Beneath the surface: New works from the Strata Series
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Weber, Sally
The Strata Series explores the relationship between the physiology of matter and the depth of mind. While the black and white photographic works delineate the surface contours of the figure, the pulsed light images use holographic interferometry to capture the micro-motions of breath, muscle and blood from within the body. Currently on exhibition at the Center for the Holographic Arts in New York from May 6–June 30, 2006, the pulsed light images are reconstructed using high-powered LED illuminators designed by Craig Newswanger which offer an alternative to laser illumination.
 It gives me great pleasure to introduce to you one of my favorite artists, Sally Weber. Thank you, good morning. Well, I guess we'll find the right place here and we'll put on the glasses. Luckily I switched the glasses from last night off my head or we would all be in trouble. Okay. What I'm going to present today is a talk about work that is new in that it's being seen for the first time in an exhibition at the Center for the Holographic Arts in New York. And as a result I would like to extend my thanks to Anna Marie Nicholson, Akuo who is here, Nakamura, and he'll be speaking later today. And also Sam Marie and Anita Patin who have been really helpful and instrumental in making that exhibition come to be. And I'd also like to thank Fuji Hunt for their kind consideration and for which I am here. This work called the Stratoceries actually began as an investigation into photography in the mid-90s and became the Holographic version, both parts of which will be in the exhibition that I'll be showing in the slides here. And the Holograms, the Masters were taken in 2001 but are gradually now being completed. There's a series of six which I'll be talking about and three of those including another Holographic piece are in the exhibition. So let's begin here. The Stratoceries explores different ways of knowing and its relationship between the physiology of matter and depth of mind. While the black and white photographic works delineate the surface contours of the figure, pulsed light images of the Stratoceries use Holographic interferometry to capture the micro motions of breath, muscle, and blood from within the body. Stratoceries usually refers to the layering of geologic levels over millennia. But as I see it, it's a metaphor for the peeling back of our own internal depths. Loss and deep grief that just comes through our life can dive us down into the very core of our own being. Curiously, it's our resonance with others' grief like the infectiousness of joy and enthusiasm which binds humans to each other. In ancient civilizations from the Paleolithic on, people traveled down into the caves in an attempt to access the deeper reaches of both the outer and inner worlds. This descent was a passage or transition, journey, or transformation. Bound by rituals and tradition, a person entering a state of unusual psychic appeal or illness might be instructed by a shaman, healer, or cherished leader, and become a shaman, healer, or cherished leader of great vision. In our culture, such a descent might be considered a clinical condition. Joseph Campbell, the noted scholar of comparative religion and mythology, recounts in Myths to Live By the similarity of pattern between a schizophrenic breakdown and the mythic journey of discovery. The usual pattern is, first, of a break away or departure from the local social order and context. Next, a long, deep retreat inward and backward. Backward as it were in time, inward, deep into the psyche, a chaotic series of encounters there, darkly terrifying experiences, and presently, if the victim is fortunate, encounters of a centering kind, fulfilling, harmonizing, giving new courage, and finally, in some fortunate cases, a return journey of rebirth to life. And this is the universal formula, also of the mythological hero journey, which I have described as one separation, two initiation, and three return. The passage of descent is often a journey that reveals depth long hidden. Previous cultures knew and developed rituals to exercise this aspect of human character and reintegrated into the social fabric. Joseph Henderson's work on cultural consciousness and its effects on cultural attitude in individuals suggests that core beliefs dramatically alter the premise and path of transformation. He maintains that in polyism, the rights take place down in the underground or in a courtyard. The God image is a symbol of emergence and growth taking place within it, like a plant growing in a well cultivated garden. In monotheism, the initiation is conceived as a journey, a mythical approach to the Godhead leading to spiritual perfection, a sort of pilgrim's progress. Polytheistic transformation takes place down in the dark of the underworld or in a courtyard, while monotheistic transformation takes place as a linear journey towards the light. Now we see different ways of knowing through functional MRIs. These are scans, brain scans, lateral brain scans, and other imaging techniques that can pinpoint the brain's activity. The circle white area on the left over here, if I can find this, is the area that's being activated by analytic thinking or language, which is associated with the right side of the brain. Whereas, how do I get this over here? Okay, there we go. The circle area on the right is associated with metaphoric thinking, music, and image. The two sides of the brain really come up with the different aspects of our thought process. And our brain has the magical quality of crossing these and being able to integrate those different types of knowledge. But in essence, the silent right side of the brain, wherever this is over here, feels while the verbal side on the other over here communicates. And they can conclude very different things. And a lot of testing has been done on this where people have had a stroke or something that is limited one side is another. A lot of you, I'm sure, are very aware of all this research. This, certainly our brain integrates these thoughts, but a deep transferring personal experience or deep grief can alter one's outlook and subsequent view. One has returned from the experience of a different way of knowing than the usual cognitive state of mind. This is a brain scan if it comes up here. There we go. Luckily, it was a healthy brain. As Campbell notes, the inward journey of the mythological hero, the shaman, the mystic and the schizophrenic are in principle the same. And when the return or admission occurs, it is experienced as a rebirth, the birth that is to say of a twice born ego, no longer bound in by its daylight world horizon. One is now no longer afraid of nature nor nature's child society. The new ego is in accord with all this in harmony at peace. And as those who have journeyed, those who have returned from the journey tell life is then richer, stronger and more joyous. And we go on. Hello. Oh, there we go. In the mid 90s, I began a series of black and white photographic studies of figures inspired in part by Margaret Benyon's Terecias and Niels Ebersen and Hans Bill Coggins, interferometry studies of a man using a jackhammer. Using white light, I was searching for a way to suggest the depths beneath the skin. So over a period of about four years, I just did a series of study. At the time, I was doing a lot of public art in California and elsewhere, mostly working with large scale gradings, which was my previous work. And some of you are well acquainted with that. Many people ask if that was Craig. No, it wasn't. In the spring of 2001, I received an AIR at the Center for the Holographic Arts to produce interferomic masters. Six of these masters are, as I said before, part of a new work, which will be called Descent, and three of them are in the exhibition. The first work I transferred from the Pulse series was in the fall of 2001, and it's a reduction. And Melissa Krenshaw, who will be speaking on Friday, happened to be visiting, and she had done a series of reductions herself. So she gave me great aid in helping out on the setup for this particular work. I was completing it when 9-11 happened. That day of trauma interconnected us through a grave tragedy. I had calls from all over the world, and I was in California. I wasn't in New York. So there was a sense that there was a binding. Loss has this ability, somehow, very deeply, to touch us as it should, just as we've been touched this week by the losses who are not here. And yet, it also has the transformative process of giving us great joy in their remembrance. Anyway, the pose of this figure is one of both loss and hope. I titled it, Chasm 2001, and it is in honor of all those who have suffered such losses. Loss is essentially human. It manifests deep within us and is carried through our cultures, expressed deeply as our tradition and belief systems change, excuse me, over time. Some of my research goes into ancient cultures, and this is, I'm going to be recounting here, a tale from Pre-Sumeria mythology that comes down and ends up getting integrated in many different stories. But this is actually from a seal from, let's see, I've got a date here, 2012 B.C. of a goddess, a Pre-Sumerian goddess named Inanna, sometimes called Ishtar, various other names down through time. But she was a major goddess of heaven and earth and represented by the planet Venus. Very powerful. Inanna decides to take a journey down to the underworld to visit her sister, Erkashigal, who is the queen of the underworld. In passing through the seven gates of the underworld, she's gradually stripped of all of her finery and at last her robes. How could she stand before Erkashigal? But instead of bowing to her sister as proper tribute would require, Inanna tries to usurp Erkashigal's throne and is immediately killed for her tempt. Her body flayed and hung on a peg to rot. Back in heaven, Inanna's servant laments to the other gods that Inanna is not returned after three days. Only Enki, the god of water and wisdom, comes to her aid. Enki creates two emissaries and sends them to the underworld with the instructions to retrieve Inanna. Enki's emissaries find that Erkashigal is pregnant and suffering. They console her with lavish attention. In appreciation, Erkashigal offers them gifts which they have been told to refuse, saying that only that old skin, that leather bag over there hanging from a peg would be quite sufficient, much more than we deserve. Enki's emissaries bring Inanna back out of the underworld, but clinging to her back are demons instructed to seize and bring back Inanna's replacement. As her payment for leaving the underworld. Inanna returns to the worlds above, both the earth and to heaven, with the knowledge of death and destruction in the core of her being. She has become the goddess that has fully realized the sum total of nature, both as the creator and destroyer. This fully realized goddess of heaven, earth, and the underworld knows now what death entails. These works of what will be called the Descent series are not directly related to the story, but it was part of the inspirational background. This first one, which was first exhibited at Paula Dawson's and John Gage's show in Australia in 2003, is called Terrain. It's composed of three transfers and illuminated by now is illuminated by an LED. During their show it was illuminated by a very nice laser. This is the second image of the series called Fissure, which was completed in 2005. And this is the third most recent. It's actually the fourth of the series in Descent and it's called Fossil and it's illuminated by a blue LED. All of these works are illuminated by some new LEDs that Craig researched and he's going to give you details after I complete my portion of the talk about how, where we found these and how these illuminators were made because they act virtually like laser, allow us to go back to laser transmission without the expense of the lasers. This is some images from the show in New York with the photos. The work in the back here is threshold of a singularity. It was done in 1989. It's a water installation and water drips from a separatory or glass separatory funnel to a pan below and that's illuminating a holographic optical element panel here. It was a memorial for my father. This is this other side of the gallery and you can see these, the three illuminated works. There's a, the fourth one is down around the corner here. But they create another light installation on the floor. I'd like to introduce Craig Neuswanger who many of you know, he's, what is your position? Who are you? He's my husband. Director of Optical Engineering at Zebra Imaging but very conveniently an excellent engineer who was able to make LED illuminators. Thank you. This will be very quick. Basically, I just, we just wanted to share what we found. Certainly there's a, oh one more thing. Pardon me. There's a number of single device LEDs available. One being the Luxion Star Series. And you can certainly easily find those Luxion if you Google them. And this is an example of a 5 watt Luxion with an ellipsoidal reflector. I think the batteries are running a little bit low but the, these are very efficient and they're a very small source. They're really a Lambertian source. You need some pretty nice optics. The optics that Luxion provides can be used with some diffusion to get an even field. The next step from that and we found, we found the, this company called Innovations and Optics as you see here. And their website name is innovationsandoptics.com. And what they are, it's a very, I don't know, maybe, hey, I'll hear you. This is a series of, of wavelengths that they have. And you can probably barely make that out. We've got 405, 450, 470, 505, 527, 591, 620, and 629. And then there's some whites. And if you look over the currents, these are pulling two and three amps of current. And the optical power you see here up to 1.2 watts of optical power. And the red is just brilliant. I'm not sure the bandwidths here, but the bandwidths are somewhat typical of LEDs. The amber, the 591 being the most narrow. And, but the others are quite adequate for image plane transfer, image plane open aperture transfers, as you saw in Sally's work. And the, finally, we, this is just a little CAD drawing of the lamp. The cyan colored gadget there is the lamp and it has a large TIR lens on it, but a very small hexagonal heatsink base that you have to be very careful in attaching it. Because these are delicate. I'm told they're designing new, a new system which is much more robust. And these, you have to be very careful. Currently they're very expensive in small quantities, around $500. If you get 10 of them, they're like $295, something like that. But they have, what's interesting, they will take any chip from any manufacturer and integrate it into this device. And they'll take the chips and they take up to 60 chips and put them into a 3 millimeter circle. And then wire them together. And they can also blend, they could mix RG and B in the same device. And you end up with a whatever, really whatever mix you want. They also make mixtures of blue, phosphor, plus red to give a better performance from white light. Where the usual blue excited phosphor devices are deficient in red. And basically, then it's very simple. You have to make your own regulator basically. And this is in Sally's paper. It's very, it's straightforward, it's using a voltage regulator as a current regulation device. And we used a little fan in the box. We supplied it with 12 volts from a unit which you can buy from electronic store, which is typically used for supplying voltage to a ham radio or stereo equipment that you would normally use in a car. And again, you see here's some, I'll show some resistances for supplying the two or three amps for these devices depending on the wavelength. And that's it. Thank you very much, Sally and Craig. Newsman or leather? We got it mixed up all the time. I was brilliant. Great stuff. So the marriage of, you know, science and art. We have any questions for us? Fred. How did we get this? Fred. Microphone, Fred. Oh, Fred doesn't need a microphone. Oh, we do. Oh, we do. Okay. Yeah. What's the cost and the handhelds of this? This one here. I'm not sure. What we do is we buy this one. It's called a 5 watt LED torch. I'll figure out more about it. It's a, you know, it's like, can I see your license, please, sir? It's usually white and we take the 5 watt Luxian star and swap it out because they don't make a green one. So we physically do it ourselves at Zebra. And this is what I was showing the holograms with before. But again, Luxian makes quite a series as well, but you can't nearly get the same optical power as you can get out with also. The other thing about the other, the innovations device is it's only about 15 millimeters in diameter. It makes a very nice source for illumination and it has about a 20 degree cone without any extra optics and it's very smooth profile. Thank you. Any more? Thank you very much. Thank you.
 It gives me great pleasure to introduce to you one of my favorite artists, Sally Weber.  Thank you, good morning.  Well, I guess we'll find the right place here and we'll put on the glasses.  Luckily I switched the glasses from last night off my head or we would all be in trouble.  Okay.  What I'm going to present today is a talk about work that is new in that it's being seen for the first time in an exhibition at the Center for the Holographic Arts in New York.  And as a result I would like to extend my thanks to Anna Marie Nicholson, Akuo who is here, Nakamura, and he'll be speaking later today.  And also Sam Marie and Anita Patin who have been really helpful and instrumental in making that exhibition come to be.  And I'd also like to thank Fuji Hunt for their kind consideration and for which I am here.  This work called the Stratoceries actually began as an investigation into photography in the mid-90s and became the Holographic version,  both parts of which will be in the exhibition that I'll be showing in the slides here.  And the Holograms, the Masters were taken in 2001 but are gradually now being completed.  There's a series of six which I'll be talking about and three of those including another Holographic piece are in the exhibition.  So let's begin here.  The Stratoceries explores different ways of knowing and its relationship between the physiology of matter and depth of mind.  While the black and white photographic works delineate the surface contours of the figure, pulsed light images of the Stratoceries use Holographic interferometry  to capture the micro motions of breath, muscle, and blood from within the body.  Stratoceries usually refers to the layering of geologic levels over millennia.  But as I see it, it's a metaphor for the peeling back of our own internal depths.  Loss and deep grief that just comes through our life can dive us down into the very core of our own being.  Curiously, it's our resonance with others' grief like the infectiousness of joy and enthusiasm which binds humans to each other.  In ancient civilizations from the Paleolithic on, people traveled down into the caves in an attempt to access the deeper reaches of both the outer and inner worlds.  This descent was a passage or transition, journey, or transformation.  Bound by rituals and tradition, a person entering a state of unusual psychic appeal or illness might be instructed by a shaman, healer, or cherished leader,  and become a shaman, healer, or cherished leader of great vision.  In our culture, such a descent might be considered a clinical condition.  Joseph Campbell, the noted scholar of comparative religion and mythology, recounts in Myths to Live By the similarity of pattern between a schizophrenic breakdown and the mythic journey of discovery.  The usual pattern is, first, of a break away or departure from the local social order and context.  Next, a long, deep retreat inward and backward.  Backward as it were in time, inward, deep into the psyche, a chaotic series of encounters there, darkly terrifying experiences,  and presently, if the victim is fortunate, encounters of a centering kind, fulfilling, harmonizing, giving new courage, and finally, in some fortunate cases, a return journey of rebirth to life.  And this is the universal formula, also of the mythological hero journey, which I have described as one separation, two initiation, and three return.  The passage of descent is often a journey that reveals depth long hidden.  Previous cultures knew and developed rituals to exercise this aspect of human character and reintegrated into the social fabric.  Joseph Henderson's work on cultural consciousness and its effects on cultural attitude in individuals suggests that core beliefs dramatically alter the premise and path of transformation.  He maintains that in polyism, the rights take place down in the underground or in a courtyard.  The God image is a symbol of emergence and growth taking place within it, like a plant growing in a well cultivated garden.  In monotheism, the initiation is conceived as a journey, a mythical approach to the Godhead leading to spiritual perfection, a sort of pilgrim's progress.  Polytheistic transformation takes place down in the dark of the underworld or in a courtyard, while monotheistic transformation takes place as a linear journey towards the light.  Now we see different ways of knowing through functional MRIs.  These are scans, brain scans, lateral brain scans, and other imaging techniques that can pinpoint the brain's activity.  The circle white area on the left over here, if I can find this, is the area that's being activated by analytic thinking or language, which is associated with the right side of the brain.  Whereas, how do I get this over here?  Okay, there we go.  The circle area on the right is associated with metaphoric thinking, music, and image.  The two sides of the brain really come up with the different aspects of our thought process.  And our brain has the magical quality of crossing these and being able to integrate those different types of knowledge.  But in essence, the silent right side of the brain, wherever this is over here, feels while the verbal side on the other over here communicates.  And they can conclude very different things.  And a lot of testing has been done on this where people have had a stroke or something that is limited one side is another.  A lot of you, I'm sure, are very aware of all this research.  This, certainly our brain integrates these thoughts, but a deep transferring personal experience or deep grief can alter one's outlook and subsequent view.  One has returned from the experience of a different way of knowing than the usual cognitive state of mind.  This is a brain scan if it comes up here.  There we go.  Luckily, it was a healthy brain.  As Campbell notes, the inward journey of the mythological hero, the shaman, the mystic and the schizophrenic are in principle the same.  And when the return or admission occurs, it is experienced as a rebirth, the birth that is to say of a twice born ego, no longer bound in by its daylight world horizon.  One is now no longer afraid of nature nor nature's child society. The new ego is in accord with all this in harmony at peace.  And as those who have journeyed, those who have returned from the journey tell life is then richer, stronger and more joyous.  And we go on. Hello.  Oh, there we go.  In the mid 90s, I began a series of black and white photographic studies of figures inspired in part by Margaret Benyon's Terecias and Niels Ebersen and Hans Bill Coggins,  interferometry studies of a man using a jackhammer. Using white light, I was searching for a way to suggest the depths beneath the skin.  So over a period of about four years, I just did a series of study.  At the time, I was doing a lot of public art in California and elsewhere, mostly working with large scale gradings, which was my previous work.  And some of you are well acquainted with that.  Many people ask if that was Craig. No, it wasn't.  In the spring of 2001, I received an AIR at the Center for the Holographic Arts to produce interferomic masters.  Six of these masters are, as I said before, part of a new work, which will be called Descent, and three of them are in the exhibition.  The first work I transferred from the Pulse series was in the fall of 2001, and it's a reduction.  And Melissa Krenshaw, who will be speaking on Friday, happened to be visiting, and she had done a series of reductions herself.  So she gave me great aid in helping out on the setup for this particular work.  I was completing it when 9-11 happened. That day of trauma interconnected us through a grave tragedy.  I had calls from all over the world, and I was in California. I wasn't in New York.  So there was a sense that there was a binding. Loss has this ability, somehow, very deeply, to touch us as it should,  just as we've been touched this week by the losses who are not here.  And yet, it also has the transformative process of giving us great joy in their remembrance.  Anyway, the pose of this figure is one of both loss and hope.  I titled it, Chasm 2001, and it is in honor of all those who have suffered such losses.  Loss is essentially human. It manifests deep within us and is carried through our cultures, expressed deeply as our tradition and belief systems change,  excuse me, over time.  Some of my research goes into ancient cultures, and this is, I'm going to be recounting here, a tale from Pre-Sumeria mythology that comes down  and ends up getting integrated in many different stories.  But this is actually from a seal from, let's see, I've got a date here, 2012 B.C.  of a goddess, a Pre-Sumerian goddess named Inanna, sometimes called Ishtar, various other names down through time.  But she was a major goddess of heaven and earth and represented by the planet Venus.  Very powerful.  Inanna decides to take a journey down to the underworld to visit her sister, Erkashigal, who is the queen of the underworld.  In passing through the seven gates of the underworld, she's gradually stripped of all of her finery and at last her robes.  How could she stand before Erkashigal?  But instead of bowing to her sister as proper tribute would require, Inanna tries to usurp Erkashigal's throne and is immediately killed for her tempt.  Her body flayed and hung on a peg to rot.  Back in heaven, Inanna's servant laments to the other gods that Inanna is not returned after three days.  Only Enki, the god of water and wisdom, comes to her aid.  Enki creates two emissaries and sends them to the underworld with the instructions to retrieve Inanna.  Enki's emissaries find that Erkashigal is pregnant and suffering.  They console her with lavish attention.  In appreciation, Erkashigal offers them gifts which they have been told to refuse, saying that only that old skin, that leather bag over there hanging from a peg would be quite sufficient, much more than we deserve.  Enki's emissaries bring Inanna back out of the underworld, but clinging to her back are demons instructed to seize and bring back Inanna's replacement.  As her payment for leaving the underworld.  Inanna returns to the worlds above, both the earth and to heaven, with the knowledge of death and destruction in the core of her being.  She has become the goddess that has fully realized the sum total of nature, both as the creator and destroyer.  This fully realized goddess of heaven, earth, and the underworld knows now what death entails.  These works of what will be called the Descent series are not directly related to the story, but it was part of the inspirational background.  This first one, which was first exhibited at Paula Dawson's and John Gage's show in Australia in 2003, is called Terrain.  It's composed of three transfers and illuminated by now is illuminated by an LED.  During their show it was illuminated by a very nice laser.  This is the second image of the series called Fissure, which was completed in 2005.  And this is the third most recent.  It's actually the fourth of the series in Descent and it's called Fossil and it's illuminated by a blue LED.  All of these works are illuminated by some new LEDs that Craig researched and he's going to give you details after I complete my portion of the talk  about how, where we found these and how these illuminators were made because they act virtually like laser,  allow us to go back to laser transmission without the expense of the lasers.  This is some images from the show in New York with the photos.  The work in the back here is threshold of a singularity.  It was done in 1989.  It's a water installation and water drips from a separatory or glass separatory funnel to a pan below  and that's illuminating a holographic optical element panel here.  It was a memorial for my father.  This is this other side of the gallery and you can see these, the three illuminated works.  There's a, the fourth one is down around the corner here.  But they create another light installation on the floor.  I'd like to introduce Craig Neuswanger who many of you know, he's, what is your position?  Who are you? He's my husband.  Director of Optical Engineering at Zebra Imaging but very conveniently an excellent engineer who was able to make LED illuminators.  Thank you.  This will be very quick.  Basically, I just, we just wanted to share what we found.  Certainly there's a, oh one more thing.  Pardon me.  There's a number of single device LEDs available.  One being the Luxion Star Series.  And you can certainly easily find those Luxion if you Google them.  And this is an example of a 5 watt Luxion with an ellipsoidal reflector.  I think the batteries are running a little bit low but the, these are very efficient and they're a very small source.  They're really a Lambertian source.  You need some pretty nice optics.  The optics that Luxion provides can be used with some diffusion to get an even field.  The next step from that and we found, we found the, this company called Innovations and Optics as you see here.  And their website name is innovationsandoptics.com.  And what they are, it's a very, I don't know, maybe, hey, I'll hear you.  This is a series of, of wavelengths that they have.  And you can probably barely make that out.  We've got 405, 450, 470, 505, 527, 591, 620, and 629.  And then there's some whites.  And if you look over the currents, these are pulling two and three amps of current.  And the optical power you see here up to 1.2 watts of optical power.  And the red is just brilliant.  I'm not sure the bandwidths here, but the bandwidths are somewhat typical of LEDs.  The amber, the 591 being the most narrow.  And, but the others are quite adequate for image plane transfer, image plane open aperture transfers, as you saw in Sally's work.  And the, finally, we, this is just a little CAD drawing of the lamp.  The cyan colored gadget there is the lamp and it has a large TIR lens on it,  but a very small hexagonal heatsink base that you have to be very careful in attaching it.  Because these are delicate.  I'm told they're designing new, a new system which is much more robust.  And these, you have to be very careful.  Currently they're very expensive in small quantities, around $500.  If you get 10 of them, they're like $295, something like that.  But they have, what's interesting, they will take any chip from any manufacturer and integrate it into this device.  And they'll take the chips and they take up to 60 chips and put them into a 3 millimeter circle.  And then wire them together.  And they can also blend, they could mix RG and B in the same device.  And you end up with a whatever, really whatever mix you want.  They also make mixtures of blue, phosphor, plus red to give a better performance from white light.  Where the usual blue excited phosphor devices are deficient in red.  And basically, then it's very simple.  You have to make your own regulator basically.  And this is in Sally's paper.  It's very, it's straightforward, it's using a voltage regulator as a current regulation device.  And we used a little fan in the box.  We supplied it with 12 volts from a unit which you can buy from electronic store,  which is typically used for supplying voltage to a ham radio or stereo equipment that you would normally use in a car.  And again, you see here's some, I'll show some resistances for supplying the two or three amps for these devices depending on the wavelength.  And that's it.  Thank you very much, Sally and Craig. Newsman or leather?  We got it mixed up all the time.  I was brilliant. Great stuff.  So the marriage of, you know, science and art.  We have any questions for us?  Fred.  How did we get this?  Fred.  Microphone, Fred.  Oh, Fred doesn't need a microphone.  Oh, we do.  Oh, we do. Okay.  Yeah.  What's the cost and the handhelds of this?  This one here. I'm not sure.  What we do is we buy this one. It's called a 5 watt LED torch.  I'll figure out more about it.  It's a, you know, it's like, can I see your license, please, sir?  It's usually white and we take the 5 watt Luxian star and swap it out because they don't make a green one.  So we physically do it ourselves at Zebra. And this is what I was showing the holograms with before.  But again, Luxian makes quite a series as well, but you can't nearly get the same optical power as you can get out with also.  The other thing about the other, the innovations device is it's only about 15 millimeters in diameter.  It makes a very nice source for illumination and it has about a 20 degree cone without any extra optics and it's very smooth profile.  Thank you.  Any more?  Thank you very much.  Thank you.
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