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