There are a lot of theories going around about Jordan Peele's brand new horror film called Us and as we know from his first film Get Out that Jordan Peele likes to squeeze in a lot of social commentary so in this video we're gonna break it down and discuss what the hidden meaning behind Us actually is. What is up everybody this is Chris from the Rewired Soul where we talk about the problem but focus on the solution and if you're new to my channel my channel is all about mental health what I like to do is pull different topics from like movies pop culture in general to try to teach you how to improve your mental and emotional well-being so for any of that stuff make sure you subscribe and ring that notification bell so in this video I'm going to be talking about Us there will be some spoilers but not major ones just if you've heard of the movie Us you're probably gonna know about the things I'm gonna talk about but another quick disclaimer I am not a licensed therapist or psychologist or psychiatrist or anything like that I will be citing a doctor in this video there alright so yeah anyways quick rundown of Us okay so a family the Wilson's you know with the mother being Adelaide and then the father being Wade they go on vacation it is where Adelaide experienced a traumatic experience where she saw and a doppelganger of herself and now they're back right and the doppelganger Wilson family comes over and terrorizes the Wilson's okay so watching a bunch of interviews with Jordan Peele and everything like he talks about where the idea of this came from and he said this it's also a movie that I think is best when it's personalized it's a movie about the duality of mankind and it's a do a movie about our fear of invasion of the other of the outsider and the revelation that are we are our own worst enemy so yeah spoiler the tethered they are coming to kill everybody and take over the United States there it is that's a spoiler but anyways let's jump into this so this actually reminded me of an article from dr. Mark Goldstein so dr. Mark Goldstein he is super super incredible guy he is one of the best there is with you know treating people who struggle with suicidal thoughts he also has trained the FBI when it comes to hostage negotiation and like we were saying with Jordan Peele he brings in a lot of social commentary and these last I don't even know how many years we've been living in a very scary time right with mass shootings always happening the most recent one being in New Zealand so the first topic I want to talk about is when Jordan Peterson said part of you know the the overall theme of us is this fear of the other okay and dr. Mark Goldstein actually wrote an article after one of the mass shootings where he tries to hack the mind of why people do this all right and it's interesting if you tie this in to the tethered and what their overall goal is so he he states that typically what occurs with such individuals is the following process and a descent into hatred and murder one perceived injustice mixed with humiliation whether it's real or imagined these individuals often perceive the world saying to them you're stupid you're ugly you're weak you're nobody etc so think about this in the context of the tethered right they are you know these clones of you know the people in the United States but they are forced to live underground they have to eat raw rabbits you know they don't even really have a soul these types of things so they are oppressed down there number two that Mark Goldstein talks about is isolation as these individuals pull away they become greater prey to their imaginations and the thoughts above so on the social context like we see this happening with a lot of you know the mass shooters and things like that but for the others they were isolated down there with their own ideas their own beliefs and everything like that all right but anyways like you think about it um what we come to find out with the twist ending is Adelaide is actually wet right like they they swapped when they were kids so she's able to talk about this belief with all of them that the people up there are bad and terrible and we need to take over and all of that and something I was actually discussing with Dr. Mark Goldstein after he sent me this article that he wrote was that's one of the downsides to the internet as I see it um there's just my opinion like the internet is an amazing thing I love how we can be connected with people all over the world develop friendships bonds and all that kind of stuff but one of the downsides is you can create your own echo chamber right you can find a community of people who has those same beliefs and even uh you know the uh the the perceived injustice you can find a group of those people and just talk to them and build up these ideas all right so the next thing that he talks about is agitation these individuals then proceed to have observation bias they look out at the world as if it is saying all these things to him and then confirmation bias this further justifies the vengeful fantasies and beginning of plans or even acting on prior such events that were not stopped or taken as a full risk all right so these people when when they get into this idea that when they get into this echo chamber even they all they see is that all they see is they're being treated unfairly okay next the last straw often we will discover some events sometimes even small or trivial from our point of view but given the foundation created by the above three steps it essentially causes a moral lobotomy at the at that point these individuals act by reflex and with an eye for an eye revenge for perceived injustice and to the degree that they have felt that the world has put them down and pushed them away they will find a way to get in and get even all right so this is actually interesting something um you know i've talked about with some people who saw us like the timing of this was interesting like it just happened to be when Adelaide and her family came back this particular summer and went to Santa Cruz beach and all that but in the real world like there's something that causes them to finally snap that that last straw where they act on these things okay but dr mark golstein brings up this uh this interesting point where he talks about a moral lobotomy okay so when when you are perceiving this injustice when you're in this echo chamber when you start to get agitated like you get this moral lobotomy right like right and wrong goes out the window and it is time for revenge okay lastly he discusses lowered impulse control quite simply mental health is the ability to experience strong emotions without getting emotional experience anger without becoming angry in psychological terms is referred to being able to contain emotions i.e. feel them without acting on them the greater the degree of mental illness that lesser the ability to resist acting on impulses be they intrusive towards others or towards oneself lowered inhibitions can also be caused by drug and alcohol use although most mass shooters are not usually high on drugs because they are instead high on revenge so when you look at the tethered and what they're going through it's easy to you know put all this in the perspective lowered impulse control the moral lobotomy running around up on top doing this mass murdering all right of you know the the original families and all that okay so i just found it really fascinating you know with jordan peel talking about this fear of the other and this this kind of coming into fruition right and you have the fear of the other you know like you know the families above being afraid of the tethered but they kind of had a good reason because the tethered just came straight up and started killing people but the tethered had the fear of the other which were the people above the originals right so aside from that i just want to talk about some of my own personal experience because something that jordan peel also talks about is we are our own worst enemies okay and that's something that's really interesting to me because and another thing that's interesting is just art in general and just we see it through our own lens our own life experience what we see how we interpret it and all that but i saw this as like self sabotaging behavior not dealing with certain parts of yourself and it becoming this thing that ultimately destroys you right like a lot of us from my experience you know my personal experience as well as working in a treatment center a lot of us don't want to deal with things from our past right we don't want to and it bottles up and it bottles up and eventually like especially what i found out like being the son of an alcoholic mother i started to have a lot of self sabotaging behaviors all right this could be in uh romantic relationships this can be in professional relationships i would self sabotage at work there's also an excellent book called adult children of alcoholics if any of you watching this are a child of an addict or an alcoholic whether or not they're clean now i recommend this book i'm gonna link that book as well as mark guilstein's article down below but yeah when i read that book i started to realize how many ways i self sabotage and there's a variety of different reasons that we do so right but the way i was kind of seeing it and looking at the self sabotage when you see the tethered come up and you know they start murdering the original families like we see that we destroy ourselves and there's more of a you know our own mental health cycle psychological type deal that we have to deal with you know if we don't feel what we need to feel it will destroy us this is why you know i recommend therapy to everybody if you're watching this like i know it's kind of taboo to say oh you need therapy but i'm just letting you know from my experience and like dealing with like people in my life as well as the treatments that i was working at everybody could benefit from therapy everybody we all have something from our past that even if we think we've worked through a lot of us haven't so if you are not in therapy and you would like to like make sure you like talk to your doctor talk to your insurance company there's also an affiliate link down below for better help online therapy if you want to use that option but if you have an insurance provider call them up see what therapists are recommended and this is especially true like in my last video i talked about trauma so check that out because there's so many things especially from our childhood that are affecting us today and we don't even realize it and we need to work with a licensed professional to kind of figure out what the steps are that we need to take to live like a better more fulfilling life like i'll tell you this when i started working through my past like i was at a place where i thought my life was like just an eight out of a ten but like when i really dug in deep and got down to the roots of some other things that were going on like i realized that my life was never at an eight it was really at like a six and now i'm like at a nine like i am able to deal with situations that come my way in a a far better way than i would have six or seven years ago you know what i mean but anyways for all of you who have seen the movie us from jordan peel i would love to know your interpretations or if it's on any of the topics that we just discussed like when it comes to the fear of the other and all those things let me know down in the comments below all right but anyways that's all i got for this video if you like this video please give it a thumbs up if you're new make sure you subscribe and ring that notification bell and a huge huge thank you to everybody supporting the channel over on patreon you're all amazing and if you would like to be a patron and get involved in our monthly q&a and exclusive content and all that you can click the top right there all right thanks again so much for watching i'll see you next time


Next arrival, 777. American 134 from Los Angeles. CPR 1234. Thank you. Look at the vortex coming off the wings, folks. Off the flap, Tex. Hear that vortex crashing down on me. Listen to it. It's over the top on me now. Oh, stop it! Oh, stop. Stop that. Stop that.  Hold on a minute. Oh, goodness me. How we did not go around, I just have new idea.


I'd like to welcome you again to the 39th annual Festival of the American Place here. We've got a really incredible panel for you this morning. I'd also like to welcome everyone who's live streaming on HowlRoundTV right now. Today's panel is presented in part by the Louisville Arts and Cultural Association's Yes Fest, which is the year of environment and sustainability at the Yolong Festival that connects Louisville's arts and cultural organizations to consider our impact on the environment and also how we can foster a healthier world. Our panel discussion this morning was born out of an increased focus in recent years on interdisciplinary research and learning between various forms of sciences and arts around the country, especially at institutions of higher learning. We're really excited about the group that we have here today, both artists and scientists. Their specialties range from performance art to physics, climate science, information, visualization, and music, and together they're working to challenge the conventional boundaries of their craft and also help answer some of today's most pressing environmental questions, like how do artists and scientists unique strengths benefit discovery? How do we measure interdisciplinary success in any particular work? And how might some of these successes help to change policy on global climate change? So with us today, from left to right, we have Steve Cawson, who's also our moderator. He's the Artistic Director of the Civilians, which is a New York-based theater company creating original work derived from investigating the world around us and beyond theater. We have Joan Wander, who's a playwright and a theater maker living in Minneapolis, who recently participated in a program called the Arctic Circle. And that's an international artist residency abroad on an ice-class sailing vessel in the High Arctic. We have Jessica Segal, a multidisciplinary artist living in New York City, and investigating the link between creativity and survival. Evo Peters, who's an experimental physicist working at the University of Chicago, where he's investigating the dynamic behavior of granular suspensions. And Cynthia Hopkins, who's an internationally acclaimed musical performance artist, and finally we have Ruth West, who's an artist, scientist, and director of the X-Rez Arts and Science Lab at the University of New York, Texas. Each part of the panelist is going to take a few minutes to share one of their interdisciplinary projects with you, just to provide a little bit of context of what these collaborations can look like. Then we'll have some time for our panel discussion, and then we'll after 10 or 15 minutes if you can take your questions. So please join me in welcoming Steve and Ruth to our panel. Thanks. Thank you all for getting up this morning and coming out. So we're just going to start off, each of us is going to speak very briefly about our projects, but then as we have our discussion, I think we'll each get into the details of what we did and each of our collaborations. And I'm going to first. So I'm going to talk about a project with the civilians to play a role in great immensity that was the writer, director, collaborating with Michael Friedman, who was the composer. The play was about climate change, and it was created through not necessarily an artist-science direct collaboration, but I made play from a lot of conversations with scientists, and in that sense it was very collaborative. The work of the play started with a trip to an island in the Panama Canal, which is called Borough, Colorado Island, which is essentially a reserve of tropical rainforests. The only people there are scientists and not really anything directly to do with climate change, and these are pictures from the production of Bill McAven in New York. But I had no clue as to what to do or what the show was going to be or how to make it, so I figured I was trapped on an island with other scientists and they were trapped with me, that I could hang out and watch what they do, and then ask them all these certain questions that I wanted to ask them, which were things like, you know, how you go on? Do you believe in God? Do you think there's something that's protecting the climate? Stuff like that. And it was revelatory. Every conversation would start off over lunch, you go for four hours, and that really laid the foundation for the play. So the rest of it very briefly, then with the town in Churchill, Churchill Canada, in Canada, which is the polar bear capital of the world, did more than you used there. There's Arctic scientists in Churchill that did more than you used with, and then we did, we were fellows at Princeton, Princeton Environmental Institute, and got access to all of the Princeton scientists, they asked everyone to ask them and they agreed my draft didn't give me notes, but often plot notes, character notes. And some of the goods. It was like I have a Nobel Prize winner as my importer. And then there's also the climate model in Princeton, so we had access, we had all of the scientists as a climate model for an afternoon to talk to them, and then made a play. And the show was funded by the National Science Foundation, which was the first time that they funded a play on that scale. So back to the great amnesty, and on to Joe. Hi. So my approach to this is starting when I was a kid, and I've always been attracted to really cold remote places, and I used to make travel brochures with crayons and colored pencils to get my parents to take us on vacations to cold remote places, which we never went to. So a lot of the work when I started writing became a way for me to imagine going to those places. So some of the images that you'll see are from different projects that I've done. I have imagined trips to Antarctica as traditional plays. I have worked with some scientists and coders when I was in graduate school at Brown to create a virtual reality environment of Antarctica, I imagine it, creating visuals composed entirely of text that are maddened log journals of the trip that I've never taken. And also kind of challenge the drawings. And then while I was also at Brown, I got a grant to go to Iceland to work on a project that's kind of been seven years and an eight. That was really mostly about folklore and most mythology. And I was really interested in how Iceland was trying to explain its landscape in literature, and that folklore and mythology in Iceland was a way of teaching children lessons, but also a way of explaining the weird culture that was in the middle of the field from a troll battle or this incredible waterfall and there's thousands of waterfalls in Iceland. It's insane. And those were the tears of giants. I thought that was that really spoke to me. And I'd always wanted to go to the Arctic Circle. So there's a program called the Arctic Circle that Zach mentioned in my bio. That's where they take 30 people. In my instance, there was a mix of artists and scientists or a sailing vessel for three weeks. And it's project-driven, so whatever you want to work on. And I thought that I was going to go and create a... I was going to write this mythology for Svalbard, whatever that was. And I got there, and there's no stories to mine from. There's no stories of giants or trolls or hidden people. There's... Science got there first, so there was no need to try and explain the landscape. But that was even more interesting to me that there's this mythology of scientists and that there's... You sit at a bar in one of the very few towns.  But it's just... So much is happening here in terms of science. And the little seat bank being located there. And there's this incredible change that changes the atmosphere. That's crazy and awesome. So that's the project that I'm working on now. I did get to do a lot of the research there. I kind of figured it out while I was there. But I did. I have some shots, I think, from a short film that I made while I was there that was inspired by Italian Explorer and the Pope. And kind of imagining a conversation that they would have and trying to cross the North Pole. And the battle that they had between science, okay? And doing so. Hello, I'm Jessica. And I have a short video clip that maybe I could just show before I speak about the topic. It's a shallow electronics and video projection that I made in collaboration with Evo Peters here last year. That was premiered at Lynx Hall in Chicago, a constellation theater. So you sort of imagine... I think you'll see an image later of actual how the performance is set up with the video projection in the background, live cellist and electronics on stage as the video is being played. And that was part of a whole evening review of music, performance, dance with Fuse Muse Ensemble, which is an ensemble that each year addresses a different social issue with classical music and tries to bring it actually to a more populous audience. It's not just interested in particular with classical music itself. And just a little background. I got involved in this project through Ido Ocaroni, who is the composer of this piece, who has seen previous work I had done on issues of food security and climate change in the Arctic. I was also participant in the Arctic Circle of Residency, in particular to see the Global Sea Vault there and had done projects in the past with a group called the MAS, which advocates for indigenous women in Mexico to retain rights for basically sea rugs in order to maintain a localized economy and legacy in agriculture. So I work with sculpture and video, but generally around issues of adaptation to extreme climates, changing agriculture, and sort of, I guess just one more note on this piece before I move on to Ivo was that those are cast ice sculptures that were brought into the laboratory at the University of Chicago, where Ivo was already working on basically going into the laboratory where there was equipment that was already filming the high-speed camera fracturing of materials, which was so beautiful when I first saw it, I didn't know how I could possibly like enhance it as an artist. Like maybe the raw material was already gone, but again, I felt like as an artist that what I work with often is symbols instead of language and data and mythology instead of possibly trying to create a documentary narrative. So I ended up casting the ice sculptures and seeing what would happen to them being crushed inside this laboratory filled in slow motion. Sort of as a metaphor for those that are not directly living in a space in central United States and sort of a suburban economy aren't being immediately impacted by climate change versus those that are on the fringes. Right, thank you. So my name is Ivo. So Jens already did all the hard work of introducing the background of this project. So I wanted to add one more small thing to this. So here are some pictures. So this is in the laboratory. So you see there's a big machine there in the background. And so when I talked with Ivo Aronin who initiated this project, so he wanted to do something, climate change, disappearing ice. So I thought, okay, maybe we can just destroy the ice. So I said, in the laboratory, we have to actual the equipment to do this because it may sound kind of easy, a piece of ice, maybe break it.  It's really, really hard. So this is why we have the equipment to do this. So we have a material tester machine in our lab. So this is just a big machine which you can use to break anything that you want. And so to break one of these ice sculptures that you just saw in this movie, you have to use the force of a medium sized scar on this to actually make a break. So you can try, but it's really hard. To break it is to simply throw a piece of ice on the ground. And so this is what you see here. So this is kind of the setup of the ice or this piece of ice on the ground. And maybe, so I was actually hoping that there was some movies in here because then I became much better at explaining what's going on. But so, let me see. Yeah, so one of the movies that you just showed on Jess was talking, so there was this ice sculpture of this house which was falling down and then it's the ground and it breaks. So the way that we made this ice sculpture, so you just have this mold, you put it in a fridge. And so it takes a very long time actually to freeze such a piece of ice. So, and Jess was with us for a weekend. And so we had to sing in the fridge all day and by the end of the day it finally was frozen enough that we could actually shoot this shot. And as you can see, once you do this shot, the ice is gone. So this is our setup. We have this very small area where we have to drop this house and to give you an idea of this high speed camera's work. So if you blink your eye like this, that's about the amount of time in which everything that you just saw in one of these movies happens. This really happens like this. And so this camera takes several thousand images per second so that's why you can actually see what's going on once something like that breaks. But this is also a pressure on me to actually do this experiment because you have to trigger this camera right at the right moment so that you can actually capture these things which happen instead of blink of an eye. And so I was standing there so I had this piece of ice in my hands. We had this camera set up there and someone else was sitting there with his finger on the trigger. And this was really intense because I had to go to the right place of course because if I talked a little bit to the side you don't see anything at all. And it has to be triggered right at the right moment. But this turned out really well actually. And so after we had a couple more times we just throw things on the ground and get more footage for this. So this is a bit, I guess, my side of this story. How we made this project. And I also thought you had some specialized equipment that could freeze something immediately. Which doesn't exist, by the way. Some hard action to follow. So I made a musical performance work called This Climate World a few years ago and it was inspired by two experiences that fell into my lap one after the other and there were huge blessings and amazing opportunities and the first was a conference I was invited to attend at Columbia's Earth Institute organized by Tipping Point which is a British organization that tries to, their mission is to foster dialogue about the climate crisis by bringing artists and scientists together in these conferences. And there were two speeches in particular that made me want to make something about the climate crisis and the first was a speech by the opening speech of the conference was a guy Wallace Broker who's a climate scientist. He's been around a long time, he's quite an old man and he sighed deeply and said, I wish I could live another 50, he said 50 years to see what's going to happen with this whole situation we're in because we're at a turning point and what we do is going to impact the Earth so profoundly in the next 50 years I'm really curious to see. And so that very personal perspective really hit me and I ended up, we were assigned to make a communication about the issue in a very short, more tiny word limit I can't remember what the number was but it was maybe like 24 words or something. So I wrote lyrics from his perspective with a song that he would sing basically saying I made it 100 years because it worked better with the music. I wish I could live another 100 years and I ended up being the closing song of the piece that I ended up making. And then the next day, a guy named Jeffrey Sacks gave a speech and he writes about sustainability and something in the audience said well what can an artist possibly do that the scientists aren't really doing and he said well you can, his speech was mostly about the miscommunication about climate change in this country and so he said that artists can communicate in a way that's perhaps more visceral and more entertaining and therefore more able to be absorbed than communication coming from journalism or science world. And so those two speeches together maybe want to make something about this issue and then I happen to mention that to somebody at the conference who a couple months later started working for an organization called Cape Farewell which has basically the same mission but at a tipping point they want to foster dialogue about the climate crisis by bringing artists and scientists together but they do it by launching, mostly launching voyages in the Arctic so I did a similar thing to these other guys where I went and lived on a little sailboat in the Arctic for a few weeks and with a bunch of other artists and scientists. So what I ended up making was inspired mostly by that trip, that voyage and so it was kind of like a live documentary musical storytelling of how that trip and me learning about what's happening a very like tiny perspective of my life and then drawing connections to my tiny life and my perspective is that of an alcoholic and recovery and so I sort of drew connections between the society being addicted to fuels that are destroying our habitat but we can't let them go it's also easy to let them go and then I also drew parallels between the boat and the Earth like what Mr. Fuller did, no spaceship Earth because it became very comfortable being on a little tiny boat but there's a limited amount of water and if you make trash it's going to be on a boat with you and that's harder to feel when you're on the Earth and we also found human trash in the middle of this landscape where there's obviously no human civilization so basically my piece just tells the story of that trip and then it's interspersed by commentaries from wildly fictional characters who are from a ghost from 200 years in the past and a Native American woman who was killed during the Westford expansion and then a character from outer space so from very far away who has a wider perspective on Earth because he's from another planet and then a character from the future who's from 200 years in the future who's coming back to let us know that it really turns out okay like our civilization is going to we're going to destroy our civilization but that's actually a good thing I mean that's her perspective that's just her perspective I have a request alright so I'm a scientist and I have the x-ray of our science side of the University of America so how I got here is I had a day job which is the image on the left and so that's the the figure from the first scientific publication that I was ever a part of from the National Academy of Sciences and on the right are details from these pretty large scale abstract expressionist paintings that I used to make so I lived in an artist's studio do that tonight go to the Life of Iowa that morning about 10 years or so ago I started asking these questions so maybe there's something in between if there's an art science what does it look like, how do you do it and most importantly what do you get from doing that that you can't get otherwise and then since that's what I mean you know couldn't be arts actually nurtured by today's discovery so I'm kind of walking this path taking this on and currently at the University of North Texas I found the laboratory and our goal is to develop new ways of seeing new ways of wanting because that's what I believe this blending can give us and that our mission is to come up with breakthroughs in areas that require people to come together across disciplines and then you can't do on your own and the things that we produce range from everything from new types of art or new technologies new knowledge and in particular new kinds of education and new academic industry community partnerships so that's a shot of our lab kind of like the Daily Chaos there's currently 14 students about 50-50 split between the grads and undergrads and listed there are all the different fields we currently have working together in journalism, anthropology, psychology music, community seamless media photography, computer science GIS information systems free sculpture just it's an amazing blend of people coming together working on different projects and together learning from each other so I'm going to show you one short 30 second video another longer video different kind of ends of the second with the kind of things we do I'm just going to do one more time alright so this is a collaboration between colleges and universities I'm currently at University Washington University St. Louis and University of Vermont we've all had faculty and students working on this for about four years are you sick of trying to line up new pictures with old photos tired of fighting with bulky camera equipment repeat photography doesn't have to be this hard refoto, available for Android and iOS devices allows you to quickly and easily line up new photos with old you can either select from ongoing nearby citizen science projects or even create your own refoto is great for environmental monitoring tracking urban development projects or even keeping tabs on your most recent home improvement projects start making your repeat photography projects easy today by going to the iOS or Google Play stores and downloading refoto for free for more information visit projectrefoto.com so it was part of a larger long term research project in ways in which we as everyday citizens can contribute to scientific projects that require imaging images of the environment but also this is being used to provide telemetry changes and everything from ice rinks to historical cultural heritage sites in Pennsylvania and now there's a refoto site right up front door at the end for speeders so you guys can find it, download it find it and then help them see how their trees bloom along the street here and we'll set up a field you can even add places by being out there as an allocation you can just on-flight allocation a point of view, get a receiver you can buy something or just go so now the point about our science immigration here though is refoto photography is an artistic method and it's being used to capture data you actually can't get otherwise because you can get so much energy or lie around the area but that's extensive and it's a certain point of time but here anybody you need any time can be guided to take a photograph so the next project so we talk a lot about the Arctic this is about the Antarctic so I'm going to show you this it's called the Antarctic night and the Arctic night takes four months and we'll hand it over to the rest of us and here the idea is that we're taking these telescopes and we're doing a course of science and allowing us to experience it through something very relevant today which is remix culture we're all used to this constant we copy and paste every day our work processors but we don't realize that when you're working with data it's kind of like a fluid that goes from one state of water can go from liquid to the solid or a gaseous state and so we're actually in process of developing this piece great, great, thanks so we we have about like 13 minutes to have we'll leave like 10 minutes for questions from all of you so I just wanted to throw in a few questions to the panel first one being standard and interdisciplinary work or collaborative work what did you learn from the other the other sides specifically in terms of process if you were an artist was there something in the way that you experienced science working where you then thought aha I want that or I want that to be part of my work somehow I'll just say I've been on a couple of different residency models that you had a blend of artists and scientists working together and I just got really excited about a couple of things working with Evo one was the access to the equipment and the expertise and I also found I guess there were some similarities that I found that I wasn't expecting and one was the general excitement that you and Jim expressed over seeing this footage could have been something that was seen many times over I guess there was a shared interest in the outcome and I think I just wanted to dig up something as well with the conversation I had yesterday where I felt like possibly the artist's methodology is different in terms of finding not necessarily creating a repeatable experiment but creating a critical engagement of the topic that doesn't have necessarily a commodifiable outcome but it's sort of something that's working towards critically engaging an idea and perhaps just challenging accepted theory which I thought may be different from the sciences but you were speaking yesterday actually just the critique and exploration in our experience seemed to be similar and not necessarily just pointing to a solution based but the actual experience of making and working seemed to be shared You know what else? Yes? So these things that we did I wasn't really sure because I'm a scientist so what I'm eventually after is to create some scientific data over this but so it's not that I always whatever I do I have to get data out of something so that was something that what happened in this project so often when I do experiments so I try to explore different directions and so I basically just do experiments and then I look at them for example I did videos of things and I looked at is there anything interesting in them and so this is kind of the way that I approach this problem with this so I say I think it's a problem that's what scientists do so this project so it was not that I thought ok we're going to do this and we're going to get scientific data out of this it's just we're going to make these videos and I think they're going to be super synchronized to the high speed cameras it's kind of good size but there's also so many things to see in there and maybe there's some objects that there is actually something in there that I haven't seen before yet and that might be worth investigating further but I also knew almost everything I do I can struggle right after I do it because it turns out it's completely useless but in this case so in a scientific point of view it could be useless so I'm not going to write a paper about this but you have the advantage that whatever comes out of it it's going to be a very nice piece of art and it's something which would have otherwise been useless now is very useful actually so that was a very nice experience great and maybe just speaking from the art side since we carry out the manifesto in the world of theater for the artists or the artists side of you you combine both our worlds in one human life in this particular interaction between the worlds of art and science what have you found in the world of art offers what can the art side do that the science side can't where does it be so different were you asking her I'm asking her I just have a brief comment on that which is that I feel like I had one interaction you know my piece was inspired by these experiences and interactions with scientists so it wasn't necessarily a direct collaboration but I did have a lot of conversations with people and sometimes I received unsolicited feedback which frequently happens in the arts from all different kinds of people people qualified and totally unqualified anyway so this guy was a I actually did say if you have anything to say but anyway you sent me a long email which surprised me and it was about the final speech of my piece which is kind of I don't know if it was rolling any of the video of me naked in the middle of the snow when my video was playing but there's this video of me because when I was in the arts it really struck me like we could not survive I could not survive here and it's part of the world and the truth is that it's really a a very tiny moment in this planet's history that we're in that we can survive and it's easy to take for granted because we wake up and we can breathe and we can go outside without too much trouble maybe put on a coat and so it's easy to take for granted but when you're in a place like that that's very inhospitable to us it's very probable and so to highlight that I made this video of myself naked like an animal in the wild and the text is saying basically it would be a shame to not address this problem fully and to leave behind and the phrase I used was a leaving on a barren landscape where we once found paradise so that's like a poetic phrase and so I got this feedback from the scientists and said well actually we're probably not going to go extinct from this particular issue like our species will probably survive and you know I'm not actually convinced of that but maybe from a scientific perspective in terms of you know percentages and stuff like that it's not but I think it's important to conceive of that possibility and also just to conceptualize the mortality of our species because our species actually is going to go extinct someday even if it's 5 billion years from now we're not here forever and I feel like that's an extremely important fact to grasp at this point in human history and so for me I feel like that's what the arts can bring is a perspective that's not necessarily it doesn't bear the burden of proof right? like if he's going to write a paper he has to be able to prove it and that's a beautiful thing that's a wonderful thing but it's also I feel like what the arts can offer is to express scientific ideas in a way that is free of that burden I just want to be prominent on that thank you so I thought about these things and it's a slightly different take in that when you engage within this whole notion of what is re-recognizable differences between generally arts and sciences is the notion of validity you need to be reproducible and validate within a community of opportunity and knowledge you're intervening in building upon whereas within the arts the uniqueness of my work as an artist is what gives it its greatest value in the culture but the practice of the arts is what they make in the way that there's three things that I see that artists do when they make work one of them is they record their process within the objects or thought or writing that they make the process, the evolution is recorded within that so the prologens of the work that's very much like the way in which scientists record their protocols or their data is very powerful and that is a huge combination of the sciences and then also the expertise in multimodality in terms of evoking the senses through one word, a sound, a posture or an image and that evocative potential releasing that within the scientific context is also very powerful Great, well I'm going to ask you some of these projects engage with the subject of climate change and the three of you have, well I've visited the sub-artic so a lot of us have gotten into the artic or close to it and in two minutes I'm just wondering if anyone who's had work, especially gone in front of an audience where you've had that interaction between your piece and the public, I'm just wondering if you can speak to what you perceive to be the potential of the arts to effect change and actually engage this crisis, this very complex crisis that we are living in presently and will continue to be living in a very dynamic way and then maybe if you just want to throw out something that might spark some of the questions from our audience and also maybe even if there's something where you realize that this is where the arts doesn't work so well or when you hit a wall with the truth what did that mean? Well I think that change is very difficult for art to incite but I think that one of the things that it does really well is to inspire empathy in people and to personalize this information in an aesthetic way so that we're able to process it and kind of change is something that might happen but I'm not sure that the piece can necessarily incite itself. I think it's much more personal than that but I think that there's something that's kind of interesting about the I think it's about the asking of the questions and the kind of following this thread of what's interesting it's a little bit, I don't know it can be a little bit messy but I think that's what's exciting about it. I'll throw in one follow on that subject but I guess I do believe that art can change society and I think sometimes you can see it more clearly when you think of just in the world of theatre when you think of some of the most significant catalytic plays that have captured the world's imagination and have transformed society you can see it there and some of you don't necessarily see it in your own work because perhaps your own play is certainly hitting quite the same way as Angels of America but I can think something that I've found edifying from being a world of science that science does have this self-awareness that each scientist is part of a larger field and that the individual scientist might be looking at one piece of a very large and complex puzzle and in many cases might be doing something incredibly tedious and boring in order to gather data in order to tell to discover something of this one piece but they know that their work is part of this much larger effort and I think the arts because maybe we emphasize our uniqueness with singularity and vision that we don't necessarily look at our work or look at the work of other artists with quite the same awareness but we are in fact even though we are a peer reviewing us except when it comes to our funding panels working the same way we are a part of a larger whole and I think taken as a whole that we are we are contributing to the direction that our civilization goes in yeah so maybe from there we can just take it out to the audience if you want yeah to ask you particular questions of panels and yeah there's a gentleman back we have microphones and we need to use the lights that we are captured on our live streaming how around TV over here good morning thank you so much for being on the panel we had seconds after receiving a text message from my friend Ash in India I was so happy for him his family as Dr. Batuti and he was sharing the Nobel Prize with Al Homer for the work they were doing in relation to climate change and within a few hours a counter campaign was launched to this credit and show the fallacies of the data that was all funded by the oil industry and so I asked this question there's a way of being able to make an important point that there are industries in this world that are well funded and there are great little harm to be able to counter the work of artists, of scientists in relation to preserving the interest they have whether it be food industry a mining industry or a beauty oil industry and so what can artists do when people in this house because you all have artisans to be able to counter to be able to expose and to stay at least 20 years ahead of what they're doing because there a way ahead of us well I don't think we can ask the question we talked about this a little bit before just one great thing about my experiences it's true I think there's a great appetite for the collaboration of the arts and sciences as someone who got funded by the government to do a layer of climate change we ended up getting a lot of heat from mostly from the right-wing media not directly from the fossil fuels industry but while our show was running at the public there were probably 100 right-wing website and blog and newspaper articles about us our grants been been used used as a as a weapon against the National Science Foundation our our theater companies websites were hacked and taken down costing us like $1,000 but still $1,000 to put them back up again and and my this is someone else who probably can't say the question better but I think I felt very aware of how strong the force can come from the other side and did not really feel anything of unequal support in the world in which I live I guess I was just talking before about power of theater and how you know when you're doing a play it's not necessarily important enough to be taken out by the national media it's not hitting a large enough audience it's not a film it's not a TV it's not significant enough but then at least in my experience like Fox News was felt as significant enough to criticize it in a pretty public way and and we are I guess what I want to say from all that is that I guess one of the messages that I think that for the most part those of us in the humanities those of us who aren't connected to these issues maybe in a direct real way I think are very much just living in a bubble and living in a world that is not that is not real that is not actually what is what is it saying and what's happening in the world if someone else wants to address the question I just I just want to give a shout out I just want to give a shout out I just want to give a shout out just just just to the power of communication and the freedom of speech to you know fight the powers that be I think that's a really true thing it can be daunting it can be daunting what you're saying what you're talking about there's a documentary called Gasland about fracking about the impact of fracking people lighting their tap water on fire and that's you know that can empower people to not sell their land to the oil companies to come and buy it and thrive on it and so I just think I think that's the power I mean yes these organizations they have the money in there and that's power you know as we say probably 20 years ahead but then there's also you know I think the power of the arts and humanities is the power of communication and knowledge and that's the choice to speak about a certain issue in a public forum is the form of power I think you know what I mean like in other words an audience who comes to see that piece whatever it is Gasland or one of these shows might then have in their consciousness a little bit more about this issue and then like you know read the responses to what you're talking about in a different way um yeah I think it all comes down to inspiration so you can have knowledge but if you're not inspired then nothing happens so what I love about theater is that it inspires people anyway I thought to all of you they had to do this stuff that's great I just want to point out which I do think is an important distinction to talk very briefly just about the difference between art and media because I think Gasland is a really effective documentary film and reaches a wide audience but and it's artistic but it has a direct impact and works differently than work that might engage the ways of knowing what might be about metaphor and probably not going to have the same sort of direct real world issue connected outcome there are ways in which art works on as you said the ways of knowing the ways of thinking culture is outside culture is much broader than any singular issue we boil it down to just life or death issues and we're missing the fact that everyone here has voice which is my belief the same and that it is awesome that it was even interested in your play but we did it from the way it came out it's just that there's that broad plurality of points of view that in our country we have that way of generating knowledge and culture that is broad and everyone has a voice oh I think we're out of time let me squeeze in one more oh sorry you're doing it at first I remember so you're lucky man it all fell down to communication and I mean communication from one side to the other and out there and I appreciate everyone your contributions why do you say people are qualified and not qualified to contribute and others said well you don't get positive feedback like you didn't like the non-positive feedback how can non-qualified non-positive feedback people encourage the way communication at you all I didn't want to surround this in this audience remember we'll listen to where we get some of the gates down to not so much try to win the war but just to communicate and do you understand what I'm trying to say well I can't we let's qualify or not qualify why do we have to I'm sorry you don't get it I can't do you want to respond to that since you are talking about those we have to be back we have to be back yeah I was more just going for a laugh I think I have a connection to jumping through this I think I want to recover from that moment but I think that everyone on this panel is generally enthusiastic about all feedback there's moments when you're an artist where you're like just done a show and someone comes up and says something like why did you want it to be so boring really we need to learn how to talk to each other outside of that I think all this work is about starting those conversations and then the contributions of every citizen are very critical I'll just say to counter my previous comment I'll just say that I actually am really happy that we live in an age where there is a stage, a panel, a stadium a podium a forum for all the audience which is a little worldwide but and I've found responses to my work from audience members to be much more interesting and informed and astute than the critics who are qualified to comment on it so yeah I do welcome feedback and that's sort of the whole point of at least what I do is to encourage conversation beyond the scope of the theater I also wanted to say that part of the reason to choose to be an artist is that causing problems is part of your job you know you can critique you can causing controversy does show sometimes that you are 20 years ahead of thinking and working with problematizing issues discussing things that we haven't even talked about in the mainstream media there are too many funding issues and when it does become a real issue often is when it does become a client when a national grant does find something that's not accepted yet or by other general conventions at the time which is interesting when the money can sometimes be the talking point of what is our value and what are our values but I do think it's that's an important part of our job is to create problems to criticize ideas to connect ideas that may not be considered connectable in that way and that's where cross collaboration is important but I do think that creating feedback that we don't normally maybe is a good feedback is also part of our job as well I think Ruth just squeezed in one last thought so you get one last great thought I think this is both a very valuable intersection but it's also very fragile and I think that one of the more important things about it is to just to sustain and keep it alive rather than to polarize it with any particular issue because we think back to human history and the way that we create culture and knowledge there wasn't a divergence between the arts and science there was kind of a holistic activity and how people interested in this intersection they're struggling to build skill sets that are very desirable and it's those people with those skill sets that will come up with solutions that will create things we don't know about so I think part why I'm grateful to be here and have met a group of people and all of you is this is a launching point and you know it's a beginning place for things that happen that was like the perfect thing


فشرف بل اشتغالي بالعلم ولا تبغي به ما عشت يا دابة دلاء وياله من شراف عظيم الحمد لله يا رب العالمين والصلاة والسلام على أشرف الأنبياء والمرسلين سيدنا ونبينا محمد وعلى آله وصحبه والتابعين لهم بإحسان إلى يوم الدين أما بعد في حالنا العالمين أخبرنا عن العلم أو العلم الماكسي أن أعلم يحتاج إلى تبغي في إدعاء أن تفهم العلم الماكسي لذا فنحن نتحدث عن العلم الماكسي أننا سنكون ستتعلم في مدرسة العمارية إن شاء الله تعالى ونحن ما هو الماكسي الذي سنعلم إن شاء الله تعالى سنعلم في إذن الله الكريم العلم التفسير لأننا نخطأ ومقدمت في أصول التفسير بشيخ الإسام إبنو تيميا إن شاء الله تعالى سنفعل التفسير من إبنو كثير رحمه الله التفسير من إبنو كثير رحمه الله سنخطأ ولكن لقد لدينا ونحن نحن أخبرنا كم سنعلم من التفسير من إبنو كثير نحن نخطأ إن شاء الله تعالى ولكن أحبت في تفسيره أو تفسيره أحبت في تفسيره أحبت في تفسيره أحبت في تفسيره أحبت في تفسيره رحمه الله أحبت في تفسيره What's in the Tafsir of إبنو جليرا طبري What's in the Tafsir of إبنو القرطبي رحمه الله رحمة واسعة أو إمام البغوي أيضا ما الله أعطي على كل one of them The second thing إن شاء الله تعالى that we will be studying is عقيدة and إن شاء الله تعالى the عقيدة we will be dividing it into two types إن شاء الله تعالى عقيدة that is connected to أولوهية and عقيدة which is بشكل إن عام the general comprehensive type of عقيدة I'll divide those into those two types إن شاء الله تعالى the عقيدة that we will be taking إن شاء الله تعالى is عقيدة الأولوهية and that would be the books of محمد إن عبدالوهاب رحمه الله so we'll be studying قواعد الأربع نواقض الإسلام أصول الثلاثة وكتاب التوحيد and you know those would be the main books that we will go through إن شاء الله تعالى so it would be قواعد الأربع نواقض الإسلام أصول الثلاثة كتاب التوحيد we will be relying on studying those books when it comes to what is pertaining to توحيد الأولوهية we'll then إن شاء الله تعالى move on to العقيدة which is comprehensive in general and that books إن شاء الله تعالى will be the books of شيخ الإسلام ببنوتيميا will be taking his عقيدة الواسطية will be taking his عقيدة الحموية and will be taking his عقيدة التدمرية all of those are written by him شيخ الإسلام ببنوتيميا رحمه الله رحمة الواسعة and we'll stick to that and we'll study those إن شاء الله تعالى إن شاء الله تعالى to finally conclude with عقيدة إن شاء الله تعالى I'm still skeptical whether I should add it to the list but عقيدة written by أبو بكر الإسماعيل رحمه الله or عقيدة التحاوي one of those two and most likely إن شاء الله تعالى it will be عقيدة التحاوية that would add to the list after the books of بيبنوتيميا رحمه الله رحمة الواسعة then إن شاء الله تعالى we will be studying حديث and we will go over the حديث of that مسئنجة صلى الله عليه وسلم and the books that we'll be studying إن شاء الله تعالى is the 40 حديث written by الإمام and نواوي رحمه الله we will be adding the additional eight حديث added by إبنو رجب الحمبلي so we'll study the 42 written by نواوي and the additional eight so those 50 حديث that are written by الإمام إبنو رجب الحمبلي so those 50 حديث and the explanation I'll be relying on is جام العلوم والحكم so we'll be studying the 42 حديث of نواوي and the additional eight we'll be adding to it by إبنو رجب and we'll be taking the explanation he put on it رحمه الله تعالى and then after that إن شاء الله تعالى we will then be taking إن شاء الله تعالى their book the كتاب الترغيب والترهيب by إمام المندلي رحمه الله and the reason why that book إن شاء الله تعالى is all رياض الصالحين one of the two إن شاء الله تعالى we'll be taking إذا رياض الصالحين or we will be taking the كتاب ترغيب والترهيب by إمام المندلي رحمه الله رحمة واسعة we will then إن شاء الله تعالى move on to the fourth thing that we're going to be studying and the objective إن العلوم المقاصد إن شاء الله تعالى we're not going to be studying a particular مدهب because of the different diverse students who are going to be coming some who've studied حنفي فق some who've studied حنبلي فق and some who've studied شافي فق and some who've studied ماليكش فق so to all force everybody on one مدهب it will slightly be hard so إن شاء الله تعالى we will just study one book which is not on any not on any مدهب more like but it's written in a mana that is or in a way where a person who studied a book of مدهب would realize that it's similar in how it's written it's the book written by إن إمام الشوكاني رحمه الله he's كتاب الدورة الولبهية في مسائل الفقية we will be doing that book إن شاء الله تعالى and study that book with his own explanation that he put on it إن شاء الله تعالى so brothers and sisters who are listening after the student of knowledge has grounded himself on علوم الوسائل and then he's taken علوم المقاصد and he's understood them إن شاء الله تعالى he definitely will come out with the knowledge that he is looking for he will obtain and gain the status of being a scholar and a person of knowledge I finally wanted to conclude that إن شاء الله تعالى which is advice that I wanted to give to all of you إن شاء الله تعالى it's a wasiyah an advice to all of you who are seeking knowledge إن شاء الله تعالى I wanted to say to all of you بإذن الله الكريم عليك بالإخباص brothers and sisters always come with sincerity وحسن المقصد have good intention and good thought and good heart towards seeking knowledge sincerity إخلاص and to always know that the person who will gain knowledge will have your intention and if your intention is low and your sincerity is not there then you won't gain as much as you could learn فلا انتنا لمن العلم إلا على قدر نيتك وبرضة and our sister you won't learn knowledge and you won't gain it ها if your intention is evil but if you have good intention and you surrender to Allah تعالى then you honestly learn a lot the next thing I want the next point that I wanted to advise you all is العملو تبارة العلم not implementing knowledge is knowledge the fruits of knowledge and the crops of knowledge is that you implement what you learn if you want to keep knowledge and you want to keep it with you all the time then you should be one who want who implement it who always comes with it the implementation of what you learnt don't just make your knowledge just words or notes that you write rather make it a something that shows on your actions and things that you do also the third point that I wanted to say إن شاء الله تعالى is to be patient in the journey of seeking knowledge and to have high aspirations your knowledge isn't something very short and easy it's a long road it requires a lot of patience and it also requires a lot of a high aspiration from you that you're consistent you believe in yourself and you set yourself a target and you look up to that goal that you set yourself and and I also إن شاء الله تعالى remind you all to stay away from arrogance stay away from the stay to stay away from being conceit and also to stay away from being courageous to give فتوى and verdict without knowledge and also to stay away from jealousy the jealousy that isn't praised with you I ask Allah تعالى أسأل الله أن ينفعني وإياكم ويرزقنا لذة العلم وحلوة في الدنيا وارفعت به في الآخرة إنه سميع قريب وصلى الله وسلم على نبينا محمد وعلى آله وصحبه أجمعين وآخر دعوانا أن الحمد لله رب العالمين


The Navy Marine Corps Relief Society has been supporting you and your family for more than 100 years. The society was actually established in 1904 by a group of volunteers who recognized that there was a problem when Navy people died on active duty. And its charter then was to take care of widows and orphans that were left behind. And that's still the basic thing we do is we take care of the survivors of Sailors Marines and other beneficiaries. The role has been expanded since 1904, but the essential core mission remains the same. Last year, the Relief Society raised almost $10 million to help the fleet and their families. For more information and to find out how to donate, visit the Fund Drive website. From the Defense Media Activity, I'm Petty Officer Tony Rosa.


At the beginning of the 21st century, the Earth needed to find a new way to keep up with the data from over 30 billion connected devices. Just 30 billion. A bold group of researchers and computer scientists in Silicon Valley had a breakthrough. They called the machine. It changed computing forever and it's been part of every new technology for the last 250 years. Everything? Everything. This year, you live Packard Enterprise will preview the machine and accelerate the future. Our next speaker is someone I've known for a very long time and I think most of you know him as well. Grant Likely has been in the Kernel community for over a decade and has worked on a variety of things to make this community stronger and better. Recently, Grant joined HPE where he's working with that organization on Linux technology and helping them be a better partner in our community. Welcome, Grant Likely. I'm well aware that I am the last thing standing between you and the activities and beer tonight, so I figured it was appropriate to wear the red shirt. So, yes, as Jim said, I have joined Hewlett Packard Enterprise. I've been working in the Kernel for many years and I'm working with their Linux team to help be involved with the community and be part of the upstream development for the products that we ship. But what I'm here to talk to you about today is the research project that we have within Hewlett Packard Enterprise with absolutely no hubris whatsoever. I'm saying we're talking about the future of computing and this project that is called the machine. Now, you may very well have heard, you've probably heard us other people from Hewlett Packard talking about the machine over the last couple of years. Keith Packard gave keynotes at LinuxCon and LinuxCon Europe last year. You can go and see videos of Martin Fink. So I'm, when he announced it originally. So I'm going to give, I don't want to rehash things that we've already talked about so that you can consider this as SQL. I'll give a brief summary of what the machine is and then I want to talk about how we design software to actually make use of this architecture. So to begin with, I just want to remind you that this is a research project. We are exploring new architectures and computing. So this is subject to change, but this is where we see the technology right now to get started. I'd like to take a look at how we build machines right now. You look at computer architecture, one of the things that you will see is that we have a hierarchy of storage. Depending on where you look at stuff, we've got the CPU with its local registers and caches. You've got main memory, which is direct load store access off of the SATA bus. You will have your SSD or you'll have rotating disks. And then you'll have a network connection. You can have data stored over on a storage area network or using our DMA to access it. And each one of these different locations where we store data has a different software stack that's used to access it. And then we spend a bunch of time in our applications moving data around because we need to get data out of storage into memory to do the work that we need to do and then send it back to storage. So the machine project is really asking one very simple question. And that is what would computer architecture look like? What would software look like if we were able to collapse the storage hierarchy? How would our software change if we were able to have all of our data in a large pool of direct accessible with load store instructions memory? How would that change the performance of the machines if our entire data set could be instantly available from your software without having to worry about different storage stacks depending on where the data was? And that is what we are attempting to build with the machine. Let's take a look at it from another in another way. When we build data centers right now, this is what we do.  Some of them are compute nodes, some of them are storage nodes. We put them in racks, we put them in the data center, and we connect them all together with the network. And then we have the software to move the data around back and forth. And we've been calling this processor-centric computing because we are designing our software solutions based on the limitations of each of those individual machines and the storage limitations that are there. That's why we have the different technologies. Now, if instead we could start our architecture by taking all of the storage and all of the memory and creating one large pool that we put at the center and then attach all of our processing elements around the outside and giving them all equal access to that. We haven't been able to do this before because the technology hasn't been there but we think that the technology is moving that direction and we're getting prepared for it now and this is exactly what we're building with the machine project. So I would like to show it to you right now. Currently we're working on the first generation of research hardware so that we can explore, develop the software that works with memory-centric computing. And this is a picture of one of the nodes that's on that hardware. And when you look at this, there's three important parts to each node in the machine. First thing you'll notice is we've got four terabytes of fabric attached to memory. We've then got a high-performance SOC, multi-core. And third, we have a fabric switch interconnecting them that gives us access from the SOC to any location in the fabric attached to memory securely and can be allocated for our applications. One node actually not very interesting. Yes, there's a lot of compute power, yes there's a lot of bandwidth, yes there's a lot of memory but it's still just one node. Where it becomes interesting is when we take ten of these and populate an enclosure and then we connect the fabric switches between all the nodes into one large pool. Each one of those nodes has four terabytes so in an enclosure we have 40 terabytes but to the processor it only sees one large pool. So each SOC can be mapped direct access to any location in that 40 terabytes of fabric attached to memory. And then we have the capability of putting up to eight of these enclosures in a rack and then finally we top it off by putting a bog standard PC at the top of it simply to manage the allocations and manage the whole machine. So this is the hardware, this is the capability that we're working with and allows us to test out to do the research on what software would look like. However, how do we actually use it? Sure we've got this huge pool of fabric attached memory but now we need the software to make use of it and we live in the real world. We know that the machine isn't going to be useful if we can't run existing workloads on it if we can't run all of the existing software to be able to do map reduce to be able to run Apache Spark to be able to run the big data workloads. So very early on we knew that we were going to be running Linux on the machine and we knew we were going to be running a lot of existing software. The trick is then teaching that software how to make use of the large pool of memory. And I want to step through that of each of the layers that go through this. So let's start with the operating system, start with Linux. Fabric attached memory is a big pool. But it is big, it's fast, it's persistent, but it's not coherent. So we're not able to run an SMP operating system between all of the nodes. We have to either come up with a new operating system or adapt Linux to deal with this non-coherent memory. But take another look at the diagram that I have here and you'll notice that each of the SoCs happens to also have 256 gigabytes of DRAM each as local memory. And when we've got a processor and we've gotten memory, it becomes very easy just to put a Linux instance directly on that SoC. And that's what we do. We put every single node has a separate instance of Linux. This does a couple of very useful things. To begin with, now the computer just looks as a familiar software environment. We can run all the existing software that we have now. But the other thing that is useful is now the machine, a fully populated machine with all its nodes, looks an awful lot like any other Linux cluster. We can use all of the same tools that we currently use for managing Linux machines, for deploying workloads, for managing virtual machines, for managing containers that would be running on the architecture. The significant difference, though, between the machine and a traditional cluster is every single node on the machine has attached to it this slightly odd but very large peripheral that represents the fabric attached to memory. And that is a concept that we were able to build on to start using useful abstractions. So let's get up to the next layer of the software. The big pool of memory isn't useful until we start slicing it up and assigning parts of it into applications. The hardware that we have allows us to do allocations eight gigabyte blocks at a time. And we're able to securely choose which blocks are assigned to which, how blocks are assigned, and then also which nodes have access to those blocks. So we have eight gigabyte allocation units, and we've been calling those books. We can do logical allocations of one or more books so that we can get very large applications. What do you put books on? Well, you put them on shelves, of course. So the logical allocations we've been calling shelves. And then finally, we have software running on that top-of-rack management server that we call the librarian that manages the shelves, manages the allocations. That gives us the capability of allocating from the memory. And now the final step, the final piece, is exposing that to the Linux operating system running on each of the nodes. And the way that we've done that is we have written a new file system that runs on Linux called the librarian file system, whose sole purpose is to expose each one of those shelves as a file in the virtual file system layer. And those files, it's the simplest possible file system. We just want to expose the files. User space applications could open them. You can read and write from them. It could become interesting when we mem-map them. And then that gives user space applications direct read-write store to fabric-attached memory. And the best part about this is we don't assign one shelf to one node. We're able to have multiple nodes all sharing the same shelf. And this is where things get interesting. And this is also where we can, again, we can build on top of that. And that's what we can do. A trivial example is we can take a shelf, assign it to a node, and then loop back-mounted. And that gives us a file system. We can put a persistent EXT4 file system for node, which great works, but it's not really very interesting. It's not where we want to go. Where things get interesting is when we have software libraries that allow for shared access to that region. One of the things that we have a library that we've been working on that provides a structured object store within a shelf that can be shared between that. We have another library that provides mutual exclusion between nodes, because when we're dealing with this, especially with a non-coherent block of memory, we need to coordinate between the nodes. Your application can directly access its data, but it still needs to be able to coordinate with other nodes when that data is going to change. And then we can have application-specific when we have to do in-memory databases. And these are areas of research that we're able to work on now that we have hardware that implements memory-centric computing. And everything just builds up on top of that. So we've added things to begin with with the operating system. We've got the Linux kernel. We are endeavoring to use upstream as much as possible. And we're also building all of this on top of Debian because we see Debian as a very stable base that gives us the capability that we want and the ability to get in there at the pieces that we need and the technology that we need back into Debian. We have the drivers for the kernel. We have the librarian software both that runs on the management server and on the nodes. We have been looking at RDMA because, again, this is all enabling applications that we already have. And so we can use applications that are already using RDMA can be ported and make use of the speed benefits that happens when you've got access to all of the memory directly. And then finally, we've also got tools that we've been ridden. As we've been waiting for this hardware, we've already started in on the software development. So we've started with QMU to implement an emulator that allows us to demonstrate. You can take a regular laptop and bring up virtual nodes that have the same behavior as nodes of the machine. And we also have performance tests on that. So now why am I talking about this and all the projects that we have internally on the machine? One of the things that we decided a fundamental thing that we decided very, very early is that we were going to make use of open source software as much as possible. That's not our strategy. Everyone is depending on that these days. However, before even any of this hardware is available, we want to open source what we're working on because memory-centered computing is, we think that this is how data centers are going to be built in the near future. This is where we see computer architecture going. And if this is where computer architecture is going, then being ready for memory-centric computing is a fundamental thing that needs to get out there in this bigger than Hewlett Packard Enterprise. So we are releasing as much as this as we can early, before hardware is available. But not only are we releasing this into open source and making it available, but all of the development that we're doing, we are moving outside of the company firewall. We're putting stuff up on GitHub and that is where we're doing the development internally because we think that there's others who are also involved with this that will want to see what we're doing and will want to collaborate on how do we make the application stacks that we have right now work in a memory-centric computing environment. So this is my call to you. We are releasing this as much as we can. We're releasing as much as we can under GPL with DCO process because we're trying to eliminate barriers to collaboration. It is all there ready to go. I encourage you to go and take a look at our homepage which has links to the projects that we've already open sourced and is also the place to go and look as new stuff is released. And finally, in my very short amount of time here, I've not been able to go into detail, but I don't need to because there's already a bunch of information out there. Go take a look at Keith Packard's talk from Linux Conf Australia earlier this year or Rocky Craig when he presented at Vault earlier. There's lots of information. There's lots of things to get started. Finally, come to the booth at the upstairs. We have the hardware that I showed you today. We have some space models there and I'm looking forward to working with you on the machine. Thank you very much. Thank you very much. We have a reception upstairs at the hub directly following this and we also have a scavenger hunt going on through our new mobile app which is called Pokemon Go. No, it's actually our mobile app. So please use it. See you up at the reception. Thank you, everyone. Thanks, Grant.


Kioratato. So, I'm here today to actually present on behalf of my colleague Alex Zdinski, who's the Digital Marketing Manager at Auckland Museum, and he's actually put together an awesome social media strategy, which we're currently in the flow of. And for this presentation, wherever you are in your social media journey, we're just going to go through a few obstacles you might encounter and a few tools and strategies for overcoming those. So, why are we even thinking about social media in the first place? Well, firstly, it's a great way of connecting with your community well beyond the walls. You can tell stories in a whole variety of ways, not just on the different networks, but within them there's different content types that you can use. You can also get some crazily detailed audience insights, you know, who they are and how they're engaging with all sorts of different types of content. It's also really cost-effective, especially in terms of marketing exhibitions or events. And of course, it's participatory, so you're not just talking to your audience, they'll be talking back at you amongst each other, and that is almost always a good thing. So, lots of benefits, but what obstacles does it throw up?  And then they, of course, don't like all the different content that you post. So, they might also not even see it in the first place. Just because you post something to social media, that does not mean people will see it, even your followers, and that's kind of what the networks are doing in terms of trying to make money out of you and getting you to pay to even reach followers as well as people who don't follow you. And finally, you might find you're not quite representing all of your institution, all it has to offer, all the parts of it that you and your audience want to see represented. On the other one, social media takes time and resource. The networks also reward you for consistent publishing as to your audience. So, yeah, those are a few of the obstacles. And how might we overcome these? Well, the first one is to do a social media audit. So, this is really just taking a look at what you've got and understanding your landscape and how you might use your resource in the future. So, look at the different channels that you have. You know, you might have one Twitter account to Facebook accounts. Look at how often you publish on those channels, how many followers you have, and how much they're engaging with your content in terms of things like likes, shares, comments, and that sort of stuff. And then you can take a closer look at the content itself and how that's being engaged with.  Or do people love it so much that they're sharing it with their friends or tagging their friends in the comments section? Do people prefer videos or images? You know, look at your content types. And are there topics or themes that are emerging and who is engaging with those and how do they match up to what your institution has to offer? So, yeah, do your audit and get a good sense for where you're at currently. Secondly, you can look into sub-branded social. So that's creating an identity which is distinct from your main brand. And how might you do this? Well, you'll see that you could maybe just put a logo of your images like National Geographic. You might mix up your voice to suit different audiences. You know, you might use more emojis for one than another. And you can also treat your images and media in a certain way for certain topics. I would actually think of this the same way you might think an on-site exhibition. So it's probably going to be quite different from the rest of your museum and it'll be around a certain set of objects. You'll use certain fonts, colours, all those little details that make that distinct from the rest of your institution. But kind of doing that online. One of the easiest and most low resource ways to do this on social media is to actually use hashtags. So you'll see Imperial War Museums. Share war posters on the Instagram account. And every time they do this, they'll type in hashtag Warposter Wednesdays. And that automatically creates a link. So their users can then click on that link and it brings up this little sort of page of all the Warposter Wednesdays they've done. So you can see the BBC have, you know, heaps of sub-brands. I don't expect anyone to get to this level that's crazy in their huge organisation. But Alex did say, you know, maybe you could start off with your store which is what we do if you have a store. But, you know, just so sub-branding is about looking into the little tools and tricks you could use to build like little communities basically and to make these online spaces where people can gather around a common interest that your institution might have. And in doing so, you can really engage with your... They can really engage with your content and with each other. Finally, social leaders. So Alex said, Google this one. Leaders are brand advocates, individuals within an organisation that speak positively about their brand to their social followers within their chosen social communities. So in other words, it's sharing something on your personal social network or your like work Twitter account potentially. And you'll find that these people do naturally emerge within your institution. You probably know of them. But Alex has outlined four things kind of needed to make this possible. So firstly, mission, vision and values. This is something crucial to get right on so many levels. I'm sure your leadership and HR teams are working hard on this one. Secondly, you want to create an open and encouraging environment for everyone. And yeah, that does include having social media guidelines. Just to make it clear for people what boundaries, if any, there may be. I mean, it might just be like copyright or, you know, don't show exit signs to the super valuable collections. Thirdly, try and encourage and include your staff in your online sharing. This might be through them helping you brainstorm your content or things like sending an all staff email saying, you know, hey, we've got this new exhibition on. Many of our colleagues have been working so hard on it. And it would be awesome if you could share this link with your friends to help promote this work. Finally, education, similar to the earlier talk, this is about digital literacy, in this case social media literacy. So if people are willing to share their work, you've got to make them able to do so. This can be formal and informal training, but sometimes it's really just emphasizing to people that it's okay to stop work for a second and just take a photo and share that later on.  So you can amount of time, but in conclusion, yeah, understand your social landscape, consider that sub-branding and really try and empower your employees. And I would actually talk, you can email Alex, you can talk to me afterwards. And I'd also talk to any of the many Auckland Museum people here because they've been doing themselves. So thanks very much.


Yes, that is what the nothing phone can do. And I have to say though, for a device that started and a company that started last year, they've really taken the next step. Hi guys, Thundee here, and welcome to my review comparison and total look at the nothing phone 2 versus the Galaxy S23 Ultra. And you're going with Thundee, why we compare the nothing phone 2 to a high-end device? Well, it's because nothing is offering something that we used to cherish with the OnePlus devices back in the day. And I think Kyle Pay has done something here, really impressive. Now this device packs in a ton of features and is one that would be truly amazing starting off with its price point. Starting at 599, yes, you heard that, right? 599 all the way to 799. You've got a skew from 128 gigabytes to 512, 8 gigabytes of RAM powered by the Snapdragon 8 plus Gen 1. That was a very good chipset last year. So don't let that fool you thinking it's not an 8 Gen 2. Okay, so why am I comparing this against the Galaxy S23 Ultra? Well, they're two very different devices in size and style. This is 6.7 inches. Galaxy of course is larger. The Galaxy also is priced high at 1,199. You know the deal there. But let's look at the nothing. The design wise is very similar to the first nothing phone. We didn't review it, but we did get it a little bit late. I do like that clear aesthetic look where you can see almost like the innards of the device. The curved glass and the edge is pretty nice. And of course you've got the glyph lighting at the back. That's the first thing that just truly stands out on the device. It looks absolutely gorgeous and can be used as a flashlight as well. Now you've got two cameras at the back. Both 50 megapixels, wide and ultra wide. And the front facing camera is 32 megapixels. The display itself is truly impressive, but also the OS that runs on there, the Nothing OS 2 does so much more. You do have something that gives you this very minimalistic look, but also a lot of information and something very unique. Now I do have a wallpaper here, Miles Morales. You guys have a link for you in the description. But there's so much more to what they've done with the OS and the widgets that I haven't seen from any Android device. So you've got widgets where you can customize the widgets to look and feel differently or even put specific icons or say like my games widgets. You've got more functionality in the widgets where you can do more directly and also see more information like the weather widgets here, which is pretty nice showing me wind speed, air quality, all the fires from Canada, all that fun stuff. So there's really more into what this software can do. It pairs well with the Nothing Buds 2, which of course are really good in terms of audio quality. But what I do like about it is that it's just very simple and straight to the point. Okay, so let's get down to the heart of the matter with the cameras and comparisons. You've got two very different devices here and I wanna take a look at what those cameras bring to the table. The Nothing Camera OS is very simple and straightforward. The Galaxy also is simple but has a ton of features. So let's see what those cameras actually do side by side. So here's the front-facing camera of both devices. And yes, I'm recording at 1080 60 because the Nothing Phone 2 does 1080 60 as its max resolution, which is a bit sad. And of course we know the Galaxy goes all the way up to 4K 60 for the front-facing camera. But let's look at stabilization, color balance, all that fun jazz. And let's see how it actually works. Now for quick reference, this is 4K 60 versus 1080 60. So you get a good idea of what you're getting with a V1. And again, this should be quite interesting. And let's move on to some images. Quite interesting. Now, the Galaxy does of course excel well in video, but the Nothing Photos are really good. I won't mention though, there's a lot of lens play you saw in the Galaxy, and that's something that came about from the latest OS update. So hey, that's what I got from the latest OS update. Take it as you will. But what do you guys think? Who actually won the photo battle here from both devices? Now when we move over to speakers, how well do the speakers sound and then we transition into gaming? Not bad speakers from Nothing. They've done a good job there. I think the Galaxy is still louder and clearer.  We know the Snapdragon 8 Gen 2 is better than the 8 Plus Gen 1. But still, what does a Nothing phone to do in terms of gaming? Playing Call of Duty Mobile, we can do the max settings and do 90 frames per second on there. And also, you can clearly see it's got a gaming dashboard. It's born taking that of course from something we've seen on Pixel phones and that is awesome to see that implementation there. That's something that Samsung doesn't have out of the box you can download, but I like that Nothing has that. So I don't have to use an external benchmark tool. Also, PUBG Mobile works really well whether you're playing on extreme HDR or getting 60 frames per second there and very smooth gameplay, or you're doing ultra HD ultra and getting 40 frames per second. Now, Genshin Impact is where you see some falter on here. Now, this is not a gaming device and Nothing really hasn't spoken about how cooling is. But it starts off at 60 frames per second, roughly going about five minutes into gameplay. It drops down to about 52. And then it varied between 46 to 52 frames per second for duration of the gameplay period, roughly around 15 to 20 minutes. So you're getting that kind of performance there. Still good, better than other devices out there and very solid overall. Now, in terms of temperatures, you're looking at some really good temperatures on this device. It doesn't really overheat as much. It does like 170 degrees, which is still fine, especially for any flagship Android device. And you also have some really good battery life. This is where the device really excels. The 4,700 milliamp battery does a fantastic job and the standby mode on this is truly impressive. Probably the best I have seen this year from any device and even any device from last year. So when you're using this phone, battery life will be great and constantly solid for you. Now, the software adds a lot of features into this. But one thing I want to focus on is the glyphs. As you saw at the very beginning of this video where you saw that composition of sound, you've got a glyph composer that you can compose different quick ringtones, whichever way you want to. It's pretty easy to set up and record and you can make whatever sounds you like. But the fact that you can use those glyphs anywhere you want, especially for notifications and specific notifications. So I can get glyphs for notifications directly for a chat group or even for my Uber or for any app that I pick and choose in there. That really works well. You can also use the glyph lighting for a volume indicator as well as also your charging meter when you're charging your device. And then simple things like the timer as well. So there are a lot of new features that have been added to this to make this more robust and not just some lighting effect that you have there but something that you can actually use, especially the timer. Imagine if you're doing sets at the gym and you want something visual but you don't want to have the clock going on. You can have a timer set.  But it's 15 seconds, 30 seconds, that's pretty cool. So there are a lot of cool features on this device. Now I have to say though, I have been really impressed with what they have done with the Nothing Phone 2. I think it is truly impressive. I like the features and I have been just ecstatic by using this phone. It's been a while that I've gotten this excited about a candy bar phone. Usually it's foldables or something unique or different. This just gets straight to the point and works really well. Plus the price point is very exciting, meaning that you can buy something that is close to a flagship that has flagship features, including things like wireless charging, reverse wireless charging on there as well. So you have those features built in that you can definitely take full advantage of. So guys, what do you think about the Nothing Phone 2? Do you think it stacks up to a flagship like the Galaxy S23 Ultra? Or do you think it's close but not close enough? Leave your thoughts down below and don't forget to like, share, subscribe and always enjoy your entertainment.