Okay, so we're going to make a start. So thank you for the people joining us and welcome to meet the science artists of the EU General Assembly, where each of the four artists not in residence featured at this year's EU General Assembly will be discussing work. They made during the conference, how they brought together the worlds of science and art. My name is Simon Clark. I'm the EU's Community Programmes Coordinator. And today's webinar structure, we have four speakers, each giving a slot to discuss their art, followed by a Q&A session after all speakers are finished. For the question, please enter at any time by clicking on the Q&A tab at the bottom of the screen. Where you can also upvote questions and questions that most folks are more likely to be asked. Although we'll try and get through all questions anyway. Note that this webinar will also be recorded and uploaded to our YouTube channel, which is Eugeo Sciences. So now I want to introduce our guest speakers today. We have Andy Emery, who is a creative writer, Kelly Stanford, who is an artist, a science communicator, and also a convener of the General Assembly Arts and Science EOS sessions. Thank you for joining us today. Hello, right, so I'm Kelly Stanford. I'm a science communicator and researcher at the University of Hull. And as Simon just mentioned, I also convened the Exploring the Arts Science Interface session at this year's EU conference. And I was also one of the artists in residence who basically did portraits of many of the conveners and speakers at this year's conference. So I'd like to just quickly go through some of the art that I produced. Let me just share my screen. Yeah, so this poster I created to advertise my session. So if you missed it, this session was all about combining art and science together. So it was mainly highlighting collaboration between two showcasing how science communication projects used art as their medium. And it's really interesting because it gave everyone a chance from outside of even Geosciences to get into each EU and show what they'd been working on. So we had at the start about 30 people submit abstracts showing their projects and work and stuff that went down to, I think, 27. Yeah, we had a very wide range of different topics covered throughout the Geosciences and Medium Showcase. We had people making, like, these science quotes. So each little patch of this quote represented a bit of their own, like, research. So we had photographers showcasing that astrophotography, we had people sculpting waves out of glass. It's really incredible to see so many different, you know, scientists and scientists who had to collaborate with artists all in the one place, you know, discussing what they'd done. And it's really nice to see them then after the conference meet up and discuss further collaboration. And even possibilities of coming back next year to showcase what had come out of these brand new collaborations as well. I was also on the EDI coloring book project panel. So I was producing these, these like coloring pages of various attendees and speakers at this year's conference to show the diversity and give more representation to everyone basically. I just thought it was a really nice way to get people out of their comfort zone and start, you know, making art and stuff. And it's also quite relaxing as well. Let me just move on to some of the portraits that I created during this year's conference. So we have Daniel Parsons on the left, aka my big boss at all. He's also the head of the Geomorphology Division at EGU. So, yeah, no, no pressure, no pressure, pressure painting him this year. Then we've got Christopher Jackson, who is amazing volcanic researcher. He was one of our great debate panelists this year and all around really nice guy. I absolutely loved creating this portrait. I'm so happy he liked how it turned out as well. I also randomly picked out people at the conference as well. So we've got a researcher here who's at her research desk, analysing soil samples for science and micro, you know, microbiology processes such as like trapped chemicals and stuff like that. And just wanted to showcase some of the work desk, because a lot of times you don't actually see people's desks and stuff like that. So I wanted to just show some of the stuff that was in their office in this, you know, in this portrait. And also because it was after I wanted to do a painting of Greta Thunberg as well, which you can see on the left here.  I had to do it really quickly in like 24 hours to get out for the next day. But it's funny the last I think it came out pretty well for you know the time spent on it. And then we've got another great debate panelist to our right. She did a lot of stuff around Antarctica and ice sheets and stuff. So I wanted to show her battling the elements. It's great explorer, basically. And the person on the left is one of the students from my Institute who was showing her first paper at this years. Each year I did this open call throughout the Institute, basically say if you fancy a free portrait hit me up. And her research seems really interesting. It's basically analyzing these worms if you wonder what they are, they're basically a species of sea worm. And I wanted to show that as well and how they influence the habitat in those areas in these coral reefs and the beds basically. Yeah, I should have heard a few more illustrations because I did do quite a lot but I think I'll use this time to also highlight some of my other projects as well because they're quite diverse quite interesting. But I've done that I actually exhibited at last year's EU conference was this card game resilience which I created with the help of Dr Chris Skinner you may know him from being the head of the games night at EU. So we worked together at the University Hall to create this competitive card game, which aims to try and teach people about flood resilience is a flood risk and also climate change as well. So the whole idea is you'll have two people facing off against one another, trying to build up their flood defences while also sending various natural disasters to your opponent, and just seeing who can make the most solid flood and obviously figure out it's not as good as it, but the interesting thing about this is we actually did it as part of the study as well. So there's actually three versions of this game so one's got this full colour artwork, there's another version that's just got line art, and there's another version that's got no artwork at all it's just text and stuff. And basically what we wanted to do is we wanted to play test it and see which card game was more effective at making people retain the knowledge from the cards so each card actually has facts and information about each flooding subject. And you kind of need to remember this in order to effectively play the game. And we found out from the data that we took that there was actually a significant difference between people playing this full art version and people playing the line art and text only versions we found out that the line art version was actually the least effective with the text only version coming up second and then way ahead with knowledge retention was this full art version. So basically we've proved that having art alongside research and you know learning materials is extremely effective at people you know getting people to actually remember the information on subject and stuff. Yeah, so I'll show you a bit more about this game actually. So here's just some pictures of people playing play testing it in mass out various campuses and stuff right to try and get various communities different age groups to play it just to make sure that we had a solid data set. It was quite difficult because at the time we started play testing this game unfortunately COVID hit so due to you know social distance and stuff like that. We can run as many of these sessions as we wanted to, but luckily what we did was we digitize the entire card game all the learning materials like the rules and stuff. And also the questionnaires that had to be filled in for an after and people could basically sign up to the study, download and print the materials off play test the game then submit the data later. And thankfully we had participants from all over the world we have like, I think 25 countries or some ridiculous take part in this study. Play testing the game is sending back data so thankfully we're able to confirm our suspicions that actually yeah the you know card games are extremely effective and it does matter if you've got on them or not. And at the moment I'm currently transferring on to a PhD we're going to be going to produce a follow up game. And the next game is actually going to be a collaborative one so next part is seeing whether the style of game matters. So basically, competitive versus collaborative, what will influence knowledge uptake more. So yeah, that's going to be quite fun. Yeah. I think that's it. Excellent. Thank you, Kelly. Great. I have actually played resilience before an EDU General Assembly and I remember I actually really enjoyed it. But I'm also prototype one that was that was the, the pre version so another key aspect was like the entire game production process just like making these prototypes, taking them out, taking them to you know various groups in the institute and play testing it and seeing what was, you know, more effective I mean based on feedback we got in those early play tests and especially at EDU actually, that's the reason why the cards look extremely different to what they did. Yeah. So that EDU in, I think it was 2020 or maybe before that actually, no, no, yeah, 2019 sorry. Yeah, so based on you know feedback and stuff like that people want to see more of the artwork and stuff so basically we thought, right, the entire card's going to be the artwork. And I actually put it down for that. So yeah, that's probably a great example of where, you know, collaborative research at EDU is coming extremely helpful for projects. Yeah. I found it really interesting as well, but at the same time I've had scientists as well so I'm probably quite biased. Right, so we're going to move on to our second speaker now, Andy Emery, if you'd like to take the floor. Hi everyone, I'm Andy Emery. I'm a geologist working in the offshore wind industry, looking at wiggly lines on geophysics. But in my spare time I also like to amongst other things, write prosaic poetic creative words on numerous things that are important to me, mainly including landscapes at some point, because most of what I do involves landscapes to some degree. So this year I was one of the artists not in residence at the virtual EGU 21. And so my kind of aim of this post or role as one of the artists not in residence and was to communicate science through creative writing and communicating science is a very difficult thing to do because science isn't particularly emotive in how it words or how it puts across scientific ideas. So that lack of emotion can actually go some way to hamper the way that science is communicated. So by creating this emotive writing. I hopes to connect scientists and non scientists because once we have this emotional connection, it becomes stronger and people can then begin to understand why what we do is important, and how geosciences can effectively help us with getting to a more sustainable future. So my actual writing process began with finding a topic so this was quite difficult to do because EGU is massive. There are tens of thousands of scientists all presenting fascinating research. So the way I went about finding a topic was basically I put posts on Twitter and encouraging people to get in touch with me, but also browsed through the program and tried to find topics that interested me. So once I found a topic and had spoken to the author about whether they were happy with me writing something. I then had to really read what they were writing or read or look at their presentations and try and understand the science that they were doing. And this is very difficult in some cases because there's a lot of science out there that just blows my mind. There's a lot of people doing incredible things that I don't have the slightest idea. So that was really, really difficult actually, and I actually surprised me how difficult I found it, because basically I wanted to write something that was both creatively interesting but also scientifically correct. And then once I've understood the science, I'd probably go make a cup of coffee or just step away from things for a bit and then essentially just start writing and let my imagination flow and convert what I'd learned into something more emotive. So there are quite a few different topics that I wrote about, and I think I wrote eight or nine pieces in total. And so this quote was put together a nice image by Hazel Gibson, and she looked at all my work and matched them up to some nice images. And then we have an example of some of the work that I did, and this came from a piece writing about how changes in tectonic plate motion have kind of been reanalyzed in recent years, and so that was a really interesting piece of work. I wrote about the conference experience itself because this year and last year, unfortunately a lot of us, well, all of us were unable to go to Vienna, and the conference in Vienna is such a magnificent experience, and I have so many fond memories of being there. So I wanted to take those memories of the actual conference experience and write about them and try and share with everyone, the conference experience. So I'll just do a quick reading and a piece, the first piece that I wrote, which is called white blossom. And this was about my memories of arriving in Vienna and going to the conference center. From on the wing, a lookout over spring, distant alpine giant sprinkled with confectioner's sugar snow, delicious and tempting, like the window of a becker eye. The subdued silence of the Sunday S-Bahn split by scientists converging by the baggage plane, transported down the Iron River to be deposited around Vienna through the distributed channels of the U-Bahn. City streets are surprisingly savage spring sunshine, huge shadows, crosswalks, boutiques and boulevards, suits, refuse collection, road works. And we under three block and block, making my way towards the conference center. Bleary, a miscommunication over coffee supplies, I lurch along, following my nose towards an en route cafeteria to jot my brain into action, followed by breakfast pretzel to replenish vital salts and so called last night's catch up with old friends. My path takes me to the arteries of the city, pulsing with transit, first below the bridge to S-Bahn and the OBB between Handelskai and Trezengesse. And circling on a concrete thermal with the busy dual carriageway to soar over the Donau on the Brigettenauer Brücke. The roaring autobahn provides the final spaghetti of concrete to cross before being released into Donau Park. The suddenness of space as I step out from between the blocks onto Brigettenauer Brücke shocks my system, exposed into a sweltering blue sky, a continental high pressure sun, a dry center of rubber and alpine breeze. Bellamy, pearlescent flux, an amorphous opal thread woven under bridges between streets, past tiring spires, and around pleasure park playground aisles, langerous but full of potential energy and suspense, the Donau flows, altered course but constant presence through geological time. The piece of the park, its melodic blackbird symphony, wobbles perched on the ornamental bushes, azalea and asa, is slowly underscored by a growing tremor, a tremble-mon de terre of 15,000 international geosciences, approaching the prismatic, brutalist Austria center. White blossom excoriating in the spring morning light, apple and cherry and pear, lining the past that blod through trimmed meadows. The final ramp takes me under the arch of the Saturn Tower to arrive on Earth with Earth scientists awake and alive and ready for the first day of the General Assembly. So that kind of gives you an idea of the things that I was writing about and kind of a nice example of my writing style. If you want to read more about my writing, you can go to my website, dogabankheartcollective.wordpress.com, and all of my EGU work is there in the post called Flock Roundup, but there's also lots of other posts that you can read about, lots of other different things, and a lot of my work is saved there in various forms. If you just want to read the actual Artist in Residence posts, you can go to the EGU blog, the geologue, and look at the Artist in Residence category, and all of my work is also saved there. So that's it from me. Thank you very much. Thank you, Andy. I actually found that quite relaxing listening to that read. So we're going to move on to the next speaker, which is Bianca, if you'd like to begin. So hi, everyone. I'm quite excited to be here to present my work during the EGU this year. I was actually selected last year, but COVID I was not able to really be very productive. So this year was welcome change. And the interaction was quite fantastic. I found abstracts from very different domains in science. We want to it. So I am a PhD student. Yeah, so my profession, I'm an aerospace engineer, I just finished my PhD from to move to Peru. But I have been involved in a lot of art science projects. I'm recently the artist residency and I was also a crew artist during an analog simulation mission of an astronaut simulation. I'm doing gallery project for sending something to the moon in the coming years, and digital art ship concept. So what drives me is space it just makes you dream so much so this just to show this is a painting that was the first painting in space by the astronaut Alex Eleonore. This is Thomas Pesquet, who played his saxophone solo just to show that how art and cultural and integral part of our lives, even for something as technical as an astronaut job. So moving on to my contributions for EGU. This was commissioned by a scientist from ESA was collaborating with NASA on a joint cooperation hyperspectral imagery. So my medium of drawing is for EGU was through my graphical tablet. So this illustration was done in maybe two hours, but it took me one entire month to get get it that are dated by ESA and NASA for the usage of the locals. So one thing that I found was a barrier in science art in today, thankfully, worked out and I was able to actually show this drawing during one of my recent art science conferences. Next, this was an interesting collaboration I had with someone who's trying to do air quality monitoring in Africa. Sometimes it's quite difficult sometimes to strike the right balance between what you can depict what you cannot do politics. So many things. So for me this was a very interesting experience in just doing just producing what I wanted to produce and not really worrying too much about everything that could take it under. Next, again another thing that was a bit not comfortable drawing was this map of India which is the territorial boundaries of India are questioned by several depending on who you're asking. So I said okay fine I'm from India so let's just use the map that's provided by the government. And this, this artwork is basically to show how the models you're using for air quality monitoring in India are based on models that are to organize and based on Europe or America and it's hyper organizing these places while in India it's the situation is a bit more chaotic so you need to keep that in mind while making your models. And this one is personal favorite. I made it in collaboration with person on high, who also won an award for his research. And it shows how you find the same structures from beat in the microscopic scale or in the microscopic scale. And so everything which is in the circle. These are images from Christoph's own work. And I tried to fit it into a composition in a microscopic scale. Apart from a few. Some of my other projects right now are this exhibition I have stars these are nice words where I'm taking mathematical equations and converting it to artwork in this case, equations of planetary moments. So what's in blue here is that tiny bit of artwork that I'll be sending to the moon I can give you more information later if you want the digital art spaceship of which my work was a part. And my analog astronaut mission during which I also created some artwork, which I'll be again presenting during another conference. This is an art project that I have as a as an art curator so the idea was to invite other artists to come to contribute some work on the topic of women in aerospace and we've got about 30 different pieces about how different communities perceive space in their own communities in Africa in India in the United States. It was quite a healthy mix of artworks quite interesting to see what people had to say. And project in Antarctica next year, because of COVID got delayed so I still have some time for preparing it. And if anyone wants to collaborate I'd be happy to talk. Thank you so much for your attention I would really like to thank you for giving this opportunity, and if you want to follow me on Instagram. I just recently created it's not too many work pieces on it right now. I invite you to follow me there. Thank you. Thank you. A lot of projects and going on to go there. That's quite exciting. Thank you to the final speaker before I move on to questions. And is Stacy. Yeah so hi everyone my name is Stacy Phillips I'm a geologist and lecturer at the University of whole currently. And I was one of the four artists in residence this year I was also like Priyanka's supposed to be one of the artists in residence last year. But I managed to do that online as well so I see the photos that you can see on the image here on the screen here are my Lego photos that I did for you last year. And yeah I'm a Lego photographer and the idea behind my work is that I wanted to create an image for researchers to use. I guess primarily as a way of advertising their talks that you can use them in their talks just to create a really engaging image that people could kind of be attracted to their amazing research and Lego has a fantastic quality for allowing that kind of instant engagement it puts people's smiles on people's faces, and it kind of you're automatically interested in it. So yeah so these these are some of the photos that I made made from last year. So everything from kind of satellite monitoring to rain monitoring to volcanoes to climate stripes. And this is me in my in my bedroom last year with my Lego top on and my kind of workstation.  I thoroughly advertised myself on Twitter. And I was overwhelmed with people wanting their abstracts turned into images and I profusely apologize to find if I never got back to you and you sent me a message there were a lot more people than I imagined would get in contact with me. And thankfully, I was able to kind of, I was able to create quite a lot of content because I had a quicker turnaround for being able to kind of build a set and take a photo of it and get people's approval and get it out there so that people could use it to advertise their talks. So yeah we had everything from again we've got ancient peatlands. This was a bit of a take on the, the term bed forms. So I've got three Lego figures in their pajamas, enjoying various different bed forms, depending on how turbulent the water is around these, these marine features. Yeah, forest fires. This is a depiction of the Andes, the Peruvian Andes where a glacial runoff is causing toxicity in some of the glacial lakes there, because of the rocks that are now becoming exposed. And, yeah, my images they tend to be kind of depictions of geologists or scientists in the field doing their fieldwork in the lab they're things of landscapes. And some of them like this one in the bottom left this is a representation of the magnetosphere and yeah curves and angles are quite hard to make in Lego. So I was pretty proud that I kind of came up with something that might depict what the what the kind of magnetosphere might look like in the kind of diagrams that you get in textbooks. But yeah really fun to make. And, and quite simple to make actually I enjoy sharing kind of behind the scenes shots of what the final images are so this is, this is the kind of the set that I met that I made of the Peruvian Andes. And I managed to get to two slightly different images. I was contacted by two people from the same kind of broader research group both asking for them so I was like, I can use the same mountain setup for that. And literally the background is a blue is a blue top on the, the, to make the water in the foreground I've just got a sheet of colored paper covered in cling film, and it kind of picks up the light quite nicely so really simple setups to make quite effective images I think. I did manage to get outside for one of my photos so primarily I take my Lego minifigures out into the wider world and show how they interact with it. But yeah I've managed to manage to get a good day to go outside and do this little depiction of a researcher in Australia measuring pollen from their little measuring station. And then I think this one is probably the favorite image that I that I made this year so this was depicting Felix Reed's work where he was looking at how the the Larkasi eruption in in Germany I think it was about 17,000 years ago, how ancient civilizations responded to that and then how we can use that to kind of predict and project how civilizations might react to bigger natural or equivalent natural phenomena in the future.  I kind of built a little volcano in the foreground and this is these are just boxes like there's no high, you know high tech setup here this is on my screen I have some boxes I have some paper. I've kind of laid it through, and I've kind of taken the shot and then in post production I kind of made this look like it was ancient and then these are these are my futuristic futuristic peoples with their kind of neon neon clothes and their technology. Yeah I think this is this is one of the most the more interesting images that I managed to make this year so quite happy with that but yeah it was this was this was my home studio with bits and pieces. You can see the remains of the magnetosphere over there and boxes and boxes and boxes of Lego which actually the fact that I wasn't in Vienna made it a lot easier to do this type of work because I, I dread to think how hard it was going to get all to get some of my Lego all the way over to Vienna, and be able to do similar sort of work so I was quite glad that I had access to all my bits and pieces this year and last. Yeah, if you want to find out more about my work so I primarily put stuff on the Twitter and Instagram and the main other kind of part of my, my artwork is I make Lego stop motion movies. So, build a set move a move a figure at a time, small increment take photo do it again do it again and so I've done a variety of different ones on both my my recent PhD research but then I've also had a couple of commission pieces so I did one for the I didn't see about things that live in lakes and I've done some for the astrobiology. Open University research group. And so yeah they're there on YouTube if you want to go and go and check them out. Yeah, I've, I thoroughly enjoyed being part of the artist in residency program at EGU I wish it had been in person for some reason, first in some parts but yeah there were advantages to being able to take, take images in my pajamas at home. Yeah, and then this is a little little leaving shot of the four artists from this year so I will, I will leave it there and I guess we can move on to questions. Excellent. Thank you Stacy. I'm immensely jealous of your collection. Yeah, so now we can move on to question a few. It's an overview. The one thing actually this is more for me, but no one else. What was in my head was, you're all researchers auto artists. I was wondering, how do people respond to your science art to typical science communication methods presentation. I suppose the audience should just be something to be considering of researchers you're considering. Really you, given you kind of I suppose worked with that with your game perhaps you might be able to start with an answer for that at all. So how's the best way to explain. So I'd say that people like you don't think about the art when they look at science and stuff even over two were obviously interlinked throughout history I mean if you look through like journals such as you know, what's it called now, like the Royal Society transactions and stuff like that, like the oldest journals, there's always artwork like depicting, you know what they've discovered like you know, setups of various contraptions have made to carry out the experiments and things they've observed I mean look at, you know Charles Darwin on his Beagle missions. So it's very interesting when people, you know, interact with your site projects and like oh I never thought of science and art together. And it's like, well, it's it's it's always there. So yeah I find it really interesting how the two seem to be, you know, treated as two separate entities when they're very much the same and I'd say, even through like the methodology they're very much the same the process of creating stuff and figuring things out. Like, it's quite the same as well from doing both sides I find that, you know, the experimental process it kind of overlaps, shocking how similar the two are, even though, you know, art and science is treated as these two different things. It's quite interesting. And I also find that the art is extremely good at attracting people from outside the science people who are, you know, like, afraid, quote unquote of like scientific subjects and topics and stuff like that. So it seems to like think, because of stereotypes, oh, you have to be like this extremely clever Einstein figure to get involved with STEM and it's not the case I mean anyone can be involved in science. Like it's not, it shouldn't be subjected to a specialized group and I find that the art is extremely good at breaking down that barrier and making people, you know, the public relaxed enough to actually approach these subjects and then ask questions about these subjects without, you know, feeling, you know, nervous about asking things as well. So yeah, I find that's quite good. I've seen that in a multitude of different like mediums whether it's painting, drawing. I do these science communication sculptures. I found that they're extremely good at getting random people off the street to approach out curiosity and then get into the subject presented on the sculptures. It's just, it's really interesting. It's a really interesting question. So I suppose it really kind of helps of engagement by making it more approachable, but also, there's quite a lot of similarity between science and art and art. They both engage that area of the range of our deals of abstraction. Yeah. Because it's often that I do find. If I always get that question of are you more creative or more scientific will actually. All scientists are creative. Yeah, quite. And it's laid off people don't realize that. I mean you need, you need like creativity in order to be good at science otherwise you'd just be rehashing what other people have done. Yeah. I did actually get a question put in which is asking why to bring science and art together. You answer as well as well. The help to kind of communicate science and reach out to different audiences. One of the question I think this could be for anyone really is what advice do you have for people interested in creating science art, but who are and drawn how to get started. If you prank her would you like to like comment you've seen tough a lot of sure projects. Yeah, I think I started almost making a career out of science art. And yeah it's not evident in the beginning to find projects and it's quite it can be quite daunting or intimidating to see people because already finding projects and science is difficult. And getting funded for it. And now on top of that if you want to add art to it can be quite, quite a challenge. I would just say yes just attend events and see who are the artists in these events. That's how I got started for example in the space community I was looking for who are the people who are actually doing any sort of art in the space domain and if some of them are scientists or engineers and turns out half of them are in fact scientists and engineers, which can go back to the first question which is, yeah you need to be creative to be a scientist and art. To attach the quality of graphical art to art, but even musicians are artists, and there's so many Nobel laureates who were excellent violinists or pianists and it's really in your genes, or the way you train your brain. So to look for it. It's like in any other domain if you want to look for opportunities the first step is to look for them. And also not hesitate and also it's like it's not a set community, it's not a community with said guidelines, it can be working with Lego and being an artist so you can use any form of expression you want and just be creative about that as well I guess. So really just, I suppose go with what clicks for you and then look for opportunities or events for you to engage with. Yeah, yeah, but at least in my case I really like art and so for me science was actually just a medium for creating more artwork. That's interesting. Yeah, I feel like when I science art a lot of it is artistic medium for science communication but actually it can be the other way around as well. Yeah. And that can I suppose leads on nicely to another question. It's about trying to create a platform for yourself with social media or Twitter or a lot of stuff I see on Twitter, research, but also for it to talk and stuff like that. And I was wondering if there's anyone has any advice about provide creating a platform on social media to you. Is there any advice about science communication more generally or maybe just. I just post. Talk to people. Yeah, just all the various like science communities that are on there talk to people. It's really interesting collaborating. I find just like having fun with that and collaborating with the scientists is probably the best way to just jump into it. And I don't know, don't don't take it too seriously because then the fun kind of goes out of there. And while you're doing it, because I find that the best artworks come out of you when you're having fun most. Sorry, I accidentally put Stacey off. No, that's fine. No, that that was pretty much what I was going to say. I just like we have people get get ready. People people get really head up about like the first thing they post on social media or they get really anxious about it and it's like no one's going to see the very first thing you put out you just need to keep making stuff. And you keep practicing and you get better by practicing and like so the way that I got into all of this so I don't feel like I'm an artist like I feel the other three are artists I don't feel like an artist. I just take photos of Lego figures like that feels doesn't feel like the same Lee, but I I started on on Instagram and I've got modest following on Instagram like I'm not a I'm not a social media influencer by any stretch the imagination. I just took photos of Lego figures I followed hashtags and found that there is this entire community out there which was has been amazing and so welcoming and stuff. And then, you know, I, I got into kind of doing science communication stuff during my PhD. And I was like, wait, I've got this entire audience who were, you know, pretty broad spectrum of people from all across the world, who aren't necessarily artists. And I can sneak science into my feed by taking a picture of a Lego figure on a rock. And then I can describe what the rock is. And then suddenly I've got this, I've got access to this audience that actually science scientists trying to get access to the like is a really hard thing to do. And I accidentally found that I had access to the general public. And then from, and that was how this sort of stuff evolved it was just like yeah no can represent a lot of things in Lego. And it may as well be science and then it's engaging for them. It's engaging for researchers as well the amount of like I have presented at a conference before, and somebody has told me off for not including Lego in my poster. So where's the Lego. So like it works both ways. But yeah, I, I, I'd say yeah for people wanting to start just start it's the hardest thing but just just get going, give it a practice and have fun with it. No, no, you don't know where it's going to take you. So would you call yourself a Lego civil engineer? Maybe. Well people ask me that as well and I'm like I'm rubbish at building stuff they're like going Lego masters. I'm like no, no, no. I have one figure in front of a tiny little thing that I built that is a whole other thing. Build a household Lego. Yeah. As long as it's Lego I can build anything. Exactly. Exactly. That's the point. Yeah. So I suppose also with social media, even as you develop online, as you build the audience and then journey for you as well. It's not all about trying to put out there. Any with that community with you. And I suppose that kind of also goes to another question is what's the key challenge or communicating science art or I suppose even offer science. Andy, you touched upon some of these challenges in your talk with your writing. Do you like to under that? Yeah, I mean, so the key barrier I come up against is a scientific language, which is jargon filled and dry and incredibly difficult for anyone who isn't a specialist even in that subject area to interpret. So I think that's the key aim of what I do in the key barrier that I come up against. And yeah, in terms of other barriers, I can't really think too much, you know, the beauty of art is that it is free for everyone to try and make their own interpretations of things. And yeah, I suppose that's one of the key differences really is trying to make something that is accessible due to its language, more accessible due to freedoms of art. Yeah, so one of the pieces that I wrote, and TJ Young, who's the president of the EGU Christ Fair section, challenged me to write something about his research because he uses birefringent wave rotation to look at. And she imagines within ice sheets, using radio sociology. Now, to a lot of people, that means absolutely nothing. To me, even as a geophysicist, it means reasonably little, and to understand his work, thankfully, because he is a good communicator of science, I was able to take his work and begin to understand it. And then convert that from something dry and jargon heavy to something a bit more creative and fluid, and hopefully a bit more about it. And so I guess that's kind of one of the aspects as well, like it's easy to work with people who are good science communicators as pure scientists as well. Yeah, so a researcher looking to try and find a bigger audience for the research role, probably need to kind of also work on how they engage with other creatives and other things, it's not as you effectively do. Yeah, so it's just different streams of creativity. Yeah. So I've got one final question. And it was just asking how, as the last two general assemblies have been online. It's how has producing our own digital. So I guess that's kind of an open question as everyone's had with that. To change, but although Stacy, you did also mention by a menu, like a lot of Lego around, I guess it's been positive for you and I end. It's interesting because yeah, I have attended. You did the two years like in 2018 and 2019 so I've been there and I've seen how the other, the other artists who have been there had, you know, had a space and you can go up and approach them or you've got you know a poet roaming around going to different talks and stuff. And so when I originally applied for it, that's what I imagined I'd be doing. I'd have a have my little corner and people would come up to me and then I could just walk into a random hall and be like, oh, that's, yeah, I'll make that in Lego. Whereas actually, I think, yeah, being able to approach people on Twitter, which was the medium that I was going to be putting the mount on anyway. That kind of removed a bit the barriers of a me contacting somebody else if I, you know, was scared of going up to somebody I could just shoot the message, and they could just do the same to me as well. Yeah, I feel that in a lot of ways this was kind of the perfect time for me to have done this but I do miss the fact that I didn't have my own space, you know, in Vienna where people could just walk by and be like, you know, rifle through the bricks with me and help me physically build something, which would have been a nice thing as well. But yeah, I'm quite, yeah, strangely happy with how it how it turned out in the end, unfortunately. Just quickly, like, I think for me, conversely, I think I was struggling to see how I would do it in person. And because basically I very fortunately love to live in the highlands. So I took myself off in my band and parked in a very quiet spot and wrote poetry there, writing poetry in a conference centre where there's loads of people all the time might be quite difficult to have to think about that one in the future. Right, so we've hit our time limit. So we're gonna have to say goodbye. So first I want to thank you everyone for attending, especially for the panelists take this time out and show off all the art they created at the monthly webinar series where we host and talk on a one with a science artist. So keep an out for that. That'll be advertised for our social media channels. I remind everyone that this video will be recorded uploaded to YouTube. Are you to a science channel if you want to look and go over it. That's everything. Thank you to all artists for attending.


and he's gonna tell us about twisted holography. So I will just start the recording. Recording in progress. And please Kevin, take it away. Okay, thank you very much. And I'd like to thank the organizers for the opportunity to give these lectures. I'd also like to apologize that I wasn't able to make it in person. I'd appreciate it if I'm not entirely sure the level and background of the participants. So I really appreciate any feedback about how fast I'm going and the level of the material. Interruptions are very welcome. So what I wanna talk about is of the title is Twisted Holography. So what I'll talk about is based on work by many people. And it's a weight similar to in Matthias' lectures. Twisted Holography is a weight of getting really sharp exact results from a supersymmetric subsector of ordinary Holography. Matthias' lectures, he's not considering a supersymmetric subsector, but they're also exact results. So let me remind you a little bit about the background. So the original ADS-CFT correspondence, you know, we've all heard a great deal about it, but it's important to recognize that the original correspondence is still very much conjectural. So it's conjectural duality between N equals four super young mills and type two B super gravity on ADS five times S five. So the reason, once you see this as conjectural, is that both sides of the duality are incredibly difficult to understand. So on the gauge theory side, N equals four super young mills, we're supposed to be studying strongly coupled gauge theory. You know, strongly coupled constructing rigorously or in any sense, a strongly coupled gauge theory is probably the most difficult problem in mathematical physics. It's one of the clay millennium prized problems. So this is really out of reach of any mathematical techniques. And on the other side of the duality, when studying type two B strain theory on ADS five times S five, this is difficult for two reasons. If one wants to take the super gravity approximation, and we're studying quantum gravity, quantum gravity is of course hard because it's not normalized on so ill-defined of the quantum level. On the other hand, we might try to think of it as a string theory. String theories are a way of defining quantum gravity, but it turns out that string theory in ADS five times S five is also very challenging. The reason that I want to get into you, but it involves the fact that this is a Riemann-Riemann background. So of course, people have done lots of checks and there's like very heroic, extremely difficult computations of both sides. So it's very plausible that this works. But what I'm going to talk about today is a sub-sector of all of this where both sides are really easy to understand and you can really get your hands on things and check things cognitively. So precisely on both sides, we're going to select certain states which are preserved by supersymmetry. Now on the gauge theory side, why is that easier? You'll find it has no coupling constant. The gauge theory is basically free. It's very, very simple. And on the gravity side, we find that the gravity side is a topological string which is also much easier to understand than the physical spring. So in this context, in these sub-sectors, we can perform exact computations to try to match both sides. And as I mentioned, the ADS-3 etiography in Gabriel's talk is a different, not unrelated context where exact results can be obtained. So there might be some parallels with the Matthew Isis talks. Easy. Let me be able to see, you guys can see a little bit more of the text. Is this legible or is it too small? No, it's good. It's not too small. Can I zoom in a little more? I think maybe it's the good size. Maybe if you make it smaller, it would be a little bit too small. All right. I didn't want to just kind of be scrolling too fast. So the starting point of all of this analysis of twisted supergravity is the concept of a twist of a supersymmetric gauge theory. This was introduced by Witton in the late 1980s from pretty famous work in which he related n equals two gauge theory to the Donaldson-Darran's report manifold. So I'm going to start by reminding you of how one builds the twist of a supersymmetric gauge theory. So the example we'll start with will be a four-dimensional quantum field theory of n equals two supersymmetric. So let me remind you what it means to have n equals two supersymmetry. The group spin four is, well, in Euclidean's signature, it's SU2 times SU2. So each copy of SU2 has its fundamental representation. And these are the two spin representations of spin four. They're of complex dimension two. Quip. I'm going to use Penrose's notation for spinners. Spinners in S plus will have an index, a Greek index alpha with this. And in S minus, they'll have a dotted index like that. When we have an n equals two theory with n equals two supersymmetry, we're going to have two pairs of supercharges. Q alpha i, where i goes from one to two. And Q alpha dot i, where also i goes from one to two. So we should recall that the vector representation, complexly vector representation is a tensor product of these two spin representations. So in Penrose's notation for spinners and gamma matrices, instead of having an index for vectors, we write a vector as having a pair of indices, one dotted, one un dotted. So X alpha alpha dot indicates a vector. Now the commutation relations with the super symmetry algebra is simply Q bar is delta ij times translation in the direction of this vector. So what does it mean to twist? If I have a theory with n equals two supersymmetry, well, I have two pairs of supercharges with this extra index i. And we want, so the super algebra has a symmetry rotating that index. It's an SU2 symmetry. It's called the or symmetry. So we're going to assume that our field theory also requires this entry. So the twisting procedure says that we're going to change the spin of our fields by using the SU2 or. Now recall that spin four is a product of two copies of SU2. So I'm going to change the spin of the fields by instead of making SU2 acting SU2 plus active in one way, I'm going to make it act by the diagonal map between the original SU2 plus and the or symmetry. So what does that mean? That just means that, or is before I had an index i, my super symmetry algebra, I'm now going to make that index transform under the rents group. So it transforms as the index alpha. So what do we're supercharges that become?  We'll leave that in a minute, but you notice that Q bar now transforms as a vector because it has two spinner indices of opposite elicits. So what this means is that because the index now transforms as a spinner index, we can build a super charge, which I'll just call a Q, which is a scalar. And it is automatic that in the supersymmetry algebra this is a nil put in super charge. The reason is, well, I take Q squared, the square of any supersymmetry is a vector, but this is also a scalar. So it must be zero. So the key point of the twisting procedure is that given a super charge Q of square zero, we change the theory by replacing the original Hilbert space by the Q called monogym. So the twisted Hilbert space is defined to be those states which are in the kernel of Q modulo those which are in the imitative Q. And we do this for everything else. We do this for local operators. Of course, if it's a CFT, that's the Hilbert space on the three square. It's a bit more challenging, but it is also possible to formulate this definition for extended operators. If one reads the older literature on twisting, the part which is really emphasized is the first step. This part here, changing the spin of the fields. But for me, I don't think that goes very much. In fact, it does absolutely nothing. All that's happened is step one, when I've changed the spin of the fields, especially if I'm on class space, is I'm just calling things by a different name.  I still have the same number of fields. My Hilbert space is still the same. My Hamiltonian is the same. I have all of the complexities are there. However, step two, where I've replaced my Hilbert space by the Q-colonology is a really radical simplification. And this is what allows you to do computations the twisted theory. What I've described is the Donaldson-Witton twist of N equals two supersymmetrications. It turns out to be a topological twist. So let me try and explain what that means. Although maybe, unless anybody has any questions about the material so far. Sorry, sorry if that was awkward. Hello, can you hear me? Yes. So you have the index I for the SU2R and an index alpha for the SU2 plus. Why are you allowed to call them the same letter and then treat them as if they're in the same space? Because you take a trace at some point in defining Q, right? The scalar. Right, that's right. So what I've done is I've changed the way SU2 plus accident. So the charge of SU2 plus is the original charge it had before twisting plus how it transforms under SU2R. So that's, let's scroll up a little bit. So I'm taking this step. So my new action of SU2 plus is the original action of SU2 plus but then I embedded diagonally in the product of these two groups. Yeah, I see, I see. Okay, so let me move to, unless there are further questions let me move to explaining what it means to be topological. So the hallmark of the topological theory is that the energy momentum tensor vanishes. So energy is the action of translation in time on the Hilbert space. And momentum is the action of translation in space. So let's explain why these operators vanish. When I twist my Q bar supercharges, the index I becomes an index alpha. So it looks like this, Q bar alpha dot alpha. So it transforms as a vector. And if one looks at the original commutation versions, we take our supercharge Q called Q is like, when I can commute it with Q alpha dot alpha, well, the only thing it can really become if it thinks that one thinks about the symmetry is the operator of translation by the space time vector X alpha dot alpha. So what this means is that on the Q-core homology, this translation vanishes. So I didn't write up the equation. Does that? So if I take a state psi, which is Q closed, then it's derivative. If I hit it with translation in some direction, it's like this. Because here, if I'm the term where I move the Q past the Q bar is zero because Q psi is zero. And this is equal to zero in commology. So that's why we're actually with this for local operators, the same thing holds. If I have a Q closed local operator, then if I try to move it around, it's Q exact. So what this means, if I'm studying the correlation functions of Q closed operators, they're independent of where I put them. So let's see this explicitly. I'm assuming all my operators here, I'm assuming these guys are Q closed. And I differentiate with respect to the position of the first one. Now, I move the derivative inside the bracket and I replace it by Q, Q bar, the Q, Q bar of the first one there, and then the other ones. And because Q is a symmetry, I can distribute Q over the other operators instead. But they're all Q closed, so that's zero. So this is a summary of Britain's construction in the late 80s. By performing this topological twist procedure, we find special operators of correlation functions which are independent of position. This is a very unusual feature and it's a hallmark of having a TFT. Soon after Whitman's construction, people thought about twists which were not topological. That's gonna be the focus of my lectures. So in the mid 90s, there was work by Johansson, Necrosal and others. Where one studies the holomorphic twist of a theory with N equals one supersymmetry in dimension four. So this particular example is not gonna really be the focus of these lectures, but I'm just gonna spell it out to demonstrate how twists can be holomorphic tricks. Now, if one only has N equals one supersymmetry, then we no longer have the index I in the supercharges. We just have, the supercharges are just consist of two spinners one of each other's. So here, whatever we do when we twist, you can see it's not going to be possible for the twist to have the full spin four symmetry we started. Whatever supercharges like we'll break that. So we're gonna break the supersymmetry to SU two minus or SU two minus rotates the Q bar off the dot and fixes the Q alpha. So I'll take my supercharge Q to be Q one. So just one of the two components of Q.  So what's going on is that once I've broken the Lorentz symmetry group to SU two, that SU two preserves a complex structure in space time. And here you can think about SU two bar. The key thing we needed earlier was that Q bar would give me all of the translations. Here what we find is that Q, Q bar only gives you two of the four translations. Those in the directions I call the Z bar. So now what does this tell us? The same argument tells us that correlation functions are independent of Z bar. So D by D Z bar is A alpha one, I differentiate the Z bar direction first coordinate. By the same argument, I bring this inside. I replace it by Q, Q bar and I move Q around. That's gonna be zero. So the correlation functions are holomorphic functions of the position. So this equation here is, this is the Cauchy-Meyne equation. So once I had some time, it's interesting to study the behavior of these holomorphic twists. There's lots of fun things we can say about them. And general, the most general behavior would be something that's partially holomorphic and partially topological. But let's not get into that. This is mostly an example. Now I wanna move to the kind of twists where we're gonna be focusing on to do twisted along the selectable. So I wanna focus on a construction which seems a little odd at first, whereby one starts with a four-dimensional theory and N equals two theory, which you assume is super conformal. And then you turn it into a two-dimensional chiral theory. So this is a little bit funny. It's a little bit of a different thing than we did so far. There are two approaches to this. One is, which is perhaps the most widely studied. Instead of taking Q to be a supersymmetry, you take it to be in the larger algebra of the super conformal symmetries. And the second approach, which gives you the same answer, is to use a version of Necrossov's omega background construction. Actually, I'm gonna spend a bit more time in this one. So this, well, Necrossov did really kind of SGL version of this. This particular omega background construction goes to G1O and Gianniaghi. This construction is a bit more technical than what I've described so far. So I'm not gonna get all the details. So mostly what I want to do is explain the answer. You give me an N equals two theory, we will be able to figure out what it's, what the two-dimensional chiral theory is, and then we can do computations. Let's take an N equals two theory in dimension four. Actually, I should, Paul, are there any questions from here? Hi, I have some questions from the beginning. I got a little bit lost. So by the twisting, do you mean working on the cumulogy of the Hilbert space? Yes, we're in the cumulogy of the Hilbert space and the space of local law. Okay, and I think that after that, you mentioned that after performing this twisting, we preserve a complex structure, right? What does it mean physically? I think it depends, so this was the case with N equals one supersymmetry and the complex structure arises by noting that if I take correlation functions of Q closed operators, they only depend on half of the coordinates. So in Euclidean signature, they depend on certain complex combinations of the coordinates which are called Z and they don't depend on Z bar. So the complex structure arises just from that equation. Let's see. Is that, is that up over here? Yes, more or less. So the fact that our correlation function is holomorphic, is that a consequence of the twisting and a consequence of this preservation of the complex structure or are they related at all? They're related, the preservation of the complex structure, the fact that spin four is broken to SU two, maybe we should put that aside for now. And then the most important thing is that the correlation functions are holomorphic functions and that statement is just a formal consequence of the supersymmetry out. It's just that D by D Z bar is the commutator of Q is something, so that's all. Okay, thank you. So in the N equal one example, can you say in a few words what is the set of operators that you are left with because I guess it's larger than the color ring of the theory? Yeah, let's say we start, we find some black paper, N equals one parallel to that, one bosonic field, all its derivatives in Z one and Z two and one fermionic field and all of its derivatives. So if you look at the index of this, these are exactly the states that contribute to the super conformal index. Like this one gives you kind of a part of one minus Q L, one minus Q L, so it's kind of a thing. But by looking at words in this field and its derivatives, if you take its character with respect to the group U2 which is the symmetry because it's conformal, you'll find it's the standard index of an N equals one super conformal theory. I see. Thanks. So maybe this is a comment for the experts. I think this is really interesting because suppose you wanted to give a character a proof of cyber duality, what you really should be doing is looking at the states of the twisted theory and identifying all of their correlation functions. That's kind of accessible, but also really not trivial at all. It's the kind of thing I think of Davide as looking at this kind of question. Are there any more questions? So let me try to explain that this construction of Yankee and L. So here I wrote down N equals two super symmetry algebra again. I'm gonna do something a little funny. We're gonna take Q which does not square to zero squares through a particular translation. So I'm taking epsilon to be a small parameter. My Q adds a linear combination of like this. And if you see just by contracting the tensors, maybe the indices, my notation is not super clear possibly, but if you can just contract the tensors when you can be Q squared, you find a Q squared is epsilon times E translation. But if you look at the norm of this factor, you'll see it's epsilon times the space like transmission. So what we'll do is make this direction periodic. So really that we're working on this cylinder just coordinates x11, x2, x11 dot, x22 dot plus another plane which has coordinates x12 dot, x21 dot. And it'll be important in a moment that d by the x12 dot is Q exact. And this other plane will be where the chiral algebra lives. I'm gonna call x12 dot z and it's a homomorphic coordinate on this plane. Okay, so the result is I'm gonna take my cylinder here and I'm going to fill it in. And I'm going to fill it in so that it becomes a cigar. So at the tip of my cylinder goes along in the radius shrinks. I got this cigar geometry. And then the result is that that your n equals two theory extends across the cigar in a way which still preserves the super chart for a reason. So if we do this, we can do the following trick. So above we saw that Q squared was d by d theta. That's rotation on the cigar. If I take an operator which is at the tip of the cigar it makes sense to ask that that operator is rotation invariant. It's on charge under rotation. And on such operators Q squared is zero because Q squared is rotation. So then we can consider the Q-colonology S1 invariant operators at the tip. And this is going to be the chiral opera. So what's important for this construction is that it doesn't make sense to move my operators away from the tip of the cigar because away from the tip of the cigar Q squared is rotation and there are no rotation invariant operators. So this is why we're effectively localized to a two-dimensional theory. On the plane which lives at the tip of the cigar d by d z bar is Q exact. So for the same reason we've had before if I take this, I'm taking things which are at the tip of the cigar and I have other points EI in the plane then the z bar derivative of the correlation functions vanishes as long as my operators I'm inserting are Q-closed and rotation invariant. So in this way, we've identified in our 40 n equals two theory it must be super control, something very familiar. A two-dimensional chiral theory just like one might be familiar with from elementary studies of the bosonic strain or something like that. Sorry. Can you consider also extended operators on this cigar like a line that wraps the theta cycle and so on? Did they give you something interesting in the 2D? Or the... Yeah, that's a really good question. So if you, the answer is yes. So what happens is if instead of thinking about it as a 40 theory on a cigar we'll compactify to a 3D theory along that circle the effective 3D theory becomes topological in the bulk with the chiral non-topological boundary condition. But the, there are extended operators and these become the bulk operators in the 3D n equals four theory. From the 3D n equals four perspective they're the ones which parameterized the cool off edge. So they're kind of subtle and you realize that their 40 uplift must be the two clans rocking those that cigar. Okay, thanks. So I said, let me very briefly mention a different perspective. Proxima might have been better to explain this one, but for my purposes I kind of didn't want to get into that much detail about either way of doing it. I mostly wanted to say the answer. So the different perspective developed by the Mlemels-Sviano-Pelleris-Bristellian families they say that instead of taking an ordinary supercharge like we've been doing they take a super conformal charge which lives in the super conformal algebra which in this case is PSE 2,2 slash 2. Now what they find, things in the super conformal algebra include rotations. So in their story, rotations in one of the planes will be exact. So that implies, if you think about it, that the operators that live in the Q-chromology only exist on a plane inside of a fork. Just like we saw above the operators only lived at the tip of the cigar. Then they take the Q-chromology and it's the same chiral algebra. This perspective was historically the first one on building the chiral algebra for the Mlemels-2 theory. And there's a great deal of literature about it. So I'm sure people who are interested in it can find good things to read. But as I said, I mostly want to say given Mlemels-2 theory, what is the algebra? So let me start on this. If we have a look wrong in theory then we can just write down what the algebra complicates with the table. So we'll start with the simplest thing, which is an N equals two free hyperbolic. When one has N equals two supersymmetry, the smallest number of scalar fields, what has is four. So I think like this, five I, five R, this notation is kind of selecting, is breaking the symmetry in some way. And the logon for the free theory is the symptom form, like this. So what do we get when we take the chiral algebra and the way it was discussed, run this sketch? These four scalar fields, the N equals two theory become two scalar fields in the chiral algebra. Beta one and beta two. Beta and the beta I's comes from the five I's and the five R's don't contribute. These are spin half. So the OBD between the beta I's is beta zero, beta j of z, beta j of z is epsilon ij times one over z. So it's a little funny because the beta I's are bosonic, but the OBE is like that of free fermions. So this chiral algebra is called symplectic bosons, because they're bosonic fields. What I was for gate theory, the N equals two vector multiplied contributes some fields for the chiral algebra. And these are something that should be quite familiar to people who studied some theory. They're BC ghosts. Although in contrast to the BC ghosts of string theory, these are ghosts that implement gate symmetry. They're not ghosts that implement the diffume frism invariance biology. So the BC ghosts consist of BN to the spin one field and CA to the spin zero. And these are both fermionic. They have a simple OB, the B times C is delta AB times one over Z. Same OB one finds in free fermions, except there are spins one and zero. As in any ghost system, one has to add on the BRST charge. And the physical, open space or space of local operators would be the BRST chronology. So here's the formula for the BRST charge. And again, it might remind you of something you've seen in the string theory literature, except it's a little simpler. And the final thing one wants to do is consider how to couple the matter contents to the gauge symmetry. So all we do is we add the fields from the matter to the close from the gauge symmetry and build a BRST charge, which forces gate invariance. So for the matter, while if I started with a single hypermultiplet, I would have two fields, beta one and beta two. So then the most general picture is, I should take my beta I, the matter fields to be in a representation, which is symplectic. So that means some invariant tensor omega ij, which is anti-symmetric. So I'll give you some examples later. Using the fact that G-ax on the representation, we can build a current here. This is the current which generates the action of my gauge fields on the matter. And then we say the BRST charge, it's just that for the gauge theory, plus the seagulls to times the current. So we're doing kind of time, I won't have, we don't have time for questions at the end. What we find is this construction works by the BRST charge squares to zero. If and only if there's some trace identity, which is twice the trace and a joint representation of two of the outer elements is equal to the trace in the matter representation. So again, you might be familiar with such a computation from, you know, there's something like this in Poltinski. One more, in the bosonic string, BRST charge squares to zero, if and only if or the critical dimension, this computation is much easier. I'll give you the computation in just a sec. But it's the useful fact is that this is the same trace identity one needs to guarantee that a 40 equals two theory is super conformal. Let me move down to do the computation. So from the gauge sector, we have this vertex that I want to consider the OBE of this fit itself. So there's going to be a contribution from tree level involving one width contraction. This vanishes the Jacobian, the one-width contribution looks like this. Gonna have C fields on the outside. Recall the legs correspond to a width contraction. They connect to C and a B because the OBE of C and B is one over C. So let's compute this, actually like that. Connection like that. Well, because there's two contractions again, one over Z squared, zero, C, B, Z. And then let's include the flavor in this as carefully. There's going to be twice times the trace, the joint representation, TATB. The factor of two is because B and C run around the loop. So let's take this expression. We notice C is from ionic, C A zero, C B zero, trace, T A B is equal to zero because this expression here is symmetric. So if we take the OBE and expand in series, we find the first non-zero term looks like C A zero, derivative, C B, trace, P, T A. Now for the matter sector, it's going to be the same kind of calculation. The C goes to, it's going to couple to two matter fields and we're going to do a width contraction where all of the matter fields are contracted and we find one over Z, C A, del, C B is traced in the matter representation, TATB. And to be careful, this one came with a minus sign because there were fermions and the other one comes with a plus sign. I take my BRST operator. This is as no O if this condition helps. Finally, I think to ask, you might have, yeah, I should have said this first, why does a pole in the BRST operator and the OBE of the BRST operator with itself have to do with the BRST operator and no button or if I compute the commutator of its interval, we move the contrast past each other, we'll pick up a term, one of them is integrated around and a little circle around the other, like this. That said, it all goes around like that. And if we look on the right-hand side of this expression, a first order pole in the OBE of the BRST operator with itself will contribute a term in the square of the BRST charge. This is not equal to zero unless the trace identity helps. Okay, so I will stop there. Okay, let's thank Kevin. Recording stop.


marking devices you might want to use for your woodworking. Hola woodworkers, Paul Carlson here, small workshop guy. Welcome back to my workshop. I did an earlier video about marking devices what you use to mark lines and kinda did a test on which one's sand away quickest and which ones you might not want to use on certain applications. This is an update because I have found a new secret weapon. I'll disclose that to you at the end. So, marking up 101. When you've got a rough 2x4, 2x6, you haven't run it through a planer of any kind. It's got a rough edges on it.  Then just mark it with a contractor's pencil or go to your kid's bedroom and steal number two, a school pencil. Those will work. Another one you might want to use if you don't mind the dark line and it's not too hard to get rid of. Certainly for just rough applications, it could be a sharpie. Don't use a sharpie too many things because that's a very broad line and so it should only be for rough cuts. You might want to use a sharpie if you're gonna do something on a band saw and you want a nice very visible line to try to keep your band saw blade on the inside or outside of that line. So that's certainly good. The problem is the point to a sharpie gets really broad after just a few uses. So, if I need a black line, what I have started using is this pilot razor point and it's pretty really really small. Let me put it beside this and mark it. And so you can see the comparison there between that black one and the other sharpies. So I keep both of those around in the sharp, depending on the application. I really like that one. When you are gonna do anything on rough, rough, rough wood, you probably don't want to be using a five millimeter mechanical pencil design for your Incra marking devices. Because the minute you start to mark on that rough wood with your five millimeters, I can guarantee you it's gonna break 95% of the time. I get so frustrated with it. I'll get that Incra all set up. I'll find the right little spot here. I'll start to drag it across my work piece only to feel or see that little five millimeter lead break. So, I've got a new secret weapon. It won't work for the Incra. So I still keep this in my work best when I'm gonna use the Incra. I have to suffer through that. But for 95% of my other just normal marking, I have this weapon. This is called the Graph Gear 1000. It has a very nice area to hold on to with some little rubber things that make it feel nice in your hand. It just looks good. It uses nine millimeter lead, which doesn't break and it's still fine enough to certainly do your applications. And so that is my go-to. Look at that. I'm gonna go back and forth and not break. Let me try that with the five millimeter. Went a couple inches and then it broke. So I love this. I highly recommend it. Get one on Amazon for $9. Try it. Let me know if you ended up liking it and stayed with it. I like this so much. I went back to, because I know I'm gonna lose it. And I went back and bought a set of three to go along with the one that's in my work vest. Obviously, if you're marking on dark wood, you might wanna use something that's white. And so I have found this set of gel pins. They sand off pretty readily. They're seen to work well. I tried some soft graphite drawing pencils and they broke so easy. I was so frustrated. So these gel pins are from DAINYN. Dainian and again, they're not graphite lead. They're a gel and they do a really nice job. You can see how visible that is. So I've got a whole set of those. Again, my old buddy Amazon. Obviously, when you're need a really fine line, you don't wanna use any of these. You can get a finer line by having your scribing knives. And this one's from Narex. This one's from Eye Gaging. Try to keep those points sharp. Use the flat edge, not the one with the bevels on it. So the flat edge goes along your ruler. And the secret there when you're particularly working with something that's got a lot of grain is to pull across lightly the first few times. It'll be making some marks and breaking that grain. And then finally, you can press harder if it's something where you're gonna wanna put a chisel in the line and you want that chisel to find the line. So that's woodworking marking devices 101.  Small workshop guy signing off.


Hello, everybody, and welcome to the Cloud Provider AWS update and roadmap at Fuqon Europe 2021. We'll start off going through the agenda that we have for today. So first, I'll be talking through the background of the Cloud Provider extraction migration and the status of the Cloud Controller Manager. Then Nicole will be talking about the Cloud Provider V2 effort. After that, Aburk will touch on the credential provider. And finally, Yang Yang will give us a little bit of information about the AWS Load Balancer Controller and the roadmap there. So let's get started. OK, so to touch on the background of the Cloud Provider extraction effort, this is something that's been going on for quite some time in the community. The original implementation in Kubernetes had a Go interface called the Cloud Provider interface that was built into Kubernetes along with each Cloud Provider's implementation. So the initial versions of every Cloud Provider was actually compiled into each binary. But the community quickly realized that this was already causing and just going to continue to cause significant bloat as more Cloud Providers were added. And the maintenance effort was just going to be too great. So the effort was started to extract all of the Cloud Provider-specific code. So that's like each Cloud Provider's SDK and any logic that is specific to a Cloud Provider would be broken out into separate repositories and compiled into separate binaries, not using the main build system. So this really began a multi-year effort to extract all the code. And that's still going on today. So I just wanted to quickly go over each of the components that had Cloud Provider code or have Cloud Provider code and the extraction effort related to those. So first, the QController Manager, there was some Cloud Provider-related code in four of the controllers that would become the Cloud Controller Manager. That includes the node, the node lifecycle, the service, and the route controllers. We'll talk about those in a little bit more detail a little bit later. And then there was also the volume control loops. And those are being replaced by the CSI driver effort. So for AWS, that would be the EBS CSI driver or the FSX CSI driver. And another component is Cubelet. Cubelet has a couple of areas of provider code, one of which is the Docker image credential provider. So this was some code that was built into Cubelet. And for common container registries like ECR, there was a package there that would provide the Docker image credentials when Cubelet was doing a pull image. And that is being replaced by a external binary that Cubelet will exec. It's very similar logic. It's just outside of Cubelet. Cubelet execs it during pull image and gets the credentials back. Additionally, the other area of code in Cubelet was fetching node addresses, which is being replaced in the Cloud Controller Manager and the node controller. A couple other areas that are worth mentioning is the API server had the capability to do SSH tunnels. But this was related to cloud provider code because the API server had some flags that it took that enabled SSH tunnels only on GCP. And so that effort is being replaced by the network proxy effort. And finally, the CUBE API server initially had a persistent volume mutating web hook and persistent volume labeling mutating web hook. And that is being replaced by or that was already replaced by the persistent volume controller. So all the cloud code was removed from that. So I wanted to give a timeline from AWS's standpoint, but these are estimates. And this is only going to be true if everything goes perfectly. So it's relatively unlikely to look exactly like this. But this gives an idea of what the order in which things have to happen and what the earliest possible dates for some of these would be. So you can see for the features, the first is the HA migration framework. This is something that is actually, it just was merged in 121 in alpha state. And this allows HA clusters to migrate from just running the CUBE controller manager to running both the CUBE controller manager and the cloud controller manager using a migration lock. So the plan for this is to go beta in 122. Then we have the credential provider framework. This was alpha in 120. And along with the AWS ECR credential provider, that was alpha recently. Actually, I think it was kind of in between 120 and 121. So ideally, both of those, along with the AWS Cloud controller manager, would be beta in 122, which would allow all of them to go GA in 123. And what all this means is that the earliest, according to AWS Cloud provider timeline, the earliest possible date for the entry code removal is 124. But that will probably be later just because of other dependencies. So in terms of the AWS Cloud controller manager specifically, the upstream features are no longer being accepted. Pull requests are limited to bug fixes. So if you are opening a feature pull request, you should open it on the Cloud provider AWS repository where we've duplicated the V1 provider code there. We currently have alpha builds for the Cloud controller manager. And we're working on beta right now. And if you do want to go check it out, there's a couple of different ways you can install it on a cluster. If you use COPS, you can configure it in the COPS config, the COPS cluster config, to use the external Cloud provider. And there's also a Helm chart provided in the repository, as well as just some YAML files that you can use to install it. So what are the responsibilities of the AWS Cloud controller manager? For us, it's the node, the node lifecycle, the route, and the service controllers. The node controller is responsible for updating node status and node addresses. The node lifecycle controller acts on node events. So you might have a node deletion where you actually need to go and delete the node object that would fall under the node lifecycle controller. Then the service controller simply manages Cloud load balancers for load balance services. And currently, it handles ELBs. And it has some NLB code. But we're talking about moving the NLB code to the AWS load balancer controller, which Yang Yang will talk about later. And then the route controller manages a Cloud route table. If you have nodes that are using one, if your nodes are set up with one sider, one pod sider per node. I'm sorry, I'll hand it off over to Nicole to talk about Cloud provider V2. So hey, I'm Nicole from VMware. I will talk about some updates on the current AWS Cloud provider V2 implementation. We will continue to support the existing AWS Cloud provider in out-of-train mode. This new version will address many issues and gaps in the current V1 provider implementation. So for example, we are looking into allowing node names that are not the private DNS of the EC2 instance. For now, AWS Cloud provider forces the node name to be the same as AWS private DNS name. For example, this leads to the node being removed if a different node name is used. So it should be allowed to use any name as the node name. More descriptive node names are generally helpful and useful. Currently, load balancer can only be created with a machine generating name, giving load balancers easy to rate names while greatly enhance the user experience of Kubernetes on AWS. We also consider adding something to the service annotations and allow users to directly manage this. So a new V2 implementation will try to address these limitations. Also, we need this since the V1 legacy implementation is going to be removed soon. A V2 implementation is in alpha state, and after the launch, it will be supported for new clusters. So to develop Cloud provider implementation, we need to implement a few common interfaces, like instances, load balancer, and zones. So for example, the instances and zones interface methods will be called from the node and lifecycle controllers. The load balancer interface methods will be called from the service controller. For instances, we have an initial implementation of instances V2 interface. Instances V2 is an implementation for instances and should only be implemented by external Cloud providers. Implementing instances V2 is behaviorally identical to instances, but it's optimized to significantly reduce API cores to the Cloud provider when registering and syncing nodes. For example, we have implemented interface methods, like whether to check whether the instances exist or is shut down, where we use the node name or provider ID files to find the node in the Cloud provider. As I mentioned before, we are looking into allowing nodes names that are not the private DNS of the EC2 instance. In the near future, we will support node naming policy other than private DNS names. Implementation of this interface will disable cores to zones interface. So zones will be is deprecated in favor of retrieving zones or region information from instances V2. This interface will not be core if instances V2 is enabled. The existing zones interface were mainly created for the class to interface with the local metadata server to fetch a nodes zone and region. With external Cloud providers, it makes more sense for the zone or region logic to be coupled to the instances interface. After Kubernetes version 1.20, zone and region information should be added in the instance metadata type. We are using as part of the new instances V2 interface in the Cloud provider. So in most cases, the zone or region information is content in the gate gets instance API core of a Cloud provider. This change will reduce the extra core for zone or region in the Cloud provider. So for load balancer, we have an initial pass of the load balancer interface that is currently working in progress. There are some key issues we need to address. So like first, right now load balancer can only be created with the machine generator named, making it very hard to distinguish in AWS if multiple load balancers have been created within an account. Also, the default load balancer named for the Cloud provider from the Cloud provider package, which is currently in use, have been deprecated and needs replacement. Giving load balancers easy to read names well greatly enhance the user experience. It would be nice if we could pick a template to use for naming. For example, a combination of cluster name and service name minds work well. And prefixing the load balancer name with some meaningful name, like the environments, the app stack, et cetera, will be very much helpful. And we also consider adding something to the service annotations and allow users to manage this. Another thing we are looking into is we should build more expressive APIs for load balancer configuration options. Right now, it's an explosion of annotations that are really hard to comprehend. So I'll pass to Arbuck to talk about credential provider. Thanks, Nicole. My name is Arbuck, and I am a software engineer at AWS working on EKS. And when we talk about the production provider extraction effort, it provides some context and then briefly explain what it actually means for the cluster operators. So far, we have been mostly talking about the responsibility of the functional plane. But as Nick mentioned, Toblet also includes some cloud-specific code. I'll be talking on one of those specific bases where Toblet runs cloud-specific code. And that is fetching image credentials for non-public registries. Whenever Toblet needs an image for a non-public registry, it somehow has to fetch the credentials so it can actually get that image. And currently, Toblet does this itself. As you can imagine, each registry has different APIs, different expectations, and Toblet has specific code for each different registry to fetch those credentials. And that is actually not what we want at this point because we're extracting cloud-specific code. So somehow we have to get rid of this responsibility. And in order to remove this responsibility from the Toblet, a new cap was proposed. And this cap basically proposes a new plugin-based approach where Toblet basically talks to these standard binary plugins to fetch the credentials for itself. So how it happens is basically these plugins are nothing but standard binary running along with your Toblet on your nodes. And whenever Toblet needs credentials to fetch an image, it will basically communicate via start.it. And then it asks this binary to fetch the credentials for itself. They use well-formered JSON. It's versioned and serialized. But again, everything is happening through a start-to-start input and output. I strongly suggest reading cap. If you'd like to learn more, it's very well written and it explains how this all connects. Next slide, please. So, OK, but it's not going to fetch these credentials for us anymore, but what does it mean for us? Do we have to do anything? And the answer is yes. It means cluster operators will have to configure a Toblet so it knows what plugin to use or what image. Obviously, initially, Toblet will have no idea about for what image it needs to call, what kind of binary. So what they achieve is there are two new flags you have to pass to the Toblet. So the first one here you saw on the screen is basically the location of the binaries and primary plugins. And this is the folder where your binaries are located and is where the Toblet is going to be looking for these binaries. And the second one is a pretty important one. It is the conflict file you pass to Toblet. And this conflict file will tell Toblet which binary to use for what kind of images. It is basically a list of regular expression. To plot provider name pairs and provider name here is the name of the binary. And Toblet basically, whenever there is a match with the regular expression, you'll use the given binary for fetching images. That being said, it has to be in a very specific format and you can read the cap to learn about this format. For specific AWS users, we already have the ECR plugin implemented already. You can see it on our repository. We are not shipping it with the cloud provider yet, but we are planning to ship it in the future. And we also have more detailed examples and instructions on the documentation. And we also have a more important, we also have an example config you can just use. So basically, your ECR logic just keeps out of the box. And with that, I'm going to give it to Yang to talk about the controller. Yeah, Yang. Sorry. So I'm Yang from Amazon EKS team. So today I will talk about the advanced controller. It's a controller to help manage elastic load balancers for Kubernetes cluster, which satisfies Kubernetes ingress resources by provisioning application of the balancers and satisfying Kubernetes services resources by provisioning network of the balancers. Formally, it's known as AWS ALB ingress controller. We did a rewrite and rebranded to be adapt from the balancers controller in October last year. So I'll talk about our supported country. So currently with ingress resources and application of the balancers, we support instance mode and IP mode. For instance mode, the node will be registered targets. Traffic will reach the node code for your service and proceed to your containers. And for IP modes, traffic will reach your containers directly, but your C&I must be using Amazon's VPC C&I. And we also support a feature called ingress groups, which allows users to specify a set of ingresses to be supported by a single application load balancers, which can help customers to save costs. For services resources with network of the balancers, we currently only support IP mode, which is targeted in the container cluster. And we provide a compatible API with the entry service NLB support. Along with these two features, we also support a new series called target group binding, which exposes applications with an existing target group, like ALB target group or NLB target group. So this allows users to bring their own load balancers and target groups and just let the Kubernetes manage the targets inside high boosts. So customers can use external tools like confirmation, CDK or Terraform to manage their load balancer infrastructure. So what's coming next? So we will read new versions shortly. The new version will include support for NLB instance mode, which will be similar to what we have in the entry controller. After this feature is released, we recommend to use an ADAPT in the master controllers to manage the NLB for your Kubernetes service, which is more flexible. And we will support new NLB features more up to date. And it also addresses some technical limitations in the existing cloud provider. And we will also support user to specify the state IPs for NLBs. And we will also add a support called nodes and netters for instance mode, which allows you to specify the set of nodes used at the back end for your service. So you can use a label's netter to match the nodes. This feature will be supported for both Ingress and service and our target group binding CRD. For Ingress, we will add a new CRD called Ingress Cast Parameters. So it's for Ingress Cast support added from Kubernetes 118, where you can specify Ingress Cast for your Ingresses, which contains additional settings. And along with the Ingress Cast, you can specify controller-specific settings using Ingress Cast Parameters we introduced. So inside Ingress Cast Parameters, administrators can set up additional restrictions on the ALB settings, such as whether the ALB should be public or not. And also since like Ingress Grouping or IP address types. Also for Ingress, we will add support for the new pass type added from Kubernetes 118. And we will also offer a feature to simplify the SS reduction configuration for Ingresses, which customer can use a single occasion to configure the ALB to redirect all HTTP traffic to HTTPS. That's all the new features coming for AWS in the beta component. And hand it over to Nick. OK, so yeah, with that wraps up our presentation on the CloudFighter AWS. So we have some links here. You can see the CloudFighter AWS repository, AWS load balancer controller repository. The first link is to the documentation for the Cloud Controller Manager. And any questions that you have, we would be happy to answer either now or on. You can always find us on Kubernetes Slack. We have our Slack user names linked down below. So thank you very much. Appreciate you attending the talk.


Tea is an age-old symbol of well-being that appears in the arts, literature, music, and boasts countless colours and varieties. Around the world, tea is our most loved drink after water, but tea is more than just a shared experience. To millions of farmers in developing countries, tea is the main source of income. Over 9 million tea farmers in the four main tea-producing countries, namely China, India, Kenya and Sri Lanka, are smallholders, and smallholders produce 60% of the global tea supply. From China to Sri Lanka, Kenya to Vietnam, whole communities depend on tea for their livelihoods. The tea sector has the potential to change lives. A billion-dollar industry that can support the economies and contribute to sustainable agri-food systems. Yet the sector needs innovation to better adjust to climate change, more sustainable production methods to better respond to consumers' needs, and improved access to finance for tea producers, in particular for women in business. Smallholder tea producers need our support to strengthen their business model and environment. International Tea Day celebrates the men and women behind the leaves. From field to cup, we must advocate sustainability of the tea value chain, protecting this ancient cultural heritage, so that small-scale farmers get a fair deal. The tea sector must be part of the needed transformation of our agri-food systems to become more efficient, inclusive, resilient and sustainable. For better production, better nutrition, a better environment and a better life. Realising the 2030 Agenda's vision of leaving no one behind.