The room in the chat box, you'll find the link for tonight's event, which features library information as well as links to the Gorilla Girls, their book, and Chronicle books. And we'll get started at seven o'clock on the dot. And welcome, YouTube viewers. The number one question is, will I be able to watch this again? The answer is yes. And that is in the chat box again. If I could get someone from the audience to let me know they see my screen and hear me clear. And I do thank you. I do see a hand raised. We'll hopefully get some time towards the end for questions and answers. And you can use the Q&A box for that tonight. We also are featuring closed captioning, and that is a feature you can choose to use or not. And you would just hover over the closed captioning and either use it or disable it. Oh, Mr. Maynez, thank you for being here, sir. I sure can repost that information. There we go. And I will continue to repost information. And send some follow-up emails. I still see folks filling up the room. If you want to let us know what territory you're joining us from today, you could do that as well. All right. I'm going to jump in and we're going to get started. So first off, again, thank you all for being here, attendees and panelists. I am always mind blown at my job that I get to promote and bring in these amazing people. So this is part of our One City One Book campaign. And we will be hosting events about the themes of Chanel Miller's book, Know My Name. And Chanel Miller is an artist. You can see her work at the Asian Art Museum right now from Hyde Street, as well as along the vitrines of the main library. So go check that out. And let's do this. We'd like to welcome you to the unceded land of the Ohlone Tribal people and acknowledge the many Ramutush Ohlone Tribal groups and families as the rightful stewards in the lands in which we reside here in the Bay Area. Our library is committed to upholding and uplifting the names of these lands and community members from these nations with whom we live together. We encourage you to learn more about first persons, land rights, and indigenous culture. And that link has some great reading lists. And we have lots of events about indigenous cultures. And check out our YouTube for all of our past events. Readings from Mexico City, right on. And then a brief statement from our racial equity committee about the recent violence targeting Asian and Asian Americans. We definitely condemn the horrendous violence against Asians and Asian Americans in our communities, our state, and nationwide, both the reported and invisible crimes that have occurred. We stand in solidarity with our Asian community neighbors and colleagues distressed and hurt by these attacks. The library is determined to work with our city and communities to recognize and dismantle the discrimination and violence that has been perpetrated. We also want to acknowledge that these events are complicated by the entanglement of anti-black and anti-Asian stereotypes in the reporting of these acts of violence. We acknowledge the reduction of humanity and harm done to the black community by the coverage and hateful commentary that has been deployed. Anti-black and anti-Asian racism both uphold white supremacy. We are all harmed by these racist structures. We believe everyone has a stake at dismantling white supremacy in the favor of true multi-racial democracy. And our library is working so diligently on our racial equity and our racial equity statements and commitment. And so if you just Googled SFPL and racial equity, you would find a lot of the work that committee is working on. And we'll provide some resources about Asian Pacific and Asian Pacific Islanders, Americans, and resources. It is definitely not safe to not wear your mask outside. So please keep doing that and protect my library family. All of our libraries are starting to trickle open. So we have that wonderful curbside pickup. Please wear your mask and protect all of our lovely family working out there. This beautiful art is by Samuel Rodriguez. Check out his Instagram. As I said, part of our Once Anyone book allows us to have many, many events. Every Monday night throughout April, we'll be hosting events called Know Your Name. And a couple other great events associated with this. This Sunday, I'm really excited about this. We'll be hosting a panel of female creators, women creators, and feel what I, there's a typo thing, feel what I felt is a quote that Chanel had in an interview, Chanel Miller had in an interview. And it really struck a chord with these four amazing women. So please come here. These different musician, dancer, visual artist, painter, muralist, and another dancer and writer and moderator will be joining us. So Sunday, 1 p.m., come join with us again. Definitely wanted to point out this. Aisha Shayita Simmons, filmmaker, director. She just won a Co-Lambda Award Prize for 2020. And she is going to be screening her film, Know the Rape Documentary. And we'll have a director's talk afterwards. April 12th, lots of great stuff. And a big thank you to our friends at the San Francisco Public Library and all of our friends and sponsors that helped made One City One Book such a amazing success and being able to bring us all these programs. I also want to shout out to Bay Area Women Against Rape Organization who have been working with us all through this One City One Book campaign and who right now have folks on the line if you need any help. They are there for us and they will be there with us any time. They definitely have 24 hour hotline, but they are on call right now for SFPL viewers. SF4 is a, sorry, I put that in the panelist and try that again, SF4 is a woman of color and volunteer-based organization providing support, resources, advocacy and education for San Francisco community, healing from sexual assault. So like I said, we are close partnership with them, this campaign, and they are all there for us and there for you. And my email is also in this document if you need to reach out. I can help you find specific help or resources. All right, and now for the big event, I can't even believe like some of the people I've got to work with since Shelter in Place are like humongous check marks and I can just retire. So the Gorilla Girls are definitely one of them. How amazing is it to have legendary Gorilla Girls, Frida Kahlo and Callowits here to discuss their new book, their role in historic activism and dedication to disrupting art, the art world, but also Gorilla Girling, the discrimination and racism seen in Hollywood speaking out on topics such as homelessness, sexual violence and politics. One of my favorite quotes was about the Gorilla Girls that's featured in the book is from Bell Hooks and as she says, the work of the Gorilla Girls represents the most powerful political union between theory and practice. The Gorilla Girls are a group of political artists who have been exploring gender biases and discrimination in art and culture for over 30 years. The art of behaving badly is the first book to catalog their entire career of the Gorilla Girls from 1985 to the present. And so without further ado, the Gorilla Girls. Satya, what are we going to talk about? Oh, I thought we were having questions. Okay. Well, it's a, there's certainly a lot to talk about right now. We put together some images that we can all look at too because in writing our and conceptualizing and designing this book of all of our work, it was so interesting just to see the through lines how from the very beginning, anti-racism, anti-sexism, all kinds of political issues and also the big issue right now, which we will discuss, museum corruption and income inequality. Well, maybe we should just run through them. What do you think? Yeah, we could do that. What do you all think about that? Yeah. We can't hear that. Let's just start it as a, let's start it. We can always skip. Why don't we just start it as a presentation? If that would be okay. We'll just run the run the show and then we'll, you know, we can always say, oh, not that one or not that one. How do we organize this? We thought of some concurrent themes in our work. And we decided to show work that we've done from early until now on those themes and the first is anti-racism. And if we could have the first, well, slide number three, please. And this is a slide that we did in one year after we started doing provocative slides and posters. And it actually deals with a couple of issues, not only does it deal with how doubly difficult it is for black women to have commercial representation in the art world. And this was in 1986, 1985, 86. There was also a kind of tokenism at work too, because no, only one gallery showed more than one black woman. And we'll pick that up a little bit later in a campaign about tokenism and asking the question, is tokenism part of the problem or a continuation, I mean, is it a solution to the problem or a continuation of the problem? Okay, let's do the next slide. Can we go to the next, please? Number four. Just keep going in sequence. Let's just play the show and go in sequence, you know? Yeah. That's not, wasn't the next one. One back. Okay, so this is a really interesting example. This is also a very early poster of ours, a foundational poster at the beginning. It's a perfect example of how we craft our work. The Guerrilla Girls Forum to do street posters, and of course we've expanded way beyond that to do exhibitions and huge banners all over the world and all kinds of interventions and trouble-making and complaining wherever we go. But our idea still, also very early poster, is still to write a disruptive headline that's hopefully unforgettable or at least tells you something you never knew before and combine it with sometimes a killer visual or very heavy straightforward text that it's really easy to get the idea of in the hope of changing people's minds. So instead of saying there's too much racism and sexism in the art world, we had this headline when racism and sexism are no longer fashionable, what will your art collection be worth? We kind of use the strategies of advertising. And can you see the payoff? It's a list of all these incredible women artists of the past. And at that point, all these years ago, 1989, this is the subhead. The art market won't bestow megabuck prices on the work of a few white males forever. For the 17.7 million you just spent on a single Jasper Johns painting, you could have bought at least one work by all of these women and artists of color. And isn't that the point? These gatekeepers at museums would all collect the same white guys when there was a world of fantastic artists out there. And I know many of you are probably artists tonight, writers, creative people of all kinds. And the world of creative people is fantastic. But the gatekeepers suck. Okay, could we have the next one, please? Which is number five. This actually was a sort of an update of something we did in 2002. This update was in Minneapolis in 2016, in 2016, yes. And we wanted to deal a little bit with discrimination in Hollywood. And we decided that we would redo the Oscar and make him, the Oscar, the golden boy, looked a little bit like the people who won them. And here it is, the anatomically correct Oscar. His wife, like almost everyone who wins.  In any case, he isn't the beautiful, ideal Oscar that we see. He looks like the guys who win them. And of course, when we make an outrageous statement like that, we have to back it up with some information. And here it was, only 6% of the acting awards and 5% of the writing and directing awards have gone to people of color in 86 years. And what we found between 2003 and 2016 is that not much changed. And of course, this was during the Oscar's So White campaign. OK, next. So this one, OK, this is really interesting. It's about how we all work. The Gorilla Girls and everyone out there, no matter what you're doing, things suddenly come to you and it makes such a big difference. So we wanted to do a poster. We've always thought these commemorative months, February, Black History Month, March, Women's History, April, Asian American, Hispanic Heritage, LGBTQ, Disability Awareness, Native American History, those are great, great to celebrate. But what about the rest of the year? So we're designing this poster and we have all the text ready. And discrimination is such a long word. It just doesn't fit on the poster.  And suddenly it was like light bulb. I we never thought before discrimination contains the word nation. And by breaking that into two lines, it makes all the difference. Discrimination. And I can't look at that word discrimination anymore without in my own mind breaking it into those two parts. Now, the next is a video.  A lot of our members went to many of the Black Lives Matter demonstrations over the summer and we decided that we would do a very short video about it. And if you could start the video, please. It's number seven. Anisa, is there a problem? OK, here we are. There's no sound right now, so just let it go. The sound comes later. These were just all made from our little cell phone videos and photographs. And you can tell that in most cases, the person taking the image was a participant in the event. OK. Should we skip around a little bit? Well, sure. But otherwise, it'll take up, you know, so much time. You want to just talk more about things. But anyway, the first it the first image you saw was from 1986. And the last was from 2020. So you see how, of course, the problem of racism changes its tenor. But it is something that we dealt with from the very early times until now. And we keep chipping away. Our motto is do one thing if it doesn't work, do another if it does work, do another if it doesn't work, do another anyway. So where do you want to go now, Captain? Let's go to number 10, Venice. OK, the one just before that one to the. Well, we can do that one. OK, so, you know, the this is a giant banner we did in 2005 at the Venice Biennale, one of six giant, like 20 foot high banners that we had in the very first room of one of the big exhibition halls.   And of course, that was 15, 16 years ago, and things have changed. But that was the first Biennale that had women directors. And they did have the most women ever.  And after a while, the gallery, not galleries, but museums and art institutions like the Venice Biennale came a calling. And it was a dilemma for us at first. But then we realized the audiences for this kind of thing, like the Venice Biennale, huge audiences. And also when we're in exhibitions at museums or create exhibitions for museums, which we do now, was was a great audience to to have. And once you see our work, we kind of dare you to go into any museum and not think about what is being displayed here and why. OK, could we have the next one, please? Remember, 11. This is something we did for our 30th anniversary in 2015. We decided to go back and. This was 20, 20, not. Sorry, I'm sorry. Oh, that's right. OK, thank you. Girls are so bad at numbers. In 1999, we took a look at the U.S. Senate and compared it to Hollywood. And what we basically said is that the U.S. Senate or the Hollywood was worse than the U.S. Senate. The U.S. Senate is more progressive than Hollywood. And at the time, there were nine percent female senators, but only four percent female directors. So we went back to look at it again. And we found what did we discover? Well, Hollywood, you know, the Senate was still bad, but it had 25 percent female senators. And Hollywood was still just as bad.  So it's. You know, it's interesting to go back and look at these things and see how some things change and how some things don't change and to figure out a way to frame it. Of course, you know, you're having there more female senators, but would it be great if there were more female directors in Hollywood controlling or not controlling but generating the content that we see as film? All right, let's see. Let's skip a little bit here, too. Let's go to 15. Yep, that's the one. So this is the section on museum corruption and income inequality. And we've done big campaigns about about both of these things. But this particular work, which has been seen all over the world, basically, kind of distills our group ideas about these subjects. Don't let museums reduce art to the small number of artists who have won a popularity contest among big time dealers, curators and collectors. If museums don't show artists versus the cultures they claim to represent, tell them they're not showing the history of art. They are just preserving the history of wealth and power. And can I just have the next one because it shows this all over the place, right the next? Yeah, OK, so in this one, just to show how this plays out. And this is something we often do with our work. We have it in so many different places. You're looking on the top at LA. You're looking on the bottom right at Kochi, India. You're looking on the bottom. I mean, on the second from the left, Kochi, India. And on the far right bottom, you're looking at the Bangkok Biennale in Thailand. Could we go back to number 13? All of the talk now about the ethics of museums was something we were thinking about in the late 80s. So what we discovered is that there was no uniform code of ethics for art museums at the time. So we decided that we would write our own. And these were all situations that actually occurred in museums like thou shalt not be a museum trustee and also the chief stockholder of a major auction house. And all of these really referred to specific things that happened inside museums. And we decided that we would write it as a biblical, you know, as the Ten Commandments. Now, flash forward if you could go please to slide number 17. Last year, we decided that it was time to update it. And we started to look at the behavior of museums and museum trustees. We realized, thank you, that's it. A lot of things had not changed. So we designed this Gorilla Girls Code of Ethics for Art Museums as a traveling object, a plinth, a monument that could travel around. And here's how we imagine it in the courtyard of the Museum of Modern Art in the front of the appropriate sculpture of a woman about to fall into the water. If we could have the next one, please. I'll read a couple of the commandments. OK, great. Here it is. Thou shalt honor thy employees and pay all of them in living wage plus health insurance. It's kind of shocking that so few museums in the United States are unionized and that there are so many people working at barely a minimum wage or sort of independent contractors. And of course, they were the first people to go during the pandemic because the museums wouldn't think to cut their director salaries more than 10%. Anyway, this is something that is on our website. And I don't know, Katya, do you want to read another one? No, no, you go, and then I'll take up the next one. OK. Thou shalt not permit billionaires who sell deadly addictive drugs make tear gas deny climate change or undermine elections to art wash their reputations with huge donations to museums and to get their names on museum clauses. And of course, this refers to the Koch brothers. And since we did this two years ago, a lot of these trustees have been forced off the boards. And of course, the Sackler family has been super disgraced for their involvement in pushing drugs, basically. And our feeling is if we're stuck with this situation, the condition where the only way we can fund the culture is through philanthropy from the very rich. Well, the museums and the institution should at least choose donors and board members who make the world a better, not a worse place and not permit people who engage in very nefarious businesses to art wash their reputations by getting huge sums of money to museums. And I'm sure that if you look at the museums in San Francisco, you will find a lot of the same behavior. All right, okay, let's go to the title on 19. So I'm sure a lot of you have studied in school what they call the male gaze in art and culture, et cetera. Well, we've come to think of it as the male graze. And we've begun exploring the latitude that the art world gives to bad behavior of artists or filmmakers or writers, and also a lot of other aspects of it. So maybe I'll just start with one that really kind of shows this whole thing. Let's go to 23 before, the last, the one very before that. Okay, the Guerrilla Girls Song, we're in a big show a couple of years ago at the Hirshhorn Museum in D.C. And we had like just a couple of hours off, we were installing our work and all that stuff. So we went to the National Portrait Gallery because the portraits of Barack Obama and Michelle Obama had just gone up that day and it was very exciting in Trump America, there were just this incredible lines of people all really happy to be there and seeing this stuff. And after you see Barack Obama, you had to follow like a line. So the line takes you to a room in which there is this painting of Bill Clinton. And it was shocking to see that the portrait of Bill Clinton known sexual abuser was actually done.  So we got to thinking about this and we thought, you know, museums are facing a really hard time now in the Me Too era. They're trying to figure out what do you do about an artist with these issues in their sometimes in their work but often in their private life. And we imagine the meetings going on in all these museums where people are talking about it and trying to figure out. And we decided, you know, maybe we should figure out all these different things that they're working on and figure out what they should do. So next please, 24 please. Three ways to write a museum wall label when the artist is a sexual predator. So the first one is for museums afraid of alienating billionaire trustees and collectors who donated the artist's work. And the ups, I lost my picture here. I'll have to get it somewhere else, maybe. Let's see if I can find it. Oh yeah, I think it's coming up. Here it is. Here, we're getting there, we're getting there. There we go, yes. So in this one, okay, so here's the wall label. Chuck Close, American born in 1940, Monroe, Ohio. Portrait of President Bill Clinton, 1992, Oil on Canvas, National Portrait Gallery, Washington, D.C. Chuck Close is one of the most important artists of his generation and the creator of a new kind of portraiture, consisting of patterns of color. Then the next one is for museums conflicted about disclosing an artist's abuse next to his art. Chuck Close is one of the most important artists of his generation and the creator of a new kind of portraiture, consisting of patterns of color. Like many artists, he has had a few disgruntled employees. And the third one for museums who need help from the girls, Chuck Close has had a huge career with prices to match. He has been accused of sexually abusing models and students he picked up at fancy art schools. How fitting and ironic that he painted the official portrait of Bill Clinton. The art world tolerates abuse because it believes art is above it all and rules just don't apply to genius white male artists. Wrong. So we followed this up a little bit and let's go now to 26 and it's a video as well. And from this idea of the male grays, we decided to look through art history, Western art history to locate this kind of tradition, I would say or this recurring theme of sexual violence that's actually in the artwork itself. This is not to moralize about the artwork. These are all significant cultural products but to realize that sexual violence is almost implicit in our culture and certainly in the behavior of many men under a patriarchal system. But it's also expressed in the art world. So we're working on a project for this summer that will probably become a website and billboards in England. But here's a trailer that we wrote for it to sort of introduce it, the idea to the public. And if you could start it please.  The male gaze. But the guerrilla girls call it the male graze.  When we looked into how some revered male artists used and abused women in their real lives, we saw more than gazing, we saw grazing. So the question we wanna ask is, does life imitate art or art imitate life? Golgan abandoned his wife and five children to become primitive in the Caribbean and South Pacific. He married a secession of teenage girls as young as 13. He died of syphilis at 55 and probably gave it to many of them. European colonialism at its finest. Of the women who had long-term relationships with Picasso, two died by suicide, two had nervous breakdowns and one escaped and wrote about it. In 1950, sculptor Dorothy Daener decided her husband, sculptor David Smith, had hit her once too often. She loaded her pickup truck and took off for New York to start a career of her own. Smith turned around and married one of his young students.  Lucienne Freud admitted to having 14 children by 12 different women. He may have bothered twice as many. He said women go downhill at the age of 16. Sir Lawrence Gowing, principal of the slave school, pimped for Freud, admitting young girls to the art school who had caught Freud's eye. Chuck Close invited his female students from Yale to his studio to sit for portraits. The ones who refused to undress were given $100 and told to leave. The ones who stayed endured prime questions about their sex lives while posing naked.  The guerrilla girls take on our culture's enduring love affair with bad male behavior and art. We're preparing a new project for the courtyard of Somerset House for Art Night 2021. We hope to see you there. It just might change the way you think about art forever. Okay, so Kotlin, do you think it's time for some questions? Yeah, I think that'd be great. Let's do it. Do you art the store? What? I think we have to dance that. Koreans called the macho. Heather? The next slide, 27, is a great collage of our many, many over 60 members over the years. Great, so that's a good backdrop for some questions. Okay, so Anissa, how should we handle this? Will you ask us the questions? I sure will, and I'm right here. So I have a great simple question to read out, maybe not simple for you to answer, but can you say more about your creative process?    So we always focused on that. So there are a lot of subjects we haven't taken on because we've never been able to do something about them that we felt could break through in the culture and really possibly, possibly change people's minds. But we've done, you know, what Frida, like a hundred, 200 projects over the years, and we have kind of refined our critique and refined our techniques, but we always try to do something surprising and something that we hope is unforgettable. Okay, great. How about, I like this question. Love your work first off and then have the Gorilla Girls ever touched on issues of fat phobia within the art world mass media? You know, there are so many things that we haven't touched upon. It's not to say that we're not interested or involved or moved by them, but it's great to hear people bring up things that we still have to put on our to-do list. So sadly, we haven't done much about that, although we have certainly made a lot of fun of lookism and certainly lookism in the film industry, but I think that's something that really we need to deal with. So thank you for the suggestion and thank you for your patience because we will get to it. Could I just say one little thing? We do, we did write about this in, we have a book about female stereotypes and on the cover of that book, we have like a woman's back and on her back are written all these stereotypes and it's a Latinx woman who certainly is, I mean, I don't wanna use that word, but she is of that body type. How about one from YouTube, which is has the female art landscape changed a lot since you started in 1985? And if yes, also due to your efforts. Frida, you wanna take that? Well, some things have changed and other things have sort of popped up that we didn't expect. We certainly changed the consciousness of people thinking about art. When we started in 1985, it was not unusual for a museum director and I believe the director of the San Francisco Museum was very unapologetic and said he couldn't do anything for women artists because there hadn't really been very many. And there was an idea that there was a single strain of quality that everyone had to be measured against and no one realized that that was a white male standard and that things, the art that was admired and successful was usually art that was about male experience. And I don't think anyone would again say that you could write the history of art without the voices of women and artists of color. So that is a huge, seismic change, but the art will just change in other ways. It really has become an instrument of capitalism. It has been about money. It's become about collectors. And there's a huge glass ceiling for women and people of color in both the art market and also in the museum structure. Rarely do you see a woman rise to be a director although that's changing. And also there's a great deal of income inequality. If you compare the highest price paid for a living male artist work at auction compared to the highest price ever paid for a living, work by a living woman artist, you know what the percentage is? 14% when you compare the prices. So the woman gets 14 cents of a dollar. And we all know that that's far worse than you would find in the economy at large. So some things have gotten better and some things have gotten worse. Your work is obviously very data-driven and very beautiful visually as well. This person is curious if you're building any software as artists and they thank you for inspiring so many of us. Oh, you think we should have Guerrilla Girls Photoshop? So everything anyone does comes out like what our group does, I don't know. But we are very, computers definitely change the life of our beginning members. Of course, our current members grew up with computers the whole time. And it's certainly been a love affair because when we started out, it's hard to imagine this. There was no way to do a poster unless you had special skills. Now anybody can do it and they are. And it's the golden age of activism in that way.  And when we started out, unless you knew how to pay for, get type from a special foundry place, blah, blah, blah and prepare things in a super special way for printing, you couldn't be in that game. Now everybody is. But wouldn't it be fun to have like a program that people could put into their phones and when they go to a museum, they could count? Wouldn't that be cool? Or make comments on the artwork that, wow. Anyway, thanks for the idea. Another question. Yes, that was a great question. I have a fun question from the audience from the chat, which we are taking questions in the Q and A, so we're not coming back to the chat, but I do have a 10-year-old boy, his mom brought him, and he'd like to know if you ever take off your masks. Oh, well, we do take our masks off in our private lives, but the mask is really important because it depersonalizes the issue. The minute I take this mask off, you'll start looking at me and wondering who I am and what I've had and what I don't have, and personalizing the issues of racism and sexism, and in fact, they're institutional. And to depersonalize them allows us to consider the culture as something that has to change rather than just individuals. Early on, there was this word called empowerment, and it always annoyed me because it sort of implied that women and people of color need to empower themselves, that there was something they were lacking, they were lacking power, but in fact, it's the culture that needs to change.  But anyway, thank you for the question. Let's see, how about, here's one that I am not familiar with is, what do you think about NFTS? Are you familiar with that? Oh, I was, yeah. This is, I like to say what I think of it because I've been thinking about it a lot. What's wrong with the art world is art is so expensive.  So it's mostly bought by hugely wealthy people and they're the ones who give their collection. They usually have all of the same art advisors. So they buy the same things and then they donate it to museums and museums all have the same cookie cutter collections of white guys. Well, now museums are trying to play catch up and cast a much wider net, but it's gonna take them a long time to overcome all the donors wanting to donate all their stuff and have pressure on them. So I think that this new thing is exactly like that. It's just creating another valuable instrument for rich people to trade. So the idea that something almost immediately went for $69 million, it's the same system. The only thing I like about the system is at this point anyway, it's different art. And I think that's definitely more democratic and more interesting. It's not just the usual suspects that everybody pays millions, that these few billionaires pay billions and billions for. But come on, can we have an art system that's not about making everything so valuable that it's inaccessible to people? Well, it's sort of inherent in the idea that art is an object that only one person can own and the idea that the person can have a digital image and pay a lot for it is kind of crazy. But I don't see it as an art issue. I see it as an economic issue. These super rich people are playing a kind of conspicuous consumption game to see who has the most money to buy something. It really isn't about culture, the production of significant and meaningful culture that will be there, it's a poker game. It's a poker game that you win if you have a lot of money. And I don't know, it'll be interesting to see how it takes off, but I see it as part of the art market. It's really not part of culture production. Well, a lot of it isn't about art though. I mean, all kinds of things are being traded and put big value on. It's not all art. Yeah, it's an unfungible whatever, they usually put other images. It's certificate, it's a thing that you could, like our work, one thing we like about our work is that it's not valuable at all. You can reproduce it hundreds of times, we can print hundreds of things. We sell posters on our website for 30 bucks and Matt, we're totally out of that market. We don't have to be in that world of preciousness because this is art for everybody and it's about changing minds and caring about what's going on in the world and trying, you know, your own tiny way to make trouble and also try to push that rock up the hill of more human rights for everybody. I mean, I think there's some art that produces knowledge and I think that what our work does is it produces knowledge, it's a form of knowledge. And, you know, everyone who has one of our posters or every museum that has a portfolio of our work has a piece of knowledge about a certain time, a certain situation and a way of dealing with it. So it's not about buying or owning a precious object, it's about, it's like owning a good book or listening to, you know, having a CD of music. It's knowledge, it's not a precious object. You know, and the most satisfaction that people in our group get really is the fact that people care about this all over the world but it's not like they just care about what we're doing. They want to do it too and people are doing it all over the world. Thank you. I'm going to combine a couple of questions here. There is quite a few folks who want to one, know how to become a gorilla girl and how many members you have and how diverse it is and if you have any male members and does one have to be an artist to become a gorilla girl. So Katya, do you want to jump on to that?  Our secret is that we have to be small at any one time because you can't do the kind of work we do, the huge group. You could never get 100 people to agree but 60 people, 60 plus, some stay for months, some for decades, you know, a few just for a single meeting and we have been diverse. We're cis, lesbian, transgender, diverse in age, sexual orientation, class and for many different backgrounds, African American, South Asian, Asian, European, Latinx, so on and so on. And each of us takes the name of a dead woman artist as a pseudonym and often people take the name of somebody they admire and they've researched and maybe didn't even know about before they joined the gorilla girls. And Frida, you want to talk about the... How to become a gorilla girl? Okay, good news or bad news? Let's see, let's try the bad news first. The bad news is I'm really sorry it's hard for us to take new members. If we considered everyone who wanted to be a gorilla girl, we would be an employment agency. We would be people constantly, we'd get no work done. But the good news is you don't need to be a gorilla girl to do the kind of work that we do. We say use us as a model from your own group that is involved with issues in your own neighborhood, in your own world, in your own time. And just do it, the world needs more than one group of feminist masked avengers. Thank you. Let's see, how about there was one about how do you choose your venues? Well, they don't mean our target. First of all, thank you everyone for these questions, they're great. Venues are targets. So venues often choose us. You know, that happened to us over the years. We still do whatever we want and we do a campaign that we want to do. But we do get lots of requests from community organizations to major museums all over the world for us to come and speak, for us to do exhibitions and for us to do special projects sometimes even examining a museum itself. And then they put all the bad news up right inside the museum. In terms of targets, I think we all have our favorite things that we kind of go back to again and again. And the topics you saw tonight are the topics that we deal with. But things just come, I mean, we just work as artists. Like you'll read something and you'll have an idea, you bring it to the group and someone says, well, maybe this, maybe that. And you whip it around in a blender and turn it into something that's better than one person could ever have thought of themselves. But you know, there is a kind of zeitgeist too that I think we tap into. And right now, we're particularly interested in museum corruption. And it started way back in the 80s, but it surfaced a few years ago. And now during the pandemic, it's even come to the forefront. And there's so many groups that have been formed by people working in museums. And we've been particularly interested in the ethical standards of the boards of directors of museums. And we've been particularly focusing on one individual whose name is Leon Black. Leon Black is the head of the board of the Museum of Modern Art in New York. He also is the owner of Fide & Impress. And the interesting thing is when we first started looking around for a publisher for the art of the game badly, Fide & Impress approached us and we thought, this is great, they did beautiful books. But a year into the production of the book, it was almost finished, it came out that Leon Black had a long and unexplained relationship with Jeffrey Epstein. And at that point, we realized, yes, Fide & Impress is a great press, but we could not be tainted. Our book could not be tainted forever by a connection to Leon Black. And this was in 2019. We saw the writing on the wall when he was upskating, not answering questions. He kind of was made of Teflon. He was able to dodge every accusation. We got into an argument with the head of Fide & Impress who sort of said, well, you're the only artist who's complaining about it as though we should be embarrassed or ashamed. And I said, well, we've been the first to complain about a lot of things. So we brought that contract and we were very happy with Chronicle. Chronicle did the book. And now as things are coming out just in the last few months, it came out that Leon Black gave $200 million to Jeffrey Epstein for allegedly tax advice. But they're digging deeper, deeper, deeper into it. And he has had to resign from his hedge fund. And it's so interesting that the Museum of Modern Art has not yet asked him to leave the board of directors and that the financial institution had to act on their ethics before the Museum of Modern Art. But just hold on to your seatbelts. I think it's gonna come. And I think that's going to enable and empower a lot of activists to start criticizing the composition of what art museums run for. Yes, they are nonprofit organizations but most of them were privately owned. And when they have art collectors sit on the board of directors, that really is a conflict of interest because it means they can use the Museum to enhance the value of their own art collections. And if you start to look at the boards of museums, very rarely do you find any art experts on the boards. They're all people who do the Museum money. And isn't there a better way to do things? Can museums really represent the culture at large rather than the wealthy class? So I think we were ahead of the game on that. And I'm delighted to see things developing as they are. And I just can't wait to see what's gonna happen in the next six months. You know, just I'm sure you all know this, but we have a horrible system in this country. Museums have no money. They have to rely on these billionaires to buy art for them. I mean, curators, if they wanna buy something, they often call one of these people on the board and say, hey, I want this and maybe they'll pay for it and maybe they won't. In Europe, you know, every system has its faults, but in Europe museums are, and it's changing a little in Europe now, are government funded. So they're not beholden to these, the money people in the same way that museums are here. They're in a really tough place. But they're also in a tough place because instead of buying, instead of casting the wide net and really collecting the story of our culture, they're buying the million dollar painting and then the 10 million dollar painting. And you can't get a lot of stuff. You need a lot of money to buy one thing when you could still buy hundreds of things by fantastic artists. Thank you. There are so many questions out here.  But again, the data came up and we all love your data out here, it seems. Do you have any favorite data dives that you use to get your statistics and all of your info? You don't want to tell them Frida that we make it all up, do you? Well, you know, early on, it was not so easy before the internet to find out things like the auction prices for works at auction, very hard to find. Museum collections were very hard to count. Now that there's the internet, it's a whole lot easier. So we really go, we go after data when we want to prove something. We are statisticians, we don't keep data banks. We don't go back to the Metropolitan Museum every six months to see if there are more naked women and more women artists and more naked men in the artworks. So, you know, if you look at our statistics, they're pretty straightforward, really straightforward. We didn't have a database until, what, 2017, 16, no, 2016 when we did a project at the Whitechapel Gallery where we- Well, that wasn't a database, we sent questionnaires to museums. Yes, but we made a database. Scientific. We made a database of all that information, but we haven't had a database before. That was the very first one and it was kind of magical. Same thing with data though. I mean, data is what you do with it and what your idea is to find. So when we had the idea to count the number of women artists, work by women artists hanging in the Metropolitan Museum of Art in New York compared to naked females, that made a point that could never have been made if we just said, just counted the women. So we're not the people who just do the counts of that sort of thing. We rely on a lot of fantastic researchers who do do those counts. And it's just amazing to see the kind of data that comes out about the art world now. You know, if you wanna find out the highest price, you know, ever paid for an artwork, all you need to do is ask the internet and kaboom, up it comes. So, you know, it's just an amazing time to be able to data dive. Maybe one more question? Yes, for sure.  So that's amazing. Thank you all. And I just wanna mention lots of people are throwing stuff up in the chat. If you click to the right under the three dots, you can save the chat. There's lots of links, including what an NFTS is. But I have one more, and this is, let's see, I'm a 60 year, I'm 60 years old. I remember lying on one of your first posters about the advantages of being a female artist. We can change the style or medium we work in without upsetting our gallery or collectors, something like that. It still makes me laugh, especially as I toil as an unknown artist, try a new art medium or genre. And a big thank you to the Gorilla Girls from this person. Actually, I think the line is, whatever kind of work you do, it will be labeled final. All right, friends, I think we're gonna go, let's find one more juicy question because that wasn't quite a question. Let's see, let's see. Besides large museums like MoMA, have you ever targeted other art institutions, smaller galleries, art schools, et cetera, or do you prefer to stick to larger and more powerful or influential institutions? Well, we love to go after the big fish for sure, but we've done things about so many institutions all over the world. I mean, we've looked at the collection of the museum Ludwig and Cologne of the Minneapolis Institute of Art in Minneapolis and lots of much smaller places. And we've helped students do their own kind of research and counting in different places too. So this is a really important part of our practice. Often someone will set us off, they'll tell us something about a place that is pretty egregious and we'll look into it and often make something out of it. And this project where we sent 400 questionnaires out to museums and art institutions all over Europe and made an exhibition out of their replies. The questionnaire was all about diversity and the museums all said, oh yes, we care about this so much. But then when you looked at their collections, it was totally untrue. So our exhibition showed that very clearly and a lot of people didn't reply to the questionnaire. So we took all the names of the institutions who didn't even have the guts to send it back and we put their names on the floor of the exhibition so people could walk on them. We did a project for the Van Gogh Museum in Amsterdam. It was kind of funny because we were contacted by the Education Department and they were having an exhibition of Dutch teachers who studied in Paris over two centuries. And there was only one woman selected for the show. Meanwhile, there were dozens of women who were in that category. So the Education Department and oftentimes the Education Departments are the most progressive departments inside museums and that's probably why they're the first ones who get sacked during the pandemic. The Education Department came to us and said, please, can you do something about this for us as an educational department program that will be shown at the opening? And it was great to do it. And if you go to our website, you'll see it. It's titled One Is Not Enough. And I think that it left a little bit of tension between the Curatorial Department and the Education Department. But of course, that's the kind of dialogue that really has to happen inside institutions. They have to feel a little uncomfortable about what they're doing so that they can actually represent the real time that they're living in. Not some crazy made up, imaginative time about the past.  Now, if a woman behaved like, and had a life like Van Gogh, she would have been institutionalized a lot earlier than few of us. You know, all of this stuff is in our book. When we were conceiving this book, we thought, you know, you're not supposed to put in a book, your other books that you've written. You're not supposed to put in videos. And we thought, screw that, we need to put in the whole body, the whole body of this work. So there are 400 images and it includes the Van Gogh piece that Frida was talking about and a lot of other museum interventions. And also, of course, you can always see all of this on our website too.  But if you go to our website, you can see a lot of the videos that of course, and it's very hard to choose a video in a book. So thank you so much for coming and, you know, please do good work, be active, don't ask anyone's permission to complain. You can be a professional complainer like we are. Thank you. Thank you so much, everybody. And we appreciate you all being here tonight. And please go buy the book. You can check off the book from our library as well. The e-book is really amazing because you can really pull up the vibrant images and hone in on those little statements that you have throughout the book. And I mean, really, checkmark in my career Thank you so much, Gorilla Girls, for being here. Amazing. And the questions are off the hook tonight. So thank you all. And I'm so sorry we couldn't get to every single one. Thank you. Thank you all. All right. Good night, friends. We'll see you next time.


Hi, this is your host, Subhan Bhatia. And welcome to another episode of Dear Let's Talk. And today, we have with us Roy Rabhaan, CEO and co-founder of Finaud. Roy, it's great to have you on the show. Yes, well, thank you for having me, Subhan. Yeah, and today, the focus is going to be more on cost cutting. All the way we look at it is becoming more cost efficient, as you are also aware. A lot of layoffs are happening. Folks are looking at cloud cost. I think initially what was happening was, and I may be totally wrong, was that folks are looking at, hey, you have a problem? Through a hundred developers of that, they'll solve the problem. You have a problem? Just move to the cloud, it will solve the problem. And now things are maturing, and they're realizing, hey, how to properly allocate the sources. So if I ask you, from your perspective, how do you look at this cost cutting or cost efficiency that we are seeing in the market? So I think the macro economy in the next two quarters started to really change the way that we're looking at cloud cost and cloud expense. We moved and migrated a ton of workload to the cloud, especially enterprises expedited their cloud modernization and started to launch a bunch of resources, hoping that it will cost less money than on-prem. And really quickly, everyone started to realize that cloud can be very expensive if it's poorly managed. And cloud costs are often starts to get out of control. And when cash was free and cheap, cost efficiency was not a number one priority. Like everyone wanted to increase their top line. But now when we start to measure our profitability, measure gross margin, suddenly cloud cost became one of the biggest expenses that the company have most often, like even the second one after salaries. And it's not something that companies can ignore no more. And we started to see more companies starts to optimize their cloud cost and starts to focus on efficiency at scale, which can sometimes be harder than it seems. And nobody is in a better position than you folks at FinOut to also look at this problem from a totally different perspective. It is that from outside, we do see layoffs are happening. People are talking about it. But internally, you did touch upon that. But how companies are actually restructuring themselves to once again, as you talked about, to become more efficient. Also, yes, well, the fact that with the recession, like Germany is saying, there may be a mild recession. There may be no recession. Sometimes folks want you to get scared and afraid. But companies are also using that as an excuse also to thin themselves. So what exactly is happening inside the companies, you folks have a lot of clients there, and you do know their pain points. You're like, hey, this is the actual problem they are trying to solve from outside. It may look totally different. Other than just saving money, cutting down 10%, 20% of your cloud cost is great. But it's probably not going to save your business. What is going to save your business is that you're becoming efficient at scale. And companies are now drawing their path to profitability, like everyone is talking about it. And it's okay to spend money to cloud, right? It's admirable. Like if you're spending more money to cloud, it usually means that you're just growing, and growing is good. But you need to make sure that you're spending more money on cloud for growth and not for waste. And we start to see lots of companies start to focus on the unit economics and start to measure their profitability margins and making sure that engineers can run as fast as they can and innovate and release software and type to market is as critical as ever. But we need to make sure that our unit economics remains the same. So it's not just cutting down costs. It's designing for profitability, making sure that we are building a viable business, making sure that economy of scale starts to kick in. And the more that we're selling, the lower the increase that we're supposed to see on our cloud cost. And this means that we have a business that we can operate and is sustainable from the long run. And what you're seeing a lot of companies are trying to do here, I mean, we have had this discussion with Finnaut earlier also.  So when you look at it, you're like, this is what we have been talking about. We have been telling, we have been helping companies to become cost efficient. So talk a bit about when you see this change and you're like, this actually perfectly works for us. Yes, you know, we start to see more and more companies throughout the ecosystem start to focus on, you know, their products on cost management. Obviously this is, you know, one of the hottest topic currently in the market because we start to see real demand for this.  But I think that, you know, an economy crisis like that is an educating moment for companies and something to grow on. And I don't think that we're gonna revert to, you know, just spending lots of money and thinking, not thinking about the consequences. So I think cost efficiency is here to stay and there's a lot of opportunities in FinOps and in the cost management market. And, you know, we're super excited that we started two years ago that now we're perfectly positioned in order to really help companies when they really need us the most. And we can make sure that everyone are getting their, you know, their unit economics aligned and understandable profitability margins and really can start to grow their FinOps operation and perception without having to wait for the industry to react and start to produce anything. How can FinOps actually help? You know, just talk a bit about how you help folks in, you know, taming their, you know, expenses and cost. So when company starts to embrace FinOps and start to operate that FinOps framework, one of the first things that started is let's optimize, right? Let's reduce down the cost. Let's make sure that we're turning off all unused resources. We're right sizing wherever we can. We're adopting to new technologies. We're utilizing the cloud as we should. That's the first aspect of it. And obviously, FinOps can help with that. And then we need to start to really measure our business and to make sure that we identify our unit economics. We are aligning cloud costs with business value. And eventually we need to, you know, change the perception of cloud spend into cloud investments. And this is something that FinOps can really help with. So we're investing money in AWS in order to generate more revenue. And this is the only way that we can look at it, you know, to make sure that we can continue to grow. We can continue to, everything will make sense. And we're not just overspending and there should be a clear ROI from those expenses. And FinOps can help, you know, take both the cloud cost and the usage and the actual business and really make sure that we can tie it all together. So everyone understands why we're spending that money. And if it's money spent well and how it's actually contributing to our business goals. You also talked about, of course, the cost associated with cloud was salaries as well. With these layoffs, last year we, well, last year for a while we have been talking about a huge gap in supply and demand of tech folks who are, you know, and we're like, hey, they're not enough people. Now with these layoffs, I mean, when we looked at it, the problem was the big companies they can afford.  And so a lot of startups, smaller companies, they could not afford them. Now we have these folks who have actually been working in production. These are not Greenhorn developers. They have been working in production. And now these developers are in the market. So do you also feel that it will actually help companies, you know, actually also hire people that they needed because sometime a lot of areas were getting compromised because they were not enough people? Yes, so 100%, you know, economy crisis and layoffs of one company is an opportunity for the other. And I think, you know, younger companies really suffered the past couple of years. Like we needed to increase our salaries or burn rate getting, you know, severely upper than what we, when we had dissipated and budgeted for. And now I think, you know, smaller companies have the ability to, you know, to hire amazing talents, starts to invest with getting the best folks.  And it has nothing to do with their capabilities. And I think it really generates a vast amount of opportunities and companies that are adapting fast and making sure that they can react to 2023. And their product is not niche is something that is in the core business of the companies can not only, you know, survive this economy but actually get on the other side significantly stronger than what they get in because, you know, we just need to take those opportunities in our hands. What advice do you have for companies who want to become cost efficient? So when we'll, as you said, you know, cost cutting can also be seen as, you know, more resources for a different department altogether. Nothing can be changed without a company, you know, decision. And if there is a change in culture that is gonna, you know, accompany every process that you run, this is something that really can, you know, really create value. But just buying a tool, just optimizing costs, just firing people is not enough. It's, you know, just, we're gonna revert to the same kind of old habits. We continue to grow at cloud costs without any experts and whatever. But if engineers are understand that, you know, cloud costs suddenly has like significant meaning and they start to be responsible for what they're doing. And it's really, you know, the same with, as we construct DevOps just a few years ago that engineers understand that now operationally they are responsible for the code. So now they're responsible financially as well. And if, you know, company can really get that shift in motion, then tools are gonna help. And, you know, companies can be significantly, you know, better at what they're doing. But first and foremost, it's a decision that the company need to make. You need to back it up. You need to, you know, change the way that they're thinking about cloud costs and everything will flow from there. Roy, thank you so much for taking time out today and talk about this topic. And as usual, I would love to have you back on the show. Thank you. Thank you so much for having me. It's something I'm always happy to be here.


Okay, cool. Thank you. Thank you. So yeah, my name is Sirka Kremser. I work for Red Hat on a project called renalytics.io and we empower developers to build their intelligent applications. So today I'm going to talk about blockchain analysis and also about processing of graphs in Spark and yeah, so this is the outline. First I will describe briefly blockchain because it's just 30 minutes, so it will be really brief. Then how to represent blockchain transaction as a graph. Then how to take all those this graph from Spark perspective. It will be slightly relevant to the talk from the Neo4j guys about this open cipher and substantial part will be the demo. It will be half of the presentation. So hopefully it will work because I've tried an hour ago and it didn't work because of IPVs. So I hope I will be more lucky. So yeah, there's the room is crowded. I guess because this is because the blockchain and the hype around it. It's everywhere, right? Unfortunately the price went down, I don't know, two days ago because it's still volatile. Honestly, I don't care about the price. I don't care about the market. All I care about is the tech and I'm gonna describe how it works.  It's not my business. So what it is is distributed ledger system. It tries to create distributed consensus. It's segue to the previous talk, right? but When it comes to data structure is just the linked list of blocks. So as you can see there's there's one block and there is a link to the other one and another one and Each new block has the reference to the previous one. So it's basically linked list single link list The trust stems from the so-called market trees. That's hash-based structures and something called mining. Mining is they also call it proof of work and it's an act of Lending your computing power to ensure that the system or the network behave correctly to make it more clear people People tries to find a nonce Which is a piece of random data that is then put to the block and if it is hashed with 256 hash function and the result targets is Lower than some number some threshold. They call it difficulty We succeed it and we find a new block and we are rewarded by the network by some bitcoins and also all the fees that were in the block This is the detail of one block. So as you can see or not. It's very small. There's something called magic number which identifies the Network because it's not I'm gonna talk today about Bitcoin blockchain But there are different flavors of Bitcoin of blockchain and this magic number identifies the type of the blockchain There are also blockchains for namecoin. This is very similar to Bitcoin So if if it is relatively similar, it can be identified by this magic number If it is different cryptocurrency like Ethereum or I don't know, Iota It is completely different architecture for for the trust. So these are Say like more diverse than from the blockchain than some more similar There's something called the mercury root. This is the hash hash of everything in there and The nonce that is this is the part that was used for for solving the block So and today each each block has a hard limit of one Mac It's relatively small. So only limited amount of transactional transactions would fit to the block and minor basically minors basically favors those transactions that that Put more fee into the more for more fee for for minors because when you create a new transaction It's up to you how much should be the how much the fee should be So if it is like small number, it would take ages to get to to confirm So in traditional banking system that the conventional banks if I want to send money to someone My bank basically holds my account my balance and it checks if I have enough money for the transaction I don't know the details, but I think it's stored in some Relational database like oracle or something and then it would subtract my money and send them to someone else in Blockchain is completely different if Alice want to send some money to Bob She has to basically spend all their money and there is implementation details that they so they can send The rest of the transaction back to her. So for there's something called input So she will create a transaction with one input and two outputs and as you can see that there is output that has address back to her So it is self-loop. She has to spend all their money, but she's allowed to Send her money back to her and so yeah, there is a Simple rule that some of all the inputs has to be equal or higher than some of the outputs It's hired. What is hired it? What's I mean if you subtract some of the inputs outputs and some of the inputs the difference is their fees It is the fee of the transaction So and as I've sent as I mentioned the confirming is finding the nonce for the block So as you here in this in this example Alice is trying to send 2.0 bitcoins to Bob so he said that he has no he doesn't have any bitcoins if the transaction is confirmed now He has balance 0.2 bitcoins and Bob is happy So this is happy Bob This is transsexual in more more general case because before we had just one input and two outputs But it doesn't have to be this way in this case We have three out three inputs and as you can as you can see there are reference the unspent output from previous transactions So this is basically the graph of the old transactions each input has to be connected to the previously unspent output And by referencing it we basically spend it One thing I didn't mention that miners have to also verify that The guy he's allowed to do the transaction because all the addresses are fingerprints of public keys and He has to prove that he owns the money by private by his private key But now how to represent it as a graph Because we we can have multiple input and multiple outputs transactions It's hard to say which address sends money to whom so my first shot was to create bipartite graph When I connected all the inputs with all the outputs And I use this representation for one of my notebooks when I'm calculating page rank because that's all I need I've also different representation. I will show in the different next slide which has more details So I use Apache parquet as a format because it's suitable for spark spark and open those parquet files It supports Partitioning so I can put different different piece of data on different different nodes and it also has schema and It's it's columnar. So it's suitable for this no SQL or distributed processing Right and I've also developed an application called blockchain Sorry, Parkett converter. It's based on other based on other open source project. And what it does it takes the binary binary files you have on your disk if you have official Bitcoin client if you run official Bitcoin client it downloads all the universe. It's I don't 280 gigabytes and you can use this converter to run it And create this parquet representation So ideally I would like have some network and run some analysis on top of it. So this is the other approach I have chosen I use it also for the other notebook and here I have more information I have nodes of addresses nodes of transactions and also nodes of blocks So I have information in which block the transaction appeared and also I have amounts of Satoshis that were sent on In the network in the previous representation I have only edge that some address was communicating somehow with the other address here. I have more information I'm basically capturing these multi input and multiple multiple output transactions Right. So how to tackle graphs from spark there are there is pre-built library or module called graph X and Some some external one called graph frames. You have to put some jar files on on class path to be able to use it So I have two notebooks and one uses graph X and the other one uses graph frames There is a lot of or there is a couple of built-in functions in spark for instance for label propagation page ranked Counting triangles, but it's extensible. It's called it supports something called pregle, which is Toolkit that declarative toolkit where you can describe as something called super step in which you say It's iterative method where you very specified that you accept messages from the from the neighbors You update the state and you send them those messages to our neighbors and in this iterate iteratively approach you can achieve something Complex algorithms and then there is a language in graph frames There is language core motif and is inspired by cipher But it's not as powerful but but is there so as if you were Here on the the lecture about cipher. We'll probably know more than I So this is the basic architecture of spark for those who are not familiar it's ETL Toolkit or framework. It stores everything in in memory. If not, so the other wise it also supports of his of hip Memory and it had a lot of bindings to other languages like pythons or are so it's suitable for data scientists It's written in scala. So there is native support for scala Java and the architecture so there is always something called driver program That's holds the application and it communicates with the master node that coordinates all those workers and schedules the work To those executors so executor runs on worker node and it runs those tasks So yeah, talk is cheap. Let's let's do the memo Is the phone visible should be right So what what I'm gonna do. I'm I have a cluster That contains open shift and I'm gonna create a new spark cluster there So I'm gonna use something called Oshinko. It's an open source library with a lot and I'm gonna deploy a new cluster. I Will make two workers And call the cluster For them and Here sorry Here I have the open shift console and I can see there is nothing there Yeah, there's nothing there. So if I run the command it should start deploying the cluster as I can see there is one one master deployed for me and Two pots of worker by the way open shift is Similar to Kubernetes, but it supports additional features like security templates, but it's very very similar as open as Kubernetes Actually, Kubernetes is running under the covers so now the cluster is up and running and I can deploy my my notebook application Jupiter notebook to do that I will use new app. It's also this is OCS open shift client so I am deploying my Docker container, but it also supports this OCI containers by cryo But here I have to specify the name of the master. So I called it for them, right? So if I do that it will deploy the the spark the Jupiter notebook What I have to also do is to expose the root because by default if I deploy something to open sheet is not exposed I Want to make it visible for the external world. So I'm exposing the root And by the way, I can do the same from the from the web console And also we have a web based application for deploying those spark clusters But I wanted like to mix it, you know As you can see that I can do something from the command line and it does things in the in the in the web UI so now the root is exposed so I can go there and It doesn't work. I Can check if everything is up and running by get all Yeah It looks good. No, no, no The container container is still creating. So probably it's it's pulling the container. I can I can I can kill it It sometimes help because Kubernetes or open shift tries to assure that there is at least once In this case one instance of running bot and if I kill it it tries to spin a new one So probably the previous one. Yeah, and so I kill the previous one and the new one is now deployed So if I go to this page now, it works So this is the Jupiter notebook previously. You may have seen the Zeppelin notebook. These are different. This is more more famous one and Yes, so now what you can see here is a python I can hide this I can hide this oh Unfortunately, I can't hide the top top bar. So it's relatively relatively low on the page So I can check if we are connected to the external cluster and here we are I can also create or open these park UI Console and check if there is application attached to this cluster and Sorry where Now should be should be right here on the master Yeah, this guy is the UI route. It's the is the Console for for spark itself and as we can see there is one application connected to it and it runs for 45 seconds That so this is our driver application is the Jupiter notebook So now if we evaluate these cells these are sent to the spark master and spark master schedules them to the workers and once it received the receives the the answers it's It's it's put It puts it back to the driver through the Jupiter notebook and we can see them also need to change this this guy So now what I'm doing. I'm reading these parquet files, which I have prepared before Using that using that parquet converter You know what let me run all the cells and I will describe them when I'm when they're really evaluating So it will be faster. So what I'm doing here. I'm reading those parquet files with notes Right here and the code is available on GitHub. I will give you the link at the end of the presentation so I'm reading all the addresses all the transactions all the blocks I think yeah and Mixing them together because it graph. This is the graph X technology. It expects all the nodes in one big Data frame. So I'm merging them all together and putting this discriminator column called type This implementation details and this is only a fraction of the blockchain network This is not whole blockchain because it wouldn't be feasible to do it in reasonable time as you can see we have four millions of nodes Finish transaction for a couple of days But the framework scales if you can you can use the same same approach for the whole blockchain if you have enough time Yes, so I've avoided here. I'm creating the graph representation in graph frame. Sorry. So I've mentioned this graph X is actually graph frame Sorry, it's graph frame. So so under covers it uses It uses data frames not the rdd's as graphics framework. So here, for instance, I'm calculating in degrees and our degrees and Creating some basic statistics like standard deviation average and Yeah, so under deviation and an average for each type of nodes. So for instance for For Type T. This is a transaction. We have average degree in degree is free red kind of free free free nodes or free free edges So in other words each transactions as in as in average free incoming edges This is the example of the motif language. So it is pretty similar to cipher. But for instance, I can't create or specify these these paths I Mean reach ability on some kind of edges. I can specify only just one one edge. I can't create Transitive closure anything like that is very simple. I can create those patterns. So for instance, there is if there is address and There is edge to transaction and here I will specify what the address actually means so address means that there is a type that equals to a and I can specify if the value on the edge is slower than 10,000 Fasatoshi and On the upcoming edge from the transaction is also lower than 10,000 Fasatoshi And it's somehow time windowed because I have the reference for the block and on the block I have a timestamp so I can specify the time frame for for the query when it happened So these are the results for quite quite complicated query and I can also visualize piece of the graph because it's really huge and it wouldn't It wouldn't be nice if I showed everything but I will do it again anyway in the end So this is the One transaction visualize so this is the green one is the out input of the transaction and The red ones are the outputs and the nice thing about Jupiter notebook is that it's interactive. I can I Can plug in pretty arbitrary Transaction ID right here and it would work. It would visualize the different transaction for me So at the end of the notebook of this notebook. I'm using network X library. It's a Python library for graph visualizing or processing and I will visualize the same transaction with graph network X But it's not as nice I can Show the labels and it's even worse Before this library Like this one. It's it's called Sigma JS. It's JavaScript library for visualizing the graphs I could have also use D3 but put a more effort to it This is like out of the box working to Sigma JS So yeah, and here in this in this case. I'm trying to visualize like bigger portion of the graph it takes four zero point zero zero zero four A random sample of this this fraction and randomly visualize it It's really messy So this is the graph frames notebook. I've got also different one which is called based on the graph X So let me deploy this one. Oh and the Looker containers are on looker hub. I need to expose the root for this one as well So this one will use a different notebook technology. Actually, it's called spark Spark notebook and should be should be accessible under this URL. I Loose Firefox for this because they have some issues with from So yeah, this is similar concepts notebook technology, but this time we use scala. It's different binding different language and I will again. I will evaluate everything and describe what it does this time I'm I'm I'm using this representation where each address is connected connected to each other address But there is no other information like blocks transactions or even values on the edges It's because I'm gonna run the page rank algorithm, which is Prepared in this library and I don't need this information. It's it's faster So yeah, I'm this is I'm massaging the daytime cleaning because it contains some prefixes so I can remove them And this is this is this is spark and I'm Working in I'm using our RDD. This is different concept than graph frames. It's called resilient distributed data sets It's like lower level. It's not optimized by this catalyst optimizer as graph as data frames, but it's in a way. It's more powerful and Yeah, so right now the the evaluation of this cell is running it's calculating the page rank So for each address, it's tries to find its rank. I I guess it's not necessary to introduce page rank, but in couple of words It's an iterative algorithm that for this is a result running of page rank on some very small graph it's tries to To put to put higher rank onto those nodes that have more incoming edges But at the same time if the if the node has high rank it contributes more to the to the other nodes who Into which he points so in each step it tries to calculate update its rank and It's a form of eigenvector vector centrality measure It tries to simulate like random work through the graph And if we randomly stop the state was the probability that I would end up in this node B for instance It's quite high, but this this node has also high probability Even though there is just one incoming edge and it's because of the fact that there is a loop from this high highly ranked node It's sorry This is arbitrary nodes 40% Yeah, this this is the random graph on which I want to explain page rank and yeah, it doesn't make sense for for for blockchain And actually once this page rank will finish These the results the ranks are not actually probabilities These are like random numbers because they are higher than one, but I can represent them as a probabilities by summing everything and normalizing it all I need is to rank those addresses by this page rank and See if the highly ranked nodes addresses in the network are Somehow interesting interesting Before I tried it it took two minutes and a half still calculating so Yeah, it's just finished and as you can see there are for instance this one This one has higher probability or higher ranked than than one so I can so here I'm sorting them by by the rank by their rank and In this notebook I can actually query external websites. So I'm query the I will be querying the blockchain info for fetching additional information about the nodes because it is because I have only a small portion of the graph and I for instance, I have I want to have like the overall Incoming transactions and overall outgoing transactions from the address like how many bitcoins does it receive for all the time or or send and I wouldn't be able to reconstruct it for only from this small fraction of the transaction graph So that's why I'm a little bit cheating by by querying external site for this So, yeah, I will I will be kind of augmenting this output with HTML sorry Sure. Yeah, so what is Yeah, what I have right now is a framework for working with blockchain data might benefits could be For instance, you can use this framework for For identifying similar addresses in a network because as you may know or not The Bitcoin or blockchain is a pseudonymos network. We can see all the transaction of each address But we can't be sure who is behind this address, but but if we can somehow Inspect, I mean see the behavior of some certain address We can plaster them together and say with some kind of probability. These are the same is or not This is just ideas, you know, and Yes, yes, it's not very useful. This is just for demoing open shift and you know You can use our technology or which is also open source and you can do it on the cloud. It's pretty pretty convenient So this is a sorted list of these Bitcoin addresses by this pendulum and There should be also linked to the external side and this case blockchain info and as we can see we just found a Mining pool core called fish pool. So just by looking into the graph and it's Topology, we're able to identify kind of significant address in a network By the way fish is these mining pools are entities in the Bitcoin network that serves for for miners to Like obtain more often less less amount of money because it's highly unlikely that it will be you who will confirm the transactions though, so they aggregate into mine those mining pools and These mining pools reward those members by Doing that work if the mining pool succeeds to find a new new new block He will reward all these members who were mining in this these periods Okay, yeah, that means that's fine. So I can see if there are some other interesting one No, this is for instance in this case We don't have any information and we had the information before because the fishing pool itself put this information into the blockchain info There's not some magic was not any any magical was happening As me I have also my Bitcoin address and I can go to the blockchain info I think slash text and I can put some metadata on my address if I want Yeah, this is different what this is for instance this one is a hot wallet So this is like wallet in browser or in online and they want to be identified You know, it makes sense that they put this take on on their Bitcoin address and Here you can see it actually starts with one fox that the hash and Actually finding this address is also Difficult task because they have to spend a lot of computer power to come up with pair of private and public key where the fingerprint of the public key starts with One fox Sorry And as you may see this is the like total number of Received or total number of send of these of these addresses and this is the resulting resulting or the current balance for for For instance, this this address received a huge amount of money, but the balance is zero and it makes sense If it's sense everything what it received So yeah, this is the these are the notebooks. They are on the GitHub repository Let me switch back to representation so key key takeaways Blockchain is out there. It's it's formal is open. You can you can dive into it. You can see what's there You can use my framework to convert it to the graph and process it further. This is just starter, you know, you may you may do a lot of More interesting work There are two different technologies in in spark one core graph frames one core graph X. I Had bad luck with graph frames for instance running the pagering algorithm. Not sure why it was it was working for relatively small graphs but once I I Achieved some threshold it didn't work like I had a lot of out of memories even on on relatively high memory platforms I Think it's really really important to to create reproducible experiments if you are in data science community because What happened to me? I read some scientific paper and they have some data set This is publicly or this achievable in some zip file or somewhere And it's relatively hard to reproduce their work if you put it into the containers and you create these notebooks It's pretty pretty easy to for other guys to you know extend your work And as always like good representation may be crucial So, yeah, please please visit our website rather than is now. I will also put some stickers right here if you want some and Yeah, this is my presentation if you want to download it and graduate so Questions No, no, it's not streaming. Yeah, so the question was if it is doing the stream mode. No, it's just batch processing I'm gonna I want to improve it by streaming Yeah, I want to improve that in the in that way it's relatively difficult because I don't want to I don't I can't do it using this Binary data store and the in the system I would have to run the Bitcoin DD more and hook to it using json RPC and you know trying to see the new transaction I visualize them using spark I was called streaming here This is something I want to do. Yeah, what? Yeah, it was it is It is because I can show the notebook again. We have time I actually find find it in a way that Firstly I Calculated the output edges of each transaction and I sorted them by the output edge and I took the Relatively high in the list. I can show you right here. It's filled. It's sorted by out-degree And I'm taking the 8,000 one 801 exactly if I pick random one, it would be just a couple of outputs and a couple of inputs. Yeah, exactly Good question Thanks a lot. Here is also around I think sorry. Are you around today? So yes, I'll be here. So you can catch me like that. Sure And next presentable behind us talking about G core a new graph query language


Welcome back. We're going to have an amazing last day. We'd love to give you unique surprises, so you're welcome for the snow last night. Hope you enjoyed the party. I had a really good time. So first up, we have a very, very special keynoter. She has led the Kubernetes community and is leading the open source communities for the Google Cloud platform. She's a personal mentor of mine. When I came into the Kubernetes community, that was one of the first experiences in open source I ever had. And she's a big part of the reason why it has been such a positive experience for me. Please welcome to the stage Sarah Novotny.


I don't mind speaking about it. He didn't get killed by an enemy. That's the thing. The guy that killed him was in our house, was at my mom's stand. He was at the funeral with us. Yeah, we on boss talk, one on one, one on one. Yeah, we gonna talk. Think about it, you know, and I'm gonna take you back to that time when the whole incident happens and he ends up getting murdered. Just walk me into that situation and how it played out for you. And how old was he when he died? 18. He wasn't that old. Yeah, he had turned 18 on June 13th and he got killed June 20th. Hmm. And so, was it previous beef or was it... I'm really wanna detail what happened. Yeah, because for people who don't know who it is or what happened to him. I don't really know the details. That's why I'm asking. Right, so, you know, they'll like to know. Well, I can give y'all a little bit because we do have a documentary, so we just don't wanna push it out there. But... Some of this stuff is already out. Yeah, and it is. That's why I don't mind speaking about it. He didn't get killed by an enemy. That's the thing. The guy that killed him was in our house, was at my mom's stand. He was at the funeral with us. Huh? Yeah, the guy came to the funeral because like I said, the autopsy was not back so we didn't know for sure. You know, the story he gave us, it didn't make sense, but we couldn't say he was lying because it was just him. It was three people in the room, you know? So it had to be one of you two that did it. So of course it's gonna be a finger pointing type of thing. But what caused that? What caused the altercation? What happened? That's what I don't know. Like, I don't know the real truth because the older person told me that basically him and Snoop was playing the game in that... That's what I heard really. They were playing 2K, 12, like $100 or something like that, a game. Oh, they were gambling. Right, but the little friend that Snoop had with him, the guy that actually murdered him because he's not his friend, he kept clutching. He had a gun, he kept clutching. So the older guy told me that that raised a flag for him, like, what are you doing? I got all this money in here, and so what are you doing? So he said, he went to the back and got his gun.  He said, he immediately came out with it pointed.  But he put the young guy out, the killer. He put him out of the apartment. And I'm like, so what did Snoop do? He said, he stayed sitting there and the younger guy, I mean, he went out. And this was at his house? This was at the older person's house. The older person's house, right? Snoop was playing the game with. Right, okay. And so he said, when he put the guy out, he closed the door. The guy came back banging on the door real loud. It sounded like he was banging with the gun. He said, at that time Snoop got up. They both walked outside. And when he walked out, the guy shot. So Snoop took off running to the left and the older guy shot up in the air and he shot once towards the person, went back in the house to grab his stuff. And he left the scene. Snoop's killer followed him to where Snoop was running. There was only one way out to run a while. He followed him. Snoop got shot close range and he was also robbed. So the first time when he shot after Snoop, when he was at the apartment outside, he didn't hit him at that time? No. Or you don't know? He didn't hit him based on the autopsy. Okay, and he ran. Snoop ran. But whenever he caught up with him, that's when he shot him. It makes me wonder like what happened when you caught up with him because it's a close range shot. Snoop also got shot in his hand. So his hand had to go up when he saw that. That's what I'm thinking. So they were face-to-face. That's what I'm thinking. Arguing or whatever. I feel like this, I'm just, you know, cause you gotta keep in mind, I was raising the street so I'm in there. So you know certain things. Yeah, and I'm book smart as well.  Cause we, you didn't give me no car keys to get in the car and wait on you. You didn't do nothing. You gonna sit here and play there. So they rode together. Snoop was driving. His cousins to be here. Yeah. So in my mind, I'm thinking, well did you get pissed off? But see, he won't be honest with me to even say I was mad. And so I, he, I didn't do it. He's still sticking on. You didn't do it clearly. Cause I don't know either one of the guys to depict one was guilty and one was not guilty. I don't know either one of y'all. So I'm not going to pick one of you guys. I have to go by the black and white that was presented to me. Right. Yeah, we on boss talk one on one. Here we go.