>> Live from Stanford University. It's the Cube covering global Women in Data Science conference brought to you by Silicon Angle media. >> Welcome back to the Cube. I'm Lisa Martin Live at the Stanford Ari Aga Alone, My Center for the Fourth Annual Women and Data Science Conference with twenty nineteen and were joined by a very special guest, Liza Donnelly, cartoonist for The New Yorker. But Liza, you are a visual journalists, visual journalism. You're here live, drawing a lot of the things that are going on. It would. You were just at the Oscars at the Grammys. Your work is so unique, so descriptive. Tell us a little bit our audience about what is visual journalism? >> Well, I suppose a lot of us define it different ways. But I did find it is somebody who I am, somebody who goes to events, either political or social, cultural and draw what I see. I'm not a court reporter. I'm I'm an Impressionist. I give people a feeling that they're they're with me from what? By what I draw what I see, how I draw it, and and it's I don't usually put any editorializing in those visual drawings, but my perspective is sort of a certain kind of approach. >> So you're bringing your viewers along this journey in almost real time. When people see people might be most failure with New Yorker your illustrations there. But folks that are watching the Woods event lie that engaging with that tell us a little bit about the importance of using the illustrations to bring them on this journey as if they were here. >> Well, you know, I send the drawings out immediately, do them on my iPad and I send them out on social media almost immediately, so as I do that so that people can see them immediately. So they feel like they're there, and it's a way to draw attention to whatever it is I'm drawing. Because on the Internet, there's so many words in so many photographs, people see a drawing by other stream that like, Wait, what's that? And I'm a thumb stopper, in other words, so it's. It gives people different perspective on what's going on. And I think that my background is a cartoonist for The New Yorker for forty years. Informs these drawings in an indirect background kind of way, because I have been watching culture have been watching politics for a very long time, so it gives me a, you know, a new attitude or a way to look at what's going on, >> right? And so you you call these illustrations, not cartoons. >> I do call the cartoons cartoons. Okay, we'll do the cartoons for the for >> The New Yorker and some other magazines, and those have a caption, and they often are supposed to be funny, or at least cultural commentary. I do political cartoons for medium, and those also have it have a point of view, are a caption. But the's this visual journalism like I'm doing here is more like reportage. It's more like this is what's happening here. You might be interested in seeing what people are talking about, what they're doing and I do behind the scenes to I don't just do like the Oscars. I'll do the stars if I could get them. And on the red crime on the red carpet, it's really cool. If I catch them, I'll draw them. And then But then I also do the people taking out the trash, the guy painting, you know, painting the sideboard or the counterman, things like that. So I try to give a sense of what it's like to be there. >> So you really kind of telling a story from different perspectives. Yes, right. Yeah. And so the role of I'd love to understand you mentioned being with the New Yorker for very long time and loved. You understand from your perspective, the evolution of cartoons and the impact they can make in in our society, in politics and economics. Tell us a little bit about some of the impacts that you've seen evolve over the last few decades. >> Well, I've written about >> that. I'm also a writer. I've written about that for a very sites. Did a commentary on op ed for The New York Times about the Charlie Hebdo's murders a couple years ago because we know cartoons can be very controversial. Yes and problematic Nick. And that's been true through the course of the history of our country, and I'm sure in England and other countries as well. But it's compounded. Now because of the Internet. I think cartoons could be misunderstood that could be used as weapons. People are gonna be talking about this next week at the South by Southwest. I'm talking about political cartoons and what what their impact has been in the past and how, >> how they, how they create an impact now >> and why that is, and how we could use it to the to our to good effect. You know, not a divisive tool, which I think is a problem that we're dealing with right now in our culture is everybody's so divided and so opinionated and so hateful towards each other. Can we use cartoons? Not to perpetuate that, but to make things better in some way. >> And that's kind of the theme of Wits, Women and Data Science Conference. You know, we're talking Teo and listening Teo at the live event here at Stanford and all of those around the world. It's really strong leaders and data sign. So we think of data science on DH, the technical skills. But data is generated. We generate tons of it as people, right with whatever we're buying, what we're watching on Netflix. But we're listening to on Spotify, etcetera. There's this data trail that we're all leaving, and we know you talked about using cartoons for good. Same conversations that we have on the data side, about being able to use data for good for cancer research, for example, rather than exposing and being malicious, that's interesting. Parallel that you've seen over the years that there is a lot of potential here. Tell me a little bit about the appetite in. Maybe we'll say the millennials and the younger generations for cartoons as a tool for positive the spread of positive social news and not fake news. >> Well, there. I know that >> there's more and more cartoons on the Internet now. A lot of Web comics and cartoonists are young. Cartoonists are using the Internet effectively, too. Put out their ideas. In fact, I when the Internet hit, I was mid career right, and it just took off and helped me become Mohr more well known just by leveraging the Internet. No, because I love it. You know, I love Communicate. It's >> actually it's really an extension >> of what I did as a child learning to draw, communicate with people. I was shy. I don't want to talk. The Internet is just a matter of for me. It's like a dialogue with people on DH. That's how I look at it, and I I think this new generation is really trying to find ways to use these tools in a good way. I think there's a whole new, you know, the kids in their >> twenties. I think they're trying >> to make a better world, are working on it, and that's exciting. >> You talk about communication and how you used your artistic skills from the time you were a child to communicate. Being shy. We also talk about communication in the context of events like the women, the data science, where it isn't just enough to be ableto understand and have the technical acumen to evaluate complex, messy data sets. But the communication piece kind of go back, Teo sort of basic human scaled, being able to communicate effectively. This is what I think the data say and why, and here's what we can do with it. So I think it's interesting that you're here at this event. That has a lot of parallels with communication with using a tool or information for the betterment off a little bit about how you got involved with women in data science. >> Well, I met Margot Garretson >> about five years ago, and through a mutual friend, we met in Iceland. All places >> like it's conference >> about women's rights. It was, it was the Icelandic women are so powerful anyway. We met there, really, to be good friends, and she invited me to come live, draw her new conference at the time. I think she had one year of it, and I thought, data science, OK, >> did you even know what >> that Wass? Yeah, kind of. But I didn't think I didn't see my connection. But I thought, Well, it's about women's rights and >> I'm a big part of my interest in what I want to do with my work is promote equal rights for women around the world. And so I thought, this this sounds terrific. Plus, it's global, and I do a lot of work globally to help them and help freedom of speech as well. So it seemed to be a great fit on DH and and it seems even more to be a good fit in that. It's a way to get the information out there in a visual way because people will hear that word data, and they like they probably just >> start. Yeah, zero because >> they see it connected with a cartoon or drawing it humanizes it for them a little bit. And if I could do that, that's great. And that's what's also fun is that I thought about this today was drawing the speakers, and I'm drawing one of the speakers. I forget her name right now, but I thought and I put it out on the Internet. There were no words on there, but it was just a woman speaker talking about really very technical data science. I put on the Internet with the caption on the tweet and I thought, People, it's it's it's just a constant reminder to people that women are doing this. And it's not a silly not like writing a long essay about why women should be in data signs and why they are and why they're important. But they're doing great things. But if you see it, it resonates a little bit more quickly and more forcefully. >> Absolutely. And it aligns with what we hear and say a lot of we can't be what we can't see. >> That's right. Yeah, that's a saying right where you said that. >> Yes. I'm not sure I'd love to take credit for it. Sure >> would be if she can see it, she could be it. That's another >> thing. That a young girl, she's my drawing of a professor talking on stage. Maybe she'll think about it. >> Absolutely. So in the last few seconds here, can you just give us a little bit of an idea of how you actually What What inspires you when you're seeing someone give a talk like you mentioned about maybe an esoteric or a very technical top? What do you normally look for? That's that Ah ha moment that you want to capture in ten minutes. >> Well, I try to capture that person's essence. I'm not a caricaturist. I don't pretend to be, but I draw >> a likeness of them, and they're the full body is the best body language. You know, they're just tick yah late ing. And then oftentimes I try to capture a sentence that they're saying that has has more universal appeal that somehow brings like a not like a layman into the subject A little bit. If I can find that sentence in what they're saying, I'll put that you have the speech balloon will be saying that. But I just try to capture the person best. I can >> do anything if you compare two wins. Twenty eighteen. Here we are a year later. Even more people here, the live event, even more people engaging and think Margo's that about twenty thousand live today. One hundred thousand over. I think the one hundred thirty plus regional with events, anything that you hear, see or feel that's even more exciting this year than last year. >> Um, well, I do. I do feel the >> the increase in numbers. I can feel it. There's there soon be more people here I don't true, but the senior more young people here, what else is it is it is a buzz. I think there's a >> There's an energy >> is an energy. Not that there wasn't there last. The last I've >> done three years now. It's been there, but there's a certain excitement right now. I think more women are stepping into this field of being recognized for doing so. >> And it's great that you're able Tio, reach, help wigs, reach an even bigger audience and tell this story with your illustrations in a more visual way, way also. Thank you so much, Liza, for taking some time. Must daughter by the Cuban talked to us. It's an honor to meet you And you. I love your drawings. >> Thank you so much. You >> want to thank you for watching the Cube? I'm Lisa Martin Live at the fourth annual Women and Data Science Conference at Stanford's took around. Be right back with my next guests.