Hi, I'm Zor. Welcome to Unisor Education. I would like to continue talking about measurements. In particular, today we will talk about lengths. The previous lecture was more about like abstract measure, what is measure, what's the qualities, etc. Like the property of being additive, for instance. In this particular lecture, I will talk about lengths. That's one specific type of measurement which we definitely think that we are familiar with. Alright, so let me start with something very, very simple. First of all, for any measurement we need a unit of measurement. Now, in case of lengths, the unit of measurement is some segment. Whatever that segment is, but we do assign this particular segment length of one. Doesn't matter what's the unit. It can be one meter, one kilometer, one yard, one inch, whatever. Now, after we have the unit of measurement, we can very easily measure any segment which has certain integer number of units in it. So, if a particular segment has one, one and one, three units of measurement in it combined together, then we assign the measure of three in this case. If you have M unit segments combined together which represent this particular segment or congruent to this particular segment if you wish, then the length is M for all these reasons. And another related to this, if for instance one quarter of a unit segment is congruent to our segment, then the length is one quarter. If one nth of the unit segment is congruent to our segment, the length is one nth. And finally, if M over M, which means M one nth part of the unit segment is congruent to our segment, then the length would be M over M.  And as usually, the theory is very simple for simple cases and significantly more complex when the cases are basically all other, not very simple ones. Well, obvious example is if you have a square with the side of one unit, then what's the length of diagonal? It's very easy to prove that there is no M over M which can be assigned to this. It's irrational, it's irrational number. So what did we do with measurement when the segment is not congruent to some M over M of unit segment? Well, we have a problem which we have to really spend some time and explain. It's all about definitions of real numbers, irrational numbers, how can we represent these numbers, etc. It's relatively advanced material and for obvious reasons, I don't want to overwhelm you with a really very rigorous, strict logic which leads to exact concept of what is the length of this particular diagonal in this particular case. However, I would like actually to explain basically how the whole process is going to. Well, every irrational number can be represented as a sequence of rational numbers. Now, what's interesting is that there are many different sequences which have the same limit. That's very important. To get to one particular irrational number we can have many different ways of approaching it and no matter how we approach it will be exactly the same irrational number. Same thing actually goes here. For instance, this particular length we can represent as a decimal fraction 1, 1.4, 1.421, 1.414, etc. I don't remember obviously many digits but eventually this particular sequence of rational numbers will lead us to the square root of 2. I'm not afraid to put it here. That's an irrational number. So any process which would actually lead us to a particular irrational segment will do and the limit will be exactly the same and basically the limit which can be obtained or defined if you wish in this particular way is called the length of this segment. The limit of its approximations, if you wish in a similar format as irrational number can always be defined as a limit of rational numbers. So lengths of segments we basically covered. In simple cases it's a simple thing. In more complicated cases we have to use the theory of limits of certain process of approximation to get to the concept of the lengths but what's important is and that's really very, very important any segment, any segment rational, irrational, whatever any segment has this length and it's a unique number. The theory of existence of the lengths basically is related to existence of the limit of approximations and uniqueness is also related to this particular theory. So the existence and uniqueness these are two very, very important qualities of the lengths for any segment. So no matter how we measure it no matter how we approximate its lengths we will always get exactly the same number which is defined as the lengths of this particular segment. The existence of the lengths which means we can measure any segment and uniqueness which means no matter how we measure we still get the same result. That's very important qualities. Okay, next. Next is a simple topic. If we are more or less comfortable with the concept of lengths I mean I'm sure we are very comfortable with the rational lengths but we are a little bit less comfortable with irrational lengths but still we kind of understand that it goes through the process. Next is a simple topic. If you have a polygon what's the perimeter? Well, the perimeter is just the sum of lengths of each side. Since every length, since every side has a length then we can always define perimeter of the polygon as the sum of its sum of the lengths of its sides. Simple topic, there's nothing to talk about this. Every polygon has a finite number of sides. Every side has exact lengths. As we were explaining before the lengths exist and it's unique so it's one and only one number and then we can just sum them together to get the perimeter. Simple. Much more complex case is a circle. Now, the first and obvious complexity of the circle of the circumference to measure the circumference of a circle is the following. Our unit of measurement is a segment which is a piece of a straight line. No piece of a circumference of a circle is a straight line. I mean, it's curved so no part of this segment can be actually can fit to any part of a circle. So, what do we do? How can we define the circumference of a circle? Or if you wish, the lengths of a circle which is basically the same. Well, it's not easy as I was saying and let's just think about well, similar process to measuring irrational segments. We are approaching through approximations through the theory of limits and here is how. First let's have two diametrically two perpendicular diameters and then we connect these points. It's very easy to prove that we have a square. Now, we do know what the perimeter of this square is because we were just talking before that any polygon has a defined perimeter. Now, is the perimeter of this square a good approximation for a circle? Well, quite frankly, not such a good one but we can improve it. How can we improve it? Very simply. Let me just wipe out these original diagonals and instead we will do the following. Now, this is the process. We will draw a perpendicular to each side and instead of having the straight line we will have two new ones. So I wipe out the old square and replace it with eight sided polygon. Now, is this a good approximation? Well, I think we all feel that this is a better approximation for a circle. The octagon looks like it's much closer to a circle. Now, what's the perimeter of this octagon relative to the previous perimeter of a square? Well, let me restore one particular line. Now, as you see this line which was the side of a square it's shorter than some of these two. Well, that's the inequality of triangle, right? In any triangle, some of two sides is longer than the third side. So, when I replaced my square with an octagon my perimeter has increased since every straight line between these two points I replaced with two lines which have a greater length. Similarly, next one and next one and next one. So we are increasing our perimeter. That's good because we can continue the same process again. So, we will draw from a center perpendicular to every side and take the midpoint on the arc and replace this side with two smaller ones but some of which is greater than this one. As you see, we are more tightly approximating our circle doing this particular operation. So, again, this can be replaced with this and replaced with this, etc. So, again, we are increasing the perimeter from four-sided polygon square we went to eight-sided octagon then to sixteen-sided to thirty-two-sided, etc. So, we can continue this process up to infinity and every time, on every step we are tighter and tighter approximating our circle and what's important is we are increasing perimeter. Now, the perimeter is actually bounded from the upper, from the top. Well, obviously, I mean, we can probably draw some kind of square, a very big one, to have perimeter greater than perimeter of any of these polygons which we have. It's not obvious, but I just take it for, you know, just believing it. I think you feel that this is right. We can draw a really very big square which would definitely have a perimeter larger than any polygon which is inscribed into the circle. So, what it appears to be is that the perimeters of these four-sided, eight-sided, sixteen-sided, thirty-two-sided, etc. polygons this is a sequence of increasing numbers monotonically increasing numbers which is, which has upper bound. It's bounded from the top. Now, if you remember from the theory of limits that if you have a sequence which is number one monotonically increasing and number two has an upper limit, it has a limit. And this limit in this case, as again you feel, but I'm just telling you as a definition basically would be, by definition, a perimeter, a length of the circle, circumference of the circle. So, we very much rely on the fact that our sequence of perimeters is monotonically increasing sequence and it has an upper bound. And that's enough to say that, okay, there is a limit to this particular sequence. Alright, so is it really a correct definition? Not exactly, because what if I will draw my circles somehow, my initial square slightly differently? Would it go into the same limit when you will try to implement this particular process of dividing every arc in two? What if I will start instead of a square, what if I will start with triangle and then divide each line in two? So triangle will be replaced with hexagon, hexagon with a 12-sided then 24-sided polygon, etc. It's a different sequence of polygons. Would it go into the same limit? So, what's important is we can really approach differently the same problem of approximating the circumference of a circle and the obvious question is will we obtain exactly the same result? And that's the beauty of it because in theory we must, right? No matter how we do this we must go into the same result if we believe that there is such a thing in the circumference of a circle. And yes, there is again a relatively more complicated story about this. The theory is relatively deep and what it says is the following. We can prove the theorem that if you have a sequence of inscribed polygons it doesn't really matter that they are regular like in my case, like equilateral triangle or square as a starting point and then you double the size. No matter what the sequence is as long as our inscribed polygons have a very important property that the size of the maximum side is going down to zero. So, if the sequence of the inscribed polygons is such that the maximum side the maximum side whatever the maximum is doesn't really have to be a regular polygon it can be the polygon with different size as long as the length of the maximum side goes to zero it's enough actually for the process of the sequence of its perimeters to go to the same limit always the same for a particular circle and that limit can therefore be legitimately called the length of a circle its circumference. This is not a simple thing lots of things, whichever I was talking about I'm just asking you to take for granted because it's difficult to prove and it's basically outside of the scope of high school material However, I would like you to feel that these are correct principles Now, in this particular case I think you kind of intuitively feel that this is the right thing that no matter how I inscribe the polygons if they are smaller if they have smaller and smaller maximum side it means they are tighter and tighter approximate the length the circumference of a circle and if you feel it this way then you feel that this is supposed to be the right statement that no matter how we inscribe as long as the maximum side goes to zero converges to zero then the perimeter will converge to something and that something should be exactly the same thing which is circumference of this circle So, this lecture was not really very I would say rigorous as I would prefer it to be but it's just because the theory is relatively complex like measuring of a curve with a straight piece of straight line, a segment However, I think I was trying to convey certain intuitiveness of this process So, whatever we cannot measure directly like irrational segment or curve then we are using the process of approximation and what's important is that there is always a limit of this approximation it exists this limit and it's unique no matter how we approach this particular curve or irrational segment as long as it's reasonable Now, in case of a curve, the reasonable means your largest side of the inscribed polygon converges to zero Okay, that's it for this particular lecture Thank you very much Don't forget if you register to Unizord.com you will be able to take tests and also another person can really be involved in supervision of the whole educational process Thanks again and I will continue talking about measurements in different cases including errors, for instance in the future lectures Thank you


Hey there, it's Sandy Olnok and I bring you the return at least temporarily of two things in a rant. My two things are first, a digital image that I have for fundraiser all week long. It'll remain available longer than that, but fundraiser just during Shark Week and the money will all go to Sea Shepherd so you can get the detailed image as well as the outline image and color it any way you like. The second thing is that it's the end of World Watercolor Month so you want to go check the sale category, make sure if there's anything there that you wanted during this sale that you have gotten it added to your account. So let's get on to the rant. I want to talk about changing our art language because the language we use about ourselves is important. I posted a very short video here on YouTube recently and on other social media and got some interesting feedback and I thought it would be helpful to expand on that a bit. When we talk about our work, I know a lot of us are trying to communicate humility by what we say. We're trying not to say, come and look at my art, aren't I wonderful, I am great, this is a beautiful thing. We try not to make ourselves sound like more of an expert than we are. Totally get that, totally understand it. But there are some things when we say them that might sound on the surface to be humble in that way but really what they're doing is damaging us as artists and I want to talk about those things and give you some alternate ways to think through them and to say things that will not harm you and stop you growing as an artist. The first one is the word just. There's a lot of people who say, oh, I'm not an artist, I just stamp, I'm not an artist, I'm a scrapbooker, I'm not an artist, I'm a whatever and I want you to think about it this way. Does someone who makes beautiful pottery, a ceramicist, do they say, well, I'm not an artist? All I do is make pots, I mean, you know, I don't oil paint, if I oil painted then I'd be an artist. No, of course they don't say that. Does an oil painter go to a gallery showing with watercolors and say, yeah, well, this is beautiful stuff, I'm not an artist, all I do is oil paint, look at these watercolors, they're amazing. No, they're different mediums, that's all it is, they're different mediums and we all work in different levels in whatever the medium is. Just because we're not at the top of the heap of famous people in our medium doesn't mean we're not an artist, it just means we're in a different place, that's all. When you want to say I'm just a fill-in-the-blank, instead just own it, say I'm an artist and here's the medium I work in. I create these things, period. You don't need to apologize for it and just say, well, I'm just at this, that and the other. There's no reason to do that, there's no need to apologize in that way. The second one is when people say I wish, I wish I had that skill, I wish I was born with it, I wish I could do this, I wish I was at that level. When we say I wish, we're telling our brain that we need magical pixie dust to come and land on us and that's not the way art works. Think about when you go to the gym, you don't get to that machine, whatever, I don't go to the gym, so I don't know why all machines are called but you don't get to the machine where you do the weightlifting and you say, boy, I just am useless, I can't believe that I was not born with the skill to be able to lift that kind of weight or to have that endurance on that machine or whatever the thing is. Now, when you go to the gym, you know it's going to be weeks, years, decades of progress and you're going to need to keep working at it. Why is it that we have that understanding when it comes to getting our bodies trained up to do something but with our art, we just kind of think it's supposed to go boop boop boop right off the brush and land on the paper that way or our pencil is supposed to just make motions that we think in our heads and our hand doesn't know how to make those motions yet, it's going to take time and yet we tell ourselves, well, I just wish I could do that thing, I can't do it like so and so, well in addition to dismissing the amount of work that so and so has put into it, we're telling ourselves that we have to wait for that magical pixie dust and there is no fairy godmother who's going to come and just go ding and everything's going to be different. It's going to take time and you're going to have growth happen during those years of practice. I've noticed every year I've done shark art on Shark Week, I've painted oceans every summer and I've noticed this year I'm finally making some really great improvements. It's like something clicked in me recently that I am super excited about and that is something that artists at my level experience as well as whatever level you're at, whether you're ahead or behind me on this journey, we're all progressing. We need to celebrate that and be able to keep growing and keep moving forward instead of just wishing we were somewhere else. Enjoy where you're at, enjoy the process. There's something about the process of learning that I just love and it drives me nuts when people think that not being at that end stage of the journey, not being at that place where everything's easy is somehow makes them less of an artist and it's not true. That's not how things work. The third thing that people say a lot is a group of words. I'll just lump them together. I can't do this. I'll never be able to do this, never ever be able to do this. It won't ever happen. There's just no way. I don't have that skill. I wasn't born with it. That whole genre of I can't.  They keep saying it over and over again. We can't do that.  And if you've wondered what that thing is when you sit down and that blank piece of paper is in front of you and you're in an abject panic, it's a lot of times because you have told yourselves, I can't do it. I'll never be able to do it. I will never be that good. And when you train yourself to do that, it takes a long time to untrain yourself. It takes a lot of time to rewind those tapes and to go back and undo the damage that we've done to ourselves. Believe you me, I have lived this. I've had to peel language out of my vocabulary and stop saying I just or I wish or I can't or I'll never be able to fill in the blank. I've done this as well. It's not an easy process, but picturing your brain like it's a separate character. I think of it almost like a little cartoon character in my head. And it's more of a child because it just takes information in, doesn't assess it, just says, OK, she's telling me that we have to wait for a pixie to come along and magically make this happen. So when we sit down with a pencil or a pen or a marker or something, we're going to not be able to do it. So I'm going to make sure that thing doesn't happen. Like we tell our brain to stop us from being any good at that thing by the things that we say, I have done this and I want to encourage you to think about it and change your language as well, because that's going to help you to start growing as an artist and opening up possibilities that you never thought were there. You never thought would be within the realm of what you could accomplish. I've seen the power of people studying and learning and growing in the students who have taken my classes and followed my YouTube videos and stuff. I've watched people blossom. And to areas that they never thought they could. And maybe even I may not have thought they could when they started, because they were at a certain level and I didn't realize they were going to be able to grow as fast as they did. And it's amazing to me. It's encouraging to me to see other people grow and it's discouraging when I hear people tearing their work down. When I hear them dissing the medium that they use or the type of work that they create or the style they work in, when they demean things, it demeans all of us because it tears down all arts by saying one is better than another. It's not better than another. It's different. I just wish I could get a hold of the art world and say, can we just rightly assess where we are and to know that we're at one place or another in our journey and it's okay to be there wherever that place is. That's all. If you have been watching this video and wishing that I was talking about what I was painting and why I was doing things and what was working and what was not, there were some areas where I ended up just painting over top of something because it wasn't functioning the way that I wanted it. You can hear all about that on Patreon because I put another version of this video up on Patreon with that voiceover in it. So you can check it out. If you're interested, link in the doobly-doo if you want to become a patron. Also link in the doobly-doo for that shark digital image if you want to download it and color it up and help us fundraise to save the sharks. I will see you guys again next week. Take care. Have a wonderful weekend. Bye-bye.


All right, let's check it out here. That is the only Better sort of the sound here. I think my main reaction to all this. It's definitely better. I like how your arms are moving There's some better stuff in the head I would say the main thing is that everything feels like it has a very specific pivot off of the chests It's almost like a bobblehead if that makes sense. It doesn't it doesn't feel like movements Especially once you go into a turn like this doesn't feel like if the guy is you know, whatever on his bed and and he's sitting He's got his laptop on his on his lap It doesn't feel like any movement is coming off of here the route where the character I'm exaggerating But you know would lean over go home. What's going on? It feels like everything is very specifically Rotating pivoting off the chest like I said, so when he does that turn instead of being So clean out of here Imagine it comes more out of the route so that there's a little bit of a tilt over like you can tilt over this way I mean that's way too much and it makes no sense because I can't draw but you're you know The head would end up maybe in this position With the look and everything, you know, he's kind of slightly tilted over But so there's just a feeling of the whole body is moving is shifting over his butt cheeks. It's not just that Very clean wire rotation, so I don't see anything really Him leaning back a tiny bit if that makes sense It's just kind of a clean rotation that feels too. Computery Watch out. He's looking kind of straight into camera at this point and Headwise Just watch out in terms of your arcs There's something that feels a bit too like that you want to be a bit more exaggerated with the arc Curl at the end But you don't you're doing this where you start and then you're flat and then he comes back in a flat arc again See how it is comes back and then this is very straight So it feels like it's doing deep then flat and then flat versus having a bit of a Stop your coming back and his little look up could be up this way with a little bit of hold come back so I'm exaggerating the arcs but Even this is pretty straight down that gets better because he's starting to turn And watch out like you still have moments where for instance this arm has a very Single movement feeling meaning it's just kind of moving on its own Especially if you do this here, there's nothing in the shoulder There's nothing in the chest and I know this is two frames But there's something where you probably just reduce the amount and still involve the shoulder a bit Then as you do this same thing. There's nothing going on here. It's was like that arm She's moving separately Also, you're moving that arm back, but then at the end the chest goes this way I would move the arm back take the shoulder back and up with it And then the chest goes this way as well because it's the arm that kind of pulls them That way as well. And again separate move where I can scrub through and it's just so much moving through here But then there's nothing really going on there It gives it all a very broken separate feel as you go back here That's not too bad, but then you got a massive massive jump here to look at your spacing That's not too bad, but then if you track this line of his Shoulder and neck it's such a big jump and then it's small again Where it's pretend you would go this far, right? It's someone would push or someone will pull him out that head would snap and go this way just to Just to drag So having the whole piece here all of that body Section with the head move of a one frame. It kind of loses its its weight and sense of scale So weird how skinny those arms are it's a bit of a weird shape With that feeling so why but the arms are skinny. I'm sure if you can scale Those arms speaking of arms as you go up like this. You don't really want to put your elbow That's bent or your arm. That's bent with the elbow exactly Flat away from camera. So I would either have the elbow up or elbow down But if you do if you squint here, though, you're still wet test It just seems like a stump. You don't have any bending of the arm and also the The what's it called the wrist and fingers is just all overlapping in front of the forearm versus something where you could just be a bit higher you can show this and then you can still have your You know, whatever hand pose in my fantastically horrible drawing Even this here at the end style up and down Feels very fast, but it also feels very wiggly I'm tracking you can track any point here and it feels like it's doing this type of up and down So you got to really smooth out your arcs and Again, if you have a big body move like that the head will be dragging unless you're leading with the head But then again, it will be separate It wouldn't just oh separate it. It wouldn't feel like this and this is moving as one piece Also again, it's just a weird envelopeing where your neck feels really really far on the left side with big shoulder Stretched out with really skinny arms. It's strange strange proportions And watch out. You got very separated finger movements They all kind of move at the same time and stop at the same time, but then nothing in the wrist is going on This was like a very broken Section through there where you want to tie in your wrist movement So if he brings up his his fingers up like this Why is that is that because he wants to shield himself or he's scared? But then you could probably lower the wrist here and then bring him up into this pose But it feels also your wrist is like this in your finger like that as opposed to a bit more aligned So there's all kinds of weird stuff. So if you have like if you have it like this I will probably curl the fingers a bit more. So they're a bit more aligned with With the palm there and as you go from this to this pose That could also mean that the hand could go a bit higher because of that the shoulder goes up And maybe the chest goes back a bit. So again, why is he moving those fingers? Is that a change because he wants to? Protect himself or just a different pose for I'm scared and freaked out. So if that's a change For him mentally, I would see well How can I show this with the whole body and right now all I'm seeing is mostly something in here a little bit in the shoulder But not much in the head again the head and chest feel very connected But also facially nothing changes. So because everything is kind of the same this feels very Very separated and broken, which is like a single piece of geometry moving All right, so definitely look at how you transition and what is moving and if it's a single thing just over a couple of frames But overall also watch out your arcs for your arcs. I mean, it's just very very very jittery Through the end here and look out at how fast your character is moving losing a losing a sense of weight All right, and if needed you can always reshoot reference You just kind of look at specific moves that you want to shoot reference for it doesn't have to be the whole shot Okay, that is kind of it. Thank you All right, there's an email you can sign up you can start whenever you want you can submit whatever you want You get 16 submissions either way a like and subscribe would be awesome. All right. Thank you


I'm an everyday woman, woman, woman And never we were, yeah, yeah I'm living my life, life, life Living day by day Welcome to Every Way Woman There are some major changes happening in the talk show world Live from Los Angeles, here's Every Way Woman There are some major changes happening in the talk show world I want to talk about it, ladies Well, yes, there are changes because I think that the producers and the executive producers and head of networks are just trying to find their place and they really have lost touch with their audience That's what I think that's happening Why do you think they've lost touch, Manson? I think they're a little bit too focused on a younger, richer socio-economic class that doesn't really exist except for in a very small percentage Well, it exists on, you know, the real teenagers of Beverly Hills but that was not how I grew up in Grand Rapids Right, no, it isn't, and you're right Reality TV, in its way, has wreaked havoc on our household and on our women And also, I don't think personally that the producers are willing to take a risk This is a conversation that we have among ourselves and we talk about other shows and why some make it and some don't And I always go back to the Katy Kerou show because it's such a, what a great opportunity for America's sweetheart I loved her I know, right? But she did not take advantage of what she had to offer older women Right And she could have, she had a built-in audience that she didn't go after Well, that's because she had this formula that everybody else has been using It doesn't work The risk taking, and not taking a risk, and not at every way woman We want to take a risk because there's so many other women out there Right, and the risk that we want to take is we want to reach out to real women Do you relate to anything right now? I do because at the same time, a lot of the times when the shows out there they look into ratings So when they pick somebody, they pick them because they're popular But at the same time, do they bring rating?  You know, you're in your 30s Do you feel like you're ever being considered by these producers? No, actually no I'm happy to be a part of this because you don't see a lot of Latinos, Latinas out there, you know, in the industry as in talk shows Right I love to see that I think they're going after the Latina market I think they're going after it for the wrong reason, what you say, for ratings I don't think they're really putting a lot of consideration into who they're casting to be Right, and who is actually connecting with them and who is actually watching them And I don't know if they're representing the culture as well that comes behind it And it's not just the strict culture from where it comes from But how that is melted into, what's the culture now But I think you see it a lot in the Spanish, in the Spanish channel Do you really see Latinos really out there, unless it's like a sitcom or something? Right, and that's where I went Madison and I thought about creating Every Way Woman I think one of the main sticking points was that we wanted a show that other people can relate to And didn't feel like, well, I'm just a consolation viewer I have no choice Madison, what was that like for you? What sparked Every Way Woman? For me, it was getting into touch with being domestic Because before getting married, I was not really a domestic kind of woman I was out, I was just living free, I didn't care where my underwear ended up And it ended up on the floor What I mean is on the floor, it ended up on the floor You know, after getting married, putting clothes on the floor was not okay anymore All of a sudden, I needed to know how to do a lot of things that I didn't do before I remember a conversation we had on almost the same topic I remember Madison and I was like, we want to show that women can feel like they can do it themselves And we go back to your wedding cake And I remember you telling me about your wedding cake Martha Stewart, I watched Martha Stewart She was like middle class, forever mom type of woman So I looked up to her because she was the only one out there She was the closest person that I could relate to And I'm half Korean So she put out a book of wedding cakes that said that I can make a wedding cake And I thought, okay, my husband-to-be is super picky He wants to have this special fondant icing And Martha Stewart says I can do it So, all right, I'm gonna do it I'm gonna do it, my wedding night Okay, my wedding night You did it on your wedding night At 4 a.m. in the morning, I am rolling out this dough Fondant, are you kidding me? No, I had no idea Don't wear it in the book, you need a spatula the size of a dining table In order to lift this frosting up and put it on a cake Not as new or crazy Absolutely But that was who I was relating to Because she was the only one out there And I was so frustrated Because that's not part of who I am But I was trying to be somebody I was But it was actually kind of the building blocks everyone Because we were talking about, okay They're doing stuff that's not real And real women are trying to do it And they can't do it And they're so frustrated And they were so frustrated And do you know at Ralph's, I asked what a truffle was And they sent me to the chocolate section which I went to But there's a nut called a truffle And you don't shade that You want a truffle oil Yes, I shade chocolate truffles into my shrimp dish My 15 minute shrimp dish Are you kidding me? Because I didn't know And that's really what the show is about Because we wanted to educate people have fun And at the same time Because a lot of people didn't know anything And we were both saying What was that point for you? We were just that conversation And we both realized Mads didn't realize We needed this information to be in one spot And balancing a chuckbuck I'm never going to Yolanda But I don't understand why at the end of the month I'm getting bound here and there and everywhere And Yolanda looked at me and went That's the problem Nobody ever taught us how to do these things No one teaches this stuff And sometimes some people can only learn From television, from people in the media Or from our friends That's from our friends Or from our coworkers Or from our mothers Or from our You know what, YouTube doesn't know it all I'll tell you that Because I can Google some answers And then I try it And I still... It's not for real I think it's a beautiful thing Being a part of this panel And a part of the show Because the other... Just like two days ago Wait, wait, yesterday I'm sorry, yesterday That's okay I just stopped at Starbucks You know, paying for my mocha And then she just...  That I gave... Well, she goes You give me hope And honestly, that's what made me really... And you became real to her Yes I think I texted you And I'm like that And I am... Every time you say it I kind of cry Because that was the whole purpose Of doing the show It was beautiful It was beautiful So, you know Beyond hope What are you hoping to leave With the women who are watching Or men Better watching the show That, you know what Don't give up I think the show is about Not giving up And be who you are Be true to yourself And be who you are Different women Different conversations Different opinions It's always great You're on Every Way Woman Stay tuned Are you an Every Way Woman That's more Every Way Woman Everyone says that breakfast Is the most important meal of the day But dinner time is family time Does that take precedence? Let's find out Dinner time is family time But sometimes it's a lost art You want to... How do you feel about this? You know, to me dinner Is the most important time of the day Because it's the one time That the entire family Really have an opportunity to get You know breakfast or rushing You can have lunch at school Or at work Yeah, except for Unless you live in a two income household Because I know for me Dinner time was very important But it didn't work for me Because when I was at home My husband was at work Yeah, and that's the struggle To have those moments So you would eat with your kids Or did you wait for your husband? I know I'd eat with my kids Because I wouldn't see him until 4 in the morning And sometimes not the next day Well, for me it's different I'm single, don't have a family So... So what is dinner time for you? Friend of a TV Friend of a TV on the road? On the road And I understand because I'm single as well But then sometimes, you know They even say I take my so far But... Norse! But I do agree that dinner time Is one of the most important times And it is family time And it is a time that should be Honored because I would change things up I have some of the best conversations With my kids over dinner But how do you instigate that Because even the children now Are sitting at the tables With their iPads Some of them even have iPads In your house, maybe You're not in my house I don't have kids But you know, I have friends Who will sit their children down In front of their iPads They're being unconscious And also the parents don't realize That that is such a valuable time It's a lesson of teaching Opportunity to see what's going on In their day How is their school And that's what you find out About your kids Through their conversations And things like that So it's a lost art Yes Because for some reason we think Hey, we don't have to have A little bit of old fashioned values But those old fashioned values Is what shape us And plus Didn't some of your best memories You were raised With these old fashioned values Yes, I was too But didn't some of your best memories Come from around I hold them right here Because I remember, you know Anniversaries Our family used to actually celebrate it Include us, give us presents My mom would do this whole thing Of even menus On the dinner table I remember a beautiful We didn't have dinner time And that was because Of two working parents And so dinner time quite often For me was We go get our own bowl of rice And I learned how to cook hot dogs When I was like four So that was dinner time for me And I think that was something That I longed for And I missed growing up Was having that connection When I went to family's houses And they had dinner time I looked around and went Wow, I'm really lonely at home My family really made a point To have a Sunday family dinner But if that included a pot roast I had other plans I mean, it's still good this day My mom makes pot roast I'm not there for dinner I love you mom But it's just so funny And she always thought that was A good mom goal To serve a roast And have this family dinner And this family time And we can dedicate Sundays to that And even now as a single woman I try and open my doors on a Sunday And you know, anybody can come over And I'll cook for you And we'll have dinner Because I want to include that In my life It's funny And have that community That you mentioned like Sunday Because I don't know if you know This about black people Like Friday is fish and spaghetti night I mean, you can't Fish and spaghetti Yes, yes Fried fish And spaghetti And you cannot go to a single place It's not too many black homes You can go to on a Friday They did not serve any fish You eat fried fish on spaghetti Yeah, no, fish and spaghetti And spaghetti It's like chicken and waffles Maybe They do have that You can get chicken and waffles now We had designated days Where you knew what you were having For that dinner And it was every week So our director She always tells me this story About her mom How Tuesday was a bad day And every Tuesday Growing up with pizza nights I mean, they just, you know They knew That this is how it's going to be done I have to tell you We really didn't eat out growing up And that's why I have So many memories around dinner time Or food in general Because I didn't know people ate out on holidays I did not know this until I got older Me ate that on Christmas Eve Yeah, for a town We didn't celebrate any holidays Wait, wait, I want to touch you I didn't know that Sunday night was Chinese night But really, I didn't know I was like I don't know if you just heard this Anna didn't celebrate holidays And I think this is I didn't celebrate any holidays Why? The way I was raised, religion-wise But, I mean, it was a little You know, it's nothing That's a whole new other segment But related to eating It was right after church That was our going out To the restaurant You know, after church it was No, not at all Of the other families How can you be jealous of something You don't really know Exactly Now it's a little different I don't, it's another topic But how do you feel, though, about Like, you say you had to go to restaurants And sometimes by yourself You don't feel bad about But do other people make you feel bad about it?  Oh, my God, I hear that And, you know, I really get down to myself about that It's okay to be alone I hear that Enjoy your meal Well, then I treat myself to dessert, too If I eat alone, I get the appetizer I get the entree This whole topic just made me feel lonely No, no, no You do that on dates I've got you, honey You do that on dates Yeah, you let nobody else pay Like somebody else pays Yeah, you never pay for dessert Never It's not worth the calories Well, I do think it is so important That, you know, we do make time For your family Getting to know each other Whether it's up for lunch or dinner Dinner time, family Stay with us We'll be right back Are you an everywhere woman When it comes to fitness It feels like that we're always starting over Is that a real thing Or is that something that we put in our minds Stay tuned and let's find out We are all trying to get fit But when it comes to fitness I always feel like I am starting over What can I do to avoid this person? Work out all the time And be consistent Okay, well, I'm not you So that isn't just the workout queen If you haven't realized from her arms Okay, this girl, what are you talking about? Show those guns Yeah, we need that I was listening to you two in the green room And you were talking about So what do you do in Madison? It's like, oh, I work out 30 minutes a day And stretch and stuff But it seems like it's a really good idea Work out 30 minutes a day It's an awesome idea It is an awesome idea But it's really tough to find That time to work out But for me, the tough... I do always feel like I'm starting over Especially if I have to go out of town Or if my husband out of town Because we are attached We go to the gym together We don't work out together But we're together But you're each other's motivation And you're... That kind of ability Exactly, and when he's not there Sometimes I don't eat for days And I don't work out Yes, and we both realize That he does the same thing I hope he doesn't go before you What? Recently, I had to go out of town Twice in the last couple of months And I got my backpack And I got my resistance bands And I didn't got my DVDs And it all stays packed Yes, and I don't work out You have to put it with your underwear Because you know you're going to go get underwear No matter what you do on your vacation No, then you see it every time you look at it And you're like, yeah, not going to happen And then you feel guilty That's it, and I feel really bad Because when I come back home It takes me more time to start over But you are starting over Every time that you don't work out And keep it consistent It's a mental and it's an emotional thing You have to keep doing it I feel guilty right now Just listening to the exercise And that you work out too And I'm a beer drinker Like, literally, I... No, I don't Maybe every other day But every other day That's why it's so hard for me to like When I focus and you know I have a gym membership Well, use it And use it I'll start tomorrow And then the beer Right, but you can drink the beer And still work out The carbs are good for you Carbs is a preferred source of energy Here's my problem So I will start the workout DVD I'll lay out my yoga mat Whatever I gotta do I start working out And I get on the floor And I see how dirty my floor is And then I can't work out Because I need to swiffer And then I clean for two hours You can turn that into a workout If you want to You can do abs Put it on your feet Push out, pull in Push out, pull in And then you've got sections out of the front Yeah, no Because then there's laundry do And dishes to be done And I just... I can't do it Well, I do think this is a real problem Especially for women If you're a woman like myself I have to have a plan If I go to the gym I have my... It's printed out If I don't have that print out And then if I don't have my...  You're making me feel pretty bad Because I know it's important And it's important for my kids too I want them to know That health is important to me It's important to the family It's important to everybody I try to make everybody work out Including my mom Who hates me She's like Why do I have to... But I got her stretching Every night for about 20 minutes And I find my workout Wherever I can find it If I'm at the park Because the kids want to be at the park I will play tag with them Until I am exhausted But Yolanda I remember you telling me You find your motivation When you wake up What is the first thing you see? I have a little... On my cell phone I have little messages That I send myself And I can't say I'm on television But it is Wait Get up out of your bed Right now Because I go work out Between 3.30 and 4.30 a.m. Because I'm a morning person And I don't like a lot of people In the gym But I have put up A lot of barriers And I say Oh, it's not 7 o'clock It's past 7 I can't go My whole day is ruined Going back to me Not being in control Not being organized And then It takes me 2 or 3 more days To get back on track And I'm restarting again And we'll do that We'll self-sabotage ourselves So that we won't have to work out Because we see it as work Do you not see it as work?  And that's true Like in your case People think that You don't have concerns Yeah, people think that You don't need to work out And I'll say Yes, I do need to work out Because I want to be healthy I am skinny fat I am in the worst shape of my life Maybe if you look at me You wouldn't think so But I know so That I don't know so But I know I need to work out Because being skinny Does not necessarily mean That you're healthy And that's what we really Should focus on that Every time we're starting We need to focus on The health part of fitness Instead of the dress size And Yeah, it's not about size Or about weight It's truly about Just maintaining your health Commitment Commitment Don't self-sabotage We'll be right back With more Everyway Woman Are you an Everyway Woman? For this commercial break More Everyway Woman Is doing everything we can To make sure that we can Reach you at home On your phone Or across the world Stay with us And continue with the movement Welcome back to Everyway Woman So we are taking the Conversation beyond the show To the movement Tell me about this platform Yonda Well, the movement is just An extension of the show Things that we cannot get to Plus it gives us an opportunity To reach women around the world Now, Madison and I When we was first talking About the show We first did a segment We wanted to test this Blender Magic Bullet Magic Bullet Blender It's been around forever Yes, it's better now Yes, it's better now And we pulled it out We pulled out some recipes And we made things that It gave us to make Yes And it started smoking Yes So that's what the movement Is about for like We are testing products And are like I remember Madison was like We should really test these Magazine, fitness You know You know Workout programs That they actually work So Or recipes 15-minute deals When you go to the store And you want to buy something And like There's ten different Lemon poppy seed muffins On the table Which one's the best? Right Which one's the best? Do you spend two dollars And fifty cents on one box And the ninety-nine cents On the other You know what I'll tell you I'm obsessed with trying And ladies and gentlemen You can get more information On the movement Of course The beauty products Yes I want to know Which ones work In fact, I'll put One eye cream On the other Are you serious? Absolutely That's terrible Don't tell by dirty stickers But yeah I'm so serious Because I've really invested In the discovery of You know Searching for the truth Behind these articles With these products And we really want to share That with our audience How do we make choices? How do we make smart choices Unless you actually try it And what we've learned Alanda and I learned Over time Is that Some products work really Well with one type of skin I think And it doesn't work well With another I mean You're a pro at that As a makeup artist Being on the web Because there's so many Everybody goes to the web For everything And not everyone watches Television They use the The other thing is I might go to the web But I don't have time To go to the web And look at 12 different sites But we can test it For you But we can test Everything And all of that information We want to have In one place And not just Testing products Do it yourself Like we have Like a big A big Like a big So many tips Like that We'll follow up conversations Let's talk to the guests Behind the scenes Let's talk to them After the interview Right Because the interview faces Sometimes different From there Who they are Off-camera And it's more Interesting Is there going to be Edit And also, believe it or not We get a chance to talk Entertainment Because You know Even though We don't celebrate Celebrities on this show We like to gossip as well. Exactly. So it gives us a chance and an opportunity to gossip. But I just like the opportunity. Always in a positive way. We never trash. And we do. No. We have a large audience outside our area. We have a lot of women that reach out to us from around the world. Right. China. Yeah. So it's great. In there. China. Love you, China. We want you to embrace the show. And we're really excited to go beyond just your living rooms to your computer screens, your iPhones. Check us out at everywaywoman.com. Are you an every-way woman? Every-way woman goes back to the community. Go to everywaywoman.com to find out how you can match our donations of undergarments for needy kids. Thanks for getting to know Every-Way Woman. This has been an Every-Way Woman production. I'm an everyday woman, woman, woman, in every-way, yeah, yeah, yeah, yeah, I'm living my life Life, life, living day by day.


So Laura, thank you for taking the time to speak today. I'm excited about, you know, what you've done, both in your capacity as the Director of Center of Spatial Research, but more importantly for this conversation today as a Director of the Visual Study Sequence for the MRC and AAD program. You know, I think GSAP has really led the way in terms of how we teach visual studies, what representation means and, you know, kind of thinking about tools, skills, but also kind of critical engagement with these tools and skills and you've kind of reframed those questions. So I wanted to hear a little bit about that history and how we're moving forward in some of the recent changes that we've made in ADR2, thinking about new languages, et cetera. Great. So there's two aspects of the visual studies curriculum. The first are the core classes, ADR1 and ADR2, which all the MR students take. And that in itself is unique because we begin the visual study sequence with a digital class and we teach students how to design buildings digitally with digital tools, but not just, you know, not just that it's a digital tools class, but that it's how to think about buildings and how to draw buildings and then how to communicate buildings in both a static and a dynamic way. So while we teach students the skills of plans and sections and how that has really changed in a digital environment, we end that curriculum in that particular class with an animation and thinking about the dynamic nature of buildings and space and time and how to communicate all of that. ADR2 this semester is positioned very uniquely, although it's always been positioned uniquely because we go a little bit backwards from digital tools and we really try and think about what tools we use as architects and how that helps us to conceptualize the spaces that we're designing at all. So we acknowledge from the get go that these tools are not neutral and that various professors and various students have very different ways of using tools in their creative process. So this semester we've taken that even further and we've really asked both the professors and students to think about how the built environment is coded and coded meaning how the built environment is built through code and rules and legal structures. We inhabit space in a coded way.  You know how to behave when you're sitting at a dining room table, you know how to behave when you're sitting at a dining room table with those kinds of things, but that code is also a creative technology and we're trying to demystify the high-tech nature of code and really think about it in terms of our creative process from very poetic in very poetic ways to very technical ways. So ADR2 really takes into account that all architecture students have digital tools and analog tools in the way that they work and create from using a pencil to a 3D printer and what are the ways in which we assemble what we call workflows from the beginning of the design process to the very end of how we present ourselves to the world as architects and the kinds of tools that are engaged in our very unique practices. Brand new and the students are really engaged with it and the teachers are also really inventing as they go along. It's a brand new course at GSAP. So then after the core, what's also unique to our program is that we have a range of visual studies, workshops and classes which build on this core. We don't have to have taken the first two classes if you're in the AAD program or even urban design program but these workshops actually engage the whole school from across our disciplines from planning to urban design to advanced architecture and beyond and so some of them build on the uniqueness of ADR2 so courses like data mining the city or meta tool or generative design to build on these coding structures but then we have another range of classes like lines to splines or photography or how to hand draw in a digital space on top of a model that you've built. So more analog processes within the design, within a design spectrum and then also we do classes in augmented reality but not just rethinking what is gravity in a virtual space or how do you play in a virtual environment? So very much critical of the technology itself but saying we don't abandon technology. How do we deploy these things for new practices? And then above that we also do mapping and data visualization and narratives that you can storytelling that you create within a data environment even in terms of making collaborations with journalists. So what can architecture bring to the journalism profession as there's many ways in which our knowledge of the built environment can be brought to other disciplines and so the important thing about all of this is that these classes really work across scales and they knit together the environment at GSAP into a very unique series of classes that bring together design, visualization, representation, analysis and new practices at a variety of scales pushing the discipline forward into a very unknown future as we can say sitting at our zoom terminals today. What's very interesting and exciting for me in terms of what I've is that you and the visual studies faculty and team you're always on the kind of cutting edge. The first we're launching this kind of weekly broadcasts and open courses now in light of the COVID-19 crisis and the fact that we're all dispersed and already the team has figured out how do we present digitally, how do we collaborate through Zoom, how do we undo this platform and use it in a more creative way and I think that sense of always being kind of on the lookout for where architectural thinking, creativity, design can transform our sharing and collaborations. So I thought maybe you could hint a little bit at that given that in this space that we're in, how do we bring that intelligence to bear upon these questions. It's very exciting. I think that we're, as we speak, we're trying to figure out ways that we can actually overcome this idea of social distance and say it's not social distance that we're dealing with right now, it's physical distance. There was a really great article written by Eric Kleinberg an opinion piece in the New York Times which I thought was so hugely important because as we understand that we're all trying to flatten the curve and create a sense of social distance, that social distance is in fact physical distance and perhaps there is a way to go back to the utopianism of this digital space to try and bring ourselves together at this critical moment to try and have real conversations in as much as possible and I think there's ways of creating small networks and small discussion spaces. That's what a lot of the visual studies faculty have tried to do and have come up with really unique ways of organizing this digital space to make it really accessible to students as they are engaged in this very disoriented moment. Yeah, I don't know how to finish that sentence. It's ongoing and that's the point is that it's ongoing and we're always on the front line to think about how we can kind of turn our tools upside down or our constraints as architects and turn them into opportunities for new forms of creativity, collaboration, new forms of practice. Certainly you have really pioneered kind of very hybrid and expanded form of practice and so I'm excited to see what comes out of this semester in light of both the transformation, ongoing sort of transformation of the visual studies sequence but also in light of the current crisis and I have no doubt that it will be quite inspiring and we'll be able to share that soon with our incoming class as well. Thank you, Laura, for kind of leading all these ideas and I hope to see you physically in person soon. Me too, very soon.


Okay, so good morning everybody my name is Marcello and I've been working in Eastbrook in the past years and I just moved to ICTP and the topic I want to talk about today is actually slightly off the conference main goal which is RG. There will be something also about RG but we'll mostly deal with how we try to realize dynamics of lattice gauge theories in synthetic quantum systems and the conundrum of all of this is really try to approach lattice gauge theory is a very very broad concept using quantum information type tools and what I want to show you in concrete there are actually three examples let me just briefly mention what I will tell you at the end of the day one is how to build analog simulators analog quantum simulators of lattice gauge theories using ultra cold atoms trapped by light optical lattices the second thing I want to tell you which will be very brief unfortunately is how we can design novel algorithms to tackle exactly or quasi exactly the real time dynamics of lattice gauge theories using methods which are actually motivated from time-dependent density matrix normalization group techniques or gauge tensor networks and the last thing I want to show you is actually how we can use a quantum computer well a very small one to realize the dynamics of some interesting phenomena in in lattice gauge theory in particular in this case I will show you the first experimentalization of a Schringer model using trapped ions so these are the mostly the two topics I will talk about so the outline is then what I want to tell you very briefly what this synthetic quantum systems actually are they find a challenge and then use as a workforce a workers the Schringer model to tackle these three different paradigms okay so what are the synthetic many body quantum systems I think some of you most probably have heard of those these are systems which are composed of many degrees of freedoms these are many body systems where the interaction actually can be microscopically tailored by means of external fields so we can control this many body quantum systems and there are nowadays many experimental platform where this can be done the most prominent one I think is at least from my perspective is ultra cold atoms and molecules and here you see these are snapshots of a quantum system where people are able to image lattice models side by side quantum by quantum so there is really genuine single quantum control nowadays there are also many experiments using superconducting circuit architectures and these are just few pictures to illustrate that there are also trapped ions and there are many more okay photonic system cavity QED engineer materials and so on and so forth so this is really a huge field which is developing mostly thanks to technological advances so the point is which kind of physics once you realize this physical system you can explore I think there are two scenarios I mean one is that that I mean these engineer quantum system allow us to study phenomena that have been confined to theory only for a long while and the examples that I find most amazing are actually integrable systems was I mean physical realization are usually very hard to to get I mean in this in this cold atom gases for example one can realize those dynamics and one can also study the out of equilibrium dynamics very accurately which is in an isolated system which is not that easy for example incondescent metacentics and the second motivation for studying this quantum system actually traces back to Feynman and is to use them as quantum simulators of theories that otherwise we can't really solve either by analytical or numerical means so what is in few words the idea of quantum simulators I mean this is really Feynman's 1982 it's quite pioneering it said okay nature isn't isn't classical okay so if we want to simulate it at some point we need to use quantum hardware okay and this is in 82 it's quite amazing and the reason for a connexion method theories as I am it's actually quite simple I mean suppose that you want to study some Hamiltonian and which which works on a certain Hilbert space the dimension of the Hilbert space scales exponentially with the number of degrees of freedom so as far as it gets I can't fight this okay and imagine that you want to take for example a spin system exactly you are limited to 30 spins this is very far from thermodynamic limit okay so that's the essence of this of this intuition and obviously I mean a series many methods have been developed to undergo a circumvent this problem but I think there is still physics at equilibrium which is very hard to solve by control means and the typical example are fermions finite density because of the same problem and there is also the other problem that for time evolution real time evolution of many particle quantum system we do not know what I mean a controlled method that can be applied in a generic sense and just I want to give you this this kind of comparison and what a quantum simulator can try to do compared with one of the most powerful supercomputers on earth at the moment this actually is an experiment this dots are an experiment this is unobservable as a function of time is actually not important what this observable is and this dots here are a quantum simulation I wouldn't call it one simulation but I call that an experiment that traces this observable as a function of time and you see okay can go on forever I mean this is this is okay and it's an experiment you just measure and on the black on the black line here you can see the most accurate theory for this type of problem which is in this particular case time-dependent the energy run on the most powerful supercomputer and you see at some point this breaks down and this is really trying to fight an exponential scale yeah so classical computations I have in some cases limitations that quantum computers do not have simply not have so this this is in essence the the intuition of my man made real and just I mean these are a couple of slides that that illustrate briefly what the approaches are so what are analog and classical simulator I think most of you know I mean analog simulators ever varying only history form anti-kittera to current machines it's sorry analog simulators from current machines like wind tunnels where we cannot so for example I don't make equations like digital simulator are a bit more modern in terms of concepts because there we can control error I think the first worldwide example is probably Pascal in and nowadays we have supercomputers at the very same level you can do the same stuff with quantum technologies so you can define the same two columns with quantum technologies you can have analog simulators well you can have digital simulators first obviously they are the equivalent of our computers our classical computers and the basic idea there is that if you want to solve the evolution of some time-dependent problem you trotterize it you decompose into gates exactly as you do on a computer you decompose certain operations into to set of even more fundamental operations okay there is also the analog side okay the basic idea there is actually to do exactly like the wind tunnel the wind tunnel you want to simulate a very large plane you can't you don't want to build one for each time you actually do that and you don't want to have a wind tunnel which is I don't know under meters large so what you do is you take a small one we do the same year you want to simulate certain theory you do it you build it in a smaller in a smaller setting which you can control and then you started the time evolution of the properties or what you're interested in there is also a third option if you have 15 million dollars you can try to buy quantum annealer but the fact that this really works I don't know I don't I think it's recorded so I won't say anything about this so and just as a comparison this is with the analog line when you talk about when people talk about analog quantum computer really think about wind tunnels kind of experiments when people talking about digital quantum simulators or quantum computers think about really just adapting the computing strategies of classical simulation to quantum systems there are some highlights I will just flesh through I mean in this in this synthetic water system several things have been done at the experimental level some long standing field theories have been realized I mean other models have been realized as well and one has control of the single particle level but this is until now not of interest to us we're interested in gauge theories this is completely different from the point of view of gauge theories what has been done well not on gauge theories but on gauge fields what has been done is the realization of static so background classical gauge fields and just as a reminder I mean the typical example of a static gauge field is is the so-called of standard model you have particle running on a square lattice and what happens is that the tiling of this particle is actually assisted by a classical field so a phase and it's known that these phases actually I mean have certain importance in many condenser method phenomena and this has been realized for bosons a long while ago and for fermions recently and what has been observed is also the possibility of having skipping orbit and edge currents in this kind of in this kind of cold-atom setting however I want to emphasize this is classical okay these are classical fields this is there is there is no gauge symmetry so the challenge that that I mean we have is actually to identify a method of doing that obviously gauge fields are not important only in the context of particle physics even there I mean even thought this is the origin of all of that they have importance as we have seen also in the talks yesterday incognizant method system like QED3 theories they have also some importance in topological quantum computing I'm not I'm not gonna discuss these two I will focus mostly on this part but just to tell that I mean the impact is of gauge theories obviously enormous and why we want to do that I think one one one main motivation for designing actually quantum simulators for gauge theories that these are ubiquitous this we just said they exhibit extremely rich physics and they are challenging many body problems okay very challenging as most of you know much better than I do another perspective is actually to look at them as computing computing challenges and this is the DOE uses your super computer they think it's 2009 and you see that is QCD in terms of fundamental science is one of the most intense resource intense activities so I think it's also a good idea if you want to really build a quantum simulator which is not an easy deal to try to focus it on problems which are really really challenging there is a problem however I mean we are used to write like and field theories in general and continuum and here we want to create a create a connection with this synthetic quantum system which are usually made out of spins out of fermions out of bosons so the first challenge on the theory side is that we have to pick up a formalism to establish this link okay and I think there are quite some interesting options around also developed in recent years the one that we picked up is actually stimulated very much by the work of using his visa and other people also before him is a quantum link model and I'm gonna briefly explain what it is about in few slides so the first challenge pick up the formalism then we have to identify strategy to get a gauge symmetry because they are not there in the systems I mean at least naively thinking and then we have to find physical incarnations okay here we go okay just as I mean as I told you at the beginning I mean we will do that in the context of the Schringer model not because of limitation of doing dealing just with a simple theory just because I mean all the procedure is simpler most of these techniques that I want to tell you about can be extended to higher dimension and some of them not all of them can also be extended to non-abelian like this gives theories yeah so I'm a simulator no algorithms and quantum computers so brief review of the Schringer model this is QED in one plus one dimension so one special and one temporal dimension I mean you can see the Lagrangian I mean from the original paper here and the important parameter of the mass and the gauge coupling then this describes nothing but charges particles coupled to a human gauge field in 1D and the fundamental degrees of freedom if you think about I mean this is just electron and positrons and the electric fields there is no magnetic field there is no transfer of degree of freedom and if you're interested in its dynamics why is this interesting actually because this model like QCD actually shows confinement in a much simpler form but is still there can show dynamical stream breaking which is what I'm trying to illustrate here so if you try to pull two particles well a particle and antiparticle at some point the string just breaks and then you have creation of mesons and in addition if you want you can also study some non-trivial topology because you I mean differently from quantum metroponomics in other dimensionality is here a topological term can actually be introduced and as strong effects as was shown by Koleman so and this are just meson this is the stream breaking and I mean when I talk about this stuff of course you're still telling me okay keep your freedom on the ground and this is what I'm trying to do but just saying okay some of these phenomena are still extremely interesting and not fully understood and I mean these are remarkable simulation on the stream breaking of QED of the Schringer model done in a group of Jürgen Berges in Eiderberg and just to tell that this kind of phenomena even in the simple models are still to be fully understood especially the time dependent ones so we have this interesting physics and the point is we want to study a certain phenomenon I mean that we want to focus on a single one stream breaking is quite hard but so but let me tell you something different I mean we can study for example a Schringer mechanism okay we start from a vacuum if we quench the vacuum we start we will start having particle-antiparticle production because QED vacuum is unstable to that and what happens is nothing but this I mean this is axis of time and this is our vacuum state you will start having particle antiparticle creation and this is interesting not only from the theoretical side again but because in some intensity laser facilities people are actually trying to study this okay obviously this is the true theory this is QED in four in three plus one dimension but the Schringer model still will allow us to understand this mechanism if we can compute its time dependent dynamics or if we can quantum simulate that in another accurate way so now if we want to engineer that in a synthetic quantum system we have three main challenges the first is how to represent matter and antimatter I mean here we just have fermions or bosons how we do that the second one is out to do this the gauge fields and now how we can realize the proper dynamics most of these problems actually were solved by by other people and this is mostly taken from that is QCD literature so let me briefly tell you a few things the first problem is actually that we want to have the ingredients all in the same slide and this is what it is if we have a not for not so formal definition of a lattice gauge theory what we need as ingredients are a set of fields setting on vertices the fermions the matter fields and on bonds or links the gauge fields we will need a set of generators which define our gauge symmetry and they will have certain commutation relations obviously the physical ill-bred space will be defined by by Gauss's law or in our case it's just one Gauss law and then since we are interesting in more in Hamiltonian formulation that Lagrangian formulation we will need to define certain objects which are our gauge var and Hamiltonians that commute with all the generators and obviously they contain both the fermion fields and the parallel transporters now the first thing how we deal with the fermions this is easy we can just use staggered fermions that most of you probably know so we represent on odd sides electrons and even side positrons so that just a single tunneling of a particle over the bare vacuum creates an electron-positron pair and the corresponding mass here because of the staggering just comes with a factor minus one to the exit front staggered fermions the fermions are easy and this is easy in general the fermion part they are part of the gauge fields so the problem about the gauge field is that is extremely hard to get a quantum simulator of a parallel transporter actually I think there is still until nowadays not not an even single paper that points out the solution for this problem so we had to deal with another formulation of last is gauge theory and we use this quantum links introduced by uve introduced actually by orn first in the 80s then rediscovered by orland and then by uve in the 90s and there the idea let me tell you very briefly without any technical detail is to replace for you one theory is the parallel transporter with a lowering so with a increasing spin operator as plus and since the electric field has to be in another basis this will be nothing but sigma z operator or sigma 3 operator defective ameltonia for the for a lattice finger model in the corpus class sask formulation using this quantum links is actually quite simple here you have a term which couples the matter fields the time of the matter fields with the gauge field this will be you in a conventional lattice gauge theory you have a second term here and this is this is the matter field interaction the second term we have already seen this is the staggered mass of the staggered fermions and then you have a third term which is nothing but the electric field square term that's all you can have in one plus one dimension you cannot have any magnetic field and just as a cartoon I mean what happens imagine that this is your physical state that you engineer in your quantum system what you require is that every time a fermion tunnel from one particle to the other from one side to the other there is a spin flip of the corresponding degree of freedom that lives on the bond so what happens is that something like this is allowed while the single tunneling of a fermion is not allowed because of Gauss law obviously one can go on and work out the full gauge invariant illberg space this is not extremely interesting and this will depend most importantly on the representation of the spin one can do that and then there are sites which are not allowed so configuration which are not allowed configuration which are allowed so they are gauge invariant and gauge variant configurations but what is important for us is how to how we actually get these dynamics and in order to show you I mean I will just do it as a cartoon level and not tell you the full story if you're interested in the full story I will do that so imagine that now that you have a model of just two sites with the boson and a fermion degree of freedom so these guys the blue one are fermions and the orange one is a boson this microscopic very minimal system is actually described by the following Hamiltonian you have you can have tunneling of fermions tf this first step you can have tunneling of bosons second term here and then you can have interaction in case the boson and the fermions actually sit on the same site what happens in perturbation theory this is really simple I mean second or perturbation theory you is that the effective dynamics of the system whenever boson tunnels kicks the fermions on the other side because I have to pay energy price you so the process will not be resonant and if we write this boson degree of freedom using the Schringer representation what one gets just that this very many minimal building block level is exactly Hamiltonian that would need in term of gauge matter interaction in the Schringer model okay so this is exactly what we need and I mean this kind of I mean don't actually have been already realized using just boson so slightly different in many experiments especially in Munich at the JQI and what is important is that even out of the very simple example here you can understand there are local conserved quantities obviously here they are rather trivial so they're not associated to energy any gauge symmetry but once once you scale the system up so you really do it fully and you can do that using different ingredients coming from the optical lattice technology this becomes a true gauge symmetry you just need to have a boson degree of freedom that assists that lives on bonds and realizes the gauge field a firm in degree of freedom that just realizes the fermions staggered fermions and then you need a second bosons because second boson because of technical reasons okay so we know how to how to get very simple gauge theories in particular you one one plus one dimension using cold atoms in optical lattices and in this case for example we can try to observe stream breaking this is no problem really that's something that you can realize that you can see in real time and this was actually mostly motivated by the numerical experiments by Jurgen and we have also simulated what will happen in a cold atom experiments indeed you will have elected field relaxation starting from a very strong elected field in the middle as you have here this then relaxes obviously there will be light cones here and we can we could see the same doing numerical experiments on the cold atom model which is slightly different from this formulation so also the interesting phenomena are actually observable just a bonus light I'm thinking I'm running not that great with time just to tell you that okay this was a billion until now some people will say okay thanks you can do perturbation theory in some cases it's also possible to do non abelian for non abelian there are severe limitations so not all groups are accessible but what we found out and also other people found out is that for you and groups with then until 10 and for s u2 maybe s u3 groups s u3 is really very challenging there are ways of realizing the systems using in particular fermionics species which are called arcane earth atoms and these are just pieces which have two outer electrons in the shell and magics nature makes some magic and realizes naturally s u and symmetry is in this atomic systems which is then the basic building block to realize this non abelian gauge theories I will really just not discuss what is what our implementation are based upon their based upon the fact that we can actually use embedding algebras on the link degrees of freedom and then translate all this Hamiltonian and embed the algebra language to the cold atom settings and well okay that's it but if you're interested I will I will be happy to discuss you in more detailed in an abelian case so let me come back to abelian so what I told you is this analog simulation allowed to the finger model let me briefly fresh through this novel algorithms I mean based on this gauge tensor networks I mean the problem is that real-time dynamics we know is hard but in one dimension there are algorithms which are based on the normalization group time dependent normalization group that are actually allowed this allowed to do that for conventional models like easy models abad models and all that what we found out is actually that this model are very easy where can be extended in many cases to gauge theories we were obviously not the only ones also there was work at ikfo and in Vienna on these topics and what we have done is we have started a stream breaking dynamics in real time also including entanglement which is not possible to include in another kind of treatments and I just want to tell you that this is something in that is potentially interesting and if you're interested in discussing more about this I will be very happy to do that so last point okay is about the quantum computer okay so quantum computers we have seen already in the in the context of of experiments these are called digital quantum simulators and the idea is get an amiltonian trotterized so this mean decomposing to operation that you can actually perform and then observe the outcome of your computation of your experiment this approach is very powerful in the sense that you can solve generic problems is really like using a classic classical computer you can just arrange your set of operation in this case arrange your set of laser configurations and all that to design the problem that you're interested in the problem is that this is also very after realize okay you have to pay a price okay in the sense that the available resources are extremely limited okay I think until nowadays the best quantum computer that is on the market at six pins I think all of us here can code six pins very quickly I mean on a classical computer so our goal in order to somehow exploit this flexibility but at the same time do something which is has to be efficient was to define efficient quantum software that can realize then gauge theories and this again we did taking inspiration from from literature in energy context we focus on the now on the Wilson formulation of lattice gauge theories with this colleague in his book Christina Marcus Philip and Peter and the stringer model and there is some magic as you know in one plus one dimension one can integrate out the gauge fields analytically and what you get out of this you have to pay a price when you integrate out the gauge fields analytically you get extremely long-range interaction you know I'm going to be I don't know local and will be also I have to say quite fuzzy this was for example what was done in this paper here so you have translated the challenge from engineering the gauge symmetry to engineering an Hamiltonian which is I don't know local breaks a lot of symmetry is and all that but still is exactly is exactly the stringer model so the mapping is exact it's just an integration this strange flip flop term is nothing but the remuniscence of the gauge field coupling the second term will be the staggered mass of the fermion and the last one will be the electric field square that you have seen after integration obviously is I don't know local and so okay once we realize that we went to the group to run a block with group they have a power I mean one of the most powerful quantum computers I mean this is based on calcium 40 ions and this is their physical qubit and this is their imaging technique I mean this is not the interest to us and we told them they can they can look at spin models and we design a precise protocol to do that efficiently and the first data were actually quite interesting they could do that they could study four spins which is equivalent to four to two electron two positrons and three gauge fields and then we told them okay look since the preliminary results were so good try to study the stringer mechanism and this is what they did they're really engineer a state in an initial vacuum I have to say that this is not that the non-interacting vacuum is the strong coupling vacuum so it's slightly different from the original stringer paper and what they study is austra I mean what is as a function of time this axis how many particles are actually produced okay and obviously this is this depends on the value of the mass of the electron in the stronger the mass the less particles are produced and this was our numerical experiment theory very simple to do and they could observe the same stuff which is quite quite amazing I mean they had the limitation in the mass they couldn't go to very large masses for technical problems but in the regimes that they could assess the agreement was very good obviously once you have a quantum computer you are not limited to measure just local observable you can measure a lot of stuff well a lot some stuff and what they can measure for example is what in the context of the original stringer paper is called vacuum persistent amplitude that now a day has been rediscovered in quantum information is called Loshmit eco it's basically the the overlap of the initial vacuum with a time evolved vacuum and this they could also measure and they saw that as predicted by Schringer original this is actually perfectly matched with the matter with the particle production rate finally what they could also do is to study entanglement propagation this was a bit harder and cannot be scaled up once the system will become larger so I will not discuss this but since they there are I mean a lot of connection now they between entanglement theory and and I energy I think it was an interesting proof of principle that is at least in some in some cases can be done good so obviously we were not the only one we are not the only one working on this there are many other groups working on these ideas especially on this first topic on this second one a bit less and here you can find a I mean something which is already I maybe is also partially missing some references I apologize for that just to say okay obviously we are not the only ones I am done we are at the open questions thank you so there are many questions that still need to be set in these fields and this is just a flash I think another important point is that from our side there is really kind of need of getting new formulations of gage tiers this is something we are extremely interested in because we have really problems serious problems working with recent years recent theories are extremely challenging to be adapted to experiments quantum links are very good but there may be other way of formulating gage tiers which are simple enough that are even easier than quantum links and in that case this would really speed up experimental realization what we are working on I mean there is also another problem which is very serious is the continuum limit I think in this case we know how to address it at least for specific models and there are other things that we are still trying to tackle from the theory side and these are just very partial answers to some of these questions okay so let me thank again my collaborators in Eastbrook the group of Uwe Jens in Bern Ricky and Marcus and thank you for your attention