Ieithio, wrth gweithio, dyw'r gwnaes. Gweithio, dyma'n gweithio'r projektyr i MSF yn y gweithio'r cyffredin mwyaf, ym mhwyfyddiaeth. Mae'n gweithio'r cyffredin. Mae'n gweithio'r cyffredin yn 50% o gondolatau. Gweld wight. Mae'r swydd gweithio'r cyffredin ym mwyaf ar gyfer y Lohau Lai Gweithio, a'u cyffredin yn cyfrion ar gyfer y sylfaen ac lawer o gweithio. We've obviously been very involves to work on FIVA as a subject. That's about 10 million people per year in government income countries hospitalised with acute fever symptoms. Actually, although I've put there that MSF medical seems to face approximately over 178,000 patients per year with difficulty diagnosed fever. infact, we don't really have good numbers on this because it's been impossible to measure. One of the reasons we want to work more on diagnostic solutions for this is because it's really hard, difficult to diagnose fevers and we need better numbers from our science as well. There's also a lack of microbiology labs, lack of the ability to diagnose the cause of fever. There are a realisation that we need to move from a syndromic to an etiological approach to better manage fevers. Felly, y cael ei fod ymylgell Inspanyl yw'r hyn yr hyn yn ymwysig iawn yn y cyflym rydd. Felly, Oherwydd, yr hynny mae ei ddelir yn ac yn y rhwng i hynny yn iawn i gael cyfrifiadau t Next Gelf, ac mae eich cyfrifiadau yna mae yna'r cyfrifiadau a'u cyfrifiadau ar y laatfynyau unig o gyfrifiadau. A cwrs, mae'r cyfrifiadau芽eddydd fel mwy f сид o adael cyfrifiadau yn y cyfrifiadau ar allan o'r ddiwyllol ar y dyma, Of course, we also wanted to be affordable and robust at the moment we would like for it to be able to test for biomarkers to identify bacteria versus non-bacterial infections to be able to tell whether the patient needed antibiotics or not. We also wanted to detect fever-causing pathogens. This is a bit more difficult because obviously there's geographic variation, but there are some generally well-accepted pathogens that would need to be on there. And finally, we probably also wanted the test to be able to measure antibiotic susceptibility. So there's a number of projects underway in this area. The multiplex is not the only one. For example, there's been quite a lot of work on rapid diagnostic tests and point-of-care tests. Probably the most work at the moment is being done on biomarker or biomarker signatures that can differentiate bacterial and non-bacterial pathogens. These are usually host biomarkers. There's also initiatives to measure actual pathogens, whether in single RDTs or multiplex. And then combinations of different types of RDTs. For example, a malaria RDT paired with a biomarker to differentiate bacteria and non-bacterial biomarkers paired with pathogen detection. And then host response signatures, which would, for example, measure the transcriptome so you would see how the patient is responding to a pathogen for better clinical follow-up. And finally, severity markers to be able to triage patients better to see who needed urgent referral. And some of these existing initiatives include the MSF's eCare, which is a panoramic fever diagnostic technology that is run on a tablet. Clotilda's here, she can tell you more about that. There's also the original almanac that she worked on from the Swiss Tropical Institute, which has now become the epoch. MSF and FIND also work together to bring out a target product profile for the biomarkers in terms of the type of test we would want to see. It'd be useful for MSF and feasible for us to do in the field. And finally, they also published a review of the biomarker, the performance of the biomarkers, to distinguish bacteria and non-bacterial. There's actually very few studies from resource-limited settings for that, though. FIND are also continuing with other work on rapid diagnostic tests. For example, they're working with Cambio on a five-pathogen test for fever-causing pathogens in Southeast Asia. Okaba working with the University of Toronto on severity markers. And finally, there's a range of price funds, including from the NIH, the EU horizon, and longitudinal here in the UK. There's also the MINILA, which is an MSF OCP project, which aims to have a simplified feasible lab to miniaturise blood culture and also bone culture. And that's underway already, and we hope to be able to validate it in MSF sites at the end of next year. And finally, the multiplex, which is the least well-developed so far. We are undertaking six work streams to complete this preparation phase, which will probably take up until the end of next year. These work streams will enable an informed decision about whether it will be worth continuing with the full products or not. Part of this landscaping work, which has been quite extensive, was a review of 440 companies to see which manufacturers of both the instrument and the cartridges would be aligned with MSF ambitions, and we have about 20 at the moment. The methods, the feasibility study that was done examined patient needs potential funding to bring the products to market, the technical requirements and the regulatory requirements. It being an open system, the regulatory requirements are slightly more complex than a closed system, and just a good analogy of that would be like your Nespresso for coffee where you've got your Nespresso machine and you buy your cartridges from the same store and pop them in as opposed to going to another store and buying other generic cartridges, which you could run on the same machine. And so we're trying to move away from the Nespresso monopolistic system to a more open system, more customizable, more flexible and hopefully more competitive as well. And the target product profile is already in draft form. It's already been developed with input from MSF stakeholders and find, and interviews have been held as diagnostic companies to gauge their interest in bringing this product forward as well. Ethics, this innovation project did not involve human participants or their individual data, and the MSF ethics framework for innovation was applied to help identify and mitigate potential harms. The results so far, the target product profile is available, but just to highlight some variables from that. The intended use of the test would be for the detection or identification of priority pathogens and the ability to differentiate bacterial or non-bacterial infections in support of the diagnostic management of undifferentiated ffibril illness with sign of severity. The target use setting at a minimum would be for MSF referral facilities. So this is once you've ruled out malaria with an RdT and perhaps some other infections with available RdTs and you're still stuck as to what is causing the fever, so at a referral facility. And they would need to be a functional laboratory trained personnel, water electricity, limited climate control and medical staff on site. Ideally, we would like to bring the test down to the primary level as well. The target population, all patients, adult children, HIV positive, malnourished, et cetera. And the system importantly would need to combine different technologies because based on the ability to detect the pathogen, whether by molecular or serological means, you either need to measure depending on the kinetics, the pathogen itself or the immune response to the pathogen. But also for the biomarker tests and other maybe antibiotic sensitivity testing or severity markers, it needs to be a platform able to measure different types of things by different techniques. The draft pathogen is so far was developed by a consultation with MSF experts and find because we have very little good prevalence data to go on whether within MSF or from other studies that have been done. This was mostly done based on expert opinion and so needs to be honed a little more. It's also, you can see, includes both bacteria and viruses. Some are vaccine preventable, some are on the WHO priority pathogenist already. So quite a spread geographically as well. What is planned for the funding structure going ahead would be a milestone prize, so pool funding. Prizes have been quite popular in recent years to try and incentivise manufacturers to work on a product that would meet the target product profile. We estimate that the prize would be between 90 and 105 million R&D investment over six to eight years and it would be a milestone prize of three phases. In the first milestone it would be for proof of concept. So the concept being that you would be able to individually measure the pathogens and demonstrate that the platform technology can detect each of the pathogens identified in the TPP. This would be years zero to three, five to six awards of 78 million, captured 40 million. At the second milestone it would be a prototype built through initial clinical evaluation to demonstrate that the prototype meets the minimal requirements in the TPP. It is four to six, two to three awards at five to six million dollars, captured 20 million and finally the end prize for regulatory approval and field validation. This would be to demonstrate the clinical validation in the field, so at first MSF field sites, but others as well, and to fulfil the minimal requirements in the TPP. And this would be year eight, one award for 40 million. So in conclusion, by some of the landscaping work done, it does seem to be feasible to develop this product. There's a convincing business case for the project that meets MSF needs, which is not always easy. And the partnership with outside organisations are essential. The next steps, we have an agreement with the WHO to take the target product profile forward in a consensus process. So through the WHO, which is a normative body, we will finalise the target product profile, including the need to add on antibiotic resistance testing or not, and prioritisation of the pathogen list, finalising the pathogen list. We'll also have a menu of test cartridges defined to be able to sustain the market and with the geographic variation. We'll define how the multiplex will change clinical practice and improve patient care. So importantly, this test is used as part of a clinical algorithm and a diagnostic workup. So a lot of work is going into defining how this test would actually be used as part of a clinical algorithm for fever. And finally, compiling data points for the final decision-making on moving forward with the programme or not after these workstreams have been completed. And so at the moment the project is hosted by MSF USA who are undertaking these workstreams. So I'd just like to acknowledge everyone who's been involved in this. It's been at least the last two years. And that includes many people from MSF. And we've also worked with outside organisations to get the project to this point so far. Thank you.


Welcome, welcome to the Marlene Meyerson JCC Manhattan.  I am Rabbi Joanna Samuels. I am very proud to be the CEO of this wonderful organization. On behalf of all of us at the JCC, including our exceptional Board Chair, Jeff Fague, we want you to know what a great honor it is to host this kickoff of a program that gives us so much hope, a program that will bring New Yorkers together across all of our diversities to break bread in community. We are together this evening in a Batemey Drash. A Batemey Drash is a Hebrew phrase that means a house of study. And if you look at all of these books that line our walls, they are filled, you should know, with the prayers and hopes and ideas of our ancestors who from the time of Abraham and Sarah, our forefather and foremother, sought to redeem and repair this world and all that's broken within it. The Torah tells the story of Abraham and Sarah who opened up their desert tent to three strangers in the heat of the day. Abraham welcomed them, gave them water, allowed them to rest and wash their feet. And Sarah, she cooked a meal for them, she cooked the best meal for them. And what did these three strangers do? Well, they turned out actually to be angels. They were God's representatives. And they gave Abraham and Sarah the best news that they could have imagined. Abraham and Sarah learned from these guests at their table that they, an elderly couple who couldn't bear a child, they learned that they in fact would come to be parents of a son within this very same year. With their tent open to visitors who needed a meal and some rest, Abraham and Sarah taught us and they taught the world what it means to come together to break bread. They taught us that opening our homes and our tables to others is our religious obligation and that this obligation is our greatest privilege. Abraham and Sarah taught us that opening our homes and our tables to others opens us up as well to opportunity, to knowledge and to blessings that we never could have predicted. In my opinion, the best moments in religious life are those when the words in our books and our texts come alive in our present day. In welcoming Mayor Eric Adams here to the JCC to announce an initiative that will bring New Yorkers together to break bread, to be together over their meals, to imagine what can take place over the sacred altar of our dinner tables. I feel in this moment that our religious tradition and that all of our religious traditions, both sacred and secular, are living and breathing forces for good. May we build this world together that we imagine one dinner table at a time and I'm thrilled to introduce New York City's Mayor Eric Adams. Thank you. Thank you. Very well said. One dinner table at a time and this was an initiative we did in Brooklyn. Borough Hall when I was the Borough President with 47% of Brooklyn Knights spoke a language other than English at home, but it was clear that we were living in silos and we were afraid of our differences instead of leaning into what I believe is our most secret and potent weapon and that is our diversity. And nothing brings a comfort to a person's face than if you greet them in some way that is respected in who they are.  That's what Breaking Bread Building Bonds is about. It is allowing us to sit in a room which oftentimes we rarely do with people we don't know that don't look like us, don't talk like us, don't speak the same language, wear different articles or clothing. It could be a kufi, a hijab, a yamaka, it could be a dashiki, it could be a turbid. And I was really blown away when we did those first series of dinners where you watch people sit around a table and smiles break out and you're able to describe and ask the questions you always wanted to answer or to inquire about. Why as a Sikh do you wear a turban? Why do you do various events throughout the years? What it is to sit in a sukkah? What it is and what kwanzaa means? What are the different articles or clothing? Why does a woman in a Muslim community wear a hijab? What is the purpose of that? Why does one grow a bid? Why do you wear a black article of clothing in Williamsburg or Borough Park or out in Flatbush? What does it mean to be part of the Satmark community? Or what does it mean to come from one of the Caribbean on African diasporas and participate in this country? And those answers are amazing. It puts us all into students and it revitalizes our energy and starts to respect each other. So when we enter a subway system and we see the diversity on that train we no longer feel as though this person is different but we so much alike. We go to a mosque, a Baptist church, a Buddhist temple, a synagogue we go there for the same reasons to find reason and purpose for what is our purpose. And I'm excited about the potential of a thousand meals. You do the math. Thousand meals across the city, minimal of ten people. That turns into ten thousand people. And then we encourage each one of those ten thousand to also host a meal that turns into a hundred thousand people. A hundred thousand people becoming an ambassador door to show that not don't we tolerate each other but we respect each other. This is probably out of everything I have done as the mayor of this city. This is probably something that is so important to me because even if we get over our economy, if we defeat COVID, even if we're able to build all the housing we want and if we get all of the violence off our streets, if we do all those things and we still have people who don't respect each other as neighbors, then we fail at a city. We're not high behind brick and mortar to take the place of the building blocks of our human existence. And so breaking bread building bonds is allowing us to appreciate the lubricating value of a meal and sit there and talk to each other. And we're going to do the kickoff here in this room and we're looking for our business leaders to host the dinner. We're looking for our teachers to host the dinner. Our rabbis and priests to host the dinner. Our imams to host the dinner. We're looking for baseball teams to host the dinner. We're looking for everyone to stay. We will host the dinner and even if we cannot host the dinner, we will participate in a dinner so we can start the conversation of talking and most importantly of healing. We've gone through a lot after COVID. We want to acknowledge it or not. We did not come out the same. It has traumatized us. Many of us have benchmarked our lives by the loved ones we lost during COVID or those who are dealing with mental health illnesses because of what COVID did to us. This is our opportunity to heal. And I'm glad that we're going to break bread and build bonds together. Thank you so much for hosting us. Thank you so much. Today we are joined by Kay Skari, the director of partnerships from the People's Supper. The People's Supper is a wonderful organization that strongly believes in the importance of intentionally investing in critical conversations that bring our community together. Thank you so much. It is so lovely to be with you all. I'm Kay Skari, the director of partnerships for the Dinner Party Labs, which means I lead the People's Supper. And we work with communities all over the country to create the conditions for trust building for people across identity and ideological difference. We address the deep issues of isolation and fragmentation that often run rampant in our communities. And we see social isolation, like Mayor Adams said, as one of the problems that undergirds many of the other issues that face our communities. And so we believe deeply that social connection must be part of our solution. I'm so delighted to be here. And I'm so looking forward to working alongside all of you in the coming months. We believe that relationship building and policy change go hand in hand, and we believe that this is a chance for us to work towards a New York City, where connection is the antidote to hate, and where together we can envision a different way forward for all New Yorkers. At the Breaking Bread Building Bonds Table, we'll see some city agency workers get in conversation with the people their work impacts. At the Breaking Bread Building Bonds Tables, we'll have a chance to build real trust with one another and we'll sustain us through whatever comes. At the Breaking Bread Building Bonds Table, we'll gain tools to interrupt our assumptions about each other, to lean into curiosity about one another, and to practice believing that it's worth seeing the story behind the stories in each other. I came in this morning from Washington, D.C., so I feel like I can say that our country has watched New York City stand together before. And we've watched New York City model what it means to be in deep solidarity with each other. We are inspired at the People's Supper by the Breaking Bread Building Bonds Initiative, and can't wait for the chance for New York to continue to show other communities what it looks like to stand against hate in all its forms. We're going to do that by pulling up a chair for our neighbors, by going deep together, and by building a New York City that works for all of us. Thank you so much. We are joined also by Eric Goldstein, CEO of UJA Federation of New York. UJA plays an integral role in embracing and cultivating the diversity of all New Yorkers, and is a great friend to the JCC. Thank you, Joanna. This institution, this JCC, is a critical gateway to community, and we're so grateful for all it does, and we're very proud to have supported this JCC from the beginning. So we are here to express enormous gratitude to the Mayor, the Office for the Prevention of Hate Crimes, the Mayor's Community Affairs Unit for prioritizing this critical initiative. We know how critically important it is to come together. As the Mayor said, diversity is the secret source of this incredible city, but too many of us, we may live near each other, but we don't know each other, and it's vital. You can't instinctively do this. We need to purposefully bring diverse communities together, which is why we're so grateful for this wonderful initiative of the Mayor's Breaking Bread, Building Bonds. What better way than food to bring us together? We all have a common love of food. Some of us may be more than others, but the bottom line is this is an incredibly important initiative that UJA is delighted to support. We raise over $200 million a year in charitable contributions that we give out each year to support the most vulnerable among us, people of all backgrounds, to help grow and sustain Jewish community, but bring it very much into relationship with the entire city and beyond. So again, incredible gratitude to the Mayor and his staff for putting this together, and we are very enthusiastic participants. Thank you. Finally, a great honor to introduce Hassan Naveed, who is the Executive Director of the New York City Office for the Prevention of Hate Crimes. Thank you so much. Thank you so much, Rabbi Samuels. My name is Hassan Naveed. I'm the Executive Director for the Office for the Prevention of Hate Crimes. OPHC is honored to help lead the Mayor's Initiative in Breaking Bread and Building Bonds between New Yorkers across all five boroughs. This initiative embodies this administration's commitment to embrace and cultivate the immense diversity of our city. And at a time when hate crimes are on the rise, this initiative seeks to unite all of us against the virus of hate. Breaking Bread Building Bonds is movement building. And I encourage all New Yorkers to join this movement. Sign up and be a host or participate as a person who's a participant by visiting nyc.gov forward slash breaking bread or call 311 and say Breaking Bread Building Bonds. And beyond the lookout, all of us of our city agencies are coming together to plan and host meals with shared conversations throughout the city. From NYPD to the Mayor's Community Affairs Unit, our city and its agencies are mobilizing communities to come together, break bread, learn about each other and build bonds. I want to thank Rabbi Samuels and her staff at the Marlene-Myerson JCC for being the first to host today's inaugural conversation. I also want to thank community members and groups for coming today. You represent the diversity of our city.  And Mayor Adams and this administration is committed to protecting that diversity. Shortly we'll be making our way to the tables itself to model a meal. And so before I do that, I wanted to thank many of the organizations that have joined us here today. And I'll quickly just name some of them as well too. To the Asian American Federation, the Anti-Violence Project, the Muslim Community Network, the 67th Precinct Clergy Council, the Destination Tomorrow, the Arab American Association of New York, Hispanic Federation, UJA Federation of New York, Epic Village, and of course some city agencies as well too. Thank you all so much and we can take questions as well too. Thank you. I just want my longtime colleague that's really personified the importance of bringing people together. She's done it as the Council person, but our president, now Council person again, you know, and my long son we serve together as our president. I just want to say a few words because she has really shown the skill set of bringing us together. Councilperson Gail Brewer. Thank you very much. I appreciate that we are at JCC because this is an organization that has personified as the mayor has stated coming together. This is a location where events from all kinds of people take place. So it's just an honor to be here at JCC. And I want to say to the mayor, thank you, but you know, once at BP, always at BP. Because when he was BP and I was BP, to his credit he was always having these dinners. I'm like, how can we can't do this in Manhattan? So I'm so happy that we're here at JCC. And I just want to say in terms of knowing people, I just took the subway here. It's always the best way. But I'm always nervous about getting on because you never know who's going to say, hi Gail, I have a housing problem. So this person was great.  The mayor's the same way some of you without somebody knowing. But the best was last week I got on and you know, the guy who's collecting the money and hustling everybody, hi Gail, how are you? Thank you very much. It's great to be here today. Thank you. And actually we're going to get seated so folks can find their seats. Please do that.


So, hello. Welcome to this special webinar on connecting science and art, how to find and be a scientist. My name is Simon Clark, I'm the European Geosciences Union's Projects Coordination Officer. And today we have two speakers to talk on and discuss the experience in arts and sciences. First of all, there is a bandon, a PhD student Englishologist, who is also an artist aiming to communicate climate scientists and other things through arts. And Natalia Jegelska, a doctoral student at the University of Edinburgh who specialises in paleontology, were focused on the evolution of Jurassic terrasors, not as an arts range just on illustration books to creating accessible science. So, we'll speak on the experiences first, and then there'll be questions towards the end. If we have any questions, please put them in the box, we'll get around to them. And so to begin with, Natalia, could you bring in your presentation. Hi, guys, my name is Natalia and I'm a PhD student at the University of Edinburgh, and I study paleontology, which is a study of extinct animals, most of which which are no longer alive and probably will never see them in flesh unless some kind of Jurassic Park happens, which is pretty unlikely. But it's something that already happened in the past, people were talking about animals they never had seen previously. And on the opening slide, some examples of this very phenomenon. So you have the Juris Rhino from 1515 so almost 500 years ago, that was illustrated by German printmaker 500 years ago in Europe before we had any rhino services they were just mentions of them in literature. And he was reporting one to Europe by material but suddenly died and drawn in a storm. So nobody had seen rhinoceros in Europe. And you wanted to expose this animal to the European community. So he communicating some people to get description and got some sketches from people that seen those rhinos and tried to reconstruct Daniel as he would report it's going to be looking alive. And as you can see in this corner over here, that's the rhino he came up with it's, it's, it looks like a small tanks it looks like a very big armadillo. It's very he has this very night, like, look with our small bones and just chain link protected feet which are not really I think you've seen rhino, but that was what was he reflected in the descriptions he received. So it's not accurate for description by model, which is an interesting interpretation of how Daniel looked like from second resources. And that illustration was featured in 1551. History animal which was one of the first of illustrated encyclopedias for general public with illustration of animals. It's included rhino rhino and also included things like unicorns and fantasy animals, not because people thought they were real just because they were boosting their sales of the book. So it's a very close story of the first encyclopedia and you can also see that the exopus that was featured in an encyclopedia was also drawn out of not from living animal, just living after pie usually have slants for eyes this one has a big round eyes. This is possibly also illustrated by use communication. And the other point here, it's one of the first reconstructions of mammoths with soft tissue based on some tusks found in Siberia, and you can see it doesn't look very fun time. So as a plan told us we're basically doing what those artists are doing 500 years ago we are trying to reconstruct animals from bits and bobs for comments from sketches that nature left us behind. Before I get into it quick introduction about me. My name is Antaljelska. I'm a finally a PhD student in the University of Edinburgh in my last year, unfortunately scary times, and I'm a plantologist and I studied Jurassic Thorses. So basically those guys, big flying reptiles with enormous wings I'm going to talk about them later. And in addition to my research, I make illustrations for academic publications my own and other scientists use it for science communication. Also, I draw as a relaxing for relaxation and self expression, and also earning some passive income from site time to time, which is great because I'm a minimum wage worker so it doesn't hurt to have slightly more money. So let's start with science and art and how they intersected and how and why people might think them as a weird thing that doesn't really go in together. After all, science and arts usually we see creativity as something separate to intelligence but that's not the case at all when you look historically, just people from since the start of the time as soon as we could put a charcoal on a surface, we're illustrating and observing things and try and contextualize things. Illustration helps us to process on interpret things we see in real life, and also in things like geosciences. It's a way of collecting reproducing and preserving data, even especially before video and digital media and like cameras. It helps us to capture something like a comet and eruption, a fossil doesn't see you are a rock formation, only way of conducting that data and rapids communicating to other scientists abroad was via illustration and art. And also, it's a learning tool. We still touch young geology on the grass to draw things they're saying to do field sketches of rock formations. So we should focus on something even not as an artist, and you have to reproduce it on a paper we start making notes of difference in texture, meet differences in color and appreciating the thing in more detail than just surface level. So art itself is a great way of learning new things and observing and recording. And it was in the past and still should be today, even if digital media is in different shapes and sizes. And also the usually reflecting off the time they happened. So when you look at something like comets. There are records in relation with them dating to first century BC in things like old silk manuscripts from China. You also see a mentions of the Kaley's comet in the Bayesian chemistry content 66 and see it in the corner over here. It's not a scientific drawing but reflect scientific phenomena people didn't know. Sometimes scientific phenomena can be also used to contextualize why the things happening on in the current time sort of contextualizing outside of the scientific fields like this 1853 comet representing things that happened in the past year. So we have more 20th century twist, but we are sighting away from the illustration of photography. And a cool story about a fairly common coming back in 1910 to, to sort of contextualize sciences. When the comment was going back for United States people were worried that's going to cause end of the world that's going to cause end of the world. And there was a lot of fake news and pseudoscience in the news so very contemporary stuff, people selling anti comet umbrellas and medications, like Dr. So that's kind of exciting and sort of showcases how you look at a safer than a man of comet for time with ads and how we look at that and how we deliver art. And we're selling technology it's super important because it also helps us to visualize a speculation and reflect the society that live in. So if you focus on small example of an iguanodon, which is a high reverse dinosaur from the cretaceous, and that it was discovered this guy was illustrated by mantel who discovered a lot of iguanodon pieces. And he directed this quadrupedal lizard like animal iguanol like animal with a small horn on its nose. And this idea was sort of carried forward to the crystal palace exhibition, which was the first exhibition presenting dinosaurs to the general public run by the guy who opened National History Museum London, and it also presented dinosaurs as this kind of extinct loon bearing things, things you look at it's like Oh, I understand why this thing went exists extinct. And so maybe even reflected old colonial old world views. And it still went for the colonial colonial quadrupedal reconstruction of the animal with the horn on its nose in 20th century with more discoveries and more animals and more better understanding of animal biology. And here we have a reconstruction of iguanodon with the horn that was on the nose moved on the phone. And with the, here's the most modern interpretation of diamond by contemporary paleo artist, and just combining different perspectives together we know slightly more about musculature we have better communication to zoologists and we have more fossil specimens of better quality which sometimes possess soft tissue formation, and we have slightly different interpretation of that animal. That doesn't mean that's the final version of the thing but there's still other things to learn and this image will be defined and recontextualized changes of culture, and also changes in our scientific understanding. So in psychology, art is great way of seeing how society perceived animals, how science was communicated and why, and how views and a lot of information about dinosaur changed over time. And sometimes even the source of speculation can be prophetic. So in 1915, William Bebe, sort of proposed this kind of animal, a bird lizard mixture with that's like a small biplane with wings on its arms and legs, stretching with feathers and some years later, as very similar animals sort of uncovered from China, a quadrupedal flying microprocessor. So sometimes even a speculation of an art can turn into a real discovery in the future. Also interestingly, sometimes artists and scientists can come together to create brand new discoveries like in this Winfrey paper from 2016. This always keeps telling to people or used to tell people that will never know for sure how dinosaurs could look like, and all the things we are doing it's a sort of evidence backed interpretation and reconstruction, which is not always accurate, but it's the best we can do. The amazing fossils coming to light and new methodologies of studying them, we could rest construct this psedacosaurus, a small ceratopsid. And you have a small model of this animal in this presentation by Bob Nichols, a famous paleo artist, who looked at the model at the fossil and had the amazingly soft preserved soft tissue. You can see the visual scales, you can see the extent of the musculature, you can see the bristles on the stale, and even small dots and discolorations on the skin, making it for amazing reconstruction. So Bob Nichols, this 3D model of the animal, just putting the things we see on the fossil on the model, and that model was used to study counter trading and camouflage within the animal. So this is an art history with science to create something brand new and novel. And so science and arts and literally not something separate, it's not a pathology especially they communicate with each other and co-evolve together, they complementary. And of course science is very important. It's important for communication, especially outside of fields outside of academic spectrum. Sure, we have the models and things which will be used as tools for future scientists, but museum displays animal and pop culture film and TV is very important for science communication. So art usually in pop culture is being under control, something like Jurassic Park did more favours the pathology than years of study itself and something like they have said tomorrow as a film influence how many people look at climate change outside of academic spheres. So science communication via art is extremely important and we should not be neglecting it. So with that, now knowing how important art and sciences, how intertwined they are, how do you become an artist and scientist simultaneously, or if you're a scientist, how do you reach out to illustrators to help you boost your artwork. So to be an artist and sciences, you have to be like a creature after an extinction event. You have to find your niche, and there are different niches within arts itself, and then all of the months that I'm created by the field. So as a technical artist, you can do diagrams figures and academic reference materials for textbooks or complimentary materials for papers in journals. This will make your work stand out make it more readable and be useful especially for other peers in the academic sphere. It can be also used to boost your research to create nice press release images that will get you clicks and get you talking, get media outside of academic spheres interested in your research. It can also make accessible sense communication that public outreach illustrations don't capture imagination of people outside of academia, which is our goal as scientists. Or you can do it as something to relax as a side hobby, something to get your mind out of things and also turn it into passive income. I, I as an artist do both of those things so that here's a cover I did for my current biology paper. And to communicate my science, I collaborate with other artists like Rebecca group of paleo plushies to create interactive movable plushies so I can use and towards different schools and conferences and universities to help general scientists on to understand my research easily without intimidation and incomparable artists and local artists into my scientific communication process. And also, like to cutify my research by creating huge stickers and posters which I can sell on conferences within an outside academic spectrum, which is also very useful. So as an artist, the first thing is to establish yourself. There's a lot of people, but people have to find you if they want to stand out. So the best thing is to open some sorts of conferences. So if you're doing an academic conference, ask if you can have a small store with samples of your work and try to have business costs ready. So each time you see a potential customer and just give them a business card, and probably be in the conscious of them if they're going to be looking for an artist to post their research or do science communication. You also have to be a very active on social media, which is the big and weird scary step. Because social media is very viable. It's very very algorithm driven, and it's very demanding. There are different facets and different audiences in different social media sites. So sometimes if you want to reach for younger audiences, you might go for Instagram or TikTok, if you want to reach all the audiences, you might try Facebook groups. So it depends on geography and it's quite unstable. So you can tell from Twitter, which sort of goes in and out of existence, occasionally, and my migrating master. But active social media is important to use update people up with your status and present your artwork. It's also very important to have a portfolio ready so each time somebody wants to commission you, others often you have examples of your work ready, and also you can go to the website or shop to sell products or advertise yourself so you have some email information optimize it so it's easy to find on Google. It's also very important to network, usually other artists know each other. So if you know no one, you can find opportunities and help by network of other artists because we communicate with each other and like to more about things. So one of the things to consider before you go on to that adventure. Oh, no. Is that because it's we are in EGU, it's a European conference, every country in Europe has slightly different laws regarding copyright, we're getting copyright of artworks and regulation regarding taxable income. So if you look at first into selling your art and becoming a big illustrator. Just look at the rights that are happening in your country. If it's easy for you to have side income without paying the taxes for it. And if you can easily sell your art, we were brought forward to gain gain copyright for it. If you want to get commissions for member communication is very important. So remember to show your works in progress to your customers and not start working without setting everything with your customer first so set the price expectations and time span. Also always remember you are full time academic. So doing side work as an artist might be additional workload because art is a full time work, remember to know what you can do with your kind of time and how to do this kind of responsibilities specifically. And that's everything for me, I hope we have some questions for the Q&A later feel free to follow me on my social media to see some of my runs and artworks of cute dancers and dancers. And I think we'll be going to Larissa talking about very slightly more inorganic things. Hey, I hope it's alright. Thank you, Natalia. Before I move on to questions and discussion, we'll move on to our second speaker, who is Larissa would like to begin. Thank you very much for being here, and especially thank you Natalia for an incredible presentation and wonderful introduction to science and art and how they intertwine. I'm Larissa, and I'll be talking to you about illustrating climate science and illustrating and climate science, which is the perfect explanation of what I do. So just about me. Larissa, I'm Dutch, German, and I'm currently glaciologist at the University of Hanover for another month, because I hope to hand in my PhD thesis in a month. And that is large scale glacial modeling. I had a start in climate science, sorry, that is my cat. I had a start in climate science, and then moved on to glaciers because I've always been fascinated by everything ice and snow. And I will return more to climate science specifically with my postdoc, which I will start in April at the Niels Bohr Institute in Copenhagen. So as being a scientist, I am also an artist. I do not have any professional training. I'm just someone who since she was a kid, always felt more comfortable with a brush in her hand. I mainly work in watercolor, but also when I have the space and time on a larger scale and oil paints, and I'm trying to balance my work between sort of what may be considered more traditional art work that you might want to hang up and have as a purely pleasing, aesthetically pleasing piece and illustrations that really tell a story. So this is some of just a few examples of the artwork that I do when I'm not looking at illustrating a certain topic. And as Natalia also explained, art can be an incredible side income, especially as a PhD student. And so I do a lot of work. Like you can see here, this is work for birth cards for wedding invitations. And these are just commissions from people who indeed usually find me by your social media. So that was a great tip from Natalia just before. And rather than diving into the history of art and science communication, which Natalia did wonderfully, I want to talk a little bit to you about why I think that art can be an incredibly powerful tool for communication. Raw science communication, as it is often done by academics, can really spark a lot of negative emotions. As scientists, it is difficult for us to imagine the level of understanding that the public has. And sometimes we either assume knowledge that isn't there, or we tend to feel that we don't want to dump things down, or we want to subconsciously not impress the public by sounding smart and in the end only confusing people. Finally, especially also speaking about climate change, which just is a very broad topic, but it's also one that is goes hand in hand with a lot of very negative emotions. So the science communication about it can really spark fear in the public, which then leads to an urge to ignore it, because we call it in Dutch, putting your head into the sand or, actually the same in English, and it's really a very human instinct to ignore something that you feel you cannot change, and that might negatively impact your life. Also, because it is such a huge thing. Science communication of especially climate change topics can really lead to either feelings of inadequacy, or a very stubborn resistance saying, okay, no, this, this isn't true and the scientists they don't know what they're talking about, which really leads to these myths of being of climate change being a Chinese hoax, etc. I realized that science communication is incredibly difficult. But I do believe that art can really prevent some of these negative issues that I just spoke about because art can spark emotion and talking points. Sometimes it's easier for the public to look at a piece and maybe just think of it. Oh, this is interesting. Oh, this looks pretty. It's easier to talk about a piece of art. It's easier to talk about an illustration rather than a block of text or data points. Also, art can really communicate at different levels, because, for example, the beautiful dinosaur illustrations that Natalia makes, you can put them in front of a variety of audiences, and one can communicate about these pieces at very different levels. A child can just be interested in oh cool that's a dinosaur. Look at the long tail look at the spikes, someone who is maybe not entirely not at all familiar with paleontology but interested in it could say oh, is that really what they used to look like. Look at that beak or look at that skin that looks something like the bearded dragon that we have at home, and someone who might really already be an expert in paleontology can look at the piece of art and say oh look at that detail. That is something I read about. Oh, that is sort of the new consensus of what this what we now think this creature looks like, which is very different compared to 10 years ago. So this is very different than if you just put a paper about the development of that dinosaur in front of people that artwork can really spark communication at different levels. And finally, from art, it art can provide a segue into really deeper subject matter by starting to look at a painting. And from then either talking to the person who made it and may know more about it, it may also just spark an interest and say okay, I'm going to do a little Google search about this when I get home. Oh, I didn't know this, or let's find out about it. Or when your child starts asking questions, going to the Science Museum with you, looking at a piece of art, and you maybe want to be able to answer those questions and find out the answers with them for yourself. So I think that those are some of the reasons that art can be incredibly powerful and incredibly effective as a science communication tool.  One of these projects is illustrating journal articles, because journal articles, even though they are often referenced in the science section of newspapers in the news. Still, they are often at a level that is difficult to comprehend for someone who is not trained as a scientist. However, often it is possible to distill the most important part of a journal article, and either put it into one sentence, or put it into a short presentation, which is what a lot of traditional science communicators do. But I also believe that it's possible to distill, for many papers, it's possible to distill the most important message into a piece of art. So these are three examples that I did of papers. One on the left, you see the paper by Bersaggy et al. Carbon stocks in Central African forests enhanced by elephant disturbance. And it's a paper about how important elephants are for the health of Central African forests and how by their disturbance, they actually make sure that the forests can thrive. They tread down smaller plants so that light actually gets to the larger plants and they are not suffocated. And that is what actually keeps the forest alive. I've tried to, in this illustration, show the difference with the line of what can happen if we no longer have these elephants. And I think that this piece is just something that invokes emotion because you have the stark difference of both sides. And I hope that it's also, besides maybe being a grim message, it's also a piece that people do like to look at and say, okay, this is both something aesthetically pleasing and something that informs me. The same goes, I hope, for the other paintings. The second illustration is of a paper by Peter Malnar and his team about fasting season length for polar bears. And it is a paper about the fasting season length and how that connects to sea ice cover and that as sea ice coverage changes in size and in time, how long the sea ice cover lasts. That affects food availability and also fasting season length for polar bears. And thus, because fasting season really impacts the amount of nutrition for polar bears, how they're able to move their population forwards and have the little cute cubs that are on the polar bear mountain's back. And then finally, we have something that is very close to my heart and very close to my research on the right side is an article by Vashti Veiba. And it is how the Vanakfen and Glacier in Austria changed over the years. And I think that is something that is of course often shown in photographs, but with these with painting. It's just a really easy immediate visual tool. Okay, we have had a huge change over the years in the size of this glacier from 1899 to the present day. And it's just something you only look at the picture and you immediately see what's going on. So this is one of the projects that I do. And I have had very positive responses, especially also from the authors who use these images to promote their research to promote their project. The elephant image has been published in a French magazine recently. So it's something that really gets this important research talked about, which I'm very honored to be a small part of. Next, one thing that is close to my heart and I started doing this for the virtual edu in 2021 is illustrating the science scientists behind the science because sometimes, especially in covert times, it felt like science was something that was done from desks sequestered in homes and was very could be very isolating. So this was a project really drawing scientists in asking for volunteers who wanted to be painted blended with their research. So we have Harry's a colari with the moderate glacier. We have Dr Beatriz Cresinos blended with her calving icebergs and Dr Emily Kirchkesna, who does incredible work on observing meteorological and ice processes on Antarctica. And it was a wonderful project because it allowed me to make these scientists a little more visible and to say, okay, this work is done by humans with passion, love doing what they do. And not only the science is important, but also the people behind it.  And it's a project to explain and visualize 26 of the most important terms around climate. So they're paintings and short explanations. And I hope to at some point publish them into a book. Also collaborating with other scientists and taking the very short explanations. So smaller blurbs and have each expert scientist write one page so slightly longer more in depth explanation of the phenomenon. And then we have a book where communication happens at several levels. So, I'm just going to introduce a few of the letters to you. So we have a is for atmosphere piece for biodiversity sees for clouds. thermology. H is for hysteresis. G is for glacier. I is for indigenous knowledge. And I've done a few more letters, but they haven't been digitized yet. I'm still stuck on the letter K, and I'm very open to suggestions for letters. So, please, if you want to put your suggestions in the question box as well. What are the next steps for me personally that might also inspire you if you want to be a science artist or if you want to connect to a science artist. I love to finish the alphabet and get the book rolling. And something that I would love to do is to create at some point a climate science and climate change interactive exhibit, because I think that having these interactive museum exhibits Natalia also talked about them a little bit more can just really inspire the younger generation. Of course, there's a whole bunch of other projects that are in my mind that I might want to do at some point but for now I'm just incredibly grateful that I'm allowed to be a scientist and an artist that I'm allowed to be a small part of other people in science journeys by communicating their research. So, and if you're one of the scientists who wants their research communicated and you think that one of my illustrations may be a good way to do it. Please feel free to contact me. So, thank you very much Simon for the invitation. And we are looking forward to questions. Thank you both. I think a good case has been made for why scientists and researchers should collaborate with artists and community science. So, as you start the discussion and the questions and answers from the audience. Perhaps move towards the more material baseline. You said that scientists are drawn by passion to artists of course, which means both artists and scientists tend to be volunteer the labor volunteer the products of the work. You've got to consider the work of your labor. And there's going to be a boundary way to start going well actually from all this work in the boss who got to live as well. But artists just becomes in the form of commissions. And there's two questions around that topic is as an artist. How do you gauge that worth how do you set that boundary for seeing charging for commissions versus just offering up these passions for your art. And the second question point out is, perhaps more from the science side is if you want to engage with artists and want to get the help of work. Are there any do's and don'ts with working with artists or even the approach network commissions. And that's an open question to people. But if anyone wants to join and jump in first. If you want to engage with artists with something like value in the work, it's coming to what kind of customer it is. So if it's for me, if it's a small NGO or museum of a little funding, and they want to have some science outreach or small school does completely freeze like it's before betterment of the local community, I can spend one hour and just get them something they don't have to pay me but if it's somebody that has a big funding behind the research projects. If it's like a private company, I will really charge them a fee they can afford something that will just compensate for my time I'll be missing for my research. So it really depends on the customer, what the kind of artwork requires it, and it might vary from person to person because we are academics we are busy. It's sometimes hard to just take some time off or even work for weekends to do illustration. So it has to come from how busy we are, and what kind of outreach that work will gift for us and to have other things like illustration for my own research. I do covers for journals I do press release illustrations, but they don't, I don't get paid for them, because it's just something you do for free to make your research stand out. It takes a lot of time, even like making optional covers for a publication that will take at least three days of your work, and you'll need to get paid for it, it will promote a journal you publish to. So it's a weird balancing act of like do you want to spend all of the time on this artwork that might benefit me why not benefit me, or do I not. It's all depends on what kind of time you have and what do you want to get out of it. So I don't know what, what do you think about it. I don't much agree with you I always look at the type of client and at my work. And in a way I think I approach it the same way I do review requests. Because reviews also take up a whole lot of our time as a scientist, but they are for the betterment of the community. And it's something that's important for our work to do because we also get something back. And the same goes for if someone asks me to do a smaller artists commission. If it's indeed a smaller NGO who really just want to promote their work. I know how beneficial it could be for them to have a good logo or to have a nice illustration to go with one of their blog posts. And then I will either charge nothing or something very small. But if it's a larger private company indeed, or a private person saying hey I would like to have a portrait for my house. And, for example, one of the scientists that I illustrated, she said oh I would like a matching portrait for my husband. Also blended with his research. Then I do charge a little bit because it's something that I know they can afford. And so it just like Natalia I make a very much dependent on who is asking, but I would also like to note that valuing my own work, work, valuing my time is something I'm still learning, especially as an artist. So it's something that I feel I'm definitely not the definitive person to ask on, especially if you ask my partner I always undervalue my, my artwork. And it's something that I'm still definitely learning to do. And I think it comes with time and experience. I mean, I guess, I think there's a worth to work, but also realize that a lot of that kind of as those paralyze and you in terms of way to charge it how you draw those boundaries. If posture syndrome, I think is a key word here. Yeah.  It's probably a little cheekies thought, asking for perhaps free labor versus a charity based. Yeah. Sure. So it becomes down to that kind of engagement between scientists and artists and see science artists. I just want to pick up on a question about you actually, I think just answered this earlier but I just wanted to bring it out into the forum about illustrating for other scientists. Yeah, I guess it starts from knowing your own strengths and weaknesses. No one can easily draw. And since you cannot really draw easily. So if you're from a less academic background or from an area that's not really the area of expertise, how do you engage with those spaces? So if you're an artist and trying to illustrate for other fields, how is the best way to approach that? So it starts from knowing your own strengths and weaknesses. No one can easily draw. And since you cannot really draw easily. So I remember I was asked to be to draw crinoids and parasitism. I don't know how to draw a crinoid. I know I don't know how to write a parasitic snail. I might learn it, but it will be a steep learning curve and I'll spend more time on this artwork than somebody that is an expert in inventive words. So this kind of thing I might just say to a professional, I will give a quick shot at making a sketch. I'll give you a very quick sample. If you enjoy it, I can take it further, but I recommend other artists you can look forward to. So it's always good to have some kind of backup artist. If somebody reaches out to you and you might feel like, oh, I'm too busy for this. That's a steep learning curve for me. I'm not art style that I'm comfortable with and put them into some different position. For me, I'm certainly more comfortable drawing like pheropods and pterosaurs. So I will happily work in that field, but also happily stretch myself out if I have time and will to do it. And the commissioner is happy with me, sort of experimenting, but that comes with the kind of course because I have no idea. I might accept an illustration of a basil horse, but I have no idea if I'll be happy when it comes out.  And it's just the guilt that gets into you and you don't want to engage with anything which happened each time I do a commission to for someone else. And it makes it very, very hard for me to accept commissions from other people, especially for research that I might not be complete an expert in. And sort of that limits my scope. But also like I want to be true to myself, I want to know my strengths and weaknesses, but it's very hard to be self dirt, especially now. It's very hard to be self dirt mental on your art and see that that's a good quality artwork. That's about quality artwork. It's very hard to tell you hate everything. That's the worst thing about it.  Absolutely. And I think one of the key points that you mentioned here is to really know your own strengths and weaknesses. For example, if anyone asked me to illustrate a pterodactyl, I would refer them to you and say, Okay, this is a much, much better choice of artist than I am. And then again, when if someone came to you maybe with the request for a watercolor glacier, you might say, Well, perhaps not my area of expertise, but I know someone else. So I think it's very important also to be open and honest with your client, when they come to you with a request. They might not know who else is out there. So I think that it's important to be honest and say, Okay, I appreciate you requesting this from me. But if you want the best possible outcome for what you're looking for your project, you might want to ask someone else. Again there, the networking aspect is really important and sometimes you're just the science artists that one person knows. And through your network, you might be able to refer them to someone else. Honestly, I wish there was some kind of big archive of different artists with different art styles and professions so it would be much simpler for somebody to search rather than just go for one and then have a whisper network of leading you to the right person. There are so many artists and they all want to have some work. And they're excellent people but then I went out of order either because they might not be in academia, and they might be in a different country so it would be sort of great as a resource to have like a phone book of different artists and different small portfolios and people say like, I want to have what are called visuals. Here the artist and do it and I think the style of life. Yeah, available this kind of movie super useful. Definitely, but I think for now the best we have is social media. And knowing other people and just being friendly. Like, I know somebody that needs this kind of work. I'm currently busy. I recommend this. I usually like recommending small artists, which has developed themselves usually from developing countries or something like a small commission can really boost them and the confidence and platform and so it's sometimes being an established artist very good to use. Look at people that are few levels below you and it's like, I know how to help this person out to be to this commission, but I can afford you to those people which might really benefit from the same thing. Exactly. So I guess the key takeaways there is be aware of your capabilities and the community around you who can prefer one to do a work in your stead. But also, if you're unsure, it was like something you could engage in. I suppose do like a test or mock up and do those expectations management review on the potential client in terms of what you can do. Communication with the client is key. Yeah. And also, of course, be aware of those self del and judgment but comes along with every real part of the project. So you spoke about networks actually I think that's a good next step to go on to.  Is that a best way to do it. You said social media, I guess that's pretty much the key factor. So both scientists and artists. That's how I find myself. My science artist actually. So I guess, do you have any, those thoughts about how to build up a network or polio. I think social media really is key here because if you have, if you make some work that people like, and they might share it. That's how others find you. Also, the companies that I do commissions for, I think 95% of people either find me via Instagram or Twitter. Especially there's a lot of company companies now who sell my artwork as Prince, and that allows me to make passive income, which is just, I would have never had that opportunity had they not found me via Instagram.  The EU really is a great resource because what you can see is you can have a look at the talks that were given at the past EU GA's and have a look at the science communication session have a look at the abstracts that were the abstracts for presentations in the science communication and the art sessions. If you want to find poetry, have a look at Oh, who was the co convener for the rhyme your research. And these are the people that you might want to connect with, or these are at least the people you know, oh, they might have a network. The co conveners for the art and science session. They might be the people who are able to refer you. So I think, each EU in this term really might be an under a completely overlooked resource in terms of networking. You know, we are showing in a specialized as far and told you there's a lot of poly artists already and they have the network links by a discord channels and social media like Twitter. Also can do it in person in a person's society different because you get to meet person you make the need for lasting impression on them, and a lot of conferences, I love some kind of display area. You have a small display of your network and have small contact details if somebody's interested, and you have people that you know will be within your research area. So it's well a glacial artist will not fit in a political setting, but if I have a paleologist and poly artists, they will go, Oh, I need an artist that specializes in rodents, he's an artist that can do rodents. I'm going to get business cards if I need them I'm going to get in touch. So having a physical presence, I'm going to conferences in person is also very important, and that's how I got some commissions and I know how other people, especially that really established go for so they usually find themselves. It's slightly more pricey special when you're outside of pathology you have to look out of your conference on and pay for arrivals and sales and prints. It's a startup course associated with it and not people and other people have this luxury of, I can easily print a bunch of prints, I can get to a conference in the United States or somewhere in the UK for political association or something, and for advertising myself. It's a startup stuff with social media because there's very minimal things you have to pay for. If you are starting to establish already have all of our force want to showcase and really are dedicated to get getting those customers, find a conference and ask if you can have a stall. And that will sell you can sell your prints over there and also get commissions and establish yourself as a big establish name within the committee for pantologists. And that's like the end line of your establishment, it can start with Twitter, Instagram, and see your following grow if you are friendly and your art is unique enough. You'll definitely find people and people like me and our side for sure we like posting up upcoming artists and showcasing them, because it's, it's, we are not in competition and over everybody draws differently. And we have to have very unique artistic voices, which is great about art. That means nobody stepping on each other's tunes and the more voices we have, the better because that means we can communicate science in very different colors and ways. So we'll quickly come in towards the end, but I'll just time from the warm question. I will also just thank the plug about European Geoscience Union. We do have a general assembly every year in which thousands of scientists and science artists attend we have written artists, we have sessions delegated to communicating science through art. So if you do want to find other artists beyond social media, look at the European Geoscience General Assemblies. There's a long history of science artists engaging them. I think that's pretty much it for questions. We have to wrap up soon. I do have one audience question left about how do bugs kind of protecting and copyrighting artwork versus advertising on social media. Anyone's got anything they can comment on that at all. Yeah, it's, it's, I'm not going to lie, it's difficult. Sometimes people will use your artwork pretending they made it. I have had people contact me later with regrets that was actually one of the most interesting situations where people had gotten my artwork tattooed on them, and then later realized that that was not a great thing to do. People will print T shirts or notebooks with your artwork and sell them. And I at some point have people selling notebooks with my artwork on it on Amazon. And then the only thing you can do is contact Amazon or contact the platform, have them take it down. But I think it's just a risk. It's a risky run. Yeah, you have to decide do you want to be a parent on social media and get those jobs and put your artwork on, or just be transparent and not risk your artwork being stolen, especially a new problem is with the AI art of people just using your art to train algorithms and then replicating your technically copyright free, which happened a lot to some of my pantology friends with the art was being used without the agreement and replicated on different fields so it's a very, very tricky thing I usually when I put them social media is make them very low quality. It hurts, sometimes for people viewing them, but it prevents replication so if somebody wants to get it on thing, it will be just to low quality to do anything. Some people have very big water, watermarks on your artwork, but that sometimes destroys how it looks visually and might, you know, make your artwork look less appealing, but it will prevent stealing. So I would recommend if you follow social media, make it look nice would be slightly pixelated if anybody wants to steal it, it will look horrible and will not be of use on printing on the well just kill. If somebody wants to take it seriously and use it, usefully, you have high definition version of sent to that person, if they're required. So it's a risk worth, I think it's a risk worth taking, but don't get this hard and if you see somebody stealing your artwork using your application, it just happens to all of us. And you can legally block them, you are creator of your artwork, if you can approve it, you in the UK law, you are the creator of it, you own the artwork rights, if you can prove you made it, and then remove anybody commercially using it without your approval, but that might take some back to other channels depending where your artwork is being replicated. Sometimes it's just things stealing artworks by algorithms. So basically this somebody says, oh, I love this design, I love it on a t-shirt, and it's an app that looks at the keyboard, and it copies the artwork and alternately creates a t-shirt on a website somewhere in the developing country of slightly different copyright laws. So it happens, don't tell your followers to not say things like, I would love this as a sticker, I would love this on a shirt, because I'll go from things, things kind of stuff, and just make artificially made products they can be selling. So be aware of that. It's horrible, honestly. Yeah, I feel like that AI art might be a whole new webinar or session in itself at some point. But yeah, so I guess basically, you need to build a community and network as you're trying to become an artist or an artist, but as a juicer, be aware of the content you're sharing, so perhaps reduce the resolution, use watermarks, try and be aware of the copyright laws of the country you're in. And also, by building a community, that's also how you might be able to become aware when your art's being used or misused, and also how you might be able to find ways to counteract that as well. So for now, it's coming close to one hour. I'd like to thank both our speakers, Larissa and Natalia for doing such a passionate and engaging webinar. The recording of this webinar will be on our YouTube channel in one week's time that is at Eurogeosciences and YouTube. So I'd like to thank again both our speakers and for attending these and questions and answers. So thank you and goodbye.


Our first speaker for the day is someone I haven't so personally excited about for so long. Momo Hald, the dynamic theater professor in her third year at Gallaudet University, the world's sole deaf bilingual university in Washington, D.C. holds a BFA in acting from Tisch School of the Arts and an MFA in devised theater from Towson University. Her groundbreaking thesis, Universal Design and Theatrical Presentation align seamlessly with her production, Are Your Ears Blind? Momo, an advocate for inclusivity, transforms accessibility into an art form. Her pioneering work redefines boundaries, making theater universally accessible. With a passion for innovation, she continues to inspire by merging creativity and inclusivity, leaving an indelible mark on the world of theater. Professor Momo Hald has been so brilliant and kind in all our conversations so far and we are truly lucky to be learning from someone as knowledgeable and compassionate as her. We also have the wonderful Jenny Blake here with us today who will be interpreting. Please join me in welcoming Momo Hald. Momo, I'm gonna give you screen sharing rights. Yes, and now the stage is all yours. Thank you, thank you. Bear with me one moment while I get myself set up on screen. Sorry, pardon me. All right, are you able to see the screen okay? Is my PowerPoint visible? Yes. All right, I'm not sure because it looks different on my end on my laptop. So I just wanted to double check. Well, so this is my introduction slide. Oh, pardon me. My name is Monique Holt, but I go by no, no. Momo, and this is my name sign here, Momo. And I will be presenting about the topic of how a design of a theater is, especially when we're looking at the facility and how that impacts accessibility. We need to stop adding access to the art. We need to start building access in the art. So what we're doing is we're basically gatekeeping the access and we're actually interfering with the message. When you look at where you see the C to the T here, we don't have to be bound and crucified to the idea of access.  No, no, that has to stop. I'll give you a moment to read. So, historically, people may like, you know, cis, white, privileged males have no clue what disability access needs look like, none at all. So they just dismiss by saying, oh, you need this, fine, we'll add this for you. But they emphasize the fact that you are invited to be included because you need these things. That has to stop. The art in it of itself becomes secondary and that's not the goal. And obviously, if they have to say, oh, there's someone here who's disabled, ah, well, that's not friendly, that's distracting, that's not audience, like Frankenstein, you know, where you feel like, well, this is good enough, but does it function well enough? Maybe not so much. We're always calling access like a sort of band aid.  What do we do? Well, we do have a lift. Oh, we do have a ramp. Oh, you have a wheelchair? Okay, fine, here, we have this and this. Oh, wait a minute. We have a device for people who are hard of hearing. They can use hearing aids and they can connect. We have the captions available. Oh, but then where do we put it? Maybe over here to the far right or the left. Oh, you're blind? Okay, well, we have audio descriptions. Oh, you're deaf? Oh, you can't read English. You prefer an ASL interpreter? Well, yeah, we can find one for you. Oh, but only for two days, that's all. My promotion is to build access in the arts. And that will help the aesthetic, the design become the primary goal. When a person is creating the art, it should always be the standard, not just the Band-Aid. Now, remember, everyone should be equal. You should be there to appreciate the art. You might hate it, you might love it, but that doesn't matter. The fact is you're still there. Similarly, art and access should be melded into one, like a child. When you offer them nurturing supportive environments and understanding what it is that we could do together and make it happen, not just single out the one and make them feel, ah, okay, you're invited. No, you should be feeling that way automatically and we all work together because we are all petals that create the beautiful flower. Not just, oh, that one petal? Absolutely not, we are all together in this. That will help the child who becomes a citizen to contribute back into the arts and into life and to continue to be just human. And this is always the question. This is always the beginning of the discussion. Well, where do we start? Well, I have some ideas. Oftentimes, we leave all the decisions to the cis white male who makes the decisions for us. That needs to stop. We know what we need, we create the art, we go and see the arts. We represent all areas. We should be the ones included in what the aesthetic looks like and how the accessibility comes together. It's not separate, it's not siloed. We, the people who are in the process need to be involved in the creation and the start of this building process, doing it together, not as an afterthought. And these folks are the ones who owns the property, owns the dwelling, this building, whether it's cinema, an opera hall, dance studio, it doesn't matter, any venue. Then you have the architects who design the buildings, the designs of the items in the sound engineers, the rigging engineers, they make all the decisions. They never ask us. It's already set, built, and we're stuck with it. And that's not really accommodating. That's not accessible. And of course, the people who come to see the play or the artwork, they wanna look socially elevated, they wanna enjoy themselves, they wanna see art and do appreciate the art. And at the bottom line, it's about making money. We see changes, but it wasn't built perfectly originally of course, art needed something, but it's not adequate. The space cannot meet the art perhaps. So what a conendrum. We had to work around and work around and work around has become the theme. And that's been happening, which led to problems and chaos, injury, et cetera, et cetera. And the hurt happens to the people on this list. The performers, the dancers, the musicians, directors, the directors including sign language, text codes, the dramaturgs, stage management team, the company manager, lighting teams, sound teams, costume teams, set teams, production teams, public relations, art administrator, access coordinators, film production team and the patrons. They are the ones who should be included in what have not been. And it's almost as if it's a cat and mouse. And when something happens, it does impact the additional list because they are accountable. When something happens, well, of course, the team who designed the building jump really quick to try to throw these band-aids on and make the fixes well, because of safety, right? That's the priority, but access is not. And that's the hugest difference. Typically, they'll reach out to part of the people who should be involved, but not all. But when we talking about access, you can't pick and choose. You can say, well, the stage management team, they're important, they may listen to them. Company managers, okay, they'll listen to them. Lighting team, sure, listen to them. Set team, okay. Production team, absolutely. Oh, PR, people are coming to see the show, the building that we're designing. Boy, oh boy, we've gotta look good. The art administration, they're making complaints. Then we make changes aesthetically, but access? Again, that's the last thing on the mind. Patrons who come to see the show, they're left at the bottom of the list. So the problem continues because not everyone is involved in the discussion. The performers, the directors, the dazzles, the directors of the artistic sign language. The script coach, oh, they don't bother them. Sound team, costume team, not so much. The production team, sound team, costume, they don't seem to have any importance. Why should we listen to them? How can they help with the facility? Oh, they don't matter. It's time that we make the change. All of the people that have already listed performers, directors, dazzles, text coaches, dramaturg, stage managers, the company manager, lighting team, sound team, costume, set team, production team, PR, art admin, patrons, everyone should be involved, period.  Talk about what the issues are. What are the problems? What is the wish list? What are the possibilities? It's a two-way street. It's a dialogue. And universal design consultant should be included, a UX and a UI designer team. But should they be involved? Perhaps. We need to start building access in the arts. This is what it should look like. It shouldn't be about access for disability. No, no, no. Access should be access for everyone in the arts. Art, artists, designers, producers, patrons, coordinators, everyone, everyone has equal importance. Truthfully, our job is to remove the obstacles. Ironically, we haven't. We've just added more. How can that be? Here's an example. We have access, but gee, only on two days to see a show with interpreters? What? And that access must be provided with an ID card in order to get a tablet for captions or for a listening device. But what if I forgot my ID? Oops, too bad for me. I'm a short person. I need to have a bolster seat so that I can sit and see properly. Should I have to carry it to my chair? If I was a wheelchair user, I'm limited to sitting in only a specific area. I can't just sit anywhere I want. The same with the deaf. We have to sit where the interpreters are. We can't sit where we choose. And then having empty spaces for wheelchairs. Well, then you may be stealing a seat from another patron. Oh no. And then they complain about the cost. Oh, we have to pay for sign language interpreters or we have to pay for audio describers. Oh, we have to pay a person to type out the closed captioning. My, my, my. Those are obstacles. Oh, shucks, we didn't have the budget for that. And that has happened before and again and again since. So now what? Remember, I was talking about universal design consultants. So who invented universal design? Ronald L. Mace. Really interesting. Who is this guy? Well, he was born a normal baby. But at the age of nine, he had polio. He stayed hospitalized for a year. Came home as a disabled person.  He went to North Carolina State University. Was studying design and architecture. Graduated with an architect's degree and worked at a firm for four years and realized, the design is for white people who can walk and without any disability. That had to stop. So he went back, started teaching at North Carolina State University in the 1970s. And that's when he began real deep dive into analysis of what is accessibility or how's is accessible? How brilliant was that? So universal design was made for humanity. Imagine that. That's when we decided it was about stopping those folks to design for us. No, we need to design for ourselves. That's the solution. So what is universal design? Well, you know, when you're out on the street, you see the sidewalk, right? Back in the day, there were no curb cuts. So wheelchair users were stuck having to hop up and hop down. How difficult is that? It's a challenge. And therefore led to complaints. So universal design came into play.  Why? So the people in the wheelchairs, I mean, how many people are there in wheelchairs? Like seriously are gonna be using curb cuts. One out of maybe 500,000 people? Oh no. Oh no. Think about it. How many people do actually use a curb cut? Mothers with strollers so they can travel with their babies. Oh, delivery folks that are bringing packages, bicycle users, many, many people use curb cuts. Oh, it was not meant to benefit just people with a disability. It benefits everyone. That's why we have universal design. Another example. Say you have the outdoor bank tellers. Regular drivers can drive through. Your car might be a little bit low, that's okay. You can roll down or open up your window, take your cash out. Cool, fine.  I can't reach the buttons. I can't get to the ATM. It's too far. So you have to open your door, step down so you can get your money. Well, there's a design where the actual ATM can be lifted or lowered. That's universal design. So he created a lab to help further analyze what things are needed to be considered in building a home. And the products involved. I did include a link here if you want to take a picture of it, screen save it and maybe I'll post it later a matter of fact. He designed for human diversity. Ronald L. Mase, Universal Design Institute is a non-for-profit organization based in North Carolina. Dedicated to promoting the concept and practice of accessible and universal design. That institute's work manifests the belief that all new environments and products to the greatest extent possible should and can be usable by everyone, regardless of age, ability and circumstance. What a beautiful mission statement. That's something that we all should strive for, including in the theater arts and arts in general. So Universal Design has seven principles. Principle number one, equitable use. Principle two, flexibility and use. Principle three, simple and intuitive use. Principle four, perceptible information. Principle five, tolerance for error, but still usable. Principle six, low physical effort. Principle seven, size and space for approach and use. These concepts are what we need to keep in mind when we come together to develop a design for our space. Well, another thing, oftentimes we rely on the internet to get information about the arts and dance and music and museums. We search, click, click, click and oftentimes that in and of itself is a challenge because everything nowadays is digital, but sometimes I'll look for something and I cannot seem to find it. Where is it? Oh, there we go. But it's not often that simple. Sometimes I have to change the contrast because my eyes cannot tolerate the brightness. Sometimes the website is not allowing that. Sometimes the website doesn't allow the change to audio for people who might be site impaired. It should be something very easy to change it to different colors, different contrast. That's where the UX slash UI design comes to play. Technology we need could be computers, whether it's desktop, laptops, smartphones, tablets and of course, you need to have your brain and your eyes and your ears to navigate, right? So how do we find this information? And like I said, with theater and arts, dance, using UX UI, that can help us to create a more friendly and intuitive setup in all of these areas for the dance companies or theater companies to allow the patrons to be able to easily find us and access the information. So what is UX and UI? UX talks about the user experience. How does it enhance their ability to feel that sense of satisfaction, improve the usability and accessibility and emotional impact of a product or service that they're looking for? And that's during any interaction, not only by a computer, but by things as well, like a loop system where they can connect to having the hearing enhancement. And then UI, which is the user interface, designing the visual elements in an interactive component for product focusing on creating a visually appealing and user friendly interface. Again, this is why it's crucial to have them both included in design, universal design, UX, UI can help us create a best art experience for all. Here's the question. What are we waiting for? Definitely food for thought. Give me one moment. Okay. Thank you so much, Professor Holt. And thank you, Jenny, for everything you shared with us today. I would love to open up the space for questions. Would anyone like to ask anything to Professor Momo or share any thoughts that they had after this presentation? There were a lot of cool ideas presented. So I'd love to have a conversation about them. Feel free to raise your hand through the Zoom feature, or if you'd like to, you can also simply unmute and talk. Yes, please. In the meantime, while people think of their questions, I have a question for you, Professor Momo. I wanted to ask, I saw in your presentation that you'd mentioned artistic sign language and I was just hoping to learn a little bit more about that. That's something I've heard of before. So what is the relationship of that with Peter and what are the differences between, I guess like normal American sign language and artistic sign language? Right, well, funny you asked because right now I'm writing a book speaking about Dazzle, it's a handbook. So basically, well, most people don't realize that American sign language is currently what we're using right now, but ASL also does have regional signs. There are period signs, there's different rules. So when we're doing Shakespeare, we can't just use American sign language. We're gonna need to have a person who's generally a deaf person to do the analysis of Shakespeare and doing the translation from Shakespearean texts into signing Shakespeare. So that's one of my fields. And I would help an interpreter or help the actors prepare on how to sign in Shakespearean sign language. Also, for example, if we're doing a play by, say Craig Lucas with the light in the piazza, light in the piazza, he speaks in Italian, right? As part of his play, he speaks in Italian, therefore I will help the interpreter on how to sign it in Italian. We teach the actors how to sign in Italian or in French or in Shakespearean English. So it's almost like an accent coach. So a director of artistic sign language is a sign coach, translator, a script analyst, educator, does create videos, coordination. It's a very complicated job. That's what a dazzle does, a director of artistic sign language. Excuse the interpreter. Thank you. Thank you so much. Thank you for answering that. I can see Holly has a question. So Holly, feel free to unmute and ask it. Sure. Thank you very much for your presentation today. I was wondering if you could give any examples of productions that you've seen or theater companies that do this access, the closest that you wish to be seen and also a website that has the UI interface as an example. Yes, I'm happy you asked this question. For example, the Metropolitan Opera in New York, they have all seats. So like at the airport, you have the seating chart where it's all available.  So that means anyone anywhere can see the show at any time on any date. So why can't we allow that to have a screen on the back of every chair? Like seriously? And it's automated, it's already on. So that's one problem that I have with people talking about budgets. Many theaters complain, oh my gosh, we have to write a grant for that. We need to build that into our budget, the audio descriptions or visual descriptions or sign language interpreters or captioning operators. Well, why don't you just have something already ready? It could be automated, you have a plugin if you need the audio enhancer, but no. So why didn't you build that into the architecture? And that's why I'm talking about when we're looking at facilities, things should already be built in why do you have to bring in an option captioning device? If it's already there at your seat, all done. If you need a loop, you can just, like you do in those fancy airplanes where you can open up the side of your armrest, there's a loop already in there, you can pull it out if you need it. If not, leave it be, why not? We have enough loop systems or they'll complain, oh, we don't have any, we have to get some from another theater, et cetera, et cetera. I think if you do mass production, you'd get them cheaper. Can you imagine doing that for like every single theater in the United States? If they were to buy it by that volume, it would cost so much less. It's a no brainer, really. Thank you. Sure. Amazing, thank you so much. Any other questions in this case for Professor Momo? I do have one story I'd like to share. Please. I was working on my thesis and talking about universal design in theater productions. And the thesis committee didn't understand my paper. They're saying, well, we'd like to help you, but we don't know exactly what you mean. I said, well, explain, explain, explain, and they still didn't get it. So they ended up going to Poland for a theater conference in Gretowski Conference. And so they flew out to their conference and I was under a time crunch because I wanted to graduate in December, but I was patiently waiting for them to return. They went to the conference and came back and she says, oh, I get it. I know what you're trying to say now. Go ahead and write your paper. And I thought, hmm, what happened? So she explains. So when they get there, they have to decide which show to see. So they selected a German one woman show. Now they had German translations to English, which was fine. So they sit down to watch the show and the person stands up. One person, nothing special, really. Simple lighting and just ranted for an hour and a half. That was it. Boring, nothing exciting. Okay, next show that they wanted to see. They had heard a lot of people talking about it and was saying, oh my goodness, this Polish guy. He's an amazing performer. Problem is they didn't wanna see another solo performance again. They wanted to see an ensemble. So they passed on that one and saw a very interesting one. The four Farsi speaking women performing. Well, that sounded interesting. Definitely decided to go watch that show, sat down and realized there's no translation. Okay, well, maybe we can understand. We'll see. Four women come on stage in black hijab, can only see their eyes. So they're standing there with music stands and spoke all the way. No movements, no music, no lighting, no costume change, nothing. She was lost. Everything was not accessible, not universal. That moment was when she understood the importance of having the lighting, costume changes, the sound, everything brought together to make that universal accessibility there, to be able to follow along. Maybe captions would have been challenging, but maybe some kind of movement to try to figure out what might be going on. You could hear a language, but you don't understand. So that whole concept of loss in translation, that was a perfect example. And it's about pushing to have universal accessibility incorporated in the design. Now this is a theater presentation, but what I'm talking about is facilities in my presentation. We have seen many new buildings coming up right now. We have a new one, the Perlman Art Center in New York City. And so I did see the video talking about, the facilities and I was very impressed, but I always ask the question, how accessible is it? I need to go check that space. Again, how did they come up with the design? Did they include all those people that I mentioned? Were they all part of the consideration? I don't know. And I did get my MFA degree. And you clearly deserved it with all of these ideas. That's awesome. Thank you so much for sharing that, Professor Momo. Again, if there's any questions in this space, please feel free to ask them. In the meantime, I did have another thing that popped up into my head when you're talking about facilities. CSAL works with children. That's our main thing where we put on theater sensory experiences with children. And I know a lot of us are future educators, future counselors who wanna work with children. I wanted to ask what could universal design look like in spaces where children are involved, especially in school spaces or other arts education programs or camps where children, many of whom could be disabled or deaf or deafblind are a part of, our main stakeholder in the process. Wow, yes, yes. Wow, that's an excellent question. I remember a person talking to me about a deafblind school and they set up a running track, which is basically like a clothesline. And so a blind person could be involved in exercising. They hold on to the clothesline as they're running. And it's a guide and there's a cushion where if they do bump into something, they're not harmed. So why couldn't we include that into acting spaces where blind folks want to learn how to act? I understand it's the fear of getting hurt. So when we're looking at the environment, think about ways of how we can make it safe enough for the environment to be that much inclusive. It's really not asking too much. And I think it's really important when people need to travel and experience various facilities, visit different facilities, see if you can trigger ideas and borrow some from a place that you may be visiting and create a similar environment in other places in the country. That's such a beautiful answer. Thank you so much, Professor Molo. Amazing, we also have some online viewers who said that this session is a great presentation and some awesome ideas and they learned quite a bit. Great, if there are no other questions, that means we can thank Professor Molo for the wonderful presentation today. We're so grateful to learn about this from you. If you could drop the link that you shared in your slide in the chat, that would be awesome. No problem, I will do that. Again, thank you so much for having me and giving me a chance to talk about this concept with you all. Thank you so much. Thank you, Professor Molo, thank you so much. We've loved having you. Amazing, so to everyone to the audience, our next presentation is at 11.45 a.m., so we do have a little bit of time before it. You can take the next 30 minutes as a break. Please be back by 11.40, so we are in time for our next presentation. This one's a little more interactive. We're gonna be doing some exercises on storytelling. So if you can have something to write with, a paper and pen or just your phone, something to type things with, that would be awesome. Thank you, everyone, and I'll see you at 11.40.