little bit of a confusion for a lot of the top decision makers on what is really the value or what is the reason to have a website. And I was kind of like, I started thinking about like what would be a good way to present it to them in a good like analogy that lets them kind of figure out that the website is not necessarily just kind of like a business card online. And since it's more, much more than a business card online, that means that they should actually put in some resources into that. Here is something that I tend to show for, you know, in my slide, when I'm talking about digital marketing generally for a, let's say, a newcomer into the company or somebody who is like not very familiar with it. This is like my very simple marketing stack. Basically what it means that everything on the bottom has to be figured out before you can do any meaningful things on the top level parts of it. And infrastructure means like server side, people, analytics obviously figure, we use that to figure out what's actually happening on the website content and then the channels and the website is actually one of the channels that our channels could be social media channels, they could be email marketing and so forth. But the thing here is why the website is such an important part is because it basically affects all of these parts of this marketing stack. When you start to develop a website, if you really wanted to be a functioning website that is actually helping your business or if you're a nonprofit organization, whatever your other goal is, you kind of have to think all of these things when you actually start to develop the new website. So we had two problems here. One was the things that we have to consider and the other one was to actually tell the top decision makers why we have to put resources and why we have to actually put a lot of emphasis into the website development project. So I was starting to think, yeah, what's the good analogy? And I was starting to think that, OK, maybe a website is pretty much like a mall. It's like a mall because people come there without actually giving anything back to you at that point. They haven't made to purchase. They don't have to buy a ticket to get in. They just come there because something in that website attracts them. The other thing, what is very similar with the mall and a website that you basically should be designing it, considering the visitor, considering the customer, keep the customer in the center of the design process. Because basically what you want it to be is that the customer feels comfortable on the website or on the mall, and they navigate it in a way that supports the true goal of your website. And the third thing is that oftentimes the basic structure, both in malls and websites, they tend to tell you to stay the same for a longer period of time. But obviously in both cases, what we're doing is basically figuring out what the people are doing in the mall and the website. And we're fine tuning the layout. We're fine tuning the content. And we're fine tuning the visitor flow accordingly. OK, so I was thinking, if I tell to my boss or if I tell to a client that you're not really, when you're coming up with the new website, you're not actually building a business card. You're not really building a brochure here. You're building a mall. So that kind of puts them into a different type of mindset where this is more functioning. And this is actually the malls. Generally, when people think about malls, it's OK. People go there and buy stuff. When you're talking to a decision maker or a non-technical boss of yours, when you're saying that, OK, people are going to come here and they're going to give you money, then that gives you a reason to tell them that, OK, that's the reason why you should be putting actually X money on this. This is actually an investment. Oftentimes, when people are starting to explain sometimes technical people, start to explain the reason why a cost of a website is this and this and this. It might end up coming out like, OK, it's because we need to do this and this takes time and this takes hours. OK, so I was just thinking that when you're saying that to a decision maker, they tend to think that, OK, now you're just telling me the cost. So now you're talking about money. OK, I understand money, but you're talking about cost because it's a negative thing. Instead, I would rather like to focus on the thing that the actual end product can bring you the value, the purchases. Hence why I like to call it as a mall. So the next step for me was then, OK, I was thinking, OK, if we can say that a website is a mall, let's look at the way that a people who are designing malls, what they are doing. And should there be something that we might be able to pick up from their processes and put it into our own development process? So how do I start my research? I start, obviously, by going to Google and figuring out, OK, how to design a mall. Some very top things to do, blistings thing content. But then I found this great post from this Indian guy on LinkedIn was how to design a mall inside out. And I started reading it. And he basically starts the post by telling some of the aspects that he has encountered while designing malls. And I started thinking that, oh, this sounds similar things that I tend to encounter with some of the websites projects that I've been dealing with. So pretty much every project starts with great enthusiasm and favor. But then if things haven't been figured out properly at the beginning, they soon turn into a nightmare. And then the problems arise when one designs the space and decides to build without proper understanding and knowledge of the business requirements. Same thing with the websites. You end up getting into problem if you're actually just going to go with your designers. You're going to say, oh, I kind of like this. And this looks good. And then you start focusing on the actual exterior instead of the real essence of that website. What is the real goal? What do we want to achieve? And how we can actually work everything for that web design in a way that it actually helps us instead of hinders us to achieve that goal. And what obviously the people, apparently, in the mall world want is that the customer is affordly guided through the mall as if in auto mode. And I think this is pretty much the same thing as web developers and marketers who are using this website to bring in sales, to bring leads. This is basically what we want. We want it to be in a way that when people enter, they're kind of like in an auto mode consuming the content and then ending up into the end goal that we want them to do. So it seems like there's a lot of similarities in the way that he thinks malls should be designed and the way that I think that, OK, we should approach website design. So then he gives us a little bit of an example on how they tend to design malls. He broke it down into four steps. We're going to be looking at what would these steps mean in the mall world and what, in my opinion, they mean in a web design world. So we'll start with the right advice. Basically, he was saying that before you start a mall project, you should go and find a shopping mall specialist. And this tends to be a person who has experience on running a mall operations and running the leasing of the mall space, as well as architects. And obviously, in a website world, this would then mean that you would want to seek out into a professional who not only understands necessarily the technology, but there's also somebody who understands your business and the operations. Or if you're very self-sufficient and you want to do everything in-house, make sure that all the stakeholders who are affected by this website, which is probably at least the designers and developers, but also marketers and your salespeople, that they get together in the beginning to figure out what are their needs. And then the person who takes the lead is actually putting these everything together and lets everybody sign off on the original design and original idea. So the original idea, the concept, after you get everybody together, you get the right advice. You kind of have to figure out what's your concept. So now we're talking about what's the thing that you actually want to do. In the mall world, they base this on usually on market research, customer expectations, demographics, locations, whether the mall is in a smaller neighborhood mall, or will it be a big kind of a whole city-level attraction. And they gather this information and then they make it into a concept. And one of the important thing is then to go to all of these stakeholders who are handling the design process and communicate the concept to them. Website world, basically we want to figure out pretty much the same thing. Who are we serving? Who is the visitor? Who is the customer that we want to actually get into the website that we actually want to go through the whole process of purchasing or the whole process of signing up? And what do we want them to do? And then again, communicate the concept clearly so that everybody who's involved in the process should understand what we're aiming to do. All right. And then you chose the right advisor and the next step is kind of like chose the right architect. And in the mall world, they're looking for architects who have the in-depth understanding of retail architecture and local market trends and shopping habits. So it seems like in the mall world, you're not just going to pick the person who has designed a mall, but you're actually going to go and try to find a person who has designed the mall and has worked in the same kind of a market with the same kind of a demographic, people with the same kind of shopping happens. So this would translate into the website world that you don't just want the developers to be people who understand technology, but they have to understand the business. And in the best case scenario, you would find somebody who also pretty much understands your industry. That means that best case scenario, if you're a B2B consulting firm, you would find somebody to work with that has previously been successful in doing websites for B2B companies. Same way, if you're an e-commerce store, let's say you're specialized on clothing, you probably would want to work with a web developer, designers who have previously had success on actually executing e-commerce stores' clothes. So basically, the closer you get into having a team who understands the business, the technology, and most importantly, the way your customer thinks, they're kind of a better result you will have. OK, you got your team together. You have the right advisor. You have the concept. It's time to come up with the actual brief. So the brief is then something that will be given to the team so they can start executing this design. More World, the brief is split into a few different categories. It starts with an introduction. And basically, in the introduction, they want to communicate to you the bigger picture. Basically, they should tell where this mall will be, what's the location of it, what's the target consumer, and what, and basically not just telling your developers or designers and the rest of the team, but also give them the reasons why you think this is true and the data sources, how you came up with this idea. The same thing basically translates pretty well into a website world. So you get the company's background. If this website is something part of their bigger scheme, is it part of a multiple website? How people tend to communicate with their brand? What's their presence on social media? And how these things actually, what's their current situation with all of the different channels? Because generally, the visitor is not just communicating with one channel. They're going to be exposed to the company, to the brand, to the organization through multiple channels. And when you're starting to develop a new website for them, it would obviously be good to know the larger picture of it. Also, it would be probably good to know the kind of future plans of that company or the organization. Where do they think they will be going in five years? Is there some big branding, really, construction going on that would be helpful to actually figure it out when you start to put the website together? Obviously, target audience, once again, who are we trying to reach out? And then considerations and data sources. Why this is important is, let's consider a case where you have a client, you have a project, and somebody is going to tell you that, OK, this is what we want to do. This is our target audience. And you are going like, OK, I'm going to do it like this. I'm going to target this audience. We're going to build it in a way that 27-year-old, let's say, Warcraft player would be enjoying his time on this site and would be going through and, let's say, buying a certain Warcraft-related product. Well, if this is the information you'd be given and then you work according to it, you get your finished website launch, dah, dah. And after a while, they're saying, this is not working. This is like the people don't understand our concept. The actual visitors don't understand the concept. They don't understand why they're here. They don't understand what they should be doing. And then you go back and tell them, OK, but this was the people that we were targeting.  And finally, you realize that the people who are now actually coming to the website are not the kind of people who the company or the organization originally told you that they're targeting. This is the reason why I tend to also want to have some kind of reasoning from the organization, from the company, why they are choosing a certain talk in the audience, and also if there's any data to back it up. It's kind of a good place for developer teams to actually challenge the client, the company a bit, to actually dig deeper and make them think, what are they actually trying to achieve with the website? Some organizations, this is clear. They have a good considerations. They have good data to back their decision making. And they're just going to give you the brief. But a lot of the cases when somebody is going to go through a big change like a new website or revamping a website, it's also a good spot to actually think, what is the core audience and go into very like a deep understanding and doing more research on the actual core target audience that the organization wants to reach. Well, when you got the introduction and the more world, the next step is to have a project vision. In the more world, this means, what is the intent of the project? Again, getting a more in-depth on the actual context. So if it's a larger development center of a neighborhood or something else. In the website world, this translates pretty well. Once again, we can talk what's the real intent of the project and go into very in-depth structuring on what are the other channels that the people who will be interacting with the website, what are the other channels that they're using as well. Then the next phase would be project positioning. In the more world, this would be the very specifics of that target customer and the very specifics of that concept. And basically, we can translate the same back into website world. So in the section where we're talking about project positioning, they should give you a very, very precise view on who is the target, what's the persona of the target. Hopefully into a level that it narrows down into an age group into what kind of interest they have and into specific job titles they have and specific maybe some groups they're communicating with in different channels. So very specific. And then after that, we get into the actual aesthetic brief. More world, this means the design language. Are we talking about high-end malls? Are we talking about low-end malls? Is this the design? Should it be traditional? Should it be contemporary? Basically, what would be the kind of aesthetics that would attract the people that we've been now in the previous brief that we've targeted? And this should be based on market research. And it has to go into the level of details of the materials, what kind of textures we're going to be using, what kind of wood we're using, what kind of plastic we're using. In the website world, this basically translates into the possible brand guidelines, what kind of colors, typefaces, logos, et cetera. We're going to be using what's the framework we're working in. And again, this also should be based, hopefully, on some kind of legitimate research. Market research, surveys, even better using the actual user data, using any previous tests that they've made done, and so forth and so forth. And if this is currently lacking like the company hasn't been, it's a new company. Or they've basically just been working 40 years, but they haven't actually tracked any of this, which seems to happen quite a lot as well. Then basically, what your job is to make some kind of assumptions and create the website in a way that, in the future, you can actually test these things. So you give them the keys to actually figure this out so when they're going to be doing a next kind of a revamp somewhere down the line, two years, three years, they have a lot of previous research data on the users they had on the website that they can actually utilize. And then nowadays, mobile-first, mobile-only, basically it's recommended to just think about the mobile user-first and then the desktop users. Yeah. And then after that, there would be the planning brief. And the planning brief pretty much thinks on the mall world. It thinks about the entry points. So obviously, you have a building. So there's only certain places in the building where people are supposed to enter. And in the planning brief, you're kind of figuring out what are those entry points. Also, in the mall world, it requires operational requirements. And this means does every store in the mall need to have some kind of a backroom space? Do they need to have a backdoor entrance for all the stores, maybe just for the sum of the stores? And different zones in the mall are accessed in a different way. And then accessibility, obviously, in the mall world, it means that people who have restrictions are able to also navigate through the mall. And then in the website world, we can actually pretty much talk about the same things. Only the kind of like the entry points are a little bit different than in the mall. Oh, OK. So entry points, we're talking about landing pages. And then you have to check out where the people are coming to your website. Operational requirements, who is using the backend, what kind of a technical competency they need, is the website easily crawlable and indexable and accessible. So landing pages, you figure out from the previous data, what are the most high-traffic landing pages. Infrastructure requirements, basically, mall world, Pog and its requirement, AC electrical, lightning and requirements for certification. And website world, what's the current budget for hardware, security requirements, what's the expected truth hack you have to think about the future as well, and integration with different platforms. Also, understanding the business concept in the mall world, it means the zoning and how the zoning and the way you're releasing it changes the way you design it. On the website, obviously, you have to think about the business concept and what kind of content will be displayed. Obviously, the big difference for websites and malls is the location. Mall, it's fixed. On the website, the location depends basically on your marketing. So for example, if we have a person here you're trying to target, for certain persons, for certain number of times, basically your website mall is near him now, and he's going to go there. But the next day, it might be here. And then after that, it might be here. So situations is not as static as a mall world. But pretty much in the other situations, it's very similar to mall. But the problem is if you have a poor sense of visibility, you will be killing your website because your location is not near the person who you want to visit to your website. I have a list of technical SEO things to go through. It's a checklist. I think all of the slides will be downloadable afterwards. So I'm not going to go through this very much in depth. One thing I want to point out, though, is that you might be giving the customer a website that is very optimized in speed. But then if you haven't give them a good process and good training, it might be that the customer, when they start actually using your platform, they start actually producing content, they might be actually destroying that optimization. We had one client that started in a situation like this. Basically, the only reason was that they dumped into a huge HD image that then was scaled in the website into like 300 pixels. But the real original image was like 4,000 pixels. And basically just changing that image size into a proper size gets us into this situation. Also, the way that you design your website affects the way it can be marketed. One page structure, I'm not a big fan, mostly because it's super hard to actually share different sections of that in social media. New sites and blogs, the way that you choose to structure your URL matters a bit. Usually, keep it simple. It makes it easier. Income risk consideration, again, you probably don't want to have all of your variations, for example, of product to be a different product. Why? One of the main reasons is that basically you don't have a pretty good control on the search results you have for it, because you might end up with a lot of duplicate content, which means that Google is going to omit tons of your products. And when people are searching for something related to your product, they might see a kind of like a different product version since you didn't make them, since you didn't make them as variable products, but instead, multiple products. Quickly going through, what do you want to measure on a website as conversions? Generally, all of the other things are something to be taken as side note, but in the end, conversions, whether it's sales, whether it's leads, whether it's people joining your nonprofit organizations, this is what you want to track. So I want to end this with a little of comparison. Since I'm thinking that a website is a good comparison to a mall, let's look quickly about the kind of traffic that malls, the largest shopping malls in Finland, what kind of traffic they are getting in a month. Kampi, with more than 3 million visitors. Celllo, 1.9 million visitors. It is 1.6 million. And Forum, 1.1 million. And then let's take here is an e-commerce example. Large e-commerce stores in Finland. And you can see they pretty much get the same traffic per month as a regular brick and mortar mall. And then you start thinking, how much money went into actually building that mall? How much money does it take to build a very extremely good functioning website? So yeah, I want to leave you with that. Developers, think about it. If you would get the same kind of budget as, let's say, Ithakeskus or Celllo or the renewed Kampi has, what kind of website could you make out of that? All right, I think I'm out of time. So thank you. Thank you very much. Thank you, Jonas. I think that was a great, great first talk for our word camp and really interesting stuff. Like I was kind of protecting beforehand. So now it's time for audio questions. Do you have any questions from the downstairs or upstairs? We have two mics. So just raise your hands if you have questions. We have one over here. Do you have any favorite specific mall in the physical world that you're thinking about while designing websites? Favorite mall? I'd say, this is actually an interesting question because I was about to say Celllo. It's in Lepavara. But the reason probably is that because it's the most familiar to me, right? So this is the kind of the same thing that if you're just asking one person about the specific of a design, you might end up with the design that is not actually serving the whole group. So yeah, I would be saying Celllo, but it's probably because I've been accustomed to that. So the same thing goes with the web design. Everybody has opinions. Hence, I would say it would be so much better if you have a behavioral data to back up the design plans instead of going and asking your whatever, marketing brand manager asking like, yeah, this looks good because it might not look good to another person. Any other questions? Hello, good morning. I'll just comment this rhetorical question you have here on the screen. What would happen if we could develop a website with a budget of a mall? What would happen is that the project would go to Tieto and it would fail miserably. That's a good point. Anybody else? I didn't hear any question, but that's OK. Actually, I have one question in this middle if you don't mind. You were saying that you were in Shanghai like a couple of years. How would you compare the mall and the website world in there and in Finland? OK, this is an interesting point. Basically, the websites I was dealing with was to target the Western audience. So those were much more similar as the ones that we have in Finland, as we have in the Germany, as we have in the US. But generally, the situation in China is that your own website is not nearly as valuable channel as it is in the Western world. A couple of reasons for that one is that Baidu being censored and being very protective of its own ecosystem means that it's very hard to actually get into companies' website by search. So basically, it means if we go back to the location thing, it means that here, where's the picture? It means that basically, you would be standing here and there might be a very, very nice website or a mall here that's serving your purposes. But then we have a Baidu being not very open with anyone who is not spending advertising money. Means that there might be some completely irrelevant mall that, for example, you go and go look there for Nike running shoes. But this mall doesn't serve you Nike running shoes. But anyway, it's going to be there right next to you can't even go around it to the mall that you want. So websites there basically are a lot. If you're targeting Chinese audience, the website is not as important. Obviously, you should probably have one for even for just branding purposes. And you can also use it to do sales. But e-commerce mostly there happens through the big e-commerce platforms, Taobao, JD. Because people tend to trust them. There's also a lot of problems with trust, especially towards a company or even a big brand because nobody is willing to take the risk that the brand is counterfeit. So it's very different. And the malls are more similar, except that there tends to be quite big ones there. But the mall design, I feel, it's obviously much more similar since the people who are visiting malls are. The behavior is similar. And you go into a mall and the location ecosystem doesn't really affect so much. But the websites are a different type of mall game.


The birth of nanotechnology can arguably be traced back to December 29, 1959, when Nobel laureate Richard Feynman laid down the ultimate scientific challenge to a room full of colleagues, to control and build matter atom by atom. Though the ability to handle matter at this scale remains elusive, researchers are closer than ever to achieving it. This month's issue of MRS Bulletin showcases how scientists are using particle beams to meet Feynman's challenge, and, in the process, revolutionizing how we view, understand, and build with atoms. In the decades following Feynman's lecture, researchers were making significant headway towards atomic-level control of matter, even if they could only see the building blocks themselves at the time. Using a narrow stream of electrons or ions, researchers could resolve individual atoms in a material. Advances in electron microscopy have now made high-resolution imaging of atomic systems routine. Along the way, scientists discovered that electron beams can often damage materials on the atomic level. It wasn't long before researchers suggested using their microscopes to add or subtract material at will. In effect, they turned what appeared to be an imaging problem, an intentional damage to a sample, into a way of sculpting microscopic objects. Today, advances in that direction have equipped researchers with the tools to do much more. They can now deposit atoms or atom clusters to form objects from the bottom up. They can repair the tiny circuit elements that will drive the next generation of computers, and they can track the movement of single atoms across the nano-landscapes of emerging materials like graphene. But before meeting Feynman's challenge, researchers will have to address a few others. One is control. While writing with particle beams has been proven, it isn't clear how the parameters can be tweaked to form different structures. Another is reproducibility. To manufacture on the atomic scale, researchers must make sense of the cascades of collisions generated when a beam interacts with a target material. While true atomic precision remains elusive, the gap is quickly narrowing. The approaches highlighted in this month's MRS bulletin represent important advancements that could soon give researchers the level of control over matter once envisioned by Feynman.


OK, zato sem zelo podeljno površen, da je to še začala. V tem vseh, da sem podeljno podeljno površen, da se možeš odvršen? Ako se možeš odvršen? OK, zato sem podeljno podeljno površen, da se možeš odvršen, da se možeš odvršen? in v tem, da je to in ideja zahovoril. Zelo začetno je, da bomo začetno besetite povedanje, a to je vse tega, kako je načinilo v koraboraciju s Marcos Marino, Jace Yukyatsuda. I pri druhej seče, da bomo predstaviti načinit, ta formulacija delala za sabervitanje teori. Tama je dobro v teori, ko je v Rešim Jovgeni Monelli in Sandro Tanze.  In v nekaj način je operator teori, matrič model, in kvantomekaniki. we have two quite different theories which are related by means of these dualities. In this talk I'm not going to discuss in detail general property of dualities but I will more focus on some concrete examples. An example that maybe you are familiar with is width and contricature. Zelo jazne možno je vzgledaj po moru zelo naprejveno gravidje in je odličena na vsevsevstvene teori v moduče vzgleda. Bidem je dole možnosti minimali, ki je odličeno na matrički model. In je to vzgleda, da je vzgleda vsevstvene teori, in tudi teori, da ima bojne zrednje izgleda vse površčenje, zato je zelo površčenje 1. Zelo to je nekaj izgled, nije boš se na to, da je izgleda in vzelo, zelo je, da boš se vzelo, da je bilo začala površčenje koča, zato je bilo začala, da je bilo začala, zelo je bilo začala, da je bilo začala, Ali zelo, da jih so prišličeni, da je to hradnath trenikov, da ja razumelam, ki so v potenetih umedi, in z druha rezova, da je to najbolj. Tudi početni je, da imesem vseh nekij udelov in medželje in matematiki, ki svečem v porej odaj, in z njega se z tudi opravil Vojstina, do boh, je zelo več svobodno, da se vse načo načo je zelo. Načo je zelo, da je zelo vse vse vzelo in vzelo in vzelo in tudi vzelo in vzelo. Vse je zelo, da se vse vzelo in vzelo in vzelo in vzelo. Vzelo in vzelo in načo je zelo, in tudi vzelo in vzelo. Zato se boh je bolj mladosti, da se vzelo in theo zelo je srečen, ker jih mene začeli, da bi se neko prepenetilni pred včetni, neko neko relativ galaxiesi teori, kaj stejne teori, v tijelijkej prjisti teori, ki je sreko mekanikulne teori, z vsim Tafela.  Zelo več, da nekaj smel. Vzelo je tudi to, da je to, bilo tudi to, tudi to, da je to, da je to, da je to, je to, da Markos je vsega izgleda. V stvari, kaj je to teori potopoločnico, v sej manjifoldu, ko je tori, in je matematik, ko je kateropart, je to zelo inumerativ. V drugi stari, je konto mechanik, in in idej, fermigaz. And these correspond to operator or spectre theory. Okay, so roughly speaking, this is the plan of the talk. I will start by reviewing some aspect of this duality, but I will need later. But then I will focus on a particular limit of this duality, where things simplify in a certain sense. And then you obtain a new duality, which rate cyberwitten theory in four dimension. And on the other side you have, again, an another ideal Fermigas in an external potential. And what is nice about this level here, is that actually you can prove this duality, because the main object that characterizes this theory and this theory, they both satisfy the same differential equation, which is a Pan-Levé equation. And to show that in this side, we have to use some recently recent work by Lissavi and collaborator, also Misha, which Kela talked just before. And on the other side, instead, we have to use some a little bit more older results by Zamalotikov and other people. Okay, so I can start by reviewing a little bit some aspect of this duality. So as I was saying, on one side, we have topological string theory. So this is a theory, which studies some maps that goes from a Riemann surface of genus G into a certain target space. Now, in this talk, I will always focus on the case in which the target space is a Kalabija manifold, which is called local p1 times c1. So this is constructed by taking two copies of p1, and then you put a bundle. And physically, these maps, they describe the trajectory of your string in the background geometry. And at the perturbative level, as Marcus was mentioning in the morning, this theory is characterized by what are called the genus G-free energy, which are this quantity here. So t is like a geometrical parameter which is related to the size of this background geometry. And this genus G-free energy basically counts in some sense the number of this type of maps. And then what you do usually is that you organize this genus G-free energy into a common generating function which is called the Gopakumavafa free energy, and is this object here. So Gs is what is called the string coupling. It gives the strength of the interaction of the string in spacetime. Many of the sum, these here are numbers, they are called the Gopakumavafa invariant, and they are related to the counting of these maps. And then you have this piece here, and here you have e to the keller parameter. Now as Clem was also mentioning yesterday, so if you take for instance G equal to zero, here you have one over sine square. So every time this is like a multiple of pi, you get a pole. And here you have a summation, so you have a dense set of poles along the real axis. So this function is somehow problematic when you restrict yourself to the real axis. So what you can actually do is that you combine this quantity with something else in such a way that at the end all this pole cancels, and you end up with quantity, that is what we call the grand potential, which is defining this way, so you take this and then you add some extra piece. And this summation is done in such a way that at the end this grand potential here is going to be well defined for every value of the coupling. And this extra piece also is also a known quantity. It's called the Necrozov-Shatashvili free energy. It's something that people know how to compute if you work in topological string. And it also has an explicit expression in term of some invariant that characterizes the underline geometry. Now I'm not going to give you all the details because we don't need them. Just remember that we have a new quantity, which is the grand potential, and this is defined for every value of the coupling, and we can really write down an explicit expression for this quantity in term of an invariant. And then what we do is that we take this grand potential, so this depends on two parameters. One is the string coupling, and the other one is this parameter mu, which is related to kappa in this way here. And this is like a geometrical parameter, which is basically the complex model associated with the underline geometry. And then what you do is, you take this grand potential, you shift by 2 pi i, and then you sum over all the shift. So in this way you obtain an object, which we call the grand canonical partition function of topological string, and this object is manifestally invariant under a shift of mu by 2 pi i. And, okay, so this is an important quantity, and so remember that because they will come back later in the talk. So now if we go to the other side of the duality, the underline physical theory here is an ideal fermi gas in an external potential. Now, when you have this kind of gas, everything is determined when you have the density matrix. So according to this duality, the density matrix that characterizes the gas, which is dual to topological string on local p1 times c1, is the one whose density matrix is constructed by quantizing the mirror curve as Marcus was mentioning this morning. In the case of this geometry, the local p1 times c1 that I was mentioning before, the operator that you get is this one here. So m is a parameter. We are going to take this positive. And, yeah, okay. So basically this is the density, which describes the fermi gas, which is dual to topological string on local p1 times c1 according to our duality. So this is a discrete spectrum, the rho is a trace class operator and it's precisely the kind of operator that Marcus was mentioning this morning. And then what you do is that basically you define the grand canonical partition function of this operator in this way. So this is what you do when you study fermi gas in statistical mechanics. So it's the determinant of 1 plus kappa rho. Kappa plays the role of the fugacity of your gas. And then this you can write it as a product over all the energy levels. So e to the en is the eigenvalue of this operator. And then if you do expansion around the small value of the fugacity, the coefficient correspond to what is called the canonical partition function of your gas. And one more comment that I will need later is that if you have an explicit expression for this spectral determinant, then you can compute the spectrum of this operator simply by looking at the vanishing locus. Because this vanishes precisely when kappa is given by the energy level. So now that we have seen the two sides of the duality, basically this is like the global picture. We have topological string theory on this geometry. And the topological string partition function compute the numerative invariant for this geometry here. And then there is mirror symmetry which basically relate this geometry to this geometry here. And this is described by this curve here. And then you can quantize this curve by promoting x and p to some operator that fulfill the commutation relation. And then you get this operator and you think of this operator as the density matrix of vanity alpha omega. And then what this duality is telling you, basically is that this theory and this theory are really closely related. So this is just like at the level of a picture. But actually you can make all this very precise and you can make very precise statement for this identification. So this duality can be summarized into precise statement. One is the statement about the grand canonical partition function and the other one is a statement about the canonical partition function. Just to summarize a bit. So at the level of the grand canonical partition function the conjecture, the duality can be encoded in this conjecture here. So on this side you have the grand canonical partition function of topological string and in this side here is the spectral determinant of your gas. So here mu is like a geometrical parameter that is related to the complex model, as I was saying. And in this side instead it plays the role of the chemical potential. And then the string coupling constant is related to the inverse of the plant constant in the gas. So in that sense this give you an exact relation between enumerative geometry on this side, because this compute the enumerative invariant of the background geometry and spectral theory. Because basically this is what contains the spectral information on this operator here. So in that sense this duality give you a new family of exactly solvable problem in spectral theory. So a new family of operator for which you can write down an exact closest version of the quantization condition and the spectral determinant also that determines the spectrum of this operator. And here we have a concrete example. So this is the operator that you get when you quantize the mirror curve to local p1 times p1. If you choose the commutation relation in this way so h bar is equal to 2 pi then you know that the spectrum of this operator is given by vanishing locus of the spectral determinant. Now without using our conjecture you are not really able to compute that in close form. But because of our conjecture you know that this is equivalent to the vanishing locus of this function here. And this you can really compute exactly in close form because you can compute thanks to the connection with topological string. And in this particular case actually this is given by a theta function and the zero of this function are given by this expression here. So e to the energy are the eigenvalue of this operator and this is what determine the energy level. So n equals zero if you solve this equation for the energy give you the first energy level and equal to one, the second and so on. And usually it is very rare to have this kind of close form expression for the quantization condition also in standard quantum mechanics. Like you have the harmonic oscillator you can do this but you don't have a lot of other example in which you can do something like this. But now with this construction we have all these operators that come by quantizing the mirror curve for which you can do this kind of things. So in that sense we have a new family of exactly solvable problem in spectral theory. And then the second statement is about the canonical partition function and this is something that Marcos also discussed this morning so I will just review that quickly. So the partition function of topological string is given by this expression so this is the grand potential that I was introducing before. This is like the airy contour and the conjecture state that this is equal to the canonical partition function of the gas. So in that sense we give a new meaning to the partition function of topological string from the point of view of operator theory. And this is basically just a combination of spectral traces. And in that in this way as Marcos was saying this morning you have a non perturbative definition of some topological string on toric background in term of operator theory or matrix model because this you can write explicitly in term of matrix model. Now also an important point of this construction and this conjecture is that actually is testable. So there are by now several tests and also application and generalization which have been done and all the time this test and application and so on they all strongly support this conjecture. But we still don't have a proof of the conjecture and in the rest of the talk I will focus on a certain limited case of this duality that things simplify in such a way that actually we can prove that one. So the limiting case that I would like to study is the one that you obtain by doing the geometric engineering. So it is known since a while now that if you take topological string on certain type of manifold like local p1 times p1 and then you take a certain geometric limit you end up with supersymmetric gauge theory in 4 dimension. Now in the particular case of local p1 times p1 what you do when you take this limit is that like you blow one of the of the cp1 and you shrink the other and you do this in a precise way. And then you obtain a cyberwitten theory in SU2 cyberwitten theory in 4 dimension. Now this work for topological string but also work for what is called a refinement of topological string. Again I am not going to go in the detail of this refinement the only thing is that I want to say about it is that basically you can deform topological string by adding an additional coupling so you end up with a theory which has two couplings that typically are called epsilon1 and epsilon2 and in some limit in particular when you put these two to be equal you recover the standard topological string. And in this geometric and general limit this give cyberwitten theory in what is called a 4 dimensional omega background which is characterized by two parameter which are like twisting parameter of the background. And in that limit the full partition function of topological string and the refined version of topological string give you the necklace of partition function in 4 dimension which compute the partition function of this theory here. So this is a well known object which has been computed in detail. Now I would like to see what happened to this topological string spectral to your duality when you take this particular limit. Now if you take the limit in the standard way so you scale this parameter as is typically done in the geometric and general limit you recover another well known conjecture which is the necklace of Schattashvili conjecture in 4 dimension. So this conjecture tell you that the spectrum of this operator this operator is what is called the Hamiltonian of quantum system which is called quantum toda. So the conjecture tell you that the spectrum of this operator is computed by using a cyberwitten theory in a background where one of the two parameter is set to zero. And if you do the standard story this is what you end up with. And you can like slightly rescale the parameter which enter in this geometric engineering and I will explain in a moment what I mean by this. And if you do this then you end up with a new formulation of cyberwitten theory in term of an ideal fermigas. And in this limit basically you can show that the operator that appear is this one and you can show that the spectrum of this operator is computed by using a class of partition function in a particular omega background which is called self dual omega background where these two parameter are equal. And what is nice as I will explain later is not the first time that this operator appear and it appear before for instance is the study of using model and self avoiding polymer but I will get to that later. And also what is important is that in this in this study here we have a relation with penalty equation which allowed us to prove the conjecture so we can prove that the spectrum of this operator is computed by in a class of partition function. Ok, now if we think in term of topological string the reason of having two different limit is related to the fact that the grand potential as I was mentioning at the beginning is composed by two pieces. Ok. So if you take the standard, geometric and general limit what you do is that you send one of the parameter to infinity the other to zero and h bar which is the coupling also to zero and in this if you take the topological string spectral duality and you do this limit then you end up with the necklace of Schotterschwilly conjecture. But then what you can also do is like rescale a bit the parameter and take the basis and the fiber over h bar to one infinity one zero and h bar to infinity. So in this limit this still goes to infinity but this is like kept fixed. And then if you apply this limit to the duality you end up with this Fermi-Gas formulation and you can relate to penalty equation. Like to explain these two different limit from a five dimensional point of view but actually you can also understand these two limits directly from a four dimensional point of view because somehow you can understand them as implementing a different quantization scheme in four dimension. So let's suppose that you have this amiltonian classical amiltonian. So this is the kinetic term and then you have a potential. Then like the standard approach to quantization in some sense what you do is you take x and p to be some operator and this to be the quantum amiltonian. But there is also another approach that people have been used and is what is called the Wigner approach to quantization. So in that sense this is the classical amiltonian and the quantum amiltonian is defined by defining the density matrix in this way here. So this is an operator and again an operator which is like the potential. And then if you do this the amiltonian that you obtain is basically this amiltonian here and on the top of that you have some H bar correction. If we now think at our two limit we can start with the cyberwitten curve which is this curve here. And then basically this you can think of this as the classical amiltonian of the quantum toda which is the system that underlines the necros of Schotterschwilly conjecture. And then you apply the standard approach to quantization and you end up with this operator the amiltonian of quantum toda that appear in the standard necros of Schotterschwilly conjecture. But then you can also do a change of variable and this is what you obtain. And this actually as we will see later is the classical amiltonian that underlines which describe the Fermigas formulation of cyberwitten theory. And then if you take this and you apply the Wigner approach to quantization which is the second approach as mentioned before then you obtain the density matrix for the cyberwitten gas which is the operator that was appearing in the other limit. Ok, so this is just to motivate that from a pure four-dimensional point of view without using the limit. Ok, now I would like to see more concretely what are the quantity that appear when you take this limit. So we start with the topological string side which goes down to the cyberwitten side by using this geometric engineering. So in at the level of topological string this is the object that we have and then when we implement this limit actually we end up with this object here which is a known object that is called the necros of Okunkov partition function in four dimension. So this is defined from the necros of partition function which is the one that compute the partition function of cyberwitten theory in this case in what is called the self dual omega background and this depend on two parameter one which is more like a geometrical parameter this kappa which is related to A A is the cyberwitten period of the curve and then you have the other and another parameter this t which is related to the instant uncounting parameter which is like the gauge coupling and this epsilon here is the parameter which characterize the omega background because we are in a situation where the two epsilon are equal and then the necros of Okunkov partition function is obtained by shifting this parameter and by summing over old shift so this is an object which was already known and when you take this particular limit you recover this object here. Everything I am going to discuss is this rescale limit. If you compute the standard limit you end up with the quantum toda in this part here. So what I am going to discuss is this limit all the time which is not that different. I mean then is geometric engineering we have to small rescale a bit parameter because here the parameter that appear here are rescale. So this is in one side we obtain this necros of a Kunkov partition function for SU2 gauge theory and if instead if instead we go on the other side after we perform this four dimensional limit we obtain another Fermigas which this time is described by this density matrix here. So this is like a non-standard kinetic term and this is like the external potential. So we have again an ideal Fermigas in an external potential. This is again a trace class operator, it has a discrete spectrum so everything is well defined. Now if we want maybe get like a feeling of what this gas is like we can look at the classical Hamiltonian so this is like the kinetic term and then you have the external potential and at large energy this is what you obtain so large energy mean large p and large x so we just have like a relatively simple ultra relativistic gas in an external potential Now if you are familiar with ABGM theory, actually this gas is very similar to the gas of ABGM theory basically the only difference in ABGM is that instead of kosh you have log kosh and this parallelism actually was the reason why sometime ago together with Marcos we studied this kind of operator but what we didn't know at that time is that this give you a description of cyber width and theory and this is basically what the topological string spectral duality tell you in 4 dimension so it tell you that the cyber width and theory in this self dual omega background admit a dual description as an ideal fermi gas and in particular the necklace of a kunkov partition function is identify with the spectral determinant of this gas so again here we have like kappa is a geometrical parameter in this side instead is like the chemical potential of the gas and t instead is related to the instanton counting parameter or the gauge coupling and here instead give you the strength of the external potential now more precisely as I was mentioning this tell you that the spectrum of this operator is computed by the necklace of a kunkov partition function in this particular background and actually we can prove it and we can prove it because we can show that this object and this object they both satisfy the same panlevé equation which is a panlevé 3 equation and they have the same asymptotic so in this side you have to use some relatively recent result as I was showing you are at the beginning and in this side instead to show that this satisfies this panlevé equation there are some slightly more older results so more specifically the necklace of a kunkov partition function or the spectral determinant compute what is called the tau function panlevé 3 equation that Misha was mentioning just before so here there is a plot of this so there are two parameters the T which is like the instant on counting in gauge theory correspond to the time of this equation and kappa instead is related to the initial condition so this is tau function of the panlevé 3 equation and the zero of this tau function give you the spectrum of this operator here and this equality as I said before is related to the A period so kappa is this so is A over epsilon both parameters are scale now so far we are focused on this necklace of a kunkov partition function which correspond to the canonical partition function of the gas you have this spectral determinant now what I would like to do next is to look at the canonical partition function which correspond to the necklace of partition function directly so if we take this Fermi-Gas point of view once you have the density matrix you compute the canonical partition function in this way here so you have to sum over all permutation and then you can use identity which is called the Cauchy identity to rewrite this sum of the permutation in term of a matrix model and this is what you obtain so this is a particular case of a no 2 matrix model which were studied by Kostov and also other people and is characterized by this interaction term here and in this particular case this is the potential that characterizes auto matrix model and this is a relatively known matrix model because it appears before in the literature for instance in the study of 2 dimensional easing model and also in the study of non-contractable polymer on a cylinder so in that sense with this 4 dimensional duality we give another meaning to this matrix model which is the fact that it computes the necros of partition function because on the cyber written side the canonical partition function actually corresponds to the canonical partition function in what is called the magnetic frame and what this duality is telling you is that this matrix model is a compact way to write this canonical partition function oops so in particular for instance the perturbative cyber with an expansion of the necros of partition function coincide with the toughed expansion of the matrix model so we have a matrix model here it depends on 2 parameter n and t and the toughed expansion of the matrix model can by taking n and t large but at the same time this ratio n over t is fixed and if you study the matrix model in this regime you can show that it has this kind of expansion here where these are called the genus g free energy of the matrix model and there are some techniques directly in matrix model which allow you to compute this perturbative expansion this genus g free energy and this was done by some people and then on the other side we have the perturbative expansion of cyber with an so you can show that the necros of partition function has a perturbative expansion of this type here where this quantity here which are called the genus expansion can be computed in a relatively fast way by using the holomorphic equation and you can get you can compute this up to very high genus in a relatively small amount of time and then what we found basically with this construction is that these two coincide and the dual period of the cyber with n theory is identified with the toughed coupling in the matrix model now there is one more comment that I would like to make and it's okay so this this matrix model here you can evaluate this matrix exactly matrix model so if you take n equal 1 for instance this is just like a simple relatively simple integral and is given in term of a best self function so when n is equal 1 this is not very complicated but actually you can also get an expression for higher value of n and this is because there is an underlying tba system of equation which allowed you to compute in principle this matrix model exactly n by n and this means that actually it's possible to evaluate the full necklace of partition function in the magnetic frame exactly by using this tba technique instanton expansion and now I would like to discuss a little bit more this relation with panlevé equation so in this talk basically I focus all the time on this local p1 times p1 geometry and when we take this limit we recover the panlevatory equation but actually you can do the same also for other toric calabiao and in that case you recover a different type of panlevé equation so on that side basically by computing this limit you can reproduce the result by many people here and in this side instead you can basically provide a solution to this panlevé equation here in term of an spectral determinant or a matrix model and this you can do it very explicitly now in this particular case this solution is the one that was proposed in the logical but in principle you can do it also for the other panlevé equation here now just to summarize and conclude so we have a new relation we have presented a new an exact testable duality which relate topological string or enumerative geometry and spectral theory operator theory or matrix model and then I show you that there are two ways in which we can compute this four dimensional limit in one way you recover the standard in the standard limit in some sense you recover the Necrozov-Shatashvili conjection in four dimension in the other limit instead you obtain a new formulation of cyber written theory in term of an ideal permigas and you make contact with panlevé equation so this allowed you to give a proof of this conjection in this particular limit and also it give a new meaning to this relatively famous matrix model which was describing eting and polymers model and this give you the partition function the Necrozov partition function in the magnetic frame which we can write in a compact way as a matrix model now here are some open problems that may be interesting to look at so the first one is now we have really a lot of test of this duality but we still don't have a proof of this so it would be nice if somehow we can translate this proof that we have in four dimension to the full five dimensional case but this is not clear whether you can do it or not but ok and another point is that the topological string spectral theory duality here was generalized to the open sector of topological string so it may be interesting to study the 4D counterpart of this generalization to see what you obtain but so far we always focus on SU2 gauge theory where we have basically the solution of Li-Sovian collaborator and it would be interesting to see what happen when you take this limit of the SU1 geometry in general for any bigger than 2


Hi there, it's Sandy Olnock and today I will be coloring a tiki hut beach scene in colored pencil. And it's a new stamp set from Sunny Studio Stamps. It was released recently and I'll be using my Prismacolor colored pencils for it. If you want to know what the colors are, they'll be listed on the blog, but here is the stamp set, the tiki bar and a couple of accoutrements that you can stamp along with it. I'm using Stonehenge drawing paper and my Prismacolors as I said and I stamped in two parts. I stamped first the tiki bar in no-line ink in my MISTI and while it was still set up, I blocked off everything below the tiki bar sign on the tiki bar stamp and just stamped the tiki bar in black and then I did the same thing for the bottom section. So all I had to do was stick post-it notes on it, no fancy masking was needed. I'm starting by putting some tan kind of colors, a cream and then a tan and then I'll start to work my way toward browns because I wanted to create some light coming from the tiki torches on either side of the bar. And so that means the light is going to hit those two sides and not the center so the center will get darker. And I also stamped this in lighter ink so I could be in control of the texture because the stamp has kind of cartoony lines drawn on it and I wanted something that felt more realistic for my scene and so I stamped all the rest because I know I can work with the rest but I didn't know if I could change the character of some of those wavy lines that are on the tiki bar roof but I knew I could create this interesting texture just by creating it with my colored pencils. I normally don't do full scene colored pencil cards you may have noticed here on my YouTube channel because they take so long. This is already sped up to 200% in order to get it into a reasonable time frame because I lose viewers rapidly if the video is too long. So this is sped up for that purpose but also I just don't do a whole lot of these. However there is a new playlist of the few that are out here that I would consider advanced which is what I would consider this. And there's also an intermediate and beginner and a getting started and a colored pencil of flowers so if you're interested in any of those there are playlists for them here on YouTube and I have a couple of them already in visual formats if you want to look at them on inspiration posts on my blog. There's pictures of all the things before you get to them so you don't have to sit and scroll through a playlist you can just look through the pictures real quick and decide which one you want to go see. So I have them in both formats if you're interested in links to all that are in the doobly do. Now let's get back to the card itself. I'm using the same colors for the tiki bar or wood front as well as the sand and the roof. I just wanted those parts to be all the same so I didn't have a ton of color all over this. There's going to be a beautiful sunset in the background. I knew I wanted to have that be a feature and I wanted the tiki torches to be really bright and strong and I wanted dark sky up at the top section. So I needed something to be a little tame on the card so it would be a little calmer and have the majority of the card being those colors and they're also warm colors and I'm going to use some cool colors elsewhere in the picture so it makes for a nice contrast. The Gamsol blending solution comes out next and I'm going to use it on the tiki bar front to make these slats by using the blending stump to make vertical strokes. That's going to keep it feeling like wood instead of going back and forth sideways to try to blend it perfectly. I'm trying to keep that wood feel and I'll use the side of it when I start working on the sand down below the side of the blending stump because that's going to give me longer strokes. I'll do the same thing when I get to the sky. And the Gamsol that's in my little cup, if you haven't seen me use my Gamsol before, I pour it from the bottle into this little container that has a lid on it and put a couple cotton balls in it but I change out periodically because they start absorbing color after a while but I put it in there so that I can be in control of how much of the Gamsol ends up on my blending stump because if you put it into straight liquid you're going to end up with the whole thing soaking wet and if you have it though in a cotton ball then you can decide whether you're going to press a little bit and just pick up a little bit of blending solution or if you want to really soak it you press it in and you can soak up more of the liquid but it gives me more control to have it in that kind of a container. So I've added shadows underneath of those bushes which you could also stamp in the top corners in order to make it look like pine trees, palm trees. You don't have pine trees here, they have palm trees and I decided to make them little shrubberies instead because I wanted my sky to be a much simpler sky because I want my sentiment to be up there on the top portion of the card and here I'm coloring in the different greens in these little shrubberies. I put some bright green on the areas where I think the tiki torch might shed some light so just on whatever part is sticking out and if you ever are in it in a chance have a chance to look at a plant when it's in very strong light like this you have one light source and then everything else in the room is on the darker side you'll start to notice that there are some areas that do stick out further so they do catch the light and I always advise my students to just pay attention to the world around you you know just sit there in a restaurant and look at the light that hits different objects whether it's tables or people or walls or whatever and see where the light's coming from and what kinds of shadows and highlights it's making and that's going to help you to become a better artist because you're going to be able to see better so these are the verticals that are in this that I'm going to recommend you not do if you try to replicate this scene and get the stamp set and stamp them but don't do any of the coloring of those verticals until you finish the sky the reason is because when I get to starting to do any blending then I risk taking that blending stump and touching some of the brown and dragging it into the sky so it's going to make it harder to do that blending sometimes I even do my skies before I do the rest of a scene just because of that reason it's just going to help to not mix colors when you're trying to keep them from blending together so I have some yellow down here at the horizon and I'm going to add the blue or the horizon line and I use my t-square to do that so I can make sure for once something is straight on one of my cards I don't always do that and I always end up regretting it it seems because when I'm working and trying to film I'm looking at it a little bit of an angle I'm not looking at it straight on and I get crooked but I'm going to fill this in the smoother your blending is when you're just doing the colored pencil part the easier the blending is going to be when you get to the Gamsol part so even though the Gamsol is going to save your bacon a lot it's also going to be easier to blend it well if you do the blending first really nicely and practicing that and keeping a good sharp pencil are going to be two things that will help you a lot if you're new to colored pencil and you're like I have no idea what she's talking about then the colored pencil jumpstart class might be when you're interested in because that teaches you a lot about basic blending for for using colored pencils and a lot of different techniques there's different tools that you can learn to use that will make you more successful in your color pencil work so next up is adding some color to the sky now I was looking at a picture on Google I tell you all the time go find pictures to inspire you I found this gorgeous sky where the strip of bright yellows right around that sun and down the horizon it went into this really pale blue and then started merging up into kind of a really nice medium blue at the top and that's what I wanted to create it also had some clouds in there and clouds are interesting when you start trying to do something that goes from close up to far distant in the horizon line the further out it is the more they're almost a line and then when they get closer to you they're larger and they're poofier and there's some that can be really really big and poofy and that's because you're looking at them at a different angle if you ever look up at the sky you're looking at the bottom of a cloud if you look out at the distance you're seeing the side of the cloud and that's one of the reasons why it's basic perspective so I've got my clouds down there and I'm going to do some blending with them later but now I'm going to start working into that nice medium blue up at the top medium to dark and I debated how dark to get I didn't film all of the coloring of that part because it does take a long time and skipped right here to the blending of it and don't worry you're not missing anything at the top of the page even though it's cut off I was trying to stay nice and close so you could see the work being done but it's just blue that's all there is I was going to put some large clouds up there and decided after I saw it kind of coming together that I didn't want that because I wanted my sentiment to be stamped up there in white so I'm going to do some heat embossing for my sentiment and I wanted that to stay just in a nice plain empty area I already had enough details elsewhere in this card that I did not need another thing in the picture to start distracting but notice how nice and white those tiki torches start to look when I start adding more and more color and it gets darker and darker behind it so I get the contrast it's what I'm always saying is contrast is your friend if you can create areas where there's a really dark dark next to a really light light that becomes immediately the place where people's eye is going to look so to finish off a few of the details now in this the tiki bar sign at the top did get some oops is in my blending not gonna worry about it just gonna go right through it and then start adding in a light yellow and then a darker yellow for the tiki torch fires and I'm gonna leave the centers white there sometimes when you'll get a little orange or a little red in there and I didn't want to be adding any colors at this point so no red would be added my drinks I'm even including a blue drink and I'll do the other drink in yellow just to stay with the color scheme and then I darkened up the front of the hut a little bit which had seemed so dark before but compared to everything else now just needed a little more definition so my finished card is pictured here you can see all the lovely details in the scene if you're interested in what the colors are there over on my blog on this post so you can check those out and replicate this for yourself there's also some links to the inspiration posts that I've already created using colored pencil if you want to see more of them if you have not yet subscribed yet please do so and click the all button when you click the bell because that's going to deliver all my videos to you whereas personalized they kind of choose what they want to personalize for you so you may not see all the videos and be notified of them thank you so much for clicking the like button I will see you again very soon take care bye bye