All right. Welcome everybody to the last keynote of the second day of the reshape intensive in Cluj. Welcome everybody, the reshapers, the partners, everybody involved in the project and hopefully also a lot of people from the local arts community in Cluj for this keynote. Maybe for those that are not that acquainted with the project. So we have five days of an intensive program here, five groups of artists, activists, people trying to reshape the way we organize arts in society are here to develop ideas together and we also developed from the partnership a series of workshops and keynotes to inspire. The title of today is Solidarity on a Planetary Scale. We'll talk more about that, but first let me introduce our eminent speaker, Oksana Timofeva, who is going to, well, provoke our thoughts in the next one and a half hour. So Oksana is a professor at the Department of Sociology and Philosophy at the European University of St. Petersburg. So she has a wide range of research interest and she's a very prolific writer. She has a wide range of topics that she can choose from to drop here in this group of reshapers and the local arts community. So that is a luxury for us, but her experience goes even further. What's also relevant is Oksana has been involved for quite some time in Stodela. If I pronounce it correctly, it's a collective of artists, philosophers, activists, even one choreographer I think from St. Petersburg. This collective has been active since 2003 in St. Petersburg and has taken a number of really relevant initiatives that are very inspiring also for the ideas that the reshape groups are working on. So that is apart from the concepts that Oksana will give to us, another approach for what we could then elaborate in a talk. Because that is indeed what we are going to do. We are having a keynote now, but we are going to make it interactive. Oksana will deliver a presentation, add some questions afterwards to warm up, but of course the idea is that we have a debate here with the group about the ideas that are put on the table. So as I already said, Oksana told me when she arrived on Sunday that she had multiple directions that she could take for this keynote. In the program there is a text about solidarity on a planetary scale, but yesterday somehow after being here and hearing the discussions, you decided to twist that a little bit, I will let you yourself introduce how you see that, Oksana, the floor is yours. Thank you very much for this beautiful introduction and welcome everybody. I am glad to be a part of this very nice, huge gathering. And I have to say that at the beginning I wanted to speak about something different about science and technique and nature, but the spirit and the air of Transylvania pushes me rather in the direction of mystery and magic. Also, when I was still in Moscow three days ago, a friend of mine, a friend of mine, when I told him that I'm going to Kluz, he said, oh, you will like it there. There are so many beaches in the region. He was originally from somewhere around here. So this is one spirit and the other spirit that accompanies these sessions is the one of revolution, Lebanese revolution, for instance, to which many of us, me included, refer to various contexts. There are a lot of people that somehow connect and relate themselves to what's going on in Lebanon and other things. So I will introduce you to this very interesting example. I will, using a kind of a time loop, I will go back 200 and I will refer to another revolution that happens a bit more than 100 years ago and will try to describe a miraculous side of it for which the concept of solidarity will be crucial. I will talk about, so I will still talk about solidarity and witchcraft in relation to emancipatory collective practice that will be thus revealed as a kind of political magic. And I will start from one case. In the 1990s, right after the collapse of the USSR, the Russian tabloid press burst into a series of kind of exposé on leaders of the socialist past. A lot of this attention fell on Vladimir Lenin. As the founder of the state, he became a privileged target of all sorts of attacks. Historians and journalists competed to reveal unknown, weird or unpleasant facts of Lenin's biography. One recent essay suggests that Lenin's encasters came from Western Europe, more specifically from Germany. And there was an article that claimed that someone in the line of Lenin's, perhaps the leader's great-grandmother, was defamed for using black magic and witchcraft and burned at the stake by the inquisition. Given the number of people massacred under the same sentence in the 15th, 17th centuries, this story might plainly be true. My goal is not, however, to do justice to the historical veracity and to investigate whether Lenin was a descendant of that particular enigmatic woman or not. I just find intriguing the very idea that the revolutionary leader could have been an orchestral witch, witch sorcerer or magician. The superpowers, which as a Soviet child I imagined he had, of course, could have been literally inherited from someone who fell victim to the genocide committed under the banners of Christianity at the rise of capitalist modernity. So there are some images, yeah, capitalist modernity. This coincidence does not even look random. In Caliban and the Witch, Sylvia Federici, you know who is Sylvia Federici, of course. She is a great feminist, Marxist author and she did this research on witchcraft and the inquisition and the accumulation of capital. She presents the figure of the witch as a quote, the embodiment of a world of female subjects that capitalism had to destroy. The heretic, the healer, the disobedient wife, the woman who dared to live alone, the oboe woman who poisoned the master's foot and inspired the slaves to revolt. Behind the witch hunt, she uncovers a joint effort by the church and the state to establish mechanisms of gendered control over bodies that imminently resisted newly instituted regime of productive and reproductive work. Inquisition aimed at cutting off all magic potentials that did not fit the scenarios of capitalist developments. The age of reason, as she called it, was chasing out magic queer, female, animistic lifestyles. As physical Federici explains, and I quote again, at the basis of magic there was an animistic conception of nature that did not admit to any separation between nature and spirit and thus imagined a cosmos as a living organism populated by occult forces where every element was in sympathetic relation with the rest, end of quote. A miracle might have violated the laws of nature but it did not violate the whole of magic being and thinking. Now I would like to, you see this animistic conception relates, now I can explain what is the connection to the initial title of my talk, Solidarity on the Planetary Scale. I meant the inter-species, inter-think, inter-everything solidarity which is, I will explain also later at the end of my talk what is this thing as all about but it has to deal with also what is called the non-human which is not precisely the non-human because it's also kind of human, it's nothing more human than animistic lifestyles because everything becomes kind of human and so on. So now I would like to introduce my own theory of what is called the non-human of which craft well and not really a theory but a brief nose towards a theory that might be then accomplished by someone else or by anybody, maybe by myself, I don't know although this is not an easy task. In a sense it is conditioned by my personal experience of being a child so scared by the darkness that the only way out of the horror seems to me to let myself to be fully observed by its anonymous faceless object and to identify with this, with the darkness. A little child might want to become a magician when the world that is in the beginning was first so loving and imminent, ceases to immediately obey all the child's needs and start to live alive of its own. Her mother who was just here reading a fairy tale now goes out for work and staying alone in her bed so lonely the child helplessly waves her hands without being able to get the mother back. At a certain point it turns out that the desires of the child is not the one and the only law for the adults and that they observe the laws that are indifferent to the desires of the child. A catastrophic but at the same time necessary and constitutive rupture between myself and the world which shapes the experience of our early childhood gets deeper and deeper with the understanding that something goes wrong either with the world or with myself. Everyone has his or her own way to deal with this existential mess. I propose to differentiate between the two paradigmatic strategies of individuals to locate their experiences of being in the world between the desire and the law. Religion and magic. Religion helps one to conform to the world and places the desire under the law. Magic in contrast invites one to make the world conform to her desire and places the law under its arbitrary rule. Accordingly our culture knows at least two types of spiritual practices. A child limits herself with a dream to meet on her way a good magician in the forest. You meet a good magician and becomes religious, establishes a relation of gifts, of gift with God and expects that God will grant her wishes or God's. Another child wants to become a magician herself, maybe even becomes one, establishes a relation of contract, of exchange, of exchange, not a gift, exchange with the devil and gives him the soul or provides another service in order to be a master and grant any wishes herself. The one becomes a magician who is ready to make an inhuman effort in order to bring the world to conformity with her desires. She becomes a witch out of injury, resentment, weakness, despair, melancholy, envy, jealousy, loneliness, irreversibility of death or poverty. And when I was young and super poor, I wanted to obtain by sorcery 500 rubles in order to buy a sweater. And I remember this very well. I remember the sweater, it was so good and I was just looking around and thinking about this 500 rubles punk knot. I was searching for it everywhere. I thought it must be somewhere for me, but I didn't.  The main source of magic force is her belief in herself that she acquires maybe precisely at these moments of lost and catastrophe and desperately wants to do at any cost what others cannot. To awaken the dead, to return a beloved one, to revenge, to turn the time back and to redeem a fatal error in the past. One becomes a magician who learns that something is fundamentally wrong or that the world is unjust and that this order of things can be miraculously reshaped, a witch needs superpower and certain skills that exceed those of ordinary humans. Which craft is forbidden? Because the very fact of being a witch is the power of the impenetrable, the natural bara waavilum, because the man's power is reads from different forms of source. Fighting the enemy is considered a weapon of criminal principle. But the W judging is a means of control, which causes the with their own bodies, which is therefore alien. They partly belong to another world, or one might say she has another world, or even nothingness itself behind her back. Therefore, it is said that witches do not have a back side. There is nothingness behind. And this is why it is so difficult to hunt her in some of the legends. The moment she turns back to you, she disappears. I agree with Fidirici that the persecution of witches comprised a massive gender violence at the center of which were mostly women, although many men too were burned. Here, however, I would like to make a difference between real victims of inquisition that were accused in witchcraft, and the witch more generally, or like a conceptual persona, the magician or the sorcerer, the bordering figure whose body is neither male nor female, neither animal nor human, neither young nor old, neither alive nor dead. It is perfectly queer, witches can transform into birds, frogs, snakes, etc. There can be anything, but nevertheless, the world always remains intolerant to them between something that is and something that is not, that is nothing, their bodies bear within them that active part of the non-being that we call desire. Seen a naked woman flying on a broom at night, a non-human being might think that this desire is kind of sexual, but it is indeed more than that. Witch's desire is ontological, so to say. It must be strong enough to provide a superpower necessary for transforming something that is not into something that is. The non-being into being, or the other way around, to trigger rain, to race, etc. Such transformation is called a miracle. At this point, I would like to back to the figure of Lenin, the witch, that infinitely inspires me, among many things, what he definitely inherited from his alleged great-grandmother, whom I do what, healing the sick, performing abortions, cooking love potions, or whom may have lived alone in the woods, talking to the beasts, whatever. So was his insistence that miracles are possible? It is possible to make something out of nothing. That is, to transform something that is not into something that is, to bring something into being from the non-being. As noted by Ronald Tabour, a researcher who is working on political theology and also political theological motives in Lenin's writings and politics. In his study, Lenin's religion and theology sees in the notion of the miracle a crucial dimension of Lenin's approach to revolution. So he said that Lenin used to say that intelligent people do not believe in miracles that happen all of a sudden. However, at the same time, Lenin developed his alternative conception of the miracle, insisting that people can perform them if they are enthusiastic enough, if they are energetic and capable of making a supreme effort. Such miracles do not simply happen and cannot be ascribed to God or other supreme being. They are performed by real people themselves. Because notably, in this perspective, Lenin famously said that a revolution is a miracle. There is this nice, well, this nice, I don't know, funny comparison, you know, Alistair Crowley was saying every man and every woman is a star. For Lenin, every comrade is a kind of magician on one very important condition, which I explain in a minute. So in 1917, Lenin wrote that, I quote, there are no miracles in nature or history, but every abrupt turn in history, and this applies to every revolution, presents such a wealth of content, unfolds such unexpected and specific combinations of forms of struggle and the lightment of forces of the contestants that to the lay mind, there is much that must appear miraculous, miraculous, end of quote. And there are so many quotes like this, Lenin really, really uses this word miracle quite often when he's talking about the working class, the revolutioners, the people, the people. According to Bohr, Lenin's word usage of miracles lays its emphasis on human energy, effort and enthusiasm. Yet it requires stupendous moments for such miracles to occur, moments that evoke superhuman effort from those who did not know they could do such, end of quote. I would like to put an emphasis on Bohr's choice of the word superhuman, superhuman. There is a clearly Nietzschean moment evoked in Lenin's politics, human all to human being is a subject to overcome, to sublate. In this interpretation, a key notion of Lenin's equation of revolution and miracle is the tension between organization and spontaneity, between the so-called party avant-garde and the spontaneity of the people. Organization and spontaneity are the two terms of a dialectical opposition and what appears miraculous is their synthesis, their coincidence. So the party and the people, the organization and spontaneity, they contradict each other and then at some point they coincide and a miracle happens, a political miracle happens. That is where not a political technique, but a political magic begins. Here a crucial difference must be made between Lenin's magic and the magic of a lonely child from which I began, or a naive wishful magic of myself bewitching 500 rubles for a sweater. The novelty brought by Lenin's magic is that miracles are possible when they are performed not by a person, but by a collective, by a people. The condition of possibility of a miracle in a materialist sense is the collective dimension. A superpower held by the magicians of revolution comes from solidarity and comradeship. That are the forms of collective engagement different from friendship, love, sisterhood and other things that normally attach us to a singular individual or singular individuals who has name, face and something which cannot be replaced. I love this particular man or woman and she cannot be replaced by someone else and a friend of mine is this particular person. It's totally irreplaceable, but with comradeship things are different. No, a friend or a beloved one are pinned down by their identity. In comradeship identity vanishes. I love this person, but my comrades are treated anonymously and equally regardless of whom they are. And you know this feeling, well, who is a comrade? I have quite many friends on Facebook, they are called friends there. They have names, nicknames, whatever. It's not necessarily that I know them personally, but they are kind of Facebook friends, Facebook friendship, but some of those friends are comrades. I never saw them. I just know these are comrades. And they have like, and the comrades is an irreducible multiplicity. They are so multiple because behind that comrade, I don't know, in Cairo, there are like 5,000 of other comrades in Ibshep and so on and so forth. It's always this funny kind of multiplication of subjects, regardless of whom they are. Lenin and other so-called professional revolutionaries worked in the underground. This was called conspiracia, not to confuse with conspiracy, it's a different thing. According to Lars Li, in that particular historical context, conspiracia means the set of rules by which you do not get yourself arrested by the police or the fine art of not getting arrested, Lenin's words, the fine, conspiracia is the fine art of not getting arrested. Well, when I say this, this is all very relevant to Russia or Turkey, to our context of a current political not-so-very-happy disposition, but I may be explaining it within the discussion. Sometimes people forget that Lenin was an underground nickname of a person, actually called Vladimir Ulyanov. Bolsheviks in conspiracia lived fake social lives under different names, constantly changing their passwords, families, appearances, or even genders. What connected them was that they were all comrades. According to Jody Dean, another brilliant researcher who just recently published a book called Comrade, and with whom we were in conversations for quite some years about this topic, she says that a comrade is one of many fighting on the same side. This is one definition. I have to compliment this theory with some details that relates to the metamorphic and miraculous moments in comradeship. Comrades are replaceable, as I said. They are replaceable. Sounds awful, right? I was once, well, I will say in the discussion again there will be another example. This aspect of the masquerade makes politics a theater. Now it's me. In two minutes there will be some other comrade. This is a kind of masquerade, or I can be hiding from the police wearing artificial moustaches, something of this kind. It makes politics a theater, but this is a very special one, like Antonina Artos' Theatre of Cruelty. Here, ancient masks are back as they present a show, a ritual of a direct and instant communication. The mask is more important than the face behind it. If there is one, it directly communicates the effect. We must, and the effective substance that goes, that migrates between comrades behind the masks is precisely this solidarity, is an effective substance. This idea just came to my mind. We must understand that we live in a society where individualism is recognized as a supreme value. Everyone must have an identity, where identical in that we have all be clearly identified. I'm a 40-plus woman, whatever, a university professor, and comradeship, in a sense that I'm trying to develop here transgresses this rule. It breaks with the identitarian ideology. This is destructive towards an individual, autonomous person. In comradeship, there is no individual, but a set of appearances that runs from one figure to another. Comrade is the one on whose neck you can put your head.  To whom you can give one of your hands if she has none, and the decisive moment when the enemy attacks. Friendship and love would not sustain such a disturbing act. They are too innocent, too kind for that, too human. It's worth mentioning that witch hunt historically coincides with the birth of humanism in its classical sense, and then the idea of autonomous personality, autonomous person, individual develops, whatever. In comradeship transcends the borders of humanity, which immediately puts it next to sorcery with its secret alliances, talking to the beast, and of course, breathtaking naked night flights. Viewed from a feminist perspective, witchcraft comradeship have a potential to transform our natural bodies and ways of enjoyment towards a new material and, of course, spiritual alliances with many different things. This points to Timothy Morton's idea of solidarity with the non-human people, non-human people. In his account, solidarity is not something specifically human, but the default affective environment of the top layers of the earth crust. It is very cheap because it is default to the biosphere and very widely available. So it's not something difficult. It's difficult among humans, yes. This needs some work to do, but among the bee and the flower, it's not difficult. It's basic. Solidarity is the simplest thing to get for free everywhere, at least, yeah. This approach falls out of post-humanist mainstream, and it brings ecological thinking together with the communist perspective on the human species as a non-racist, non-species species potentially. That must be achieved at some point. And this is a very important, important goal, so to say. The thing that worth to think about seriously. And I was also thinking about it recently. So here is about the planetary scale. So planetary means not necessarily human. Here, I can refer to George Bataille's ideas of two economies. He was saying there are two economies. One is the so-called restricted economy, which is what human beings are doing on earth, their businesses. And then the non-restricted, the general economy, the unlimited. This is the planetary scale, where the destruction somehow is always bigger than the accumulation. What the sun does, what the wind does, and what the air does, as well as all other living beings, living and non-living beings. So sorcery, or witch, as well as the shaman, for example, as Viveiros de Castro says, is a diplomacy of this dimension. The witch can be the one who is like a medium, an intermediate person that connects the restricted, the human, with the unrestricted, the general. I was thinking about it when I was taking part in the performance organized by our art collective, in Berlin last summer. Last summer it was, or maybe not even the last summer. I'm very bad in so many things happen.  At the day of the rehearsals, one of the performers came with a dog. They joined the process and went very well with the movements of other participants. There was a lot of movement in this performance, a lot of choreography. Of course, somewhere saying that the dog organically feels somehow choreography of the play and must therefore be taken part in the performance itself and somewhere more skeptical, reminding that it is still an animal and it can get scared or too excited when the audience will come. The risk was taken and the dog successfully performed, which was not surprising as in, and this is my conviction, animality is performative, artistic, theatrical, or one might say theater acting, playing is animal. Look at the non-human animals. They never stop performing, playing, performing, whereas human animals only do that on the stage or in some special sites, on special occasions. In this performance, I had my own line. I had to read the philosophical lecture lying on the table. The table also echoed a psychoanalytic couch. It was a mixture of a lecture and a confession. The action took place outside and having my eyes open, I saw the blue sky and many beautiful big birds in it. They were my audience as I did not see others, so in a way I was lecturing to the birds, but it did not look like they were listening to me. We are so much influenced by humanism. We cannot really understand that it is somehow possible to talk to birds. Divine. Doesn't this mean that I should finish the lecture or is it the last call or something? Yeah, the birds. So I am thinking about the Saint Francis the seizie who was talking, preaching to birds. We can pretend that we are talking to birds or moving together with dogs, but we do it for the human observer somehow. Among many things, this is what, yeah, we are playing for the audience and animals, they are not. They are, I would say, playing for real. They are just playing there, whatever happens, not for the observer, but just for real. Among many things this is what we can learn from them if we manage to change the rules of the universalist game without its complete abolishment. The proof of the fact that we are all animals speaking different languages and that the translation is possible must be found not in the practices of inclusion, through violent repression, but in arts, in performances, in some interactions between species that are difficult if not impossible to formalize, like friendship, comradeship, love, and care. Now this sounds a little bit utopian as the entire capitalist system is based on the slaughter system, but things can change and we ourselves are that things that can and do and do change. So comradeship is not an easy thing to do, as well as sorcery, it can evoke forces that an individual cannot control. Therefore they become destructive, like in Goethe's story of a sorcerist's apprentice, who then, when his old master leaves, initiates a powerful magic processes that he's not able to stop because he does not know how. Reflecting in the questions of what does it mean to act, George Bataille comments. Now the sorcerist's apprentice, first of all, does not encounter demands that are any different from those he would encounter on the difficult route of art. Finally, I'm coming to art. Indeed, oh well, I've already touched that, so no worries, no worries, art is always here. And indeed, art is the thing that must be immediately addressed with regards to both witchcraft and comradeship. I would like to refer to the works of my comrade, Nikolai Olenikov from the group who I love a lot, especially when he depicts weird monstrous collective bodies breaking the continuity of nature for the strangest interspecies alliances. Here are some of his work alliances. So this is a canvas among numerous objects of the two-room installation in Tito's bunker in the mountains near Sarajevo, which is called Liberation, the Burlesque Museum 2015. There is a canvas in a modest wooden frame with a big courbet-like vagina from where a realistic brown bull had with the yellow tag in the year emerges. And then he's talking, the bull starts to speak and we kind of believe, immediately believe what he is saying or he's saying strange things, okay.  Who are so other pictures? I just found some few and then I, I'm asking my comrade, who are all these characters, queer characters? I ask and he replies, they are folks or they are people, people. These monthly people gathers transgender dancers, bulls, philosophers, horses, cats and dogs, girls, wolves, roses, fingers, spirits and ghosts, vampires and other kinds of living dead and of course undead creatures. Brecht, Lenin, Gramsche or Hegel rise from their graves and take their parts among this utopian group of people, of the people. In this impersonal multiplicity there is no one. What does this no one mean just to conclude this talk? The structurally impossibility of the one to be. I'm now making a line to a previous talk by Soraya that I attended here in this room two hours ago, three hours ago. When she was talking about her experience of initiating an organization, a political organization from the zero point of the one person who at the beginning had to pretend that she is many.  And in the other very nice aspect at the beginning they were wearing workers construction workers uniform, which is also like I like this theatrical or political theatrical part of this organizational thing. So structural impossibility for the one to be. A comrade is never alone, not in the trivial sense that there is always someone else around who does not let her feel alone. No, being never alone means in a more radical sense that you are always many and your name is Legion. That is how you succeed in this fine art of not getting arrested, persecuted, burned alive by the inquisitors of all times. When we are many, we are equal, we suspend our identities, thus facing nothingness and turning back to the police officer in order to disappear for them. The anonymity. We can for example all wear the same costumes or wear the same mask and erase our names from the list of those who came here. So comradeship as anonymization creates a magic shield against the witch hunters that could catch people one by one, but will never manage to destroy the whole set of alliances of the great of the great sorcery in their species alliances. And here I just wanted to say that the witches are talking to birds, but this picture, I just love it. This entire talk was purpose to just to show you this picture that you already saw, of course, but this recognition is always a pleasure. Oh, this is from another work by Nikolai Aleinikov, the bull. And this is also the same bull. You see, he's saying you may, maybe you won't even believe me, but the story goes like that. And then he goes and telling the story about Tito's bunker or something. And yeah, here is the end of the talk, which is just one of the famous Russian meme when you do something, the magician. Yeah. Thank you very much. About solidarity on a planetary scale as it was in the title, but with a different twist than we explored many, many different aspects and elements. And well, I must say the approach that you had with the idea of political magic and miracles, it really sparked my imagination because in my best moments, also in the reshape project, I think we all want to have a revolution. And it reminded me in fact of something which you might as reshapers also recall when you had to apply to become part of the project. We had a number of questions for you. Load up your CV, give us your motivation, that typical questions, but we also had the question, do you do magic? So that was one way for us to try to scout the right people to create this revolution with us together. So I see a connection there, but also I was challenged and provoked by some of the ideas that you put forward. And in fact, what you say is with Lenin, the miracle, it can only happen through this collective approach. And in this collective approach, it's also a process of anonymization, of a masquerade, of a conspiracy defined art of not getting arrested. So and the replaceability. And somehow it's difficult for me to relate that also to the process which we are in for several reasons, because it's not something that I associate with art, because to make it in the art field, you need to be visible, you need to be branded, so that is already something. When we asked this question, do you do magic? We were looking for good, well, sparking personalities. And we have a good group of strong people here. And I find it difficult to think about us here being together as replaceable people. So that is something which is challenging me. And maybe you can explain a little bit more what you mean, because I think, yes, if you mean building a revolution, you need specific people with specific skills and an attitude and certain assets. Can you elaborate a little bit on this idea of anonymity? Yeah. First of all, there is, of course, the idea of anonymity in comradeship understand in a communist way is a super heretic for any kind of democratic, I mean liberal democratic discourse, just but on the one hand. Yeah, it's hostile to the idea of a certain individual as a highest value. So it goes against the grain of contemporary ideology. And in this sense, it's like almost a crime to say that comradeship is about that. And it had this connotations in the Soviet years, and some people who are now like under, who are now older than me, they still remember, they were adult when the Soviet Union was still there. Most of them just hate this word, comrades. Yeah, they would prefer to be called something different. But at the other hand, there is a very complex dialectics between the irreplaceable and replaceable. But to continue with the line of replaceability. And a nice example. A nice example is to be found in a comedy film done by Ernst Ljubic, which is called Ninochka. Have you seen this, this wonderful film? Oh, this is so great. Just tomorrow, whenever you have time, you will laugh. It's so good. And it's a comedy on fascism. Oh, no, no, not on fascism. Sorry, it's a different one. On fascism is also about comradeship and solidarity. It's even funnier. But here there is one scene, one episode in Ninochka. So the plot is the following. Something happens in Paris. And some treasure is stolen, whatever. And one very important functioner from the Russian state arrives in Paris to deal with local people from the Soviet embassy and to make a research of what happened there. But they do not know those who are in Paris. Few men, like three or a group of men, they do not know who will come because they were informed that a comrade will come from Moscow. So they are at the railway station in Paris, waiting for a comrade to come. Then the train arrives and there is a crowd of people coming. And they are trying to see, and they discuss who can be a comrade. Then there is one person, all gray, boring, like really serious face walking in such a way that they are thinking he is a comrade.  But then when they are about to approach to him, he kind of making his hand like in a Nazi's way, like a Zika LV. And then they realize, this cannot be a comrade. And at some point, like a beautiful woman, like amazing woman played by Greta Garbo approaches. And she turns to be a comrade. And they were like super surprised. I think this comic moment shows this funny dialectics. That was an interesting theory by Aleksandr Kolontai, who in the beginning, in the 20s, was working a lot in elaborating a certain ideas for the future love, how love will be under communism. And he had, he described some historical conceptions of love, some historical forms from like love medieval times, like bourgeois marriage, whatever. And he was talking about love comradeship. Love comradeship, which is a little bit look like if a contemporary reader reads it, it looks like a bit like this, what is it, polyamorous, free love. Can you maybe say that you have different levels of comradeship? Because when I hear, you also talk about your collective. I understand you're a limited group of nine people. So that is one level, but you're also quite active in really building a community around it. So you also explained me over dinner that you keep the collective also limited to a number of people. So you're playing with these different levels of comradeship? Yes, yes. This is very precise, what you just said on the practical level. Okay, right. We have, like Stodiel's group has a core of nine persons that almost never changes. And this is somehow, this is a unique comradely constellation behind which there is a platform that is always on the move. Everything is changed all the time. So there are various groups created around and the core remains. I did not think through philosophically how to explain it, but somehow, yeah, we have an example of how it works. What I think is very interesting about your collective is indeed that, well, it's, you can see it as a practicing solidarity, but from so many different levels, for instance, knowledge production through, you have a newspaper, you stimulate collective reflection that is one thing, but you're also quite active in education. So in several ways, you are really building a community. We borrowed a lot from Lein's book, which is called Stodiel's. And you know, he's having this book, this is a tiny booklet where he is talking about what is to be done. And among many things, he says a newspaper has to be published. So, and this is the goal of the revolutionary organization in a way to make, while being in conspiracies, to provide as much information as possible. And this is where conspiracy is opposed to conspiracy. Conspiracy is about hiding information, conspiracy is about spreading information. We are not in the underground, but we learned this principle. The newspaper is a material object that immediately somehow spreads everywhere and connects people. But connecting people per se is not an interesting thing. Sometimes it's not good to be connected to too many people. The most, the more important thing is to find your people, is to find comrades, which is again, you have to find it and you never know who it will be. Maybe it will be like a dragon or a bird will fly in and this will be a comrade, this guest as a bird. So, this doesn't mean that a comrade is that important. Maybe the bird is important because now, at this precise moment, this bird will take you and bring you to the place where you are needed for the course, for the revolutionary course. Animals are important. We have some animals who are very comradely treated in our environment and our group. All right, let me maybe open up the discussion to the room because so many ideas and concepts were introduced that resonate with what the groups are working on. So, maybe if you have any questions or elaborations or comments. Yeah, it's connected to your question. Maybe because I identify with a lot of the things you present here, but also slightly different, I have this concern about extractivism and it's maybe connected to this idea of being replaceable just to dig a bit further into that. Extractivism? Yeah, I will get to it. So, it's connected to this idea of being replaceable where from my own experience, being active in direct action and activist groups, you are, one is highly replaceable. It's about having a certain amount of bodies doing a certain action in a certain space or at least within my limited experience with that. And what I've seen is that it leads also to a sort of negligence when it comes to people getting burned out or when it comes to people no longer being capable of doing an action for whatever reason possible and that being really easily you're out, you're no longer a comrade if your body cannot be present for any reason. So, and to me that really is very similar to the extractivist tendencies of current neoliberal capitalism where we just take the resources being at oil or being at human bodies or being at knowledge and we just burn through it and the moment you're no longer serving the goal well enough you're put aside. So, I wonder within this proposal of of comradeship and and replaceability within that which can be also a magic. Where is the space for care and is and what is possibly the relation and the difference between comradeship and kinship where the specificity of relationality is maybe more visibly present? Yeah. We were discussing in St. Petersburg we were working on these issues quite recently this summer where in the framework in our art school, school of engaged art we were we were preparing a big performance on on comradeship which was called the how is it said the community with the limited responsibility right economic term so the limited something so we we made it like a community with a non-limited responsibility and not the community a comradeship the the word which is used usually in Russian this economic business language comradeship with limited responsibility we decided to put it like the comradeship with unlimited responsibility which is not about exchange but is about about gift so this is this is not about care because care is a little bit kind of yeah care is well a difficult question I I must say I don't quite trust this word it's everywhere this care I'm I do care I don't even when you you actually you you sometimes when the subject is supposed to care it's it's another way of saying I don't care but but I pretend to care here and it brings a huge personal and emotional component into the situation it brings psychology into this situation that brings affects emotional dimension we each somehow corresponds to this new sentimental turn everyone is is personally like endlessly how to say yeah don't you need that same don't you need it emotional aspect also if you're calling up for solidarity commentary scale also there is an effective as I said solidarity is an effective what did I say about solidarity that was an idea that came to my mind when I was talking affective substance substance yeah but it it is somehow alternative to the sentimental dimension which are in contemporary within the contemporary neoliberal environment masks a deep alienation between individuals that are created by this alienation so being care showing that we are really like separate I I am here you are here I do care I don't care about you do and don't you know the language of the unconscious does not know yes does not know no so the yes and no they always coincide if if I say I do I probably don't at the same time and and my idea is that and there is this this presupposition of the idea of the other that the other is really the other who is somewhere there and I am myself identity I am identical with myself but no one is identical with myself I am the other I am the other and and the first I talking about our collective practices the first thing we are trying to do when we are for example establishing a longer project school project we are trying to break these borders of individuals we are trying to learn people to be a part of a collective body to be replaceable in this new sense replaceable means yeah I am I can replace the other in I can replace you if you cannot do that right now but many senses well so to be a part of a collective body to to try this symbiotic to try the solidarity which Timothy Morton's describes as one that comes naturally the cheapest one the the not organic but but like planetary interspecies inter bodies somehow to yeah to to break this to to transgress a little bit this dogma of of a separate individual yeah maybe try to get back to the room also to see how these ideas resonate with what you have been working on and specifically I'm thinking of yeah yeah just um just something that it would be really interested to hear more from you about um is around the kind of realm of the digital and how within an animist belief system of of the kind of spirit of the technology or how Harroway talks about this and how this starts to um shift our sort of you know like nature human da da da da da da paradigm I didn't quite understand the question I would like to him more about this so you obviously have researched a lot but it maybe didn't come through so much but you mentioned sort of it but I would maybe a bit more about this element of it yeah within a digital kind of digital for me it was like an area that you were sort of touching upon but didn't articulate and I I think it's interesting in relation to what you are talking about I don't quite know how because I have only just like it just if it is maybe it's a maybe it's a glass of wine conversation I don't know yeah would be nice to to give me a little bit yeah to give me a hint what what because I I do not have immediate ideas about the digital in in this relation but we we are trying to in this work last year of work so to say in our school we gathered a group of young people younger people who didn't live in the Soviet Union and for whom the word comradeship was absolutely not obvious they were faced with the challenge to talk about comradeship and solidarity in like contemporary disposition and they were trying to apply it to their own lives so they were saying like how is it when you are always online when you are having like for example a collective page on facebook or wherever you know what you you can have a collective page where one never knows who wrote a poll who did the post the posting yeah because it is let's say that the page is called I don't know a black cat so a black cat writes tomorrow we will gather at the at the square of the red square Moscow and the black page replies yes yes let's let's do that and so on and so forth and this subject becomes so the black cat is is a collective which is at the same time which acts as an individual and which actually explains what is an individual individual every human being also non-human being is a collective I have a collective of myself of whatever they are not myself they are each of them is from somewhere is from somewhere else but there is this this this funny gathering and when I am about to make a decision there is this the competition you know Colonel Lawrence was a nice etologist who did the research on animals or animal behavior and he was compared to to the animals he was saying okay human is like having many many rulers at one at one ship let's say at one on why he called whatever so there are many rulers that that compete when there is a crucial moment of making decisions and then one wins for example I have several like my reasons saying no no you should not kiss this person and my my heart is saying no no you should do that so they compete one is taking a decision and there are some others like also also trying to compete whereas in animals he says Lawrence a little bit conservative he's saying in animals there is always the main and the others and the others do not compete so they know what to do at every single moment this is not true animals we are animals but but yeah I went somewhere else but I started from the digital it's what I like a lot and this again what like if it it it was introduced by Donna Hervé to whom you referred the comradeship is close to comradeship in the sense I mean is close to what Hervé is calling making kin making kin the kin that is not from the very beginning that is not organic that is not natural but unnatural alliances that then that then but but then they are understood in this theatrical way the theater is what I really like we're running a little bit out of time maybe thank you for your speech I would like to add sorry I'm a little bit to share to speak publicly I would like to add some facts from inside because I'm also connected to the Rose culture of house where is which was founded by Stadella's group and I have connection to the school and I'm running the house at the moment and I know about processes you are talking and sorry and I would like to make an example about relations between others me and the other and human and non-humans and kin making also it's a party of dead men's could you could you tell about it a party of dead or I can explain but I'm a little bit too nervous for that there exists a artist group which also based in Rose culture of house at the moment it's called party of dead part of dead men's and dead men and the main idea of the group in is that opposition opposition circles so tiny and anyhow we have to extend it and using humans and non-humans methodology and magic also and part of dead men's invite all of dead men's to participate and they make demonstrations on the street in St. Petersburg for example in the first of May and also they reflected to your speech the same speech in St. Petersburg and they founded institute of personal and political magic and the institute looking for energy of dead men's in St. Petersburg yeah I love them it's it's my favorite the the party of the dead they and I was also this is a mutual inspiration I inspired endlessly inspired by the practices and I have an article called the theater for the dead also inspired by the Daesh counter you know the Polish director who who was working with in the 70s and the idea is that their idea is that that is always more they are much much more than they are the absolute majority and they are anonymous they they lose their names and when the the party of the dead goes to the demonstration they they also make the masks like like dead people and and thus they represent those who who died with whom this absolute injustice happens happened there is nothing more unjust than death and the art this is this is both art and politics in such a radical composition that I really appreciate it yeah all right I give you the honor of the last question sadly I like all the all this part with becoming other and becoming different which is a great metaphor I think but if I would like to come back to science then I would ask being a nihilist and I do not believe that the thinking of the human is the center of the universe and the universe runs like the humans think about it and if we have this inter species inter everything we connect everything in the world for this solidarity my question is is there injustice or struggle at the planetary scale or just for some species is there injustice and struggle for the different parts that you are trying to or just to some parts of it like the human species definitely knows injustice and we talk about injustice some a lot of animals also but if you make inter planetary scale like stardust and rocks and where is the injustice in those parts like that's my question oh Jesus such a such a deep philosophical question that philosophy starts from the question what is what is justice and then and then it immediately you know the the Plato's dialogue republic and then the political theory basically emerges and also like the entropic principle is introduced deeply into into politics and then so because they only discuss what is just between humans and they come to they start from an idea that justice is the power of the strongest and then they and then Socrates proves that this is not true justice is something else but but still and this line continues up to now it's it's like a direction that one that that justice is always discussed in these terms but recently of course these these notions are are all criticized radically criticized from all the from all every corner and especially the postcolonial and feminist and post post humanist discourses did a great did great things to to change this disposition and there are new notions like like climatic justice or how is it called the ecological justice something not not only in between humans but also injustice which is linked for example to the extractive economy which you mentioned the extractive economy is when you you put you need to break a certain thing and to get something from there be it oil or nut from the shell or the meat from the body of the dead animal or being a truth from the shell of I don't know affections or our illusions this is an extractive approach which also can be treated but but it's a moral question and then the justice is not not only moral question but also like a political question it's important to keep this this distinction and try and and to try to discuss justice politically without falling into the more the moral discourses because when we are within this morality thing we we are pray to pray to ideology we are within within this system not not kind of not in a magical situation of reshaping the the order of things how to say this opens up a lot of other complexities which will will not embark on because our time is over I want to thank you Oksana for thank you very much for your inspiration and also you for your attention and I hope now we can all see each other not only as revolutionaries but also as witches and magicians and maybe also comrades in some respect thank you very much


� never know who is that beautiful woman. సారకించ兒 taped in 2017 సికిలే ద్పcart Blank ఆరడినంద chacun వినితు. Υమర్ంమాతాన్యగనక. మార్ష్రంటూమAUD స్ఞ్ఉబరిలూ eing ధమchuss personalized గఎత్ఫామలద pictures À... বൕ്ൎൎേ്്േ ᵉേൃ്蜊്ൃ്്ൃ বൕൃൃൃൃ বൕൃൃൃ ব്ൃ്ൃ ব്ൃ ്ൃ ়്ൃൃൃ്േുൎേുൃ. ঴്്ൃേ ব൝േൃൃേേ ব്ൃൃേൃേ. 325 by 34, 354 b by 34, under section 8275 of a jayak, jubinal justice act, care and protection act, under section 812 of a poxo act. 325 b by 34, under section 8275 of a poxo act, care and protection act, under section 8125 of a poxo act. 325 b by 34, under section 8125 of a poxo act, care and protection act, care and protection act, under section 8125 of a poxo act. 325 b b by 34, under section 8275 of a poxo act. तो बिद्योटी बहल्ला गिला, तेभे आमो चानल को लाएक, श्यर अँ स्ब्स्क्रेप करिपा कुजमा भिबोलों तो नहीं


Hi there my beautiful YouTube family I'm so glad that you came and you joined me today for this video because this video is going to be a very special one on the thumbnail you saw me holding bags like these and it said what's in my bag and The reason is is because I wanted this video to be a giveaway video But I wanted it to be a giveaway for my subscribers that have been with me for a while Or even the new ones that have just come in recently that subscribe to me because they enjoy my content I didn't want it to be a giveaway where somebody just came over just to get into the giveaway So I'm going to be giving away five of these bags full of goodies And I'm excited to do that these bags are for the people that are in the continuous 48 states, but my international people and the people that are in the rest of the United States I am going to be giving you guys a way to gift cards The reason is is because it is so expensive for me to ship something like this I've tried to before and it usually ends up costing me more than what's in the bag And so it's just easier to do a gift card that way too You can get what you want if you if you feel like it you can do what you want to and those gift cards Are each going to be $30 a piece. I know that doesn't seem like very much But I wanted to do a lot of different giveaways for more people than just putting it into one big giveaway Which is nice when you get it, but I wanted to kind of spread the love around as much as I could right now So I do have five of these bags like I said and I'm gonna go over what's in each of those bags But let me just really quickly go over kind of what the rules are I know that everybody kind of uses different ways that they go out You know go to a website and enter a giveaway and I used to do that too But I found that it was just such a pain and I just really just really had a hard time with it So now I just put it into a random generator and it spits out one of your names and that's the way that I pick it So the rules are first of all, you have to be subscribed to my channel That is an automatic guess and I will be checking whether or not you're subscribed to my channel And then the other one is that you must be 18 or older to enter the giveaway And the reason is is because of the way YouTube has their guidelines It has to be age-appropriate and I also want to tell you that what you're gonna see in here Some of it is from what I was trying to give away a couple of months ago. Let me tell you what happened I Picked four different winners for a giveaway and it was a fairly good size giveaway It wasn't as big as all of these put together, but I picked four different winners I tried to contact those four different winners and nobody ever contacted me back And I guess it was because I was trying to contact through the actual video I was responding to the comments and I picked a winner that way and I could never get anybody to contact me back So I'm going to do this a little bit different when you are picked as a winner I'm gonna go into my community tab, which will just generate a post and it goes through YouTube You will see that as you scroll through either your home page Or you'll see it as you scroll through your subscription page that I have picked a winner And it'll just be a regular post and I'll just put up the names of whose one and then your responsibility will be to Contact me I'll make sure that I list my contact information in that post So that your responsibility will be to contact me and in your responsibility is also to contact me within 48 hours So that if you don't do that then I can go ahead and I can pick another winner or another person to Pass on the love to so I know that either you've unsubscribed and you're not getting that anymore or things like that So make sure that you are subscribed if you wouldn't mind I would really love it if you would give it a thumbs up and you do have to comment in here because that's how the Random generator will pick you so comment down below. I don't really care what you comment Comment your favorite comment your favorite drugs for a makeup item. I don't really care what you comment I just need you in there so you can get picked up by the random generator. Okay, so let's get into these bags So you can see what's in here the first one that I have here has in it From good molecules. This is their super hydrating oil. There is the fast drying nail drops, which I swear by There's a built-in gabbana mini Light blue perfume in here. There is a highlighter from flower beauty their trio. There is let's see this one I believe is from ace beauty. That is a Pallet from ace beauty couldn't spit that one out. This is from elf This is one of their primer infused blushes There is a spray from wet and wild and then there is a Mattifying primer in here that I got during alters 21 days of beauty So that is the first bag and then in the second bag you also get from pixie beauty one of their palettes You get a long comb eye makeup or any makeup remover Actually, you're getting from good molecules one of their primer hydrating primers You're getting a mini Milani luminescent blush and this is a retractable brush from Clinique This is a probiotic all-in-one microdermabrasion kit. There is some lashes in there There is some perfume in here. There's a tantal from my favorite tantal product And then there are a few sheet masks in here that you get as well the next baggy is Got a pixie Glotonic in it a Defines sales primer for mascara. It's got a brush in here I think that's just a blush brush. It's got a Cody airspun highlighter. It's got some colored rain Falsies it's got a date cream in here from a medical grade skincare company by the way Why you're seeing a lot of skincare in here is because I have skincare companies send me a lot of products and They send me things and I can't use them up fast enough And so I'm kind of just I kind of just pick one or two things to try in their lines Usually and then I'll pass it on to you guys if I can so that's what's happening in here And then there is another one in here from another medical grade company. That is a powder exfoliant You are going to love powder exfoliants once you try it. There's a lipstick in my favorite shade right here It's one of the nudes from Maybelline. There is a tart Tarte east dual-ended eyeliner in here There is a bunch of masks. There is a deluxe size perfume big perfume in there actually and then there's some samples in there As well and then this one right here. This one has a tart behind the Oprah single highlighter right there There is a tart one of the rainforest of the sea Pallets in there this big thing right here is from philosophy and it is their micro delivery wash Another serum in here from a medical grade skincare company a few different little perfumes in here There is a tart mini mascara in here I think that one's the man-eater one and then there is a deluxe size sample of the urban decay all-nighters setting spray in there And the last bag that's right here has a long comb palette. It has a pixie beauty palette It has a L'Oreal H. Perfect Hydra nutrition anti-aging ultra nourishing moisturizer I love this I use this over and over again and then it has one another one of those brushes This one is a powder brush. It has a coconut and honey aloe Coconut honey and aloe cleanser and then it has an eye cream in here right over here It has several different of the masks in here It has one of my favorite primers ever this went on my primer list for the top at the drug store This is the Revlon and it has an SPF in it So that is a really nice bag as well with some samples of some perfumes in there And then I haven't decided whether I'm gonna give this away separate Those are the five bags, but I haven't decided whether I'm gonna give this away separate Or just stick it into one of the bags that you guys get but this is a really pretty just a makeup bag from Beauty Creations and it has is full of Brushes, I mean it's got every brush you could possibly ever imagine down in there So it's got eye brushes and face brushes in there And yeah, it's got about I would say it's probably got a good 10 brushes or more in there So that goes in there and it's such a pretty champagne pink color. I just love it And so that is pretty much everything that I have and that I wanted to show you guys Don't forget that if you're international. Yes, you can still enter You won't be getting one of the bags But if you win you will be getting one of the two gift cards that I'm giving away and once we touch bases And once you get with me Then I'll be able to know which one of those gift cards that you would like and I'll be able to get it for You to wear is most helpful to you and in light of all of the things that are going on in the world right now I will make sure that when I package these I will wear rubber gloves And I will wear a mask and I will spray all of these with alcohol to disinfect them before they go into your bag So everything that comes inside is going to be hyper Sanitized you guys. I'm really one that really is worried about that right now. So don't worry about getting it I mean, I know that you will probably clean it when you get it But don't worry about me having anything or me giving you anything because like I said I'll be masked up and I will make sure that I wear gloves and that alcohol goes over every single item before and it dries Before it goes into a bag for you guys. So I hope that that cheers you a little bit today I hope that me being able to give back to you is something that makes you happy and brings a smile to your face So there's seven winners in this giveaway Which my husband and I decided that that was what we wanted to do more than anything We wanted seven different people to get a smile on their face right now while we're struggling so much The other thing is that over on my Instagram if you want to follow me over there I am going to show all of this as being a giveaway so that the people that are on Instagram That don't know me from YouTube they can see that and I'm gonna do that on Facebook as well So that they can come over and join us and be entered in if they want to do that So if you already follow me on Instagram, you'll be able to go over there And you'll see pictures of everything that I've laid out for the giveaway So you'll be able to know what's in what bag and what I'm gonna do is the first winner that gets picked by the random Generator, I will allow them to pick their price first and so on and so on till I get through the fifth one So I hope that that's exciting for you guys today. Don't forget to give this video that thumbs up I really do appreciate that. Don't forget to comment so you can be entered into the giveaway for sure Don't leave your email. Don't leave your contact information anything like that because you know There's always weird people around all of these things so don't leave any of that just watch for my post and Then you'll see it'll be a big picture. I'd usually be pink or purple knowing me It'll be a big picture of you guys names on there Whoever won the seven different winners and then your responsibility will be to go down into the comments get the information that I have And that will be my email and then contact me. That's all it is Thank you so much for being a part of my channel being faithful subscribers Watching me go through everything that I've gone through through these five years that I've been on YouTube I hope that we get to hit 50,000 really soon. That would be a dream come true for me I'm looking to getting over a hundred thousand so I get my cool plaque. I would just love But you guys are so appreciated because I know so many of you have been with me for such a long time And it just makes me feel so proud to be a part of your lives and to get to know each of you It just has been very special to me to get to connect with you especially a lot of you having the same circumstances as I do as having disabilities and Kind of talking to each other and talking those out and being able to go to somebody that kind of understands It's kind of something special. So thank you again. I love you all very much Take care of yourselves. Stay safe. Stay sanitized and I'll see you in my very next video. Bye you guys


Hello everyone, my name is Lama Elzain and I'm here on our first episode of our agile series on the HMH YouTube channel. Let me first tell you a little bit about me. I'm in a mission to build a healthier, more efficient, integrated healthcare system for my kids and for all here in the US and beyond. I'm in a journey to answer my why, which is really straightforward. As a mom, as a daughter and a wife and also a physician leader, I want healthcare to be the safest experience where every family, including mine, receive excellent and personalized care. As an immigrant myself, I want this high quality care to be accessible to every person, here in the US and overseas in Lebanon where I'm from and beyond. I'm trying to use my skills to achieve this dream through science, innovation and empathy. I believe this is how I can be an agile conductor within the stiff, rigid and sometimes dehumanizing healthcare system. There's a pressing need for transformation, whether we call it innovation, redesign or something else. In our agile series, we will delve into how agile science, methodology, mindset, strategic development can propel progress forward and shake up the status quo. Today, we are honored to have with us for our inaugural episode, Dr. José Azar, our Executive Vice President and Chief Quality Officer at Hackensack Meridian Health. He leads quality across the continuum of care with passion and integrity. Welcome, José, to our episode today and we are excited to hear about your journey and especially with agile transformation. Thanks, Lama. I'm excited to be with you today. So first, tell us a little bit more about you. Well, just like you are passionate, I am very passionate about relieving suffering from the way healthcare is delivered. And I really want to transform healthcare to be more personalized and more humane. And that's the mission I'm on. You've been with Hackensack Meridian Health for about a little bit less than two years now, so tell us why you joined HMH and came all the way from Indiana. Yeah, I developed the agile transformation method at Indiana and it was a great experience that I had there. What really drew me to HMH are two main opportunities. The first one, HMH's mission and vision is to be transformative. Transformation is in our DNA and that really attracted me. That aligned with my mission on agile and then transforming healthcare to make it better and more personalized and more humane. The other thing is what's really unique and exciting about HMH and New Jersey specifically. New Jersey has a lot of diversity in healthcare settings, a lot of diversity in the way our physicians practice, whether employed or private. And it has a lot of diversity in the populations we serve and a lot of opportunities. And I think it's a microcosm of the country. And so if we are able to truly transform healthcare and make it the best here in New Jersey and at HMH, I think this can be a blueprint that we can build for the whole country and beyond. So that's what drew me here. And I have felt very welcomed and I have felt that the agile approach and the agile mindset is something our CEO, Bob Garrett, our chief physician executive Dan Varga and our chief HR person and many others in the organization like Linda McHugh and others have fully embraced. And that excites me. We know you wrote a couple of books about agile mindset and transformation. So can you tell us a little bit more about that? Let's go back about 15 years ago. I actually started in quality not because I ever thought about quality or safety or harm from the way healthcare is delivered. I started in quality, kind of stumbled on it. I actually initially set out as an oncologist and hematologist to work in the lab trying to discover treatments that would make chemotherapy obsolete so that no one has to suffer from chemotherapy. And unfortunately an error happened to one of my patients and that really opened my whole mind to the fact that more people suffer from the way we deliver chemotherapy and ultimately we deliver care than from chemotherapy itself. And so I thought I'm maybe on the wrong end of the equation and instead of being on the discovery end to create a new treatment, I needed to be innovating on the delivery end to create better systems that serve better our patients to deliver more personalized, high quality care, safe care to patients in a way that really meets the intent of healthcare which to me ultimately is about a human being taking care of another human being and I wanted to create systems that allow us to do that better. Tell us a little bit more about this concept of agile in healthcare. Many people have heard of agile in many other settings so tell us a little bit more where it comes from and how can it be applied to healthcare. Yes, so let me go back to my journey a little bit to build on that. When I started in quality and safety in oncology, Lean was a very hot topic and a very important tool. And I worked through Lean, I worked through Six Sigma, I used a lot of the IHI tools such as PDSA and others and they were great to improve processes. But then I quickly realized that I'm missing the most important element in the equation which is a human being taking care of another human being using processes and using standards. And so unless we really understand the human element, the beliefs, the attitudes, the norms, the habits that they have, their biases and unless we understand the system that they surround themselves in, whether it's the care provider in the healthcare system or it's the human being that's receiving care in the community, how they draw information, what networks they surround themselves in, what resources and structures they support themselves with, if we don't understand those dimensions, they're not going to use effectively the processes, they're not going to use the systems appropriately. And so I started exploring how do we impact the human element and how do we impact the complex adaptive systems. And the things that became very clear to me at that point once I started focusing on humans, when you're dealing with humans, you are dealing with uncertainty, you are dealing with unpredictability and you are dealing with irrational but beautiful behavior. Rationally, we would never create beautiful cities like New York City and high-sized skyscrapers. Rationally, we would never fall in love. Rationally, we would never go to the moon, right? Rationally, we would not have art. But we do and that's beautiful. But we also have to understand the other side of it is that that type of biased behavior can lead to unreliability. And so you have to understand the irrational mindset of humans to be able to influence behavioral change. And that's where the agile transformation agile methods came in, by understanding better behavioral economics, by understanding better complex adaptive systems and managing the unexpected, and by understanding better networks and how people interact with each other. So it seems a big difference for the agile transformation and the agile mindset is the human aspect and the complexity of the network. How do you think these concepts and this transformation can help us here at Hackensack Meridian Health? I think HMH has already been doing agile without knowing, right? The fact that we want to innovate, the fact that we want to adapt, the fact that we look at transformation and change as the way to the future and innovation as the way to really achieve that better excellence that we strive for is a great foundation. And so we already had that. I think what agile is bringing in addition to this is a little bit more of a framework mindset and set of tools that allow us to achieve that a little bit faster. I'll give a couple examples that we've been doing with the agile approach. So a lot of the agile approach is about co-design because that creates demand. And we've launched a lot of the clinical sprints where we've defined a lot of our capabilities and identified a lot of our gaps. We are creating specialty collaboratives where we have many physicians contributing. Ultimately, I'm striving towards about 400 physicians involved in defining the way clinical care is delivered. Right now, we have more than 100 involved. So these are really exciting aspects to me. I think what I'd like to take it next and where I feel it would really make a true difference is when we start taking it to actually co-design with patients and engage patients in designing the way our systems work and designing the way we optimize our systems and designing the way they can use our systems most effectively to help improve their health and improve the way they receive care. So other than those clinical sprints that you mentioned that seems have been very good success at HMH, is there any other successes or benefit that you and your team has experienced whether in the quality departments or beyond so far while embracing the agile transformation and agile practices? Yes, so the sprints focused a lot on co-design and on engagement and creating demand for transformation. I think two other aspects that I'd like to maybe highlight, one of them is localization. So I'm very passionate about localizing while we're standardizing. So that's the concept of minimal viable specifications because when you have minimum standards, meaning you define why are we doing something and what are we going to do then you can allow localization in terms of how is it done by whom. And that creates a partnership. It allows us to really localize solutions at every hospital based on their capabilities, based on their environment, the communities that they serve, based on their ambitions, based on the nature of the hospital, a tertiary care hospital is different than a community hospital, is different than a destination or a center of excellence and they need to be able to meet the standards with different solutions and different resources. But the standard needs to be the same. What is patient receiving needs to be the same? How we deliver it could differ. And so that's the minimal viable solutions or minimal viable standard concept that we have been leading a lot of our solutions and problem solving through that lens, which allows that partnership effective partnership. The other or another example of that is the way we've set our goals. So everybody has the same framework to the goals, but it's not the same goal that's cascaded down and broken down to hospitals. It's basically the objective is the same, the framework is the same, but each hospital can specify goals that they have opportunities in that basically advance them towards the ultimate objective. So that's the ultimate objective is the why and the what and the localization is how each hospital finds specific goals that matter to them that will advance them further towards the ultimate objective. And that's that's another example of localization and minimal viable specifications. Thank you, Jose. Thank you for your time today. I mean, I hope during this we were able to entice them curiosity with our audience. This is, as I mentioned, our first episode for our team for the Agile series. We're hoping to have you back soon with more and more information and more success with the Agile transformation. I want to just give you the final say if you have anything to say for us as we start embarking this journey and any other message you have for the institution. Yeah, I do. I thank you for for doing this. I'm really excited to be on the inaugural session. I do have a preview maybe for a future session, but I'm really excited that we're launching on the road towards an Agile Institute that basically will create a setting by which everybody can have access to this approach. And we could train people and develop their skills. We can give them a lab for them to experiment with some support and consultation. We can give them a place to basically do research publish and really bring HMH at the forefront at a national level to be a leader in the Agile transformation approach across the whole country and beyond. So more to come on that, but I'm really excited to share that that's a vision that's happening. And I think this is the first step towards it. So thanks for launching it. Thank you for your time and we're really looking forward for this collaboration and this journey with Agile and HMH and beyond. Thank you. Thanks.


processes they probably need is the, I guess, the language of funding and how it is to structure the business for future success and that's why they would approach us. So we've worked within corporations as consultants and bankers for a long time and we've provided the same kind of support to the likes of SASOL and the likes of, you know, even the banks that we speak about, mining, etc. And what we realized is that actually small businesses require those skills more so than all of these small businesses. And that's pretty much what we do. So we've turned the model upside down and we provide these kinds of strategic services and support to small businesses.  Come and have a chance to work with them.


who teaches English at Madison High School has been going with Philip Boynton for quite some time now. Six years to be exact. But only once or twice during that period did she have to worry about the eternal triangle. And that's not unusual when your boyfriend is the eternal square. Still, I must admit I did see Green about two weeks ago when Mr. Boynton began dating a young society beauty named Lucy Fairchild. I got angry, we had an argument, and I finally asked Mr. Boynton to choose between us. Did he want a beautiful young society girl with a million dollars or a steadily employed English teacher with a guaranteed pension in 20 years? Godly enough, he chose me. And to make my happiness complete, our beloved principal, Mr. Conklin, invited the two of us to spend this past weekend with him and Mrs. Conklin at their cabin on Crystal Lake. Friday morning, my landlady was in my room with me, helping me pack when she suddenly began to get sentimental. Connie, do you realize this is the first time we've been separated in almost a year? Oh, I am going to miss you, dear. Promise me you'll write every day. But Mrs. Davis, I'm only going to be gone two days, or I'd be home before the first letter reached you. Oh, how nice. Then we could both sit down and read it together. Better still, why don't I write the letter now and let you read it to me while I'm packing? I know just what I'd say in it. I'd tell you what a wonderful time I'm having with Mr. Boynton. I hope it comes true, dear. It's just too bad Osgood will be around to pester you, too. You're not kidding. Ever since Mr. Conklin saved Mr. Stone by pulling him out of that open elevator shaft, he's been playing the hero role to the hilt. But to spend a weekend with Mr. Boynton, I can even bear Mr. Conklin. Connie, I know it's a touchy subject, but, well, has Mr. Boynton really given up that society girl? Oh, absolutely. Mr. Boynton is through with the crepe-sousette's crowd. I think he realizes now that we donut dunkers were made for each other. Still, I wonder... Wonder what, Mrs. Davis? Well, it's probably just my imagination, but this whole thing reminds me of a book I read. You and Mr. Boynton going up to a lonely cabin in the woods. It's before the regular season opens, nobody around. He's torn between you and that society girl. He takes you out in a shaky rowboat. Connie, it's an American tragedy all over again. An American tragedy? Oh, Mrs. Davis, you certainly have an imagination. What an utterly fantastic thought. Oh, of course it is, dear. Of course it is. It's an utterly fantastic idea. Look, Mrs. Davis, for your information, Mr. Boynton has never even read an American tragedy. Now, let's just forget the whole thing. Oh, that's Walter to drive me to school. Come in, Walter. The door is open. Mrs. Davis, please, not a word to Walter about what we've been discussing, or I'll never hear the end of it. Connie, I give you my word, and my lips are sealed. And you know when I give anyone my word, I could be grounding in... Oh, oh, pardon me, dear. Oh, good morning, Walter. And a good morning to the two fairest ladies of my acquaintance. Hey, it looks like you're practically all set for the big weekend, Miss Brooks. Yes, Walter, a mad glorious weekend, away from classrooms, books. And American-born students who refuse to learn the English language. Yeah, but you'll still have old marble head. You'll have Mr. Conklin with you. Harriet says that living with him these days is like living with a combination of John Wayne and fearless Fosdick. Did you see the poem he wrote called Keep Your Head? It covers the entire school bulletin board. 32 stanzas. Did you read it, Miss Brooks? It's all about courage. I read it, Walter, and for the first time I was glad I was a coward. But, Mr. Conklin, or no, Mr. Conklin, I'm looking forward to a wonderful weekend. Oh, I don't blame you. You and Mr. Boynton away together in a lonely cabin in the woods before the regular season opens. Nobody near, no society girl around. Just the two of you out in the lake alone in Mr. Conklin's shaky rowboat. Hey, it's an American tragedy all over again. American tragedy. Oh, I wonder, that's the most fantastic thing I ever heard of. In the last 30 seconds. Actually, it's a perfectly ridiculous idea. Oh, I wasn't for a minute implying that such a thought would ever enter Mr. Boynton's head. Well, I'm glad of that. Now just forget the whole thing. Why has he been reading that book for the past three weeks? He's been reading in American tragedy? Oh, but, Connie, what difference does it make? There's probably no connection between the two. Oh, of course not. No connection between the two, none at all. None whatsoever. Absolutely no connection. Now, the whole thing is absurd, Walter. The whole idea of going up to the cabin was Mr. Conklin's, not Mr. Boynton's idea. And I don't expect to go out on the lake up there anyway. Oh, sure. Sure, there's no comparison between the two situations. I'm sorry if I made you nervous, Miss Brooks. Nervous? Me nervous? Don't be silly, Walter.  Right, Mrs. Davis, I'm all ready. Come on, Walter. Let's get into your boat and row to school. Oh, good morning, Harriet. Oh, hi, Miss Brooks. Why so depressed? I just left Daddy's office. If you were just entering, you'd have an even better reason. Oh, honestly, since Daddy rescued Mr. Stone a few weeks ago, there's simply no living with him. Mother says she's heard so many stanzas of his poem, Keep Your Head, she's losing hers. Gosh, I certainly don't envy you being up at Crystal Lake with Daddy over the weekend. Well, with Mr. Boynton along to keep me company, I'm certain I'll manage. Oh, of course. It should be great for the two of you. A way together in our lonely cabin in the woods before the regular season opens. Nobody around for miles, that society girl forgotten. Just the two of you out on the lake alone in Daddy's wobbly rowboat. Harriet, I won't have you implying this is another American tragedy. But Miss Brooks, I wasn't implying. You weren't? Of course not. There's certainly no reason to be suspicious of a man just because he suggested to Daddy that he open his cabin and invite you along. Mr. Boynton asked your father to open his cabin and invite me along? It was Mr. Boynton's idea? Well, yes, but that's certainly nothing to be upset about. Upset? Who's upset? Why should I be upset? Besides, Mr. Boynton has never said anything about going out in any place. Besides, Mr. Boynton has never said anything about going out in any boat. He's never mentioned that. Never once. So why should I be upset? Good morning, Miss Brooks. What did I do to deserve such a charming gritty? Now step into my office, please. I want to have a word with you. Yes, sir. I'll see you later, Harriet. Bye, Miss Brooks. You needn't sit down since this won't take a minute, Miss Brooks. I presume you've seen my poem on the bulletin board. I posted it yesterday just before lunch. You couldn't miss it going to the cafeteria. Did you read it? Yes, sir, and it saved me lunch money. I read it, sir. The first two stands, as I consider the most important. Keep your head by Osgood Conquered. When others about you show panic and fear, just keep your head and never lose cheer. It makes room for the heart that is brave, so just keep your head, ride the crest of the wave. Miss Brooks, tell me truthfully, have you ever heard anything so inspirational? Not since Casey at the bat.  Go on and read it, Miss Brooks. When others about you show panic and fear, just keep your head like a good glass of beer. The world makes room for the heart that is brave, so just keep your head, you'll have something to shave. You've done this to me, Miss Brooks. Who could have played this ghastly trick on Osgood Conquered? Miss Brooks, are you listening to me? Did you hear what I said? Oh, pardon me, Mr. Conquered. I really don't know who could have written it. Will you excuse me now, sir? I'm not myself today. I feel a little nervous. Oh, well, then this weekend with us up at the lake will do you good. You'll have plenty of opportunity to be alone with Mr. Boynton. You've always wanted that, haven't you? Yes, but not quite this way. That is, it should be nice, sir. It certainly should be for both of you. But something he asked me yesterday has me a little puzzled. Something he asked you? Yes, yes, he asked me, did I have a good, strong robo? A good, strong robo. He asked you that? Well, when did he ask you that? Right after he asked me how deep the middle of the lake was. How deep the middle of the lake was? Oh, yes. Looks like Mr. Boynton plans to drown you. What's the matter, Miss Brooks? Where's your sense of humor? I was only joking. I'm certain such a delightful, hideous thought never entered Boynton's head. Oh, no, I'm certain it didn't, sir. Absolutely certain. Now, if you'll please excuse me. Miss Brooks, where are you going? Down to the pool to learn to swim. Oh, Miss Brooks. Oh, nothing at all. Nothing at all, Mr. Boynton. Well, nice bumping into you on dry land, that is. I'll see you next week sometime. Bye. Next week? Miss Brooks, what are you talking about? You haven't forgotten our trip this weekend, have you? Oh, no. I remember the weekend under Crystal Lake. On Crystal Lake. But, frankly, I've been thinking of staying home this weekend. But, Miss Brooks, you promised to go. I thought we'd patched up our little difference, and I really have been looking forward to it. You really have been looking forward to it? Yes, and I've made some plans. A little on the romantic side, if you know what I mean. It doesn't matter. With me, both sides are romantic. Oh, gosh, how could I have been so silly? What are your plans, Mr. Boynton? Well, tonight after dinner, just as the full moon comes out in a perfect blue sky, we'll go out in Mr. Contland's rowboat. I'll need just one big, powerful oar. And I'll show you how to sit so you don't rock the boat. And even if you do fall into the lake, I can swim. Miss Brooks, why are you looking at me that way? What is it? Oh, I think I know what's bothering you. You're mystified as to my actual reason for this trip. Now, isn't that it? No, I've read Chapter 23. My actual reason for going up to the lake is to gather first-hand information on the nocturnal habits of the speckled-throated frog. I'm doing some highly confidential research work for a biological paper I'm writing. I wasn't even going to tell you until we got up there. And that's the only other reason you wanted to go out with me in a rowboat tonight? What did you think I wanted to go out with you for? To repeat an American tragedy? It was a perfectly crazy idea. How could a thought like that even enter my mind? Of course. Well, I've got a class now, Miss Brooks.  I'll just honk my horn and you come out. I should be all packed by then, but if I'm not right out, tread water for, uh, wait for a few minutes, will you? Ah, it's good. Ever since we arrived at the cabin three hours ago, you've been behaving ridiculously. Now, come out of that rowboat this instant. Shhh, quiet passion flower. Now, believe me, Boyden has gone completely berserk. Everything he's done so far clearly indicates he plans to marinate Miss Brooks tonight. Ah, that's good. Please stop hiding under that tarpaulin. They're bound to see you sooner or later. Believe me, poopsie girl. Your Asgut knows what he's doing. I've collected facts from Walter Denton Harriet and Miss Brooks herself, and there's no question about it. Boyden plans to end his romantic obligations to Miss Brooks by bashing her over the skull and using her as bass bait. I'm going to save her. Save, save, save. Asgut, since you pulled Mr. Stone out of that elevator shaft and became a hero, you've been simply impossible. Now please get out of that fold before they come down here. Worry not for your Asgut's safety, my pet. He knows how heroes are expected to act in emergencies and he shall not be found wanting. The world makes room for the heart that is brave, so just keep your head. And you'll have something to shave. Oh, that satire. For 20 years, I've clasped a Delilah to my bosom. They're coming now. Please get out of that boat. Oh, very well. Be a hero. And when Mr. Boyden finds you hiding under that top hole I hope he hangs something besides a medal under your eye. You know, being a good driver is more than just turning on the ignition and stepping on the gas. You have to know where you're going. Look where you're going. And getting there depends on the brakes. Have you checked your brakes lately? Out in Mr. Conklin's mind, Mr. Boyden was going to end his romantic idol with Miss Brooks by using her to fatten up the fishes. So to prevent another American tragedy, when the two took his robot out on Crystal Lake, he hid himself under the tarpaulin. Oh, gosh, isn't it nice and peaceful out here on the lake, Mr. Boyden? Oh, it sure is, Miss Brooks. I wonder if you'd mind. That is, well, can I hold your hand? I doubt it. We're about eight feet apart. You could sit closer. Why don't you sit on that tarpaulin? Oh, no thanks. I tried it before, and I felt like I was sitting on a mass of whale blubber. What was that? Oh, probably the mating call of the speckled-throated bullfrog. Would you like me to tell you about the love life of the frog, Miss Brooks? Right now, I'm trying to develop one of my own. I mean, some other time, Mr. Boyden. Well, maybe I could move a little closer to you. No, stay where you are. I'll come to you. Very well. Only be careful. This boat's awfully shaky. Now here, I'll hold the oar up high and give you... Oh, it, Boyden! I'm graduating in this boat. Mr. Conklin, then it was you under the tarpaulin. See?  What am I doing in this boat? What am I doing? Miss Brooks, wherever a human life is in peril, there you will find us, Good Conklin. Confess, Boyden, what are you doing out here on the lake with Miss Brooks and that oar? We're rowing around studying the nocturnal habits of the speckled bullfrog. Good boy, I knew if I put it to you that way you'd confess you were going to bash your head in, drown her, then swim to shore and plead that you're rowing around studying the habits of the speckled bullfrog. It was for you, but let's face it. Mr. Boyden was not trying to drown me. Not trying to drown you? But he can't do this to me! I mean, I worked so hard to be a... Well, just to play it safe, Boyden, I'll take that oar. But, sir, this is preposterous. Nothing will happen in this boat as long as us Good Conklin is here. That's just the trouble. Very well, if you won't give it to me, I'll have to arrest it from you. Release that oar! Oh, good gosh, there goes our only oar! We'll never find it in the dark. Our only oar? Yes, and heaven knows where we are on this lake. We've been drifting for an hour. We're probably miles from land by now. How are we going to get back without an oar? Sir, frankly, I'm worried too. There's no one else on this lake. Who knows how long we'll be out here. And why are we all so nervous? True, this is a period of crisis, but luckily you have us Good Conklin aboard. I shall be your captain. We're dead. What Mr. Boyden said is right, sir. It might be days before we're rescued. There's nothing to eat in the boat. With the little ingenuity, Boyden, we'll find something to eat. Don't look at me, sir. I'm indigestible. But first, I'll run this ship the way it should be run. Mr. Boyden, you will sit for and keep a sharp look out for smoke on the horizon. Miss Rooks, you may sit aft and troll for small fish with a bobby pin tied on a shoelace. You can steer the boat manually using that good old North Star as my guide. But, sir, that's the moon you're pointing at. And I thought it seemed a rather odd shape for a star. Let's try to get organized, shall we? Clearly thinking is the ticket. Lacking an oar, we shall need to improvise a sail immediately. I'll need some large white garment. Miss Rooks? You won't get a stitch for me. Well then, Boyden, I suggest we use your shirt as a sail. Second the motion. And let's throw in his undershirt, too, sir. His shirt ought to do nicely. Well, sir, can't we wait until morning for all this? You'll obey orders, Boyden, while I am captain of this ship. We can dispense with your liberty, Miss Rooks. And now, before anything else, as a source of hope and inspiration, let us all bow our heads and prayfully in tone the first verse of my poem, Keep Your Head. Goodbye, Ours Good Conklin. He tried to swim to shore for help, sir. But, Miss Rooks, you can't swim. Well, there's no time like the present to learn. Say, am I imagining things, or is this boat sinking? Sinking? Holy cow, you're right. But there's a leak. A leak? Where? Where? Where? Where? Good grief! Water's coming in! There is a leak! The boat's sinking! I can't swim! I think this boat can last five minutes the way the water's coming in. Maybe much less. Well, keep your head, Boyden! Don't get panicky! Don't get panicky, boy! You'll need all your... And you know the tradition of the sea. The captain goes down with his ship. Steady, sir. Let's not lose our heads. Just think of your poem, sir. When others about you show panic and fear... Oh, stop! You get out here. Are you treading water? The lake is only three feet deep here. Why put on your hip boots and wait it out? It's...it's only three feet deep here. Now will you let the women and children go first? Mrs. Conklin, just where are we now? Oh, the cabin is just around the bend, Mr. Boyden. Now, Osgood, will you kindly explain just why my big hero suddenly went to pieces? Went to pieces? I? Why, Martha, what a fantastic idea. Oh, I will admit I was a little upset, but it was more for the safety of Mr. Boyden and Miss Brooks and myself. My first concern was for their safety. Isn't that so, Miss Brooks? Well, what do you say, Miss Brooks?  Good luck, Bluskin. Mr. Conklin was played by Gail Gordon. United States Armed Forces Radio and Television Service. This is the American Forces Network, Europe.