Hello, and hello to our audiences near and far. We welcome you to Mechanics Institute's annual Bloomsday Celebration. I'm Laura Shepherd, Director of Events. Our Bloomsday noon is co-sponsored by the Consulate General of Ireland, San Francisco, the National Library of Ireland Dublin and Gray Area, San Francisco. First, we are honored to have Robert O'Driscoll, Council General of Ireland of the Western United States, who has a special greeting for us. Please listen. A Georgia, a Ginooshla, friends, distinguished guests. My name is Robert O'Driscoll, I'm Ireland's Council General here in San Francisco and I'm delighted to have been invited by the Mechanics Institute once again to address you at the start of your Bloomsday celebrations. I want to pay particular tribute to Laura and the team there at the Mechanics Institute. I know they've had to move everything online, but I want to praise your ambition and your creativity. I know today you've got a full program of recitals and musical and theatrical performances, which I think you're really going to bring alive Bloomsday and rest assured you're in good company. There is events on here, of course, in San Francisco, but also all across the world. Bloomsday is a global celebration. It is an Irish writer and James Joyce, an Irish selling Dublin in my own home city, but it has global significance and you are part of that global Irish community here today. I think that the fact that we're able to gather in this fashion would have appealed to Joyce. He was a man of ideas, a man of creativity who loved the use of technology to make things possible. And in many ways, the use of technology, particularly Zoom, being able to move from person to person from face to face to hear all these different voices is very reminiscent of certain chapters of Ulysses when we're introduced to all of these different characters and all of their different perspectives. Ulysses is kind of an early attempt at multimedia communications, which are the heart of our attempts to stay connected today, even though we are far apart. Although I think it's important to remember what Joyce said. He said, real adventures do not happen to people that stay at home, who remain at home. They must be sought abroad. So while this is a great celebration and I'm happy to do this way today, I hope it isn't long before we can all leave our homes and have real adventures and meetups together. Ulysses is probably one of the most famous examples of modern literature where the past is retaught and the future is charted out in the wake of upheaval and societal change. It's a time when new energies are coming to fruition. It is reminiscent of today. I know some of the changes we are experiencing right now in this moment. And in this regard, the Ulysses humanity remains its luster, maintains its luster. Joyce's efforts to bridge gaps, to understand others and to share with them your own story as demonstrating this wonderful, important novel are inspiring. Its fundamental message of coexistence and the inherent values of other people's views is one which is so relevant always, but perhaps particularly so today. Declusion, I wanna thank you again for having me here. I wanna wish you well in your performances today. I wanna say kagorgikis again to everyone for making this happen. I wanna wish you all a very happy Bloomsday. Kanyarian Taliv. Thank you, Consul General Robert O'Driscoll. Now today we bring together two worlds that of James Joyce's novel Ulysses set on June 16th, 1904, and today, merging old and new, virtual and real in a time of peace and unrest, illness and health. Our Bloomsday noon, a performance montage features readings, music and song by performers from the Bay Area, New York and Ireland. Our video runs 65 minutes and features 16 interpretations of Joyce's writing and themes that are traditional, contemporary and experimental, including portrayals of characters and scenes from Ulysses, many staged from home on Zoom, plus well-known Irish songs and a new musical compositions. We begin with a Gaelic tribute and incantation, koak on puke, in between two worlds by jazz singer Melanie O'Reilly. Enjoy. It's a wonder I'm not an old, shriveled hag before my time, living with him so cold, never embracing me, except sometimes when he's asleep, the wrong end of me, not knowing what to do, I'm not sure if I'm doing it right, but I'm doing it right. It's a wonder I'm not an old, shriveled hag before my time, living with him so cold, never embracing me, except sometimes when he's asleep, the wrong end of me, not knowing I suppose who he has. Any man that kiss a woman's bottom, I'd throw my hat at him, after that he'd kiss anything unnatural, where we haven't one atom of any kind of expression in us, all of us the same, two lumps of lard, before ever I'd do that to a man.  I was thinking, would I go around by the keys there, some dark evening, where nobody'd know me, and pick up a sailor off the sea, that'd be hot on for it, and not care a pin whose I was, only do it off up in a gate somewhere, or one of those wild-looking gypsies in Rath Farnham, had their camp pitch near the Bloomfield Laundry to try and steal our things if they could. I only said mine there a few times for the name Model Laundry, sending me back over and over some old one's odd stockings, that laggard-looking fella with the fine eyes, peeling a switch, attack me in the dark, and ride me up against the wall without a word, or a murderer, anybody, what they do themselves. I don't care what anybody says. It'd be much better for the world to be governed by the women in it. You wouldn't see women going and killing one another, and slaughtering. When do you ever see women rolling around drunk like they do, or gambling every penny they have, and losing it on horses? Yes, because a woman, whatever she does, she knows where to stop. Sure, they wouldn't be in the world at all, only for us.  How could they? Where would they all of them be if they hadn't all a mother to look after them, what I never had? That's why I suppose he's running wild now, out at night, away from his books and studies, and not living at home, on account of the usual rowey house, I suppose. Well, it's a poor case that those that have a fine son like that, they're not satisfied. And I, none, was he not able to make one. It wasn't my fault. We came together when I was watching the two dogs up in her behind in the middle of the naked street. That disheartened me altogether. I suppose I hadn't had buried him in that little woolly jacket I knitted, crying as I was, but give it to some poor child. But I knew well I'd never have another. My first death too, it was. We were never the same since. Oh, I'm not going to think myself into the glooms about that anymore. Bloom's breakfast, take four. Mystically appalled bloom, eight with relish, the inner organs of beasts and fowls. He liked thick giblet soup, nutty gizzards, stuffed roast heart, liver slices fried with crust crumbs, fried hen-card-rose. But most of all, he liked grilled mutton kidneys, which gave to his palate a fine tang of faintly scented urine. Kidneys were in his mind as he moved about the kitchen softly, writing her breakfast things on the humpy tray. Gillet light and air were in the kitchen, but out of doors, gentle summer morning everywhere, made him feel a bit peckish. The calls were reddening. Another slice of bread and butter, three, four, right. She didn't like her plate full, right? He turned away from the tray, lifted the kettle off the hob and set it sideways on the fire. A cup of tea soon. Good, mouth dry. The cat walked stiffly around a leg of the table with tail on high. Oh, there you are. The cat mewed in answer and stalked again stiffly around a leg of the table, meowing. Just how she stalks over my writing table. Scratch my head. Mr. Bloom watched curiously, kindly. The leaf black form, clean to see. The gloss of a sleek hide.  The green flashing eyes. He bent down to her. His hands on his knees. Milk for the pussons. The cat cried.  They understand what we say. Better than we understand them. Oh, she understands all she wants to. Vindictive too. Cruel her nature. Curious, my snever squeal. Seem to like it. Wonder what I look like to her. The light of a tower. No, she can jump me. Unquietly creaky boots. He went up the staircase to the hall. Paused by the bedroom door. Oh, she might like something tasty. Thin bread butter she likes in the morning. Still perhaps once in a way. I'm going around the corner. Be back in a minute. I don't want anything for breakfast. A sleepy soft grunt answered. Mm. Mm. Mm. He heard then a warm heavy sigh. Softer she turned over. And the loose brass quotes of the bedstead jingled. His hand took his hat from the peg. Over his initial heavy coat. The sweated legend in the crown of his hat told him mutely. Plastos high grader. He peeped quickly inside the leather headband. White slip of paper. Quite safe. On the doorstep. He felt in his hip pocket for the latch key. Not there. Oh, in that trousers I left off. Must get it. No use disturbing her. She turned over sleepily that time. He pulled the hall door to after him very quietly. More to the foot left. Dropped gently over the threshold. A limp lid. Looked shut. Alright. Till I come back anyhow. Ulysses is a notoriously complex book. It gives us the Dublin of 1904 in radically strange and challenging ways. Through its reworking of style and form. The novel engages critically with the world it presents. It asks us to grapple with the issues faced by the city. Issues of colonialism. Capitalism. Technology. Questions of gender and race. The novel thus speaks to our concerns today. As it tells its story in devious. Polytropic ways. You've just heard Leopold Bloom's first comic appearance in the novel. As he displays his curious taste for kidneys and giblets. Bloom here is both a modern version of the Homeric warrior who burns pieces of flesh and tribute to the gods. And also a modern oddity. Valuing cuts of meat that are considered awful. But falls off as waste. Bloom, like the novel as a whole, comes up with his own values and his own ways of doing things. Throughout the day in which Ulysses is set, the day we call Bloom's Day, Bloom responds to a series of problems. Social injustice and poverty. Unfair distributions of labour and wealth. Casual prejudice. And pointed bigotry. These problems of identity and meaning. In a world where all traditional scripts are in question. A work through in Bloom's relationship with Molly. On this very day she sleeps with Blazes Boylan. Her adultery raises the question of love in the modern world. What is marriage? What, if any, control does a man have over a woman? One of Bloom's responses is to remember the moment Molly agreed to marry him. It is this memory that sustains Bloom and sustains the reader throughout the wanderings of Bloom's Day. Indeed, Molly herself remembers this event in the last pages of the novel. I'm going to read that passage for you now. Sitting in a bar, Bloom remembers the picnic he and Molly had on Holt Head, where they lay under a rhododendrons and looked out over Dublin Bay. In our time of quarantine and of strict limits on physical closeness to the domestic unit, their physical intimacy is all the more striking. It's also a stylistically creative passage. It's unusual word orderings create a sense of the erosion of boundaries between Molly and Bloom. Subjects, objects and verbs merge into one another as their bodies melt together. In our moment of separation and estrangement, their erotic mingling is a moment of inspiration and hope. Glowing wine on his palate lingered, swallowed, crushing in the wine press grapes of burgundy. Son's heat it is, seems to a secret touch telling me memory, touched, his sense moistened, remembered. Hidden under wild ferns on hoes, below a space sleeping, sky, no sound, the sky, the bay purple by lion's head, green by drum-leck, yellow-green towards sudden, fields of undersea, the faint lines brown in grass, buried cities. Pillowed under my coat, she had her hair, earwigs in the heather scrub, my hand under her nape. He'll toss me all. Oh, wonder. Cool soft was ointments, her hand touched me, caressed, her eyes upon me did not turn away.  Softly she gave me in my mouth the seed-cake.  Joy, I aze it. Joy. Young life, her lips that gave me pouting, soft, warm, sticky, gum-jelly lips. Flowers her eyes were, take me, willing eyes. Pebbles fell, she lay still, a goat, no more. High on Ben Hoth rode a dendrons, and nanny-goat walking sure-footed, dropping currents. Screened under ferns, she laughed, warm-folded.  Fat nipples upright, hot I tongueed her. She kissed me. I was kissed. All yielding she tossed my hair, kissed, she kissed me. Me. Me now. In the merry month of June, from my home, I started left the girls of tomb. Nearly broken-hearted, saluted father dear, kissed me, darling mother, drank a pint of beer, tears and grief to smother. Off to reap the corn, leave where I was born, I clasped out Blackthorne to banish ghosts and goblin. In a brand new pair of brogues, ran to Lord of Bogues, frightened all the dogs on the rocky road to Dublin. One, two, three, four, five, left the hare and turned her down the rocky road, all the way to Dublin, back full-old era. In Mullingar that night, I rested limp, so weary started by daylight. Morning, blithe and airy toke, a drop of the pure. Keep my heart from sinking, that's an Irish misture. When he's on for drinking, to see the lassie smile, laughin' all the while, at me curious styles would set your heart above it. Haxed if I was hired, wages I required, I was almost tired of the ride. I was almost tired of the rocky road to Dublin. One, two, three, four, five, left the hare and turned her down the rocky road, all the way to Dublin, back full-old era. In Dublin next arrived I thought it's such a pity, to be soon deprived of you of that fine city. Took myself a stroll out amongst the quality, bundle it was stole in a neat locality. Locality something crossed my mind, then I looked behind, the bundle I could find upon mistake, the wobblin' inquiring for the road, they said my connex broke, wasn't much in foam on the rocky road to Dublin. One, two, three, four, five, left the hare and turned her down the rocky road, all the way to Dublin, back full-old era. From there I got away, spirits never fail and landed on the key, as the ship was sailing. Captain let me roar, said that no room had he, when I jumped on board, a cabin found for patty, down amongst the pigs, and some hearty pigs sang some hearty weaves.  One, two, three, four, five, left the hare and turned her down the rocky road, all the way to Dublin, back full-old era. The boys of Liverpool, when we safely landed, called me self a fool, I could no longer stand it, blood began to boil, temper I was losing, poor old Aaron's Isle, they began abusing, hurrah, my soul says, I shall lay the island fly, the way boys nearby could see, I was the hobblin with the loud hooray, help me clear the way for the rock, go to Dublin, one, two, three, four, five, hunt the hare and turn her down the rocky road, all the way to Dublin, back full-old era. Blum was talking and talking with John Wise, and he was quite excited with his dumb, duckety, mud-colored mug on him and his old plum eyes rolling about. Thank you.  What do you know what a nation means, says John Wise. Yes. What? Is it? Our nation, the nation is the same people, living in the same place. Be good, says Ned, laughing. If that's so, worry about nation, for I've been living in the same place for the past five years. So of course everybody had a laugh at Blum and says he trying to muck out at it, well, also living in different places. What is your nation, if I may ask, says the citizen. Ireland. I was born here, in Ireland. The citizen said nothing, only cleared the spits out of his gullet and gob. He spat a red-bank oyster out of him right into the corner. After you, if the post-joel says, he taken out his handkerchief to swab himself dry. There you are, citizen, says Joe. Take that in your right hand and repeat after me the following words. The much treasured and intricately embroidered ancient Irish face cloth attributed to Solomon of drama and Manus Termituck. Org McDonough, authors of the book of Ballymote. Show us over the drink. Which one is which? Oh, that one's mine. As the dead policeman said. And I belong to a race that is hated and persecuted. Also now, this very moment, this very instant, rubbed, plundered, insulted, persecuted, taken what belongs to us by right at this very moment, sold by auction in Morocco like slaves or cattle. Are you talking about the new Jerusalem, says the citizen? I'm talking about injustice. Right, says John Wise. Stand up to it, then with force like men. But it's no use, force, hatred, history, all that. That's not life for men and women, insult and hatred. And everybody knows that it's the very opposite that is really life. What, says John Wise? Love. I mean the opposite of hatred. A new apostle to the Gentiles, says the citizen. Universal love. Well, isn't that what we're told? Love your neighbor. That's right, says the citizen. Bigger my neighbor is his motto, love. He's a nice pattern of a Romeo and Juliet. Love loves to love love. Nurse loves the chemist. Constable 14A loves Mariah Kelly. Gerta McDowell loves the boy with a bicycle. MB loves a fire, gentlemen. Lee Chi Han, lovey-up, kissy, chow-poo-chow. Jumbo the elephant loves Alice the elephant. Old misch-de-vichoyer with the ear trumpet. Love's old misch-de-vichoyer with the pteridin eye. The man in the brown macintosh loves her lady, who is dead. His Majesty the King loves her Majesty the Queen. Mrs. Newman W. Tupper loves a fair gentleman. You love a certain person. And that person loves that other person. Because everybody loves somebody. What God? God loves everybody. Everybody. He's a widower now. I wonder what sort is his son? He says he's an author and going to be a professor of Italian, and I am to take lessons. I wonder what is he driving at now? Showing him my photo. He's not good of me. I ought to have gotten it taken in drapery. That never looks out of fashion. Still, I look young in it. I wonder he didn't make him a present of it, but I do. After all, why not? I suppose he's a man now by this time. He was such a darling little fellow in his Lord Funtl Roy suit and curly hair, like a prince on the stage. When I saw him at Mac Dylan's he liked me too, I remember. They all do. Wait. By God, yes, wait. Hold on. What was the seventh card this morning when I laid out the deck? Union with a young stranger, neither dark nor fair. I thought it meant him, but he's no chicken. Neither a strange journey, either. Besides, my face was turned the other way. What was the seventh card after that? The ten of spades for a journey by land. Then there was a letter on its way and two handles too. The three queens and the eight of diamonds for a rise in society. Yes, it all came out. And two red eights for new garments. Look at that. And didn't I dream something too? There was something about poetry in it.  What did they go about like that for? Only getting themselves and their poetry laughed at. I always liked poetry when I was a girl. First I thought he was a poet like Byron, not an ounce of it in his composition. I thought he was quite different. I wonder, is he too young? He's probably twenty or more. I'm not too old for him if he's twenty-three or twenty-four. I hope he's not that stuck-up university student sort. They all write about some woman in their poetry. Well, I suppose he won't find many like me where softly sighs have longed the light guitar, where there's poetry in the air, the blue sea and the moon shining so beautifully, coming back in the night boat from Tarifa, the lighthouse at Europa Point, the guitar that fellow played was so expressive. Will I never go back there again? All new faces, two glancing eyes, a lattice head. I'll sing that for him. They're my eyes if he's anything of a poet. Two eyes as darkly bright as love's own sea. Love's own star. Aren't those beautiful words as love's own star? That'll be a change the Lord knows to have someone intelligent to talk to about yourself. I'm sure he's very, very distinguished. I'd like to meet a man like that. God knows, not those other rook. Besides, he's young. Those fine young men I could see down at Margate's strand bathing place from the side of the rock, standing up in the sun, naked like a god or something and then plunging into the sea with them. Oh, God.  I could look at him all day long. He's curly hair and shoulders.  There's real beauty and poetry for you. I often felt I wanted to kiss him all over.   I would, too, in half a minute, even if some of it went down. It's only like Grohl or the Jew that there's no danger besides he'd be so clean compared to those pigs of men. I suppose never dream of washing it from one year's end to the other, the most of them. So that's what gives the women the moustaches. I'm sure it'll be grand if only I can get in with a handsome young port of my age. I'll throw the cards first thing in the morning till I see if the wish card comes out, or I'll try pairing the lady herself to see if he comes out. I'll read or study all I can find and if I know what he likes, I'll learn it off by heart so he doesn't think I'm stupid and I can teach him the other part. I'll make him feel all beautiful under me. Then he'll write about me, lover and mistress publicly, too, with our two photographs in all the papers when he becomes famous. Mr. Bloom walked unheeded along his grove by sad and dangerous, crosses, broken pillars, family vaults, stone hoops crane with upcast eyes, old Ireland's hearts and hands. It's more sensible to spend the money on some charity for the living. Pray for the repose of the soul of Does anybody really? Plant him and have done with him like down a coal chute and lump them together to save time. All soul's day. Twenty-seventh I'll be at his grave. Ten shillings for the gardener, keeps it free of weeds. An old man himself bent on double with his shears clippin near death's door. Who passed away? Who departed this life as if they did it of their own accord? Got the shove, all of them. Who kicked the bucket? It's more interesting if they told you what they were. So-and-so, we'll write. I traveled for the cork lino. I paid five shillings in the bottom pound. Or a woman with her saucepan. I cooked good Irish stew. Theology in a country church that ought to be that poem of who's it. Wordsworth or Thomas Campbell entered into rest. The Protestants put it. Old Dr. Murns, the great physician called him home. Well, it's God's acre for them. It's a nice country residence. Annually plastered and painted. The ideal spot to have a quiet smoke and read the church times. Marriage ads, they never tried to beautify. Rusty wreaths hung on knobs. Garlands of bronze foil. Better value that for the money. Still, the flowers are more poetical. Others get rather tiresome, never withering, expressing nothing. Immortals. A bird sat tamely, perched on a poplar branch, like stuffed. Like the wedding present Alderman Hooper gave us. Ho, ho! Not a budge out of him. No, as there are no catapults to let fly at him. That's a dead animal, even sadder. Silly, merely burying the little dead bird in the kitchen matchbox. A daisy chain and bits of broken chainies on the grave. No, a sacred heart, that is. Showing it. Heart on his sleeve. You know, it ought to be sideways and red. It should be painted like a real heart. Ireland was dedicated to it, or whatever that. Seems anything but pleased. Why this inflection? Would birds come then and peck like the boy with the basket of fruit, but he said no, because they ought to have been afraid of the boy? Apollo, that was how many. All these here once walked round Dublin. Faithfully departed. As you are now. So once were we. The drop of the crater every morning. Back to the devil to dance to your heart. Round the floor, your truck to ship. This is indeed the truth. I told you, not so fun at Finnegan's Wake. One day, when Tim was rather full, his head felt heavy, which made him shake. He fell off the ladder and he broke his skull. And they brought him home, his cart to wake. Rolled him up in an iced tea sheet. Layed him out upon the bed with a bottle of whiskey at his feet and a barrel of porter at his head. Wipe on the door when he danced to your partner round the floor, your truck to shake. This is indeed the truth. I told you, not so fun at Finnegan's Wake. When his friends assembled at the wake at Mrs. Finnegan called for brunch. But first she brought out tea and cake. Then pipes, tobacco and whiskey punch. Then the widow Malone began to cry. Such a nice tea corpse did you ever see.  When you hold your cup, says Malin McGee. Wack on the door when he danced to your partner round the floor, your truck to shake. This is indeed the truth. I told you, not so fun at Finnegan's Wake. Well, Mary Murphy took up the job. Oh, Biddy Sushi, you're wrong, I'm sure. Then Biddy fetched her a belt in the cup and left her sprawling on the floor. Then the warden then engaged with woman to woman and man to man. Shalala was all the rage and a row and a rupture soon began. Wack on the door when he danced to your partner round the floor, your truck to shake. This is indeed the truth. I told you, not so fun at Finnegan's Wake. Well, make Malone ducked his head when a bottle of whiskey flew at him. Instead of landing on the bed, the whiskey scattered over to him. Be dad, be five, see how he rises. Timothy rising from the bed, saying, thrown by whiskey around like blazes. Thanamondool, do you think I'm dead? Wack on the door when he danced to your partner round the floor, your truck to shake. This is indeed the truth. I told you, not so fun at Finnegan's Wake. I even said with tinkling, one who has faded into impalpability through death, through absence, through change of manners. Elizabethan London lay as far from Stratford as corrupt Paris lies from Virgin Dublin. Who is the ghost from Limbo Patrum returning to the world that has forgotten him? Who is King Hamlet? It is this hour of a day in mid-June that is up a house by the Bankside. The bear, Sackerson, growls in the pit near it. Paris Garden, canvas climbers who sailed with Drake to their sausages among the groundlings. Shakespeare has left the Huguenot's house in Silver Street and walks by the swan muse along the riverbank. But he does not stay to feed the pen, shivvying her game of signets towards the rushes. The swan of Avon has other thoughts. A place Ignatius Loyola may caste and help me. The play begin. A player comes on under the shadow made up in the cast-off mail of a court buck, a well-set man with a bass voice. It is the ghost, the king who has studied Hamlet all the years of his life, which the part of a specter. He speaks the words to Burbage, the young player who stands before him beyond the rack of seercloth, calling him by name, the bearer's spirit, the son of his soul, body Hamlet Shakespeare, who has died in Stratford that his namesake may live. Shakespeare, a ghost by absence in the vesture of buried Denmark, a ghost by death, and his own words to his own son's name that Hamlet Shakespeare live, Hamlet's know, or probable that he did not foresee or draw the logical conclusion of these premises. You are the dispossessed son. I am the murdered father.  Shakespeare, entitled to Philip, the village of phallus inflammable, fortress of plundering, wandering, white and impervious Wellington, Washington water, the Wilmington weathering, highly improbable, wondering whether in novels the avarice ever recovers, and why are we wallowing here in the thick of some pages on a red-eye? Willing is shelling to Britain for taking a second election. The erection of asinine nationals frightened of foreigners, seeking employment, asylum, survival, existence, a bite and a pillow, a roof and a fellow, compassionate, passionate, a mattress, a matter of memory, foam in a forgotten fiddle, a saddle or anything, tenable, arable, wearable fashion, a fishing gun, fishing a future for father of someone in solitude, gratitude, doddering, wasting away at the whim of the Institute. What can I do for the dying who did for me everything, everything? Sing him a song at the end of the universe, hoping he'll hear it, and southern shiver of memory, foam in his horrible home. It's the happiest one in the area, only it's odious, hideous. He is entitled to beauty, a banquet of final of heavenly, examining languages, audible, edible, science, a sonic, acoustical, coding, deciphering, foreign, deplorable.  Hell, if he knew it, but no point in asking, it's better to let him be bigger for seventy years in the service of others. It's more than I ever could say for myself. All I did was some ranting, enchanting that nobody heard except those who expected it. How can you make any difference when you are in hiding and staying inside the absurdity, worded team, messing with morals and metaphor, guessing the parsing of meaning, morpheming, phoneming, phonology, elecute, elegy, mentioned to clench and disclaimer, I'm yammering off at your grammar. And I pay, pay, pay, pay, pay, pay, at your grammar. And I pay, pay, pay, pay, pay, pay, at your grammar. And I pay, pay, pay, pay, pay, at your grammar. And I pay, pay, pay, why does it matter? I say that it matters. I say that it matters. We are entitled to talk about art at the part of party. It's only one drink and that gives you permission to muddle the mission. The missing of muscle is making you move in a menacing manner. I have no relation to this iteration but seemingly something to talk about other than art at the party and far more important is people are ravishing people and blowing up people and there goes another one mad at the masses attending the mosques. synagogue, how do you spell it? God at the synagogue. Coco and Dada that grew out of meaning was savage, but then blowing up people and bubbling up into art that is artifice. Edith is passing his art in the room at the Philly Museum where you and I snuck in the closet and massively made it surrounded by janitor thingies and darkness, the opposite, art and star, all of my favorite pieces inspired and fired by dim-witted murder. Maybe it matters to many or maybe a few but it's back at the studio gathering evidence, studying reasons for trying to heal my serenity. Speaking of Europe, a lovely young couple who stayed at the house at the countries united way back in the 50s, I said I don't think so because I remember it. Suddenly piles of penniless paper just pieces of art in the closet. I visited so many countries they cluttered together and check off the bucket. I've been there. Do you understand what the bucket? The bucket is dead.  I got pretty good with my Spanish and German and French if you're very forgiving. So living is all about grabbing a piece of the planet as long as you pay for your carbon emission. Your cultural comes when stuck at the border. But I am entitled to miles for using my credit card. Double the points if it's dining or groceries. What do you see if you're losing your vision to ruin the pyramid? Going to Greece on the spring on a gaze at the scenery seen in my inner ecstatic and titled to sit in the therapist's office and talk to my organs and titled to travel and finish the circle of birth and recycle. I signed up my body for science at UCSF. Is there anything else I can do more important than dying? I'm already famous for closing my eyes and discovering pattern. I already had a good run with the man of my soul Supposedly holy Even though I'm lacking some delicate layers of memory. I'm home in the Studio striking out letters A little more Click! Click! Click! Click! Click! Click! Click! Click! interven at the Soft dossier Is it better than it seems? want pious gloves.  Of what in the other devil's name? P-C-N. P-C-N. You know. Physique, chimique, et naturel. Aha! Eating your goat's worth of mouan sivé. Flesh pots of Egypt, elbowed by belching cab men. Just say in the most natural tone, when I was in Paris, boudniche, I used to, yes, used to carry punk tickets to prove an alibi if they arrested you for murder somewhere. Justice. On the night of the 17th of February 1904 the prisoner was seen by two witnesses. Other fellow did it. Other me. Hat, tie, overcoat, nose. Louis, c'est moi. You seem to have enjoyed yourself. Proudly walking. Whom were you trying to walk like? Forget. A dispossessed. With mother's money, eight shillings. The banging door of the post office slammed in your face by the usher. Hunger, toothache. Encore deux minutes. Look, clock. Must get fermé. Hired dog.  Bits, man, splattered walls, all brass buttons. Bits, a crook clack in place. Clack back. Not hurt. Oh, that's all right. Shake hands. See what it meant? See? Oh, that's all right. Shake a shake. Oh, that's only all right. You're going to work wonders. What? A missionary of Europe after fiery columnanists, fiacra and scottish, in their creepy stools in heaven spilt from their pipe pots. Loud, Latin laughing.   Pretending to speak broken English as you drag your valise. Porty-three pants across the slimy pier at New Haven. How? Rich booty you brought back. Le tutu, five tatted numbers of pantons blancs et culottes rouge. A French telegram. Curiosity show. Mother dying. Come home. Father.  That's why she won't. So, there's health to Bolligan's aunt, and I'll tell you the reason why. She always kept things decent in the Hanigan family. Hmm. His feet marched in sudden proud rhythm over the sand furrows, along by the boulders of the south wall. He stared at them proudly. Piled stone mammoth skulls. Gold light on sea, on sand, on boulders. The sun is there. The slender trees. The lemon houses. Hmm. Paris, rolly waking. Crude sunlight on her lemon streets. Moist pith of farrows of bread. The fog-green wormwood. Her matane incense court the air. Belle wormwood rises from the bed of his lover's wife's lover. The Kirchift housewife is a stirrer. A saucer of acetic acid in her hand. In rhodos, Yvonne and Madeleine new make their tumbled beauties. Shattering with gold teeth, chaussons of pastry. Their mouth yellowed by the puh of flan breton. Faces of Paris men go by. Their well-pleased pleasers curled conquistadors. I'd love to have the whole place, women in roses, heaven. There's nothing like nature. The wild mountains. Then the sea and the waves, Russian. Then the beautiful country with its fields of oats and wheat. And all kinds of things. And all the fine cattle going about. That would do your heart good to see. Rivers and lakes and flowers. All sorts of shapes and smells and colors. Springing up even out of the ditches. Primroses and violets. Nature's is. As for them saying that there's no God, I wouldn't give a snap of my two fingers for all they're learning. Why don't they go and create something? I often ask them. Atheists or whatever they call themselves. Go and wash the cobbles off themselves first. Then they go howling for the priest.  And why? Why?  On account of their bad conscience. Ah, yes. I know them well. Who was the first person in the universe before there was anybody that made it all? Who? Ah, that they don't know. Neither do I. So there you are. They might as well try to stop the sun from rising tomorrow. The sun shines for you, he said. The day we were lying among the rhododendrons. On health heath. In the gray tweed suit. And his straw hat. The day I got him to propose to me. First I gave him the bit of seed cake out of my mouth. And it was a leap year like now. 16 years ago, my God. After that long kiss, I near lost my breath. He said I was a flower of the mountain. Yes. So we are all flowers. All a woman's body. Yes. That was the one true thing he said in his life. And the sun shines for you today. That was why I liked him. Because I saw he understood or felt what a woman is. And I knew I could always get around him. And I gave him all the pleasure I could. Leading him on till he asked me to say yes. And I wouldn't answer first. Only looked out over the sea and the sky. I was thinking of so many things he didn't know of. Mulvey. And Mr. Stanhope. And Hester. And father. And old Captain Groves. And the sailors playing. And the sentry in front of the governor's house. With the thing round his white helmet. Poor devil half-roasted. And the Spanish girls laughing in their tall combs. And the auctions in the morning. And the Greeks and the Jews and the Arabs and the devil knows who else from all the ends of Europe. And Duke Street. And the foul market all clucking outside Larby Sharon's. And the poor donkey sleeping half asleep. And the vague fellas in the cloaks asleep on the shade and the big whale of the carts of the bulls. And the castle thousands of years old. Yes.  And the night we miss the boat at Al Joceros. The watchmen going about serene with this lamp. And that awful deep down torrent. Oh. And the sea. The sea crimson sometimes like fire. And the glorious sunsets. And the fig trees at the Alameda gardens. Yes.  And the pink and blue and yellow houses. And the rose gardens. And the jesemines and the geraniums and the cactuses. And Gibraltar. As a girl where I was a flower of the mountain. Yes. And how he kissed me under the Moorish wall. And I thought. Well. As well him as another. Then I asked him. With my eyes. To ask again. Yes. And then he asked me. Would I. Yes. To say yes. And my first and flower. My arms around him. Yes. And rubbed down to me. So he could feel my breath's all perfume. Yes. And his heart was going like mad. And yes. I said yes. And much thanks again to Gray Area. For our co-sponsorship. Council General in San Francisco. And to all of our community partners as well. As well as the National Library of Ireland. And I want to bring up our cast and have a cast curtain call for you. So bravo. And bravo. Cast. Would you put yourself on video and on mute. To say hello to everybody. New York City. Hello. Yes. We have Aaron. Aaron and Karen. Hi. New York. Thank you for a lovely show. Aaron Beal who's a for aren't you a former Berkleyan. Yeah. I went to Maybach. I went to Berkley High. I went to El Cerrito High. And then I went to like five high schools in San Francisco. All in two years. Great. And the Cerrito Brian is a longtime Bloomsday producer in New York. So we're just thrilled to have you as part of our Bloomsday, our Bloomy's team. Thank you. Great show. Thank you. And I want to start at the top here is Esther Mulligan and John Ilyan. Our singers and actors who were featured today from East Bay. A word for our audiences. Can you see us? Yes. Wonderful. Well, I just want to say, you know, thank you, Laura, for having us be part of this. And we it was a wonderful program. And I just wanted to say hello to my family and friends in Ireland and to my family here. And that's it. John the same. My husband, John. I had to be a part of it. Hello, all Bloomies out there. I hope you had a good time. And again, I was delighted to be a part of it. Thank you. Great. Next, we have Josiah Paul Hamas who's been with us for a long time also from East Bay, a wonderful actor and director and playwright as well. Well, thank you so much, Laura and Bruce and everyone at Mechanics for including me in this wonderful group of people who are so talented. I feel really humbled to be a part of it. And thank you so much. You were all awesome. I loved watching your performances and the range. So thank you, Bruce and Laura for putting such an interesting collection of pieces together. And any friends and family out there, thank you so much for watching. And this was so fun to be a part of. And it was fun to work with Bruce on figuring out how to act together on Zoom.  Thanks again. Yes. One of the challenges, of course, was doing a scene with a dialogue but having to film in two different places and then to merge their scenes together. So everything you see was done from everyone's living rooms. And of course, we have Bruce Spearman, our director and my colleague and collaborator on many theater projects both with the Yiddish Theater Ensemble and other events that we're doing. And Bruce is also an actor, a director and a creator and a dance master, a Jewish dance master. So Bruce Spearman.  Oh my God. Just L'chaim from Leopold Bloom and and thank you for joining us together.  Thank you. Okay, and then we have Mark Faulkner for all the hours of editing. Yeah, so here's Mark Faulkner, our audio and visual editor from Bohantik Productions, who we know from back to Boston and also to the Bay Area. And thank you, Mark. You're welcome. It was a pleasure to be able to do this and present. And thanks to the tireless efforts of you, Laura and Bruce and Matthew, everybody at Gray Area. Thank you and kudos. Yes. And here's Anne Guest, who is our featured music director, put all that wonderful music together from her home and all of those wonderful songs of all the inlays of photos and, you know, the camera with the piano and the flute and everything, all the wonderful details. And here's the piano. Thank you, Anne. Thank you so much, Laura. And thank you to Gray Area and to Consul Driscoll for his remarks. I think James Joyce was just so excited to see what we did with all these different types of media. I was blown away. Thank you, Amy. That was amazing watching, watching that. It really connected the book to me with what we're living through right now and what our world is going through. It was really, really amazing. Thank you, everyone. Wonderful to be a part of this. Next we have Dan Harder, who is also an actor, but mainly a poet and playwright and director. We've done many collaborations together and thank you for bringing us to Paris for that Latin Quarter hat piece. That's a wonderful piece. It was, it's amazing to see how wonderfully you, everybody did. I had no idea and I was asked, I was like, well, I'm not going to be that good. I probably wasn't all that great, but everybody was, the quilt that you put together would make Mr. Joyce very, very proud. It was really beautiful. And so I'm honored to be a part of it. And I just say to friends and anybody else who's listening, à votre santé, comprendre mon vie. Yeah, be well. Thank you, Dan. All right. And of course, we're welcoming Melanie O'Reilly from Wexford, Ireland, one of our long time blueies, and we're so happy to have you back. Melanie brought us those incredible opening music selections with Quarampuca. And I lose my breath, which was a beautiful way to follow up. Karen's Molly Bloom, but the music was just beautiful and just so honored to have you back with us from afar. Thank you, Laura. It's absolutely fantastic to be reconnecting with you all with the blueies and with the new blueies now, with the new audience on Zoom. And it's been an honor and a pleasure to be part of this. It was always a pleasure and honor. But now with this new group and a new way of doing it, it was an amazing, absolutely amazing event. And so it was fantastic to be part of that and greetings from Ireland. And so Dublin is my, where I come from, but I'm actually here in Wexford, lockdown. And we're about to, of course, enter into the new, shall we say, the restrictions will be lifted very soon, where we can travel more. But I really want to say how incredibly well put together, and Laura, Bruce, Mark, all of the team and all the performances, it's, it was an extraordinary experience watching and listening and having this connection with Ulysses and now. And that's what James Joyce was all about, was the now. And bringing the, the Liffey, you know, the stream running through it, bringing that all together. And I'm very, very proud to be part of it. And thank you so much for everything you've done. And thank you, Melanie. Yeah, we included a wonderful, in the middle, we included those incredible photos from the National Library of Ireland, and which we were so pleased to be able to work with them just to bring you to 1904 Ireland and to Dublin, and that just brought us closer together, even though we're, we're so far away from each other. Next, I want to introduce Amy X. Newberg, and who's our composer and vocalist, and Andrew Euras, who did those incredible visuals and video for the piece entitled, we was thrilling to see. And also we wanted to bring Joyce's stream of consciousness into today's artistry and expression. And Amy, I think that piece just hit it right on the head. And it was just, just a minute. Oh, good. Thank you. It was really an honor and eye-opening experience to be part of this. I mean, I actually really learned a lot from watching this. And I'm now more in love with James Joyce than I was before. And I agree, I think he would have really approved of what we're doing here in our sort of modern capacity and limitations. And it was really fun to work with Andrew. He did, the piece actually existed beforehand, but Andrew came on board very last minute, once we became part of this collection and worked very fast to put that video together. And I'm just thrilled that we were able to be part of it. And I'm still in tears from that final soliloquy. Very moving. So, thank you all. Thanks, Amy. And thank you, Laura and Bruce, for putting this on. It was an amazing experience. And it was just so quick and so last minute. And I remembered, I read one page of Ulysses. And from what I understand, that's actually an accomplishment for a non-literate person. So I feel proud of that. Maybe I'll get to page two. Thanks a lot. Thanks again. Okay, you have a 700 plus pages to go, but that's okay. Take your time. I also want to introduce Professor Catherine Flynn, who gave us our professorial lecture and a beautiful, beautiful reading from Playing Bloom. And I also want to mention that Catherine is also head of the Irish Studies Department at UC Berkeley. And there's more to come. There's a whole other Bloomsday presentation and event that Catherine has produced at five o'clock today. And we're going to put the link up on our chat. So please, we're all going to join Catherine at five o'clock. And I hope all of you will as well. Okay. Have I introduced everybody? I also want to thank Matthew Chacon from Gray Area. Can we see you, Matt? And also Pam Troy, events assistant at the Mechanics Institute for all of your dedicated work behind the scenes. There was a lot, a lot to do today. And we offer a cilantro and good health to everybody. And we hope to see you in person next year. And be well, stay connected. We love you all. And audience, thank you for joining us. If you would like to make donations towards Bloomsday, just send that on to Mechanics Institute at 57 Post Street, San Francisco, 9th or 104, or call us or email us and we'll be in touch with you. We're so proud to have our first international event with you and to bring together our performers and musicians and actors and cast members with you, our audience, even though we're so far apart. Let's say a cilantro together. Be well.


Welcome to the Bellevue College Library's EBSCO Host ebook collection tutorial. In this tutorial, you will learn how to run basic searches to find electronic books in the EBSCO Host ebook collection. The EBSCO Host ebook collection provides access to ebooks in a variety of subject areas. Use the advanced search page, seen here, to search for books on particular topics. As an example, I'll search for books that discuss education and assessment. Using the Select a Field drop-down menu next to the search terms, you can ask the database to retrieve books with your keywords in the title, author, or subject field. Further down the search page, the full text box ensures the results will contain only complete books you can read right away. This box is selected by default when you access the search page. Additional limits include date, language, or ISBN, but remember, too many limits at once might reduce your results to zero. Once ready, click Search at the bottom of the page or at the top near your search terms to see the results. Each book in the results list displays the title, the author, publication information, and subjects. Click on the title of a book to see additional information. Within the detailed record for the book, the author, subjects, and categories are clearly displayed. Scroll down to view relevant pages for your search terms, as well as the book's full table of contents. You can jump to a particular section by clicking on any of the links in the table of contents. You can access the complete contents of the book in a few ways. To read a book online, click on the PDF full text or EPUB full text links on the left. Some books will have only one of these, and some will have both. But note, if you receive a network error message when selecting this link, you may have a browser configuration interfering with the ebook. Try again in a different browser or in an incognito or private window. Once you've selected one of these links to open the ebook, you can choose individual sections by clicking on a link from the table of contents menu. If you know a particular page you'd like to jump to, you can add that into the box at the bottom of the page and click Enter on your keyboard. You can save individual pages from the book as a PDF using the Save Pages link in the toolbar at the top of the page. Or you can use the Email Pages or Print Pages links for other ways to save these pages. From the Detailed Record page, another option is to download the book. To do so, click Full Download on the left below the full text links. Be aware you will have to create your own free EBSCA host user account to download materials. The Tools menu on the right hand side of the Detailed Record page allows you to print, email, or save the detailed record of this book. Remember, this prints emails or saves the record that is on screen right now, not the book itself. The site function in this list provides assistance for citing the book in a variety of formats. If you need a link to this page, be sure to use this stable permalink URL shown on the right side of the page. You've now learned the basics about searching the EBSCA host ebook collection. If you have any questions or would like any additional help or information, please contact the BC Library.


The weather finally warmed up just a little bit to let high school teams start playing games, and we start with one of the hottest teams in our area, the Walker-Hagginsack-Akely Girls basketball team. Since starting the season two and three, the Wolves have racked up 10 straight wins, with all but one of their victories coming by 17 or more points. But tonight it would be a little bit closer as they were in Browardville taking on the Tigers. Early in the second half Wolves up 27-23, but Aliyah Abrahamson for the Tigers knocks in the corner three to make it a one-point game. Later in the second, the Wolves find Justine Day underneath. She puts it into tie the game at 47 with just two minutes to play. Later on, off the inbound pass, the Wolves find Day at the top of the arc. She buries the clutch three to break the tie and put them up 51-48. The Wolves foul at the end to prevent a three-pointer. They come away with the win 52-50.


Hello and welcome to another edition of JPL in 30. The highlights show for the Jamaica Premier League. With one round to go before the playoff, the action is getting fever pitched, as a couple of teams look to seal semifinal birth at one end, while others hide the sixth and final playoff spot. We begin our highlights package with one of the playoff aspirants, Waterhouse FC, looking to keep their noses out in front, as they seek to hold on to the sixth and final playoff place when they take on Mullines United. Here are the highlights. Jamaica Premier League into match week 25 here at the Anthony Sporlin Sports Complex. Beautiful scenes here in Kingston, Jamaica in the parish of St. Andrew. Actually Mullines United against Waterhouse. It's going to be a tough game and this is a team that Waterhouse and Mullines will put forward. Yep, Mullines first. Sean Dua will be partner in a day in Samuels in that centre-back region, comes back in. It's a comparison of course between the sixer Genie Fransen as well, we're playing in the wing-back role today. Chamarillo Dennis comes into the starting line-up. German Elfman ever presents Javon Brown as well. Ronaldo Barrett, Gianni Flemings has recovered and is back into the starting line-up on so-to-senior, Devon Davis. Waterhouse, they all line-up like this, playing their regular 4-3-3, Kemar Foster back from national duty, he's between the stakes. Chamarillo Dallas, Jayim Brown comes into the starting line-up to play a right-back interesting move. Elvis Wilson, Nikoi Christian, who spent some time out of the squad. They're the most creative player. They're not a Thomas who's a bit of an off-key season so far. They'll be open to some consistency now. Leonardo Givison in there, of course, from Mount Pleasant early in the season. Christopher Mathews, who made a transfer from Tivoli in the January window. Chamarillo, Javain Bryan, second in the goal-scoring charts. And Revalo Mitchell, who's been good goal-scoring form as well. Alexi Perri, the man in charge. Waterhouse on the front foot from the get-go, and they got a goal after just three minutes. Jayim Brown into the starting line-up as a right-back. Formas in George's standout. Jayim Brown getting his first goal in the Premier League. Deflected header, but they all count. Revalo Mitchell with the assist. And Peter Harrison, no chance. Just to start, Waterhouse were looking for, and they got it. They were the only team showing attacking intent. Givison into the area, and Bryan got that all wrong. He was wasteful today, Javain Bryan. Quite a few opportunities for Waterhouse, he's number nine. He could have had at least a hat-trick could, Bryan. Here was another one of them getting into the area and showed what he was doing way too early. Odin Samuels got in the block on that occasion, and his shot was wide. Javain Bryan. Waterhouse continued to press. This was a pitch of a pass from Nikoi Christian into Givison, who cut him onto the right foot, but again hesitating way too long. And he was closed down. That was the best of the efforts from a Malinese perspective. Jason Wright from the dead ball. It was heading to the top corner, but Kemar Foster said no, not right now. Digging it out and keeping the score respectable at that point. This is into the second half, and Bryan look at that. That should have been a tap in for their big number nine. Great work from Dallas on the left hand side. Couldn't have played a pass any better. And Bryan just needed to dink that beyond Peter Harrison. Instead, hit it into the top tier. Waterhouse, they continued to come forward and look at this. This is madness from Sergeine E. Franksson. Not sure what he was thinking with a no-look back-heel pass to his goalkeeper. Rivaldo Mitchell said, well, thank you very much. Rounded the keeper and just touched it into an open net. It was number five on the season of Rivaldo Mitchell, and Waterhouse finally breathed in room 2-0. That comes in after some 65 minutes. Four minutes later, Dallas at it again down the left hand side. Odain Samwells with a reckless challenge, giving away yet another penalty. And this time, Javain Bryan was accurate to say the least, sending the keeper the wrong way. 12-13 now on the season for Javain Bryan and Waterhouse. Three points secure. That was after 69 minutes for Bryan. They continued to drive forward. Nevada Blair coming on as a substitute. Two or three really nice deliveries, but they were not finished. The score line remained the same. Three-0 to Waterhouse. Just four shots on target from 10-10 for Waterhouse. One on target for my lines, which was a free kick from Jason Wright. A busy day, pretty busy day for Alexi Perisho, three yellow cards, and there are 21 falls in it. Five corners for my lines compared to Waterhouse's eighth. And surprisingly, my lines with the majority of the possession at 53%, but they have nothing to show for it. A blank sheet to say the least. Waterhouse with a solid, decisive performance. Three-0, they defeat my lines. Ligea Williams is a man as a match, the man with a goal and an assist. Rivaldo Mitchell. Yeah, Rivaldo Mitchell, today's man as a match, a goal and an assist for you today, but I have a feeling that you're disappointed. They probably should have had more. Yeah, I really thought I should have had more. This is one of my, this isn't one of my good games, but I had a bad game and I still had a goal and assist. I had to take it. It feels good to help my team to stay in the top six, be in the position that we're in. I mean, it does feel good. I guess it's a testament to your quality that on a bad day of yours, you're getting a goal of assist nonetheless. You mentioned your team getting into the top six. That's a big aspiration of yours. How are you feeling with the team getting into the playoffs? Would that be a big achievement for you? Yes, that would really be a big achievement for me because this is actually my home. This is where I'm from. So to come here in my first season, knowing that they didn't make it to the top six last year, try my best to help the team going forward. The team is playing well. Everybody is very sharp. So I feel good going in with the last game into the first round and the second round. Yeah, well, excellent performance today. A goal and assist for you. Hope the forum continues going into the playoffs as well. All right. Thank you. We jump into our first break here on JPL in 30. Don't go anywhere. We have another mouth watering encounter to come right after the break.


Hey Kristen, this is Megan with Oxmoor Toyota. I just wanted to send this quick video greeting just to personally introduce myself. It has come to my attention through TrueCarUSAA that you're interested in a new 2016 Toyota RAF4 Hybrid. Please let me know a good time for you to come out and take a look at our inventory. You can either reply to this email or contact me at<PHONE_NUMBER> and I look forward to hearing from you soon. Bye!


Oh, thank you very much. Really a pleasure to speak here at PASCOS. And a particular pleasure to be back at the ICTP. My very first conference when I was a graduate student was down at the Adriatico Guest House. And there I was talking about physics way beyond the standard model. And so I'm as surprised as anyone that I'm here talking to a lot of my friends that I know from the Beyond the Standard Model world, but talking about QCD and pure standard model physics. And so hopefully you'll get a little bit of a sense about how a Beyond the Standard Model Physics approaches jets and perturbative QCD. And I'll try to explain through this talk what I mean by this unsafe but calculable. So the topic of my talk is jets and perturbative QCD. And we've known about jets and perturbative QCD for almost four decades. This is, to my knowledge, the first LEGO plot ever made at a hadron collider. This was back in UA2 time. So we have protons and antiprotons colliding together. And we have this now characteristic picture of what jets are. In this collision, we have sprays of particles coming out of the collision point. And those sprays of particles are clustered into jet regions. So if I slice the detector open, lay things out flat. We have this LEGO plot type display where the height of the bar corresponds to how much energy was deposited. And just by eye, you can see the presence of jets, in this case a diejet event, two clusters of hadrons. And we interpret those clusters of hadrons as coming from the shouring and fragmentation of, let's say, final state gluons. So in this hadronic process, proton, antiproton going to many hadrons, we interpret this as being at short distances, let's say, gluons colliding, and then giving me gluons in the final state. And it's the subsequent shouring and fragmentation that gives me these jet patterns. So we've known about jets and perturbative QCD for, again, four decades. So what's new? Why am I so excited about jets and what it can teach us about physics of the standard model? And there's been a bit of a renaissance in QCD starting around 2008. And I'll explain why 2008 in a second. It's just coincidental that that happens to be when I wrote my first paper on jets and QCD. But that's actually not why 2008 is special. So there's been two different types of advances. One has been in advance on the pure experimental side, of course, with the LHC, which compared to previous machines, of course, we all know it has higher energy and luminosity. But crucial for the story I'm going to tell today, it has way finer segmentation compared to previous machines. So this cartoon picture that we have of protons colliding, making quarks and gluons at short distances, those showering and fragmenting, giving me hadrons, pions and caons in the final state, and then those pions and caons being detected by calorimetry or by tracking. This last stage from hadrons to detection is more or less one to one, especially with techniques like CMS's particle flow algorithm. You can basically think about really consisting of hadronic constituents and not having to worry too much about detectors getting in the way of your understanding. So that's on the experimental side, this fine segmentation. On the theoretical side, there's been a number of progress, the most important of which has been the development of new jet algorithms. And 2008 is a special year, because that's when the anti-KT jet algorithm came out. And anyone who's looked at LHC data knows that almost every jet at the LHC is an anti-KT jet. And the first time in four decades that you've got theorists and experimentalists to agree on what an appropriate definition is, and that came through this anti-KT algorithm. Around the same time scale, there's been this explosion in multi-loop, multi-leg calculations, as well as enhanced understanding of logarithmic resumption. I'm not going to have time to talk about that today. Here I'm going to be focusing on jet substructure, which is a field that had some origins to work that Mike Seymour did in the 1990s, but really came to the fore with this paper by Butterworth, Davison, Ruben, and Salam, saying how by looking inside of the substructure of jets, you can actually enhance the search for physics in and beyond the standard model. So for those of you who haven't heard about jet substructure, you're going to hear a lot more about it coming up. Why? Because this jet substructure field, which may have been a little bit in the background for this time period, is coming really into the fore with this recent Atlas diboson excess, which has shown how jet substructure really can help us search for new physics.   Just a nice, smooth following the expectation from QCD, no die jet resonance at all. But if you look at those jets and look into the substructure of those jets and preferentially select jets that don't look like ordinary quark and gluon jets, but rather look like a highly boosted W or Z boson decaying to nearly collimated quarks that then shower and fragment to make subjets.  In particular, there's a variety of discriminant variables you can use. Here, this is a y splitter variable, which if you cut on it and isolate WZ-like jets above QCD-like jets, then this smooth distribution turns into something that has a very tantalizing 2 to 3 sigma-ish peak around 2 TeV. Now, we don't know whether this is actually physics beyond the standard model. CMS has a comparable search that we're looking forward to an update from. But this shows you that by using the substructure of jets, you can basically learn something about the parentage of those jets and help enhance new physics signals over overwhelming standard model backgrounds. Now, I could spend the rest of this talk talking about all the awesome applications for beyond the standard model physics of jet substructure. But here, I'm really going to talk about the standard model. And so today, I'm going to talk about jet substructure as a way to probe something that's basically bedrock quantum field theory, probe the universal singularity structure of gauge theories in particular of QCD. And I find myself, again, as surprised as anyone, that someone with a beyond the standard model mind finds this kind of structure of gauge theories to be so fascinating. The ingredients that I'm going to be using are ones that we've developed over the past three or so years. I work with Andrew Larkowski, Simone Marzani, Gregory Swaya. And these terminology, I expect no one, unless you happen to be in the jet physics world, have ever heard these terms before. Sudikoff safety, I'll explain what this is. This is a way of talking about how observables can be calculable using Sudikoff form factors. Softrop, which was a technique actually intended to mitigate pileup, multiple proton-proton collisions per bunch crossing. And then standard candles, which we're very familiar in other contexts, but in a jet physics context, we don't usually think of jets as anything standard and candidly about them. And in this talk, I'm going to try to walk you through these different ingredients and tell you how we can actually learn something about the structure of gauge theories. OK, so in the remainder of my talk, I'm going to first try to explain the unsafe part of the title and review for you what is safe observables so I can contrast safe versus unsafe observables and then show that by going beyond the standard paradigm of safe observables to unsafe ones, you haven't just thrown the baby out with a bathwater that actually you still have a degree of calculableness or calculable control. And we're going to use that degree of calculable control to try to make a measurement that if you had told me 10 years ago, could you make this measurement? I'd say no possible way could you make that measurement. But it seems possible, and that measurement gives you a standard candle for jets. And then depending on whether my session chair lets me go over, I'll try to summarize by telling you what new tools we now have for perturbative QCD, tools that are more generic than the specific case study that I'm going to be showing today. OK, so let me now move to a review of what safe observables are. This is, again, textbook. But for those of you who don't think about jets day in and day out, this is hopefully going to help you get your mind in the right place. OK, so what do we know about the structure of gauge theories? Well, we know that gauge theories have infrared and collinear singularities. In particular, let's just start off with some jet, some quark or gluon that has a shower of gluons accompanying it. What do we know about the singularity structure of those gauge theories? Well, we know that there is a singularity to have infinitesimally soft emissions. This is actually exactly the same as the soft theorems that Freddie Kachaza was talking about yesterday, that soft theorem says that there is a singularity to have infinitesimally small emissions accompanying whatever parton configuration you have. So those are the infrared singularities of QCD. There's also a collinear singularity where a parton can split into two partons that are exactly overlapping in angle. And there's a collinear singularity as well. Now, these singularities are there in the gauge theory. But of course, we don't want to measure singularities. And infrared and collinear safe observables are ones which are insensitive to arbitrarily infrared or collinear emissions, such that these singularities disappear in the final calculation. In particular, there are infrared singularities in virtual diagrams, which are canceled against these real emission type singularities. And if you've done an appropriate infrared and collinear safe measurement, then, at least at the partonic level, you're gonna get a cancellation of these divergences order by order in an alphas expansion, such that your calculation makes sense at leading order, next to leading or next, the next to leading order, and so on and so forth, if you're measuring a safe observable. So the easiest way to explain what safety is is just to give you some examples of what safe observables are. So here are some examples coming from jet substructure. So let's imagine you have an algorithm like anti-KT, which is able to find clusters of energy deposits in your event in an infrared and collinear safe way. So that was one of the achievements of anti-KT, was to define jet regions in an infrared and collinear safe way. But let's say we've done that already. Then there's various questions you can ask about the jet. You could ask about the jet's total transverse momenta, summing over the individual PTs of the constituents. And that's a safe thing to do. Why? I add an infinitesimally soft particle that doesn't change the sum. Or if I take a particle and split it into two, that doesn't change that sum. By contrast, there's an observable that CMS uses, actually as part of their Higgs analysis, that's called PTD, which sums over the squares of the transverse momenta. That's still infrared safe because if I add an infinitesimally soft particle, I don't change that sum. But because of the sum of the squares is not the same as the square of the sums. That means that if I have a collinear emission, I get a change in my answer. So that's a collinear unsafe observable. Multiplicity, that's something that's definitely infrared and collinear unsafe, because if I add a particle that one increments, or if I split a particle in two, that increments. So that's something that we don't think that we can calculate in perturbation theory. The mass of a jet, that's infrared and collinear safe, so we can talk about the mass of a jet. And insubjettingness, which is a variable that I introduced with Ken van Tilburg, who's somewhere in the audience here. Back when he was thinking about jets, this is an infrared and collinear safe observable. And part of our excitement about this observable was that this is a way of testing for n-prong substructure within a jet in a way that we think is calculable in perturbation theory. And in fact, for the CMS version of that diboson excess, they actually use n-subjettingness as a discriminant variable to try to find these boosted W and Z bosons. Okay, so the world is divided into safe observables and unsafe observables. And the lore, at least, is that if you are safe, then you are calculable in perturbative QCD. And nothing that I'm gonna say in this talk challenges that lore, that's really true. If you're safe, you're calculable in perturbative QCD, you can just march order by order in an alpha-s expansion. And the lore, at least, is that you have controllable hadronization effects that the mapping from partons, quarks and gluons, to hadrons, high-ons and caons, that this mapping is under control and effectively those hadronization effects are suppressed by lambda QCD, such that if you're at high enough energies, those corrections are small. On the other side, if you're unsafe, then you're totally incalculable and nothing you can do. Unsafe, no calculability in perturbative QCD, no control over hadronization effects, go home, don't measure things that are unsafe. That's at least the standard lore. And today, I'm gonna tell you about challenging that standard lore, that basically the new lore is that, well, it's complicated. I have examples of safe observables where you can calculate order by order in QCD and then once you put hadronization effects in, you fall flat on your face and you get no control. I'm gonna be focusing on this column, observables which are formally unsafe, they do not have a valid expansion order by order in alpha-s, yet, the fact that they don't have a perturbative expansion order by order in alpha-s, still you can get calculability control, which sounds contradictory, and I'll try to explain that coming up. And moreover, something that I'm not gonna emphasize too much, there's still a degree of hadronization control in these type of calculations. So one should think, instead of being the world divided in two, one should think, maybe the way that Orwell would say it, that really all observables are calculable, that some observables are more calculable than others. That is there's degrees of calculability, the gold standard is still maintained by infrared and collinear safe observables. Those are the ones that have the largest degree of calculable control. And I'm gonna now march you towards the boundary where you start to lose a little bit of calculable control, but remarkably by losing a little bit of control, you're actually able to expose some interesting singularity structures in gauge theories. Okay, so let me now tell you about a standard candle for jets by going to this unsafe regime, what can we now learn about QCD that we couldn't learn before? So let's go to even more textbook QCD. And this is something that you learn on chapter one of a QCD textbook, and so I'll just remind you of here about it now. So let's say I have a scattering amplitude for two to N process, this is at the part on level quarks and gluons. And let's say two of those partons get really close in angle. There's a factorization in this collinear limit that says that if I wanna understand the process two to N, I can factorize that into a two to the N minus one scattering process and taking that one part on and splitting it in two. This is known as an ultra-eliparisi splitting function and this ultra-eliparisi splitting function is governed by two variables, one that tells you what the opening angle is between those two partons and one that tells you about the energy sharing Z between one part on and another. And this splitting function is all over QCD. Parton shower Monte Carlo generators are based on iteratively doing this one to two splitting over and over and over again. That's how you generate arbitrary numbers of emissions in programs like Pithya or Herwig. Parton distribution function evolution is based on this. This is the standard D-glap evolution comes from taking these ultra-eliparisi splitting functions really, really seriously. Almost every single next-to-leading order calculation uses this in some form as a technical collage to do subtraction so that you can actually put that on a computer. So we know that this is true. This is textbook QCD. But can you actually measure this splitting function experimentally? Is there a measurement that you could do that would not just be correlated with that splitting function but actually give you the value of the splitting function as an answer? And the standard answer is no way you can't measure that why? Because this splitting function encodes the singularity structures and you can't measure singularities. In particular, this splitting function has a one over theta singularity saying that there's a singularity for things to be collinearly emitted. That's this collinear singularity of QCD. And the actual splitting function itself, this P of Z that encodes a soft singularity that you can have now a probability of having a soft emission goes like one over Z.  So normally we say that this is truth but you can't actually measure the truth. But let's go on undeterred and use now techniques from JET substructure to try to gain access to the splitting function to this P of Z. So can we measure the universal singularity structure of QCD? Can we measure this one to two splitting in data? So let's say I have a JET clustered with some algorithm, has various constituents whose energy here is just indicated by the size of these circles and you say I wanna measure one to two, I can't do that because I have many N particles in my JET so how do I get one to two out of that? But actually there's this history of developing tree-like structures clustering algorithms that can take those N particles and bundle them up and you can use an angular ordered tree for the experts. This is a Cambridge-Ockin clustering algorithm where you can take these particles in the final state cluster them sequentially to form a tree-like structure and at the top of the tree you have a one to two splitting. Not only do you have a one to two splitting but that one to two splitting has exactly the kinematics that you would need for the splitting function. They're separated by an angle theta with an energy sharing Z versus one minus Z. Fantastic, this thing looks like the splitting function. At least it has the kinematics of the splitting function and you can now say can I measure this Z for example if I measure this Z distribution shouldn't I be able to pull out this famous alter-reli-pullery Z splitting function? And the answer is no you can't, why because it's unsafe. If I add an infinitesimally soft particle at the edge of my jet that would add an extra branch to my tree that would change my distribution and therefore it's not infrared safe and you can go through and show that it's not cooling your safe either and so you say you try to apply perturbation theory and you just fall on your face, you're done. Okay, but we have this toolkit of jet substructure and one of the tool kits, part of the toolkit is saying if you have soft crap well soft crap looks kind of like pile up contaminating your jet let's just throw away soft crap and one version of this throwing away soft crap algorithm is known as the soft drop procedure where if you take these soft particles at the periphery of the jet just toss them away, effectively you take this tree and you lop off branches of this tree if the energy fraction carried by one of these branches is below some energy threshold just throw away soft crap and by throwing at that soft crap you've now regulated the infrared singularity of QCD and now these groomed ZG so this procedure of taking a jet and throwing away radiation is known as grooming this groomed Z is now something that's infrared safe just by construction you threw away soft radiation and so you might say oh great I can use this groomed Z to try to extract the splitting function ah but shoot it's collinear unsafe and the easiest way to see that is collinear unsafe is you take one particle and you ask well what do I do with one particle if I do or do not split it so if I take one particle and I don't split it well I don't even know what Z means what does it mean to have the energy sharing between two partons if I just have one parton versus if I have a collinear splitting which is singular to do that and I end up getting two jets then I can define the Z so I have undefined versus defined well that means my calculation doesn't make any sense under a collinear splitting so this is really unsafe and again you feel like you're stuck and this issue of having unsplit versus split basically give you an ambiguous measurement this is what also impedes us from extracting this ZG so what are we going to do if we really want the splitting function we want to extract this from data what are we going to do can we calculate this distribution from first principles after all this procedure that I just told you is something that you can absolutely just do on data or do on Monte Carlo and we've done it and you get interesting distributions but how would you actually be able to calculate the perturbative QCD and actually this exact same issue arose in the very very early days of QCD and if you ask me in a backup slide I can tell you what happened in 1978 where they actually faced the same issue and they were lucky they had symmetries back then that they could use because they were using E plus E minus collisions here in a hadron context you don't have those same symmetries so you don't know what to do I can tell you about that offline if you're interested but now I'm going to tell you these new techniques that we've developed in order to do this type of calculation essentially saying despite being unsafe you are still calculable and calculable and perturbative QCD okay so there's two techniques and one of them is easier to understand than the other so let me start with the easier one to understand this is using Sudikoff form factors in order to basically regulate singularities so we have this observable this energy sharing observable which is infrared safe but collinear unsafe but it's only collinear unsafe because I have two particles exactly lining up on top of each other I don't know how to define this versus just one particle by itself I don't know how to define this energy sharing okay well then let's make a supplemental measurement that's gonna force these partons to be far apart in particular if I measure the mass of a jet that forces the partons to be well separated and once the mass is forced to be positive then this is something that is now infrared and collinear safe so if I were to measure the mass and measure ZG in that case I'd have something that's perfectly fine but the problem is that QCD has a singularity at mass equals zero so that's the jets kind of in perturbative QCD which is all lie singularly at M equals zero but if you actually look at data you never encounter a jet that actually has mass zero a jet is initiated by a quark or a gluon but even if you have a massless gluon initiator the jet itself has typically quite large invariant mass and in fact that's driven by something that's known as pseudoconform factors which I'll explain in a moment but basically the mass is never zero and because the jet mass is never zero this ZG never gets to visit the singular region of phase space and so the ZG is something that we'll call pseudoconf safe so let me show you this in a plot so again if I were to measure the mass then I would be able to measure the Z but oh shoot the jet mass distribution at any fixed order in alpha S has a singularity at M equals zero so I visit that M equals zero all the time this is shown here this is a generic distribution but for jet mass in particular it shoots up near zero but you have never encountered an actual plot in a particle physics experiment that actually has this type of singular structure why is that? That's because if I'm measuring let's say the mass I had this growth at a fixed order in alpha S but I end up getting large logarithms of this observable in this case logarithms of the jet mass that need to be resummed and of course nature performs this resummation and if I go not at fixed order in alpha S marching order by order in alpha S but just account for the fact that I can have multiple emissions and work at all alpha S orders and resum logs then actually this singular structure turns over and you get something that's known as a Sudikoff peak or this structure here is known as a Sudikoff form factor it's a form factor that regulates the divergence at M equals zero and this demonstrates that there's a huge difference between having order by order in alpha S where there's singularities at a given phase space point order by order versus working to all orders all perturbative orders where those phase space singularities are suppressed and because these phase space singularities are suppressed you end up getting a Sudikoff suppression of the singularity and you can actually use this as a mechanism to actually do this ZG calculation. So that's one way of doing the calculation I'm not gonna walk you through that calculation in detail I'll show you the answer in a second just for the experts let me just tell you another way of doing this calculation another way of doing this calculation is using fragmentation functions this ZG distribution is something that's infrared safe but collinear unsafe but collinear unsafety is something that Hadron Collider Physicist encounter all the time anytime you interact with a part on distribution function strictly speaking you're interacting with a collinear unsafe observable and what these part on distribution functions do is not only give you non-beturbative information about how a quark or a gluon is extracted out of a proton but also absorbs collinear singularities into these universal part on distribution function functions. Part on distribution functions in the initial state are called fragmentation functions in the final state and they serve exactly the same purpose and so here I have a situation where I'm trying to calculate this cross section for this ZG observable I can't do it on a single part on not well-defined, fine, not well-defined slap of fragmentation function on it which is represented by this blue blob then do a higher order calculation involving loops and real emissions this loop calculation has a one over epsilon divergence in dim reg we have a singularity d sigma over sigma divergence that would also give you one over epsilon and in general these things don't cancel I have a singularity oh crap I have a singularity but we know how to deal with that in the context of fragmentation functions you have to renormalize when you renormalize and absorb those singularities you get sensitivity to the scale mu the renormalization scale and then the really cool thing happens so this is a non-perturbative object like PDFs are something that you have to extract from data similarly this fragmentation function is something that you'd have to extract from data but despite the fact that you have to extract from data this observable, this function has a renormalization group evolution that you can run and let's run to really high scales and what happens this particular fragmentation function hits an ultraviolet fixed point we usually think of Lagrangians as hitting ultraviolet fixed points but we don't usually think of these type of non-perturbative functions hitting an ultraviolet fixed point but in this case you really get that behavior and this is saying that if you go to high enough, high enough collision energy that you end up asymptoting to a universal form this fixed point behavior and the fixed point behavior of this observable happens to be precisely equal to the ultra-reli-prezy splitting function so using either one of these techniques we end up with a standard candle for jets what did I do, I took a jet I threw away soft radiation motivated by pilot mitigation and remarkably this jet substructure technique gave me a function which is remarkable for what's not in it this ZG gives me the splitting function okay there's a bar over it because it's symmetrized and there's some normalization factor so a normalized, symmetrized version of the splitting function but the splitting function nevertheless this black curve here has this one over Z singularity structure that is baked into QCD you go to high enough energies and simulations and you see you asymptote to that behavior you basically RG flow so that you asymptote to this universal behavior and what's not in this function is totally fascinating what's not in this function is there's no alpha S we're doing a calculation in QCD and yet the coupling constant has disappeared it's independent of the jet PT and the jet radius at lowest order it's even the same for quarks and gluons which is remarkable of course that's just this leading order term there's plus dot dot dots which give you calculable deviations which you can even see the deviations here between the black curves and these other curves but those deviations flow away when I RG evolve deep into the UV and so starting off with something that's unsafe pushing hard and trying to figure out how to calculate we actually get something that's really surprising not only is it calculable but apparently it's universal and that universality is mapped on to the universal singularity structure of QCD namely the ultraliprezy splitting function so just to tell you just a little bit about how deep this rabbit hole goes you can take this procedure and deform it a little bit by actually not just making a cut on energy but making a cut on energy and angle so I can introduce this angular exponent beta that lets me adjust whether I throw away radiation preferentially at the periphery or the center of my jet and I'm not don't expect you to understand in detail what this is but let me just show you this kind of phase diagram of observables that we've been playing with and having a lot of fun so I've been showing you stuff specifically at this beta equals zero point where you get this remarkable UV fixed point of renormalization group evolution this universal form if I make this beta parameter negative then I get something that puts me back in the safe regime and I get exactly what I expect which is alphas, great color factors, great splitting functions, great logarithms, great all the things I expect for a standard calculation and then if I make this beta positive I get into a totally bizarre regime where I'm doing a perturbative QCD calculation but when I do resummation I end up getting square roots of alphas square root of the coupling constant appearing this is something that you don't usually expect coming from a perturbative calculation but nevertheless comes from this type of observable so my chair is telling me to stop so let me skip this summary I can tell you exactly how we do these calculations or people are interested but let me just summarize here that infrared and collinear safety means that you're defined order by order in an alphas expansion and this has been the basis of 40 years of jet physics relevant to take for jet sub structure but what I've told you about is that if you think even just perturbatively not even non-perturbatively but perturbatively all orders in alphas yields new insights into the structure of quantum field theory and remarkably has given us a new way to measure the universal singularity structure of QCD so with that I look forward to taking your questions so maybe very very naively couldn't I approach the whole thing from somehow a different perspective and start by having jets which are so fine that what you call substructure would be independent jets to start with ah good so why is that not a good approach which would kind but could have taken many years ago maybe right so you're asking the question that always comes up in the context of jet substructure which is that one way of building jets is you build big fat objects that sum over all sorts of radiation and if I think that my jets have substructure why am I not just going to a really small radius and looking at jets that are just at a smaller radius and indeed there's an interesting debate within the jet substructure community about which way is a better way of thinking about jets do I think about jets that are big objects with substructure or do I just talk about little jets so from a practical point of view or a QCD point of view the reason why it's challenging to go to small jet radii is that as you go to smaller and smaller jet radii you end up getting jet radii whose size is now starting to become comparable to lambda QCD or lambda QCD over the energy and so now you're starting to become more and more sensitive to non-perturbative physics and even if you stay away from the non-perturbative regime there's large logarithms of that jet radius that you start to get and so when you're talking about degrees of calculability in QCD you're actually better off thinking about a fat jet with substructure rather than trying to build micro jets and this shows up in experimental analyses which is that if you actually just compare apples to apples a jet substructure, fat jet with substructure versus tiny jets you actually find better performance in looking for physics beyond the standard model if you go to the fat jet approach but you can actually think about exactly what you're doing, what you're saying and there's people who are pursuing actively that strategy. How does extracting these universal structures depend on the clustering algorithms that you use to start off with to cluster all these? Ah, good, good, good. So, you know, one way of answering your question is to ask why did it take us till now to figure this out? This universal singularity structure we only talked about this past February. Why given the whole four decades of people thinking about perturbed QCD why did people never encounter this? And the answer is interesting. So one it really does depend on the way you cluster and if you cluster in different ways then you get different analytic forms and this is shown a little bit in this phase space which is that this is one dimension of the phase space but there's another one saying as I change my clustering algorithm how does my analytic structure change? And this particular form really requires you to do this angular ordered clustering structure. But the other answer to your question which is more historical is why did people never see this before and the total irony of this is that people should have seen this before. This structure is buried inside of that 2008 paper by Butterworth Davison Rubin and Salam. In there they talk about an observable which is extremely close to the Z with an angular order structure which is almost exactly the same and they just didn't think about it in this context. They were thinking about it in the context to boosted Higgs physics and they just never bothered or never saw that if they happen to take their method to an absolute extreme limit that they would have seen this structure. So in some sense this structure was just waiting to be discovered. The methods had already been there for quite a while and then it just effectively required some to think not just about the method but thinking about how you would do that calculation perturbatively and really banging your head against the wall and saying, how do I calculate? How do I calculate? How do I calculate? And then the breakthrough realizing that oh, once I know how to calculate I know how to arrange my clustering algorithm in order to expose this cool feature. But without the calculation you wouldn't know which type of clustering would give you this nice behavior. Would you like to comment on how to distinguish gluonjit and quarkjit? Oh yeah, yeah, yeah. No, this is an awesome area. So I wrote a really fun paper with Valtor-Volivine and Andrew Larkowski about trying to use the concepts of information theory motivated by people writing about holographic entanglement entropy and using concepts from information theory to try to better understand what we even mean by a quarkjit versus a gluonjit. The easiest way of thinking about quarks and gluons is that in an extreme limit, the Iconal limit where you have a hard quark or gluon that just radiates off, then it actually is well-defined what you mean by a quark or a gluon. It's labeled by essentially the color structure of the associated Wilson line. But of course in real life we don't get to work in that extreme Iconal Wilson line picture. We're always having to deal with the practicalities of jets in a real experimental environment. And there there's an active debate about what exactly you mean by a quark or a gluon. I think we believe that a quark is something that has barrier number a third and color factor a chasm or four thirds and a gluon is no barrier number and a chasm or three. So we agree on that. But then as you start marching order by order in perturbation theory things get murky. And that's what we're trying to figure out. But whether or not we theorists figure out what our quark and gluons really mean experimentally those techniques on separating quarks and gluons are being actively developed. And as part of for example CMS's Higgs analysis they introduced that PTD variable that I mentioned precisely to try to separate quarks from gluons. And they said who cares about the theory issues about how you really define it. Let's try to enhance signal over backgrounds despite that ambiguity. And indeed they were successful in doing that. And so we theorists need to catch up and now put rigorous definitions to what you mean by a quark jet versus a gluon jet. Okay so let's thank the speaker again. Thank you.