 I'm Ross Tatlum from Soares University of London Centre for Environment Development and Policy. I have seen Master's dissertation research for our sustainable development and climate change programs. We have students doing research on a very wide range of topics. There are multiple ways of addressing sustainable development and climate change and making contribution to adaptation and resilience. US economist Eleanor Ostrom, who was awarded the Nobel Prize in Economics, observed that polycentric involvements of individuals and groups in local action can eventually result in influencing government decision-making about climate change. One area that I'm researching is on the contribution of artists to climate communication. For some artists, their influence about climate change has spread much farther than their own countries. Their art is an exploratory and creative intervention into the political and attempt to influence where other paths have been blocked. The profile of climate change art has escalated over the last 10 years or so and work has been exhibited at UN climate change conferences from 2009 in particular, the Copenhagen COP, but also in major art world events. During the Paris COP, Oliver Eliason and Minnick Brozen exhibited the installation Icewatch 2015 outside the Pantheon. Ice from Greenland's melting glaciers was transported for their installation. They redid Icewatch Tape Modern in London in December 2018. And then you can see that here in the slide. While at the Paris COP in 2019, Sun and Sea was another contribution to climate change art. Sun and Sea Marina, which was a performance art from Lithuanian artists, and it drew crowds and much media interest. The scene depicted is of affluent forward sunbathers, but it's an opera set, not a real beach, with performers singing warnings about climate change, while those surround them frit away their time doing nothing in the face of global ecological catastrophe. My own climate change art practice has involved observation in locations in Australia and internationally and engagement with climate science and impacts knowledge and analysis of political discourse associated with policy responses. My work reflects on political and economic unwillingness to transform resilience on fossil fuels globally and the lack of success of carbon mitigation attempts. This drawing of mine depicts a COP scene at Copenhagen's Bella Centre in 2009 and includes texts from plenary speech, urging nations to take action. This is another slide of mine, part of an installation called Years of Gross. My focus is on British Geological Survey scientific work attempting to track the Anthropocene using sediment cores from Glasgow's River Clyde. The sculptures echo data on pollution growth in the core sediments dating from the Industrial Revolution to the deindustrialisation in Glasgow in the 1980s. In my theory-based research it is the work of artists from the small island states that I'm currently focusing on and in particular those from the Pacific states. They're a group of artists addressing climate change who are having a direct influence. Their contribution has been both in the demand of climate negotiations leading to the Paris Agreement in 2015 as well as in more formal art settings. At the Venice Biennale in 2017, as shown in this slide, the small Pacific island state of Kiribati drew attention to its climate change predicament with the installation Sinking Islands Unsinkable Art in the newly added Kiribati pavilion. As well as Kiribati, artists from Tivoli and also the Indian Ocean, Maldives have had to cloud at recent Venice Biennales. So that's just a little bit about my research. If you're interested in doing a Masters at our centre, please don't hesitate to get in touch.