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Hello, and welcome back
to the and.
Our next talk is
all the rage rave and
our speaker will be Alexandra
Cardenas, and
she will talk to us about
how you can
practically
create new spaces with
algorithmic and generative
dance music and
and uh.
And so I think this is
a very exciting topic.
I'm I'm very keen to to
hear what what she will
tell us in a few seconds.
And um
yeah, so one,
please give her a warm welcome because
as I heard, it's her first time
on on the chaos events.
And so, yeah,
welcome Alexandra.
I'm nervous.
A couple of minutes to come down because
we know it's a big, big moment for him to
be here. You all have been dreaming about
this for years. I'm very happy you
have opened the space for me and for the
practice that I do, and
I'm talking about it now.
So my name is Alexandra Cardenas.
Thank you, Seahawks, for introducing me.
My hashtags thimbles the algorithm
and I am part of Top Club
Berlin. I will tell you right now it is
news.
I'm a composer of music.
So my training as a musician,
I discovered program programing
around 12 years ago
and quite new.
I feel very, you know, in the world
of programing, but that's now how I make
my music.
So you will hear
most of the things I will talk about will
be from the point of view of a musician.
And thank you very much
again to have me here and open this
space.
OK, so I'm grateful
it's a mix of the words algorithm
and three.
And it started as a joke
this name, but I'll tell you later about
the joke. But it is an event
where people dance to music generated
from algorithms, often
using life coding techniques.
Some of you, I think a lot of
you have heard what life coding is,
but we
we tend to use the word, the word life
coding, referring to performative
arts that are using
coding for it.
So like coding is a technique for
writing or performing music.
The poetry, dance
and pretty much anything in
real time through the engagement
of computer algorithms.
As I said before, I'm a musician, so I
will talk a lot about music
and life coding.
And actually, it was through music
that life coding started.
But now it is a very multi-disciplinary
in the world
and we have
people making literature dancing
because
and it is a performing
art form centered upon
the writing of source code and
interactive programing in an improvised
way.
It is a new research domain
where computer science blends
with the performing arts.
It is also a globally distributed
community that aims to open safe
spaces to create performance
art and shared knowledge in
an inclusive, diverse and transparent
way.
So I want to let
me think about life coding as as many
things now it's not only a technique or a
performing art, it is also
a space for research.
So a very well based in the academy
also but also intended
for independent research,
and it's also a community.
So as life coders
for performing arts, we have
gathered through the years, life
coding in this way has started for
about 20 years
and we have created
a manifesto that you can see here.
This manifesto can be seen in the top
black dot org.
As you can see at the top of the screen,
that's the top lab, which is an anagram
of laptop is the organization
of life coders around the world.
And to give missed the top black website,
you will find not only our manifesto,
but you will find the forums
the chance the nodes that
are in dispersed
around the globe.
I represent black Berlin today,
but you will find in many cities in
Germany, we have in Dusseldorf, Leipzig
in Hamburg, of course, actually
in the angry race, born
in Hamburg.
So and here I
want to tell you a bit about what our
main philosophy is.
Of course, this this is not set
in stone is not like if you
don't feel these rules, it is not.
Life coding actually is
quite flexible, and this is a manifesto
in which we, as life coders, think
about all the time, how to
how to amplify it, how to people
it, to help, to complete it.
So the first and first
point that I want to stress to see is
that we demand access
to the performer's mind.
The whole human is human instrument,
so you will see the life coding is more
about the process more
than the product, which is a very nice
way to see music
from a different point of view from
the music industry.
Because with the music industry, we have
to learn that we have to have products
ready to sell and
with the life coding community, were
trained to go back to
the feeling of creating music and arts
in a communal way in
and we share the process of it.
Obscurantism is dangerous.
Show us your screens.
You will see that light coders love to
share their screens and to show
their errors when they get their using
the code.
We speak with the audience when we ride
to type typing our codes
in program center
and instruments.
But the program used to be transcendent
will.
All these are things that more or less
define our philosophy,
especially about sharing in
the community now.
So I would pretty much ask
you to go to the talk.
And if you're interested in
learning more about life coding and you
can enter in contact with life coders
around the world, and if you want to meet
them physically, you can look forward to
note more close to your city.
Now, I want to show you a little bit an
example of what life coding is.
Shelley Nunn's and Glenn Fraser
They presented this in
Spain earlier this year
and.
You will see that they use the software.
Shelly uses a software called
supercollider, which is very used
in the thing that actually
with the software is that life coding
was born and
well, let's see it in.
Glen Fraser uses a software that he
created for for coding the
shaders in real time.
So I'm going to play a little bit of the
video and maybe we'll just keep some
parts because in the 40 minutes we do.
But I want to show you at least three or
four minutes of it.
So
this.
Which, of
course, is the
battle
for
the future.
And.
All right.
Thank you for listening in
this performance.
I find it very special and you can find
it in on YouTube
to let you know the end of it
where you can find it.
And I want to come back to.
Sorry, going
on the screen.
It's a business
and very well.
Yeah.
All right. So.
Yes, like coders.
Here it comes.
So McCain is a couple of minutes
of it, but I wonder if you can
see a bit to what I will talk about
reflected in the video we saw before
let coders create different genres of
music.
So own music
that is subject to be described as
patterns of sound can be life
coded and as a musician.
Well, I can my opinion
opinions that every music can be
described as patterns algorithmically.
So it's not only
that we do techno music or
abstract electronic music, we can really
let go all kinds of music.
And of course, all types of
visuals let coders
deal with written language for the
description of music and visuals, and
this includes
a new interface for a musician.
In my case, it opened completely
a new world of possibilities.
When I'm not,
I'm not attached to the
physical instrument, to the
response one to one.
Like, for instance, I was a classical
guitarist that I had when I pulled
the screen and I heard one sound.
Here I press a key and I can have
infinite sounds, infinite
possibilities, infinite processes
and also coming and
touching in the digitalization
of music and the use of doors.
For instance, digital work
stations.
Usually you have them in
commercial software, you have buttons
and flashes and
faders and things that
look like an amplifier.
Instead, when we're talking about code,
we describe things with words
and with a language that the machine
and the human understand.
So it's already a different
thing now, and we like to improvise
like coders improvise.
We find the joy in
dealing with the unexpected
and seeing what errors do we
get? How is the response of the audience
to that affect us?
Allowed to say improvization
is a big part of the life
coding practice.
Let coders right through right
and manipulate in real time
a system that system that creates music.
Still, life coders are the composers
of the music.
The software becomes a composition
and the piece of art itself.
So of course, when when we started seeing
the computer as a musical instrument,
as a new musical instrument, and then
we have some artists
that basically press
play in the computer, and
a lot of people think that, well,
if the computer is doing the music music,
you're not the composer.
And this is a very divisive
thing. And this is a point that we have
a lot of discussion how life is really
like coding in,
but
we are composing the music in real time.
And then if you are writing the software,
if you are, if you are skilled enough
to write your own software in
the software becomes the composition
and the piece of art itself.
And to keep in mind is that we are
performing generative art
in real time.
So that's another it brings
us other ways to think about other
ways to think about time to
think about, to control, how
much control do we have in our
performance?
So we deal with algorithms doing the
performance change, simply
deleting them, writing new ones.
Sometimes we even write them from
from scratch.
And the important thing is that
we focus on open source, free and liberal
software, and we
the hacker philosophy is a big part of
our overall philosophy.
So we have a lot of things in common
let coders spread their software
or contribute to the development
of existing 16 software
or not.
Like, I feel, I have
contributed to certain software
with ideas like I'm in session
from the point of view of a musician.
I would like to do that.
But even though I don't have the
programing skills to yet to
to to
help with the development or create my
own software, and it
doesn't mean that you're not contributing
in any way we
meet online and physically
whenever possible.
But it's true that we have been meeting
online since the beginning, so
we have created a global distributed
community.
Most of my lot of funds don't meet
in person yet, but
so actually when the pandemic occurred,
we were already well connected on
the internet and we started getting
concerts and even more than
before online.
And as it told you before, we'd like to
show our screens.
So now that we know what the live coding
is, we can talk again.
What these dangerous
algorithms is movement inside
the life coding community, which aims
to create a rave in which the music
and visuals are made in real time
with the algorithm.
The general idea is to create a
communal space of abandon,
much like a race in which the
focus goes significantly
into the process of creation of music
and visions which are being
shared on the screens.
And also, like someone in Japan,
recently developed a system in
which we can manage this light
go to stage management and life called
the lights, for instance.
That's something that we have been very
interested in.
And Algore, as I mentioned before,
from algorithm and Frame is an event
where people dance to music generated
from algorithms, often using less
coding techniques.
Alex McLean, it's a name you will
hear a lot because he's one
of the creators of the whole movement,
and he wrote the software that is
most used in this
moment for making
music life call music, which is
called tidal cycles.
And Nick Collins, a composer,
both of them are from the UK,
coined the world agreed in 2011,
and the first ever event under
such a name was organized in London
in 2012.
It has since become a movement
with anger raves taking place around the
world.
I wanted to mention before
the next light that
the name Mulgrave came from a joke
because they were already doing life
coding and.
And Alex McLean
and Nicole Nicholas Collins the
day they were
traveling and they decided to
do. They say, What about
if we did? Let's go.
But with beads?
Yeah.
Would be like an array of like an antique
rhythmic we. So it started
as a joke, but now is a big movement
around the world.
OK, as I mentioned before, own graves can
include a range of styles,
including a complex form of minimal
techno, and the movement has been
described as a meeting point of hacker
philosophy, geek culture and
clothing.
And although life
coding is commonplace, any algorithmic
music is welcome.
And
although angry, angry musicians have
been compared to two deejays,
they are in fact life musicians
or improvisers creating music
life, usually by writing
or modifying code rather
than mixing recorded music.
So it has been a bit of
a, well, this is a deejay or
not. And of course, we can do
deejays. That's life.
Did you sense much as
the same deejay can do life sets
making their own music and also
the difference, mostly since we're
dealing with the code?
And how did it start?
So SuperCollider, as
I mentioned before, was the software that
started everything it.
And they supercollider had symposiums
many, many years, and in
2012 they made the first
and grave.
I joined in next year, the next
year, in 2013, when I was
in Mexico City, because after
the UK, Mexico was
a place with this practice hit
really, really hard.
And now we have a very, very vibrant
scene. Mexico, I was living in Mexico
at the time, though I am originally from
Colombia and now it
is really everywhere.
Because in
the first seven, self-proclaimed angering
was held in London,
and Hungary has
been growing into an international
movement with anger raves having held
physically in Europe, Asia and America,
and global online anger
and grievance with angry voters from
all over the world.
So imagine to see the fate of the angry.
You will find their
links to social media artists.
One thing the WhatsApp.
Please follow us on Instagram Twitter
A.
Our aim is to be
quiet, to share and share our knowledge,
and we have a code of
conduct in which we
we try to separate
from the usual
tech communities
that are not welcoming to women
or to people who are not experts.
And so if you are just
considering to enter fantasy,
be confident that we will be treated
with respect and you will be welcome
and we will leave you all the information
you need to join the community.
We have instead of building a room,
we have our own channel called
in the room because of the mathematician.
And it is in YouTube
and you will find
hundreds of hours of
both performances from around the world
from different points we make.
So if you look for in the room on
YouTube, you will find
a lot of beautiful material.
And now I just want to talk
a bit about.
Then I'll go after
a few years, and
it is a project and
not necessarily from the algorithm.
I just wanted to let
you know a big town.
We are making a big effort
to become inclusive to
welcome women,
people who suffer
racism and
with people with disabilities
like we are opening our
our community, our knowledge
to them, to other
other people that are not usually the
white man you see making
electronic music.
And so there's so much
to see in them.
And in that
room, as I mentioned about one
example I want to give you, is
that this angle Afrofuturism
made by Antonia Roberts?
I didn't mean to do this, I can do things
for him, you know?
And Anthony, a rubber
snake.
He started making visions, but now
he's doing music, too,
and
which is something that characterizes a
lot. Our community like, for instance,
I have to make music all my life.
And very recently, I have started doing
visuals in programmers
who want to start doing music.
They can do it.
Musicians who want to learn programing,
they can do it in
life. Coding has been also
been implemented in some schools and
universities already in Europe,
and me myself personally,
I have given a lot of workshops
to different kinds of persons
not all the musicians, not
only in coders,
but kids who are deciding
what to do, what is what they like
and like. Coding is a great way
to introduce people to
music and to programing to
arts and computer science.
So it's a beautiful meeting point.
It's a melting pot of ideas
of disciplines.
And so if
you want to to start doing music,
this is a great, great way to do it.
Or if you want to start programing.
Please take a look at what we're doing.
This is in an
effort that Antonio Roberts
and Alex MacLean
made in
Birmingham,
in which they mentored
four black artists
into life coding.
So I want to see a little bit.
Of the results.
Is horribly and life coding is
is basically people making music and
visuals, using programing, using
algorithms.
There's various software that we use for
this and and yeah, I've
enjoyed doing that for a very long time.
But one thing that myself
and addicts have noticed is that while
it's algorithms and light coding, the
scene in the community is very good at
addressing gender issues
and making sure that then all of
the events are very gender balance.
It's not so good at tackling
diversity issues of race and
ethnicity.
And so.
So they may have seen it, but just
not.
Oh
oh, oh, oh,
oh, oh,
oh oh
oh
oh oh
oh oh oh
oh oh
oh.
I'm going to show you now another artist
of it.
You're very welcome to see this video in
our channel.
Well, as we don't have much time, I
would go further with another artist from
this of Francesco.
More.
You.
Okay, my time is running out,
so I will go to another
examples I have for you
in this this video,
this can be pretty much part of the
allegory.
It's not that we need to make dance and
music from Mangrove.
You will find sometimes very roots
music, a very
music that is noisy and
sometimes it has nothing to do
with what we know commercially.
Like dance, music is not like
techno that is going to make you
sometimes is very weird and sometimes.
But that's that's the joy of, you know,
that is so, so
unique. The Agari,
this one, this is a very
much younger set.
This is Russell Mead from Columbia.
He uses a lot of
Colombian
popular and traditional music,
and he.
The veins of Latin America.
How
do
you
feel about that?
Oh
oh, oh,
oh
oh,
oh oh
oh
oh.
Chop,
chop,
chop.
Tonight, we will have an engraving
return to reality.
And you are invited.
We will have a link for it in our
assembly.
Our assembly is called Top Club
Berlin.
And please come.
We will start. Our party are seven
30 pm Berlin time
and you will be able to see it left a bit
playing live from Colombia.
And you will see also artists from Italy,
Germany, the UK, Argentina,
Colombia, USA
and we will keep the virtual reality
hub open so you can visit
us until until the end
of the Congress.
We will be there and
I want to mention Alex McClean.
He's the one who wrote
tidal cycles the software and we have
seen in the last videos being used.
It is written in Haskell, so it's a
very nice way to do music in a
functional programing language.
I want to show you a bit of this
performance that I love him made in
Tokyo some years ago in
2018.
So you can see how he
uses code and,
yeah, some minutes of
his nice performance.
And.
Per
person
per
person per year,
after year,
after year
after year.
To prepare for
that purpose, for
that purpose,
please.
I always go on
the offensive rebound.
Howard Stern over
the weekend found when we lost
Iowa doesn't know
exactly one week long
and I was so long
and suddenly
I was stunned.
So then we I
was starting
Super Bowl when we lost
Iowa stars in
St. Louis.
I was so low.
And when we
go through 2016
St. John's, please,
please, please
God, I would.
I would.
I would
tell
them to do
so. Then we,
we we
don't.
I was stunned alert.
I always
was
not game dancing.
I'm ready and
you can dance tonight to if you come to
our grave that we prepared,
especially for the for the Congress.
We made a beautiful Mozilla hopes
and space
for top billing.
So you are very welcome to join us
tonight. The link is in Lebanon.
It top place with P.
Please look for it in Twitter.
I have posted the links
and if you are
looking in the assemblies, we are to be
lap because we made our lap
there. So it's our space and you will
find the links there.
Come visit us if you want to
become one of us and I got Raver
or a life coder, please
join us into black dot
org.
As I mentioned before, and
we have here some of this if you
Google most, some life coding, you can
find this beautiful GitHub
repository with a lot of information
about life, coding and Hargraves.
And of course, we have a number of code
of conduct, which is
we are inclusive.
Please be respectful, be nice to each
other. And of course, just to mention
briefly that we have done some
raising virtual reality, and
this is more or less what you will find
tonight, and
that is
where you can wear your avatars.
Peter, it's not written yet, and you can
be part of this uncertain future if
you want. So thank you very much for
having me. My 40 minutes of
talk I've done and I'm open to questions.
Then if you have any question, please.
Thank you, Seahawks.
Yeah.
Sandra, oh, I don't
know whether we're already in the
life here in Potsdam.
Can I?
And he has been like this whole.
OK.
All right. So I
guess I guess where we're back in
Potsdam, so thank you, Alexandra,
very much for for your awesome talk.
I actually I was also
a bit moving to to to the music that
you played. So definitely
something something to check
out and to dance to.
And yeah, what
would you say?
How easy is it as a
as a newcomer to to
get into the is
the area of algo rave like
if you have never coded before
or for example, are you
just new to music and
improvization composition,
these kind of things?
It is actually quite easy.
A big effort in the community has made
a big effort to make languages
that are easy to use.
For example, the title cycles
that we saw at the end and
you saw a lot of complex
functions that Alex made because he's the
one who wrote the software.
He knows it better than anyone else.
But actually, when I teach and
we can start making sounds immediately
went with very, very simple code
with a couple of instructions you can
start doing it.
So for me, it
was hard two years ago because I
started with supercollider and
supercollider.
It's a wonderful, super powerful
software open source,
but it has quite a steep learning curve.
So I had to do the
then I had to repeat
the introductory course in Mexico and
wanted to learn supercollider,
and I used to feel like a move, but
it has given me all the tools I need to
for my profession.
I'm a professional musician and
my main tool is supercollider
and tighten cycles.
So it has a big range.
You can learn it very quickly if you're
interested.
And if I mean
that the good thing about the algorithm
is that we are open to them.
For instance, tonight we will have
to two people who have
never performed before in an algorithm.
So we are not looking for stars
or, you know, like we
are welcoming newcomers all the time.
So you get to try your things
in very, very rapidly
once you have something someone sounds to
show. We will be very happy
to hear you playing them.
So it's quite a celebratory.
And.
That's that sounds wonderful.
Yeah, I think it's like in every
community, it's it's crucial
to
that. The community itself is
as open and welcoming also to
turn to newcomers
because I feel
that's.
That's a
lot of communities have those unwritten
rules, and of course,
you can't know them from the start.
And so it's very,
very good to when you say that
the Al-Gharafa community is open and
welcoming and you're allowed to
to do mistakes
and for 40 40,
what you said about the different
programs that you have.
I personally found myself.
Well, there's, for example, an image
manipulation programs.
Of course, you have the big tools
that everybody uses like Photoshop.
But then, for example, if I just
want to crop something out of my picture,
I just need a tool that does that
and doesn't have all the power.
So I guess from what you said,
the the different softwares that you have
in the Al-Gharafa community.
It sounds that it's
quite similar.
Um, another question that I
have is you said about
the Aguirre's community is
also quite inclusive and
wants to bring
down barriers for
people that might not be inside your
community yet, be it
physically challenged,
challenged or disabled people
or, for example, people from
all over the world.
What what would you say?
How, how
not how big is your effort?
But at what
phase are you?
Are ready?
Are you quite still at the beginning
to to reach out to
other people?
How much work is still need?
Is need still to be done?
Yeah, it has been a constant work
with the group that now is the 10th
anniversary and with the
coding 20th anniversary,
we have a few.
This is the most well-balanced
community I know in tech and
in arts, both in my experience.
So that's why I have.
I thrive so much in this community
because and
I feel very well balanced.
So even though we have a
lot of people from other races, still
very much most of the people in the group
and they've gone community are right
back to what we do is a big work
on understanding what can we do to
decolonize ourselves.
We just recently had the international
community and we were discussing this
very, very much in
depth how from the social point
of view, how can we make each one,
no matter which background we have, which
race we gender we are?
How can we help to make
these barriers lower and spread
the world, the world of this community
that is so welcoming?
But still, you see people
who are intertwined in the community.
We are the still less people.
So these are some of the efforts
we have to make and we will continue
making.
But as far as they know,
when they have a good overview of how
the community is doing in
everywhere in the world, but there is
another grave. You will find someone who
is. The organizers follow
also our code of conduct in which
we know that we we need to strive
for diversity.
Also, when we give workshops, we do a lot
of workshops for women only, for
instance, because it's necessary for
for the equity of the whole
thing equality.
So we need to open spaces
in ourselves.
And for me, the effort
of being here has been an effort
to open this place now to to tell
you you're welcome.
And let's think together in another ways
of making music, in another ways of
having parties, of teaching
to each other and to
bring ideas that
sadly, capitalism and the industry
have made us believe that music is only
these when actually music is something
infinite and belongs to all of us.
So you don't need to have a special
age range.
The Special System You
can make music with the Raspberry
Pi if you use one pay, for instance,
and so that summer effort is still
it's a lot and we need a lot
of things to make.
But I hope, for instance, we can be here
next year again and we can still
be showing what we do
and we're proud of the work we have
done. So yeah.
Thank you.
You're totally welcome.
I think this
is a great
move, but it has a lot of potential
still and and and
from what I have seen and.
What I've heard is it's
already quite wonderful that what
you have and I haven't heard about Al
Gore before, and I
will if if time
allows, I will definitely check out
your your session later,
later that evening at
7.30pm at
top Berlin.
And yeah, but
let's continue with questions from
the interwebs.
There's one question Where can I find a
quick start from setting up the tools
to hearing the first?
Sounds like?
Is there a tutorial that
one can find if you go to
the tidal cycle's website?
I'm showing my screen, so let's go
together.
One thing I say it's let's go
for some life calling.
You will find a repository in
the dump, but
I recommend this one a lot because
it has a very comprehensive list
of of the languages
we use libraries, tools,
websites, community,
please come to the community
if you want to have sounds like no.
There are two good options.
This story is the first one,
which is a platform
for networking music.
So if you and I open
it up to the discord
because we're in community, but
let's go to us to.
It's too
good to see
it is the University of McMaster in
Canada.
The teacher there, David
Osborne, along with his students
and some other collaborators, have
created these platforms, which
aims exactly to
this tune so we can start
making sounds right now.
Tonight, what I hope you at home can
access into it.
You will find a tutorial.
Everything is very well explained.
The idea is, for instance, wherever you
are and me, we could start playing
together, maybe as my internet
version of going right now.
Maybe I'm using my plans for the
I don't know, but usually for
maybe the server is busy.
Everybody's like going into this
property, Mr. Well,
maybe, maybe all
of the combined chaos
is now on the server if
we don't know
better the language you want to use
to play.
I recommend, of course,
tidal cycles must be
in the list.
But let's go to the tidal cycles,
which is the most used one
for making music
is the one of the last to be doing
showed.
And
the thing is that it is in high school
and it has been a big, difficult to
install.
But in the documentation, you can follow
them.
The installed tidal, it has some
boot straps for Macintosh
now, and if you have trouble
installing, please reach the community.
The other one that is super easy to
install and has great tutorials.
Son Pay.
Standing by the local music
scene for everyone.
So these languages, tetracyclines
and campaigns are
controllers for you, SuperCollider,
the one I mentioned before, that is quite
a difficult software to learn.
So these are efforts of the people
in the local community to make
it easier to learn and to make it easier
to perform when you're performing
and you can. So therefore, sometimes you
miss a comma, you miss a parentheses.
So they have created these languages are
quite easily needless
characters, and you can make more complex
and beautiful things with simple code.
So nearby, you can download it and
install it immediately, and the tutorial
is fantastic. In one minute, you can
start making sounds.
So, yeah, I welcome you
to Sydney, so keep my list
in hand because if you want to make, for
instance, which runs
it, let's go to
Hydra
and I
don't remember exactly the address.
It has the guitar cars, it's wonderful,
everything's open source for it,
forget you can use it.
So for instance, if you want to start
making big shots, you can start now
to get started. Close this window, change
some numbers and take control
shift. Enter two to run the code.
So let's say this is the code.
So you see the community is is
sharing.
There are their algorithms now.
So let's say again, I want to.
I want to see what happens if this stuff
was so I put one
zero here
and.
You to them, yeah.
You see, I got some sort of 13
oscillations, a good one hundred thirty.
And if I get one and like
this, I am life good now.
I am likening my patience with some
of an algorithm that's a list
of equipment and
none. This is great fun and you can
try it at home.
You can use it for your concerts, and
this is the most used software
in for the U.S.
tonight, and we have a lot of things
with hide.
So this jury, when we went to
collaborate,
we can go to
I'm going to create an ensemble for
the RNC through.
And, you know, we didn't even friends was
listening to me.
Her time, yeah,
to use her name.
Yes, I'm I'm sorry about.
I think we
were.
We've run out of time.
So but maybe as a final
as a final question from
for the D-Day
project that you showed
just now, for example, but also
especially the the the videos
and other things, the links
that you showed.
Will it be available somewhere or
should we discuss this afterwards?
Yes, I'm going to put all this in
our assembly in
the top lab building assembly,
which recently.
All right, right?
I think I think it's
a.
Also, we
will we will publish
those things add
up.
So fines, of course, topple
Berlin.
And also
this tonight's session and
so that you are well prepared
and well informed about the
ugly rave community.
How about that?
Excellent. So just just.
Yes. So at 7:30
pm tonight, check out I'll
go check out a couple of Berlin and and
the algo VR session.
And
once.
Once again, a warm a
warm thank you for this wonderful talk.
Alexander.