So it was a challenge for me to run around two stages, to play here and then run to another stage, play there and two days in a row. It was a lot. Hi Svetlana Shitnya or Shishi, your artist name. You were also here last year and you are the one who's doing the visuals. What can you say about your experience from last year? And do you do it differently this year? Yeah, the year before, it was very exciting. It was my first time in Galnoj Kiche. And I have found this place very friendly. And working with such a big range of different artists it's a very exciting experience. I have discovered a lot of new musicians and doing visuals for all of them was challenging but I had my time of pleasure in that because I really like to do visuals for the events and concerts and this is what I like about that and that year was more artists which I was working with and this year is a bit different I work in a smaller pool with less artists but now I can focus more on each of them and develop more complex and interesting visual combinations and designs for them. So last year you did the visuals in the big swimming pool and this year you're in the smaller one. That year I did the visuals and for the big pool and for the small pool. So it was a challenge for me to run around two stages, to play here and then run to another stage, play there. And two days in a row, it was a lot. And now I'm more focused in smaller pool and yeah. Can you tell us more about how you prepare the weeks before this festival? Do you already work together with the artists? How do you choose the kinds of visuals we will see later? So basically, I contact the artists in advance. I ask them questions about if they have a certain vision of how they want to be presented or logos or any kind of materials. But if they don't have anything, I just listen to the music that they will perform and imagine what kind of style will be suitable for their show. And basically I prepare for each artist some significant design, which later I play live. So my visuals, they generated live during the performance as well. So I prepare some patches like programming. And then during the performance, I take the sound source from the artists and the sound source triggers the animation and generates forms on the screen. So mostly it's abstract vibrating visuals linked to the music which is playing. And how do you choose the colors? Does it also have something to do with what kind of music the artist is doing? Definitely, yes. Sometimes artists, they say what they would prefer to have on the background. And also, I just listen to music. And if it's minimalistic, electronic sounds, I prefer to work with black and white visuals like graphical, but sometimes if the music is more instrumental, more melodic and there is some kind of atmosphere behind it, like more nature, then I can choose more colors which are corresponding to the atmosphere. So if the atmosphere is bright and dancey, I would choose more bright and vibrant colors. But if the atmosphere is more dark, I would say I would choose other kind of palette. Is there also some kind of improvisation, or do you already prepare everything? I prepare some base forms, kind of improvisation or do you already prepare everything? I prepare some bass forms, but during the concerts I improvise with the musicians. So I listen how the piece develops and add something or take away something. So basically my improvisation is more into feeling how the dynamics of the piece goes and just to somehow correct it during the performance. What other kinds of projects are you involved in? I collaborate a lot with different musicians and theater directors. And at this moment, I work on a duo project, Zhizhi Nini. It's a sensor-based improvisational performance where we use instruments built on sensors and on game controllers to produce sounds and to control the visuals. Okay, thank you, Zhizishi, and enjoy the shows. Thank you so much. Thank you. Enjoy the evening too.