How many of you are designers? Designers at all? How many of you are designers only? You only do design, you never do JavaScript. If so, I'm not sure why you're here. You, you're my favorite. So I started out as a designer and I loved it. The only thing that I found was being a designer felt really constricting for me. And I always wanted to do more things. So I branched out into development. I actually went to the IronNerd, which is the competing code school, and I loved it, I loved being a developer. So how many of you are developers only? Like you, no one trusts you to do design. Like your stuff looks like prototyping and you're like, oh God, don't show this to anybody. That was never me. I have always had a design background. I was the kid that drew like fingernails on their stick fingers. So I've just been really, really like into design from the very beginning. So the thing that I found is actually, I think really what's happening is more and more everyone is starting to do all of the things. And so you really can't say anymore, I'm just a designer or I'm just a developer. You always have this, I do a little bit of design and I do a little bit of development. I do a little bit of all of those things. So I think most of us do a little bit of everything. I would personally label myself now as a front-end developer. I used to be a graphic designer and I learned an enormous amount about stuff like colors and typography and hierarchy and a lot of those principles are really important as a designer but more than that, there are principles of the designer that are really, really important as a developer. And how I, is that working now? Okay, cool. Yeah. So there's a lot of trending now towards specialization and a lot of people, I think they say, well, I'm a front-end developer or I'm a back-end developer or I do these things and more and more and more, the complexity of websites necessitates that we specialize in these things. That's being said, it's really important to realize that drawing lines in the sand is really just, it's a terrible strategy. It's losing for everybody.  Development isn't just simply lines of code. Okay. So in reality, the principles of good design often mirror those of good development and every member of the team, whether you're a designer, you're a developer, whether you're front-end, you're back-end, you're DevOps, UX, UI, whatever you wanna call it, everybody has the same goal and that goal is to ship a product and a lot of times we forget that one thing, that we're all on the same team. So let's take a look at a few of the skills that designers have that would make us better developers. Spoiler alert, that's my Twitter handle. So first skill is creativity. So one of the most common skills associated with being a designer is in fact creativity and a lot of times when we talk about creativity, we talk about what's called big C creativity and so that's this idea that the biological and behavioral traits that contribute to extraordinary achievement of individuals. So it's this like pie in the sky, like amazing creativity thing that it's almost like it's descended upon you and it's just like desperately sought after stroke of genius. It's this idea that oh my gosh, like I have this idea. But that's really constricting. That's just one kind of creativity. Creativity can actually be defined in a lot of different ways and so we like to call that little C creativity or just everyday creativity and it's a lot less elusive and one of the really important things about little C creativity is that it can actually be practiced. So anytime you can do a thing over and over again, anytime you can sit down and say okay, I'm going to try this, that's a lot more important than just waiting for this pie in the sky idea to descend upon you because there's nothing you can do to make that happen and creativity that you can practice is super, super important because that gives you the control. So everyday creativity is simply the ability to investigate, generate and recognize ideas, alternatives and possibilities. Ultimately what you're doing is solving problems.  So as developers we practice what Benjamin Dalton who's a sociologist refers to as habitual creativity. So we hack things together, we make it work, we iterate, we debug, we refactor. I'm a new developer, I'm doing a lot of those things. So we consciously seek to improve on our habitual actions to build up routines and practices that are more efficient and successful than they were previously. So we're always trying to get better. Like Tyler said, we're always learning. We should always try and be doing new things. And creativity doesn't mean that we're always building new things and reinventing the wheel, it just means that we're doing something a little different than we were before. And what's really, really easy to forget is that design is not evolutionary so much or it's more evolutionary than it is revolutionary. So it's slow changes, it's a process. It's not this creativity that stands on you and all of a sudden you have this great idea and everything works. That's not how it works. That's not how it works for designers and it's not how it works for developers. So by reorganizing, recombining, and reinterpreting concepts and ideas, we're practicing creativity. So stop thinking as a developer that this is something that is the designer's responsibility. That's your responsibility too. Just you may be solving different problems but it's still creativity. We're still relying on the same basic skill to reframe our thinking. Intuition. By practicing creativity, we're also developing intuition. Intuition builds on creativity. It basically gives us the insight and ability to perceive the quality of our ideas. So experienced designers can identify when something doesn't feel right. It's just the sort of sixth sense of, ooh, I don't really like that or oh, I think that's the right way to go. Does developers actually have that skill too? I'm a relatively new developer so my intuition on whether or not something's going to work is not so great right now but it's getting a lot better even just over the last six months and that's really exciting to me. So basically experienced developers have a really, really great programmatic sense of what's going to work. And harnessing this intuition and harnessing this ability to say, I think this will work. I think that this won't. That can dramatically increase your efficiency and that's super, super important especially if you want to be employed. So my first job out of college was actually working as a graphic designer at a local agency. And I was the only designer there for a little while as an intern. They also had another guy that worked there eventually. And so after a few months, this guy left to found his own agency and all of a sudden it was just me and then the two founders of the company and basically two project managers. And my bosses were in their 50s and 60s respectively and it just became really, really apparent all of a sudden how incredibly, incredibly unexperienced I was and how vast the gap was between them and me. And so the first large scale project that we tackled was for a company, a French company called Chomera that actually is a local office in South Carolina. And one of the most tedious tasks that we did was recreating, editing, designing and typesetting about five or 600 different data sheets. That is so boring.  So the number of data sheets to get through was just, it was astounding. It's boring, it's awful, there's nothing you can do about it. Especially considering the size of our team, there were just four of us and I was the only designer. So what that really means is it was just me doing this thing. And so when we sat down and we're talking about how we should proceed, one of my bosses said, well, let's just edit the PDF. We already have that. The problem was the PDF was not the native file.  This stuff was actually created in Quark, which is super popular in Europe, never really popular here. So basically it was just, it was a huge mess. So not having access to the native files dramatically increased the amount of frustration for me and the difficulty of getting a really consistent look and feel. And so I realized, gosh, you know, this is going to take me forever. And we have literally hundreds of these. So my boss was super, super hesitant to invest time in something he couldn't directly sell to the client. He really was hesitant to my idea of creating a template to make things more efficient. So I came in one weekend and I built a template by myself on a Saturday. Completely didn't tell my boss I was going to be doing this thing because I knew he wasn't going to like it. So on Monday morning, I switched to using my template instead of doing it the way I had done before, which was just adding them one by one by one. And I was able to do about a half dozen or so in the amount of time it would have taken me to do two or three normally. And so when I went to my boss that afternoon, I said, hey, you know, here's my work I'm done. And he was really shocked at how efficient I had been. So I told him the whole story. I said, hey, you know, listen, I came in on Saturday and I built this template and I knew it was going to be more efficient. And basically the template what I was looking for was something with enough structure to make it worth it, but enough flexibility to really be able to use it over and over and over again. He was not real excited. If you've only been working for somebody for two months and you tell them you're not following their rules shockingly, they're not real thrilled. But so there was a moral to the story. I brought in my lunch that day on Monday and I also brought in a bunch of stuff to eat for dinner in case he was really unhappy with me or worse, he fired me. So he wasn't immediately impressed but the project continued on, he wasn't angry and eventually we finished the project using my templates. I am not telling you that ignoring your boss is a good idea. In fact, that is super, super risky. It's a terrible idea. I got lucky, I trusted my gut instinct and I turned out to be right. So for me, it's an instance of trusting your intuition and saying, hey, I have this feeling that something is going to work. And a lot of times as developers, we forget that that's in there and that that is a skill that designers are sort of taught to trust this intuition, this creativity. And I think sometimes developers maybe not quite so much. So you might not be right. It could totally backfire and it could not work but I think it's a good starting point. The next thing is communication and understanding. So once you've mastered the ability to generate and then judge the viability of your ideas, you can put them to work. And as designers and developers, we rarely build something that exists on its own. Typically it's part of a larger whole that's built collaboratively. So there's more than one of us doing this thing. Design's not purely aesthetics. Development is not just lines of code. Designers have to learn how exactly functionality affects form and developers have to figure out how to be creative in building out functionality. Ultimately, both of us have to work with one another to create the product. Rather than seeing ourselves as two separate groups, we need to work together to achieve greater success and remember that the ability to communicate effectively among all members of the team. So really all members of the team, not just developers with other developers, designers with other designers, but developers and designers and really everybody. This ability to communicate is at the heart of both design and development. So if you Google the phrase designer, developer communication, you'll have 19.7 million results. So obviously there are a lot of people thinking about this kind of thing. With so many blog posts and articles and just advice on the subject, it really shouldn't come as a surprise that this ability to converse between designers and developers between different teams is so hard for people. After all, it's a common to hear designers and developers say that they feel like they don't speak the same language. And that's true. The vocabulary that we use is really, really different. But that's the thing. I don't think that a lack of shared sort of knowledge or a lack of lingo that we share between the teams is the actual issue. Instead, I think this statistic, the 19.7 million people, I think that speaks less to a lack of communication specifically and more to a lack of understanding. And to me, those are two separate things. So how can designers and developers overcome the lack of common vocabulary to get to a place of understanding? I think that starts in a place that's pretty obvious. Learning how to break down boundaries and overcome stereotypes is a great place to start. It's not easy. By actively promoting positive open communication in which collaborative searching and questioning are encouraged, we can establish a baseline of shared knowledge and understanding. So start with something really, really small.  And that's a great place to start. Sometimes when I'm talking to people, I feel like that's all I have going. And I'm sure you all have felt that too. It's just, it's so hard to figure out what's that first step. So great first step is reframing your request in terms of objectives to be fulfilled instead of dictating their implementation. So instead of telling somebody, I want you to build me this, tell them, well, I'm looking for this. Like, I'm trying to increase the number of clicks here or I'm trying to do this. And it's so much less dogmatic. It's so much less frustrating to hear, hey, help me try and figure out this thing. Then for somebody to say, this is what you have to do. And that's just, it's so frustrating. So when things kind of backfire, when things aren't going well, one of the things that we really need is empathy. So the natural outgrowth of a relationship, a super healthy relationship founded on communication and understanding is empathy. And that's just the ability to identify and relate to one another's thoughts, attitudes, and feelings. So it's the ability to see that developer or to see that designer as somebody who's on our same team. They're not giving us mandates. They're not frustrating us. It's just, hey, we're both working on the same thing.  That's ultimately our goal. So empathetic design has been talked about a lot recently, much more so than, for example, empathetic development. But really, empathetic design, as popular as it is right now, is super, super old, actually. There was an issue of the Harvard Business Review that came out in November 1997 that actually talked about empathetic design. And they said, the techniques of empathetic design, gathering, analyzing, and applying information gleaned from observation in the field are familiar to top engineering and design companies, but they're not common practice. I would say that you could make a case that that is still true today, and that was in 1997. So obviously we have a great long way that we can progress. Pete Smart is another designer who went on this super cool trip to learn about 50 different problems he could solve with design. Ultimately, he was focused on design, but really what he learned was empathy. And by getting away from his daily routine, by getting away from the things he does, just over and over and over, he found out that the constraints of his design process were really allowing him to miss the empathy that is so super important. And so he said, real empathy is not naturally fostered in focus groups. It's not uncovered in analytics. It doesn't start with personas or empathy maps. Real empathy starts with people. And that's what I was talking about with being a human being. Just start with the tiniest thing that you can possibly think of that you like about that person. And sometimes that's really challenging. But while Smart's journey focused on design, the lessons that he learned are also equally applicable to development because empathy is for everyone. Empathy is for people. So a programmer that is really skilled at anticipating and responding to the customer's needs is significantly better at capitalizing on the possibilities offered by new technology. And in fact, some of the most impressive ideas come from engineers and designers who actually use the products that they're developing. If you're close to something, if it's solving your need, you're gonna have a lot better feeling of, oh, hey, I think that this could really work or this would feel right to me. So rather than relying on traditional research techniques and data that's gathered in relative isolation from other disciplines, we're focusing on just this one tiny little thing. Empathetic design demands creative interactions among members of an interdisciplinary team. So basically they're just saying work together. So we're together from day one and that really can maximize innovation directly by connecting the people who know what can be done. So a lot of times that's the developer who's implementing the feature or the designer that has this understanding of, okay, this is how this looks, with the person who needs something done. And sometimes that's the user, but sometimes it's also us. I mean, when we're using our own products, we have this really good understanding of, gosh, I know how to make this work, but I don't know how to make this look good. And so that's really where the connection between designer and developer comes in. So by combining the knowledge of unexpressed needs with the knowledge of how to fulfill those needs, companies can really utilize their existing technological abilities much more effectively. So while empathy is definitely good for the user and it's good for creating better products, it's also really great to create empathy among our team to build an empathetic culture. An idea that's designed in innovation companies says, when companies allow a deep emotional understanding of people's needs to inspire them and transform their work, their teams, and even their organization at large, they unlock the capacity for creative innovation. And I think that's something that you really have to start at the very beginning. You have to say, okay, where can I start? How can I show empathy? Adam, I think, gosh, I guess this guy's name is Weitz Weitz. He is an assistant professor of management and organizations at the Kellogg School of Management agrees with him and he says, the organizations that engage in these types of activities are very effective in what they do, particularly in the domain of innovation. So all of these skills, communicating, understanding, empathy, creativity, intuition, this stuff all goes together. It's all part of a bigger piece. And so by promoting even one of these things, we also subtly encourage the others. So it's the idea that healthy culture begets healthy culture. Unfortunately, sometimes everything just sort of falls apart. Everything blows up in our face and we just really can't see the other person on the other side. And so what we need then is patience. So sometimes the creative juices just aren't flowing. Our intuition leads us down the wrong path. Communication is failing. Empathy, definitely at an all-time low. What then? So I would say that those of us working in design and development have committed ourselves to a life of constant improvement as evidenced by the fact that you all are here today. We've committed ourselves to never stop learning. We've dedicated ourselves to keeping up with this super, super, super rapid pace of development and design in our industries. And design and development are both similar in that they're kind of like a craft and they require an incredible amount of knowledge and depth that takes a lifetime to master. So you don't sit down one day and decide you're going to be a developer and at the end of the afternoon you say check. That's just not how it works. And being a designer, it doesn't work that way either. So this constant pressure to be learning, to be doing new things, to always be implementing something that maybe you didn't know how to do before. It's super stressful and it's no wonder that we forget to be nice to each other. We forget our manners. Sometimes we revert back to childlike name calling and being kind of awful, but we're only human. So basically, whether we're designing better interfaces or developing new features, it's super easy to lose patience with ourselves but also with others. And there's a certain amount of work that is necessary to... Or there's a certain amount of pressure that's necessary to sort of force us to work, to inspire us to do great things. But sometimes that pressure can get in the way. And so a lot of times what we have to remember is that we need to give ourselves time to try and to fail. So we can't judge each other on super, super fleeting moments that are really short or hasty decisions. We need to focus instead on the body of work as a whole and forget about those super tiny snarky, sort of like Twitter remarks, or when we say one stupid thing and it all of a sudden defines our whole existence. We should give each other the benefit of the doubt and understand that everybody fails and everybody messes up and everybody, a lot of times just feels awful about it. So designers know that innovative ideas don't come at the flip of a switch. Instead, the most effective solutions are often the product of hours and hours of thinking and sketching and reworking. So similarly, the results, the best results in development are often those of refactoring and taking the time to look at a function or look at a snippet of code and decide how to make it better, more modular, more simple, less dependent on other things. And so we really need to give ourselves time to think, time to architect, to ideate, to push through the barriers that really seem insurmountable. And really at the end of the day what this all comes down to is this idea that we can put our heads down and get to work knowing that the answer is going to come eventually. If you're patient enough, eventually it'll come. And we knowingly can practice patience, trusting in the belief that our best work is yet to come. So don't judge yourself on what you've done already. Sort of focus instead on what's coming. And so the pinnacle of our careers is not in the past, hopefully, but it's in the future. So as a new developer, that's something I try to keep pressuring myself to think, okay, like you're just going to get better. And I hope everybody does that and remembers that there are a lot of skills that crossover between design and development and that everybody really works well on a team. Finished. So three questions. So she said what was a skill that I had as a designer that was super, super helpful when I became a developer? I would say probably the idea of empathy. So a lot of times in my job right now I'm asked, hey, why did you code that way? I would have done it like this. And so a lot of times developers get super hung up on this idea of code efficiency. And that's great, like I love code efficiency. That being said, as a user, if it's awful, I just, I can't get over that hump of like, this is terrible. So the idea of empathy for me is super important. I ask a lot of questions, probably to the point of being annoying. But that's something that designers are taught is to question and to ask and to just like almost to be annoying like that and to say, hey, I don't know that answer, but I'm gonna try and solve it. I would say that's probably the most important thing for me. Okay, so what resources have I used as a new developer? I would say, and this really, really irritated me when my teacher told me this, but he said, read the docs. I feel like everybody says that. It's true. A lot of times it means I'm reading them six or seven times because there is a certain amount of programming knowledge that you need as a junior developer to be able to read the docs, to be able to understand those things. I remember reading a blog post from Adia's Money and it was like eight pages long and at the end of it, all I got was decouple all of the things. And so that was something where I was like, well, you can look at it in one of two ways. One, you can look at it as I just spent 20 minutes of my life reading this article, I have no idea what he said. Or two, you can say, okay, all I learned that he is that he wants to decouple all of the things and that's something that I can take in a super, super, super simple form and still put into my work. I would say for me as a junior developer, there's a lot of development that is still really frustrating. Specifically, I think there's a lack of mentoring, shameless plug if anybody wants to get into that. I think it's something that is incredibly, incredibly important. That's probably the biggest challenge I've faced as a junior developer is that a lot of times my face has heard of like, when I'm asking questions, am I being annoying? Or sometimes it's like, I'll follow along to a certain extent and then I think, well, gosh, I really don't know what you just said. And it's like, do you ask?  Like the big O thing, I loved the talk, totally over my head. And I'm willing to admit that. I think that's a really big thing for a junior developer is to say, I don't know, but I'm learning. And I think that's probably, if I could put it into like a nutshell, that's the biggest thing. It's just to constantly tell yourself, I'm still learning.  And that's super important to remember. That's a complicated question. Okay, so he said, did I find a company that had this culture or did I create it? I actually work as a freelancer, so there isn't really a company. I inherently ask a lot of questions. I sell about 30 hours of my 40 hours a week to one specific company. And they've been really, really good about me asking questions and about me positing all of these things and saying, hey, I don't understand this and trying to bring in this company culture of empathy, of communication, of design. I think that's something that everybody needs to work on. I can't come in and like dogmatically say, hey, I think your company needs to run like this, especially as a junior developer, especially as a new hire, that's a terrible thing. You're likely to get fired. Actually, I tried that and I did get fired. So I can tell you that that's what happens. I think everybody needs to work on it. Everybody from the top down, it's super important. And I don't think it's a, I can't give you a simple answer of one way, this, one way, that. But definitely, it's a good place to start that you can be empathetic. You can communicate, you can be understanding. And even if you're not changing the company culture, so to speak, you're becoming a better developer yourself. Yes, I love fair programming. A lot of time can be really time consuming. I personally like it because for me, someone showing me something is a lot more important than someone talking at me.  Two years later, I moved to Germany. I'm fluent in German now. I know that that doesn't seem related to fair programming, but I think that basically it's just the idea that someone sitting down and involving you and showing you is so much better than them just like spitting things at you. And that's really, it's a great way to learn. Thanks.


When the outside shoulder is coming back, it would be an opportune moment for him to strike off a left lead. It won't work if he's dead and dull. He's got to have life in him. He's got to have life in him. So I walk along and I think about my right reign. I think about squeezing and releasing my right reign a time or two to get ready. To say get ready, I set my inside sit bone forward, my outside leg back, inside leg at the girth and I'll work on walking and maybe I'll bring him up into a trot a little bit, down to a walk, do a couple transitions. I'll get his life up and then when I feel ready, I say we can strike off. When that outside shoulder is coming back is an opportune time to strike off on a left lead.


Hey guys, Thunder E here, and yeah, we're checking out this bad boy the Samsung S95C Samsung's latest OLED TV and that is the 77 inch version of the TV Now I checked out the S95B last year one of my favorite TVs of 2022 And I can't wait to see what Samsung has in store with the S95C So if you're watching us for the very first time hit that subscribe button notification icon So you can watch more videos like this. Alright, let's jump right into it We're gonna check out different aspects of this TV and we'll start off with the unboxing and setup experience Unboxing this TV is something that look if you're going to get a 77 inch get a friend get somebody help you out Or use the concierge service the Samsung has to set up this TV Don't break your back granted the TV itself is not heavy, but the whole process can be now We'll give them this their instructions are very Succinct allowing you to follow the instructions. Well, I like the instructions there The one thing I didn't like was the base itself setting up the base Could be a little bit cumbersome for some people for me wasn't but I can see where that is and it is rather heavy Not as heavy as some other people, but it is heavy now Putting the TV together was not a problem and setting it up was good And at 77 inches it takes up a good amount of space and I like it within my environments here The one thing about this TV I do like is that it comes with a one connector box Which houses all your HDMI ports for them, which are all 4k 120 And of course the power plug itself So there's just one connector that goes to the TV and to that port Samsung make this standard on all your TVs Please at least all your high-end TVs even the 55 and 65 because last year with the S95B I had an issue my HDMI port and my TV had to be replaced if I had the same issue this year, which I don't All you'd have to do is change the one connector box and that's it The remote control is really solid though It is more the plastic side and especially if you're spending the amount of money out of this TV Which it is priced at about 4,490 You want something that feels more premium that being said it's the remote footprint is smaller than I think last year in the year Before it also has very few buttons, which I do like I do wish Samsung would include a button so you can easily toggle between your sources You can do that, but it's not a quick direct process. I do like the quick access of course your streaming services as well And I can see HBO Max is not here HBO come on get your game up But this control actually allows you to charge via USB type-c and also it has a solar panel on the back And but that being said it's a nice solid control of the TV itself the build quality is very nice very thin I like the edges. It just looks clean all together very very solid So this brings me to one of the biggest parts of a TV like this is the picture quality because that's what you expecting Now with the S95B from last year, we saw some really great Color volume we saw the blacks being really solid and we saw really high brightness for OLED TV This is even better this year Samsung has taken it up a notch and it's even brighter The nits the knit brightness have been bumped up But what you will see here is the color volume and also the black levels of this TV are insane I mean, this is a QT OLED TV So it's not just an OLED TV into Samsung colors that it comprises of two different technologies Kind of brought together here. What I love is when you look at blacks they just look black and The contrast with other things on screen really go together So if you're looking at scenes that have a lot of color and have some black as well You're not seeing any of those, you know, lighter patches The colors feel uniform on any angle you're looking at that is very key So I like that about it and the content you're seeing here that I'm showing just the imagery is Directly from YouTube. So technically not the highest level, but you can see how well this TV adjusts to that So even if you're watching YouTube videos like mine on the channel You can see how clean and crisp the colors are or whether you're watching content at any of the streaming services You're gonna get that rich colors now in terms of course of support. It supports HDL 10 plus It doesn't support Adobe vision as some of you would like but hey, that's where Samsung is laying its bed It's something that I really haven't noticed as much especially when it comes to streaming services It's more on physical media that yes, I can see some separation there But if streaming is your thing really really to me, it doesn't matter. It does have of course Adobe Atmos so of course you've got that audio there And you've got some really nice speakers behind the TV that are built-in that give some really Really good sound. So how about you guys just take a quick listen? Let me do your thoughts on that section Pretty good, right? Yeah, especially while you're gaming this TV does a very good job And this is where I truly love the Samsung OLED TVs the S95C continues from where the S95B started off and takes things to a much better level TV when you're playing games The colors look crisp. What it is Horizon West where you've got a lot of vibrant colors all around or even if you're playing a game Like Halo that has some muted colors a little bit of brightness here and there Or game like Titanfall 2 I know you guys haven't played that in a while where it's much more muted colors You know you're getting HDR in that but it looks so good Doesn't matter what game you're playing going all the way to God of War You're gonna see some rich colors great color balance and of course the full functionality of the TV You've got that game menu as well Which you can activate it giving your ability to customize The options in your TV so you can go to like FPS mode You can you can also screen resize all that stuff is built-in. It also tells you what your Your game is actually outputting at that time for gaming This is a huge plus not just because of the fact that I can connect my PlayStation 5 or my Xbox You and get some really great great gaming experience But also because Samsung has that game hub and that game hub allows you to do more So if you buy this TV and you still can't get say PS5 or you don't have an Xbox yet Or you're just not ready to move to those consoles Samsung has your back now the game of allows you to stream games from Xbox Game Pass from GeForce now and one other streaming service as well as I believe Luna as well so you have options to stream games and all you have to do is simply connect your controller via an Xbox controller Even the places controller as long as it's Bluetooth connected and you are good to go The experience is only as good as your internet connection and this does a bang-up job in just Gaming I mean I had a really good time using this to jump back into a game And of course it pairs with your console if you if you're an Xbox user So whatever you're playing a console will show up there and you can jump back into those games as well very great And solid experience overall. So what about software Samsung still using the ties in OS with the different hub systems So you've got of course the media hub and then you can go into the gaming hub And then you do have the ambient hub as well Which allows you to put different wallpapers and things on your TV, which is nice Now the one thing I'll say though is that I do like the separation of the hubs Especially if you want to really get into say gaming and use different game streaming services I do wish it was easier for me to just jump in back and forth between the different services Now yes, you can quickly jump into things like Netflix and Amazon Prime from say your gaming experience But I wish there was just a way there was a pop-up menu while you were say gaming or even watching TV Kind of like how that game menu pops up like the old system where you could actually have that pop up And you can easily go to any streaming service or any game streaming service You want to that will make it a much more fluid experience right now It feels like if I'm done playing on my on Xbox game pass or GeForce now And I want to go to say HBO Max since it does no physical button here I would have to go in out of the game gaming hub and then go into the media hub So that kind of separation I think needs to be cleaned up. Also, I do wish this TV supported Wi-Fi 6e It doesn't it does support Wi-Fi 5 so that is something that actually takes a point down for me Especially with all the streaming that you're doing on this TV It would be nice to have me to have something at least up-to-date and up to spec So what do I think about the Samsung s? 95c, especially 77 inches bigger is better 77 is great I love my 65 which is over there But honestly this fills up the space and it looks absolutely gorgeous The black levels as you can clearly see look great and that column volume is just a great mix and balance I think Samsung has really done a good job in making this TV feel even faster in terms of performance so that processor that quantum processor that they have really does a good job here and Honestly, I like the TV so far. My only problem is the price I do wish it was 4,000 maybe 3,500 instead of 4,400 but it is still a great TV and honestly has set the mark for TVs this year And a lot of people have to compete against that So if you guys want to pick up the Samsung s 95c use our link down below And if you want to also pick up the s 95 b from last year, which is much cheaper now I think the 65 is like 1800 definitely use the link down below as well Otherwise guys leave your questions ask them. Let me know what you think this TV will be here so I can answer them for you This is thunder e-sane. Thank you subscribe and always enjoy entertainment


Fel cynyddu weithio, mor hynny. Adgoi fod yn ôl i yw'n g contest. Éu bydd gennwys y 7 â ddylu mygwysol yn Diasborol i hefyd, Ac rydyn ni'n ddiolch chi'n cael ei wneud fiolaeth byddwyd darlo. Dydyn ni'n ddysgu dydli'n ran lle ddweud am Llyfriddos Sydney fe ddisgu'r dλαwn. Rhywb bod yn 7 rhywb am gyfl chi. Rwyf wedi cael ei gweld y cerdd, rwyf y ddweud â'r busb, y busb yn ystod, ac mae'r ydych o'r rhaid dechrau working on issues of migration and diaspora has also expanded along with our academic staff. All of which is great and we've also been involved in the last two years in a lot more outreach projects so we're now involved in local community oral history projects in theatre projects working with young asylum seekers, British South Asian theatre project to name but a few. There's quite a lot of things that have been happening as well as exhibitions, book launches etc etc. All all of which is great but perhaps Y ddwy'r gwaith yma yn dweud am gweithio o'r ddechrau a'r ddwy'r dweud, bwyddai'n allu, a mae nid o'n allu, yma ymlaen yn y rhyw ddweud, yn dda i gael arlaeddoedd ymlaen yn y ddweud o'r ddweud ar y ddechrau. Felly mae'n gweithio'n gweithio i'r ddweud ar yr unig sydd ymlaen o'r ddweud, ddweud ar y dyysbeth ymlaen o'r ddweud, ddweud, mae'n ddweud i'n ddweud o'r ddweud ar y ddweud.Gy chorus there's going to be ten years old next year. Would you believe it, and it's a fantastic organisation put together by students which is flourishing unfortunately in some ways but it's going from strength to strength. The other thing I'd like to mention is crew that goes over to Calais to support the migrants there, you can hear's a calcium bone that goes over a yn dweud i'r proetessau yn ymlaen i Calais, a yma ydych chi'n gynnyddio'r cyntaf yn ymlaenion o amlask o'r ysgol, a'r cyfrifol yma, yn ymlaen i Calais, yn ymlaen i'r cyfrifol, ac yn ymlaen i'r cyfrifol, ac yn ymlaen i'r cyfrifol, ac yn ymlaen i'r cyfrifol, felly rwy'n ei fyddion yn ymlaen i'r byw yn ymlaen i'r cyfrifol. A'r cwrwp yn y cyfrifol ymlaen i, mae'n rhaid i'r cyfrifol. Mae'r rhaid i'r rhaid i'r cyflawni ar gyfer mae'r iawn i'r gwaith yng ngyfnodau a gweithio ar gyfer gweithio, ddweud o gweithio cyflawni yn Brithan, a gynnigau cyflawni, yw y gwaith yng Nghymru sy'n gweithio ar gyfer gwnaeth yma fel y ffrendri, ac mae'n rhaid i'r cyffredinol, ond mae'n gwybod i'r byw rydym yn oed yn ni wneud o'r fath o'r cyflawni, is possibly the most talked about topic in the country at the moment. It's even worse at the moment if you can say that we have the vouchers to buy election coming up tomorrow. Dear old Mark Reckless has come up with his plan to send Polish builders back on boats to where they came from. Good luck with that. And if we look around us all we see is reports, opinions, newspaper articles, all of which are asking to make judgments about migration and migrants in rather simplistic terms. We're asked to decide if they're good or bad migrants, whether they're economically beneficial. All of which we ignore the rather mundane fact that migration and migrants are an integral part of this country and have been for quite some period of time. The simple truth is that without migration there would be no Britain as we know it. We're also, I think, acutely aware of the disparity between public opinion and the facts. A lot of us would argue that it's not migrants who are causing problems with access to housing, to schools, to the NHS and to jobs, but a lack of investment and training in this country which is tied up with a wider sort of circle project of austerity. We're also aware about the myths surrounding migration. Benefits tourism, for example, which was in the news yesterday, just one of many. 3% of migrants claim benefits tourism and the public thinks it's something like 30%. So there's a huge disparity between facts and the ffictions of migration which are circulated on a daily basis. So in some ways these issues have always been present. We know in the 16th century they were claiming there were too many migrants in this country. They should send them home. But we have been a visible presence in this country for quite some time. It's 66 years since the windrush stopped at Tilbury. And we've fought our struggles and we've won many of them. In some ways the social and political landscapes have been forever changed by our presence. In other ways, a background of racialisation and marginalisation are depressingly similar. Even if the new migrants are not quite the same, and those who have been here a bit longer are sometimes happy to believe in the migration myths circulated in public discourse. The problem is of course that politicians are only too happy to address these public concerns and this creates a situation where migrants are affected in multiple ways. So what we have overall is a complex and rather contradictory picture which emerges from across the country of different views, attitudes and approaches to migration. There is much negativity but alongside this paranoia and fear we're also very capable as a country of celebrating diversity and often recognising its benefits in just coexisting side by side in very mundane and ordinary ways. My Paul Gilroy has famously argued a few years back that there's no longer what we might call a black community in Britain because the fight to belong to a national community has largely been won. But of course it's not really that simple. New forms of exclusion and inclusion, new hierarchies of belonging to borrow the title of this talk continue to emerge. And when I was thinking about how to introduce our speakers I was reminded of the famous note by Toni Morrison, whose house is this. This lyrics which really for me evoke feelings of alienation and belonging and what we do about that. Some of us do feel at home in Britain and that of course requires being proper members of a political and social community. Others still have an intense sense of unhomeliness, of unbelonging and people continue and continue maybe to be acutely aware that how along we're here that sense of belonging might never come. I was in a taxi just recently with a Bangladeshi driver and he won't surprise my students to know that we were talking about cricket and during the conversation he said to me he'd been here since the 1960s but he still does not feel as if he belonged in Britain but he still felt like an outsider. Now that was not what was shocking to me. What is really more shocking to me is how often people say that to me and that's what we have to think about. When do we stop being migrants? When will people stop asking us where we come from? Who belongs and who doesn't? And how do those hierarchies belonging shift over time and space? And that's going to be the subject of what Lesbac, Shamsa Sinhar and Charlene Bryn are going to be addressing today so I just want to introduce the speakers very briefly to you and then hand over to them. I'm very pleased to be able to welcome Lesbac to speak at Saras. My students have been absolutely delighted. I have to tell them that. There are things about Lesbac coming although there's one thing I might not forgive you for Les and that's the number of years and hours I've had to spend now discussing whether the dancehall is a democratic space out. One of Les's older articles that the students particularly sort of take up and enjoy debating. Les's work is relevant, engaged and thoughtful and that's why they respond to it. He's a Goldsmith's boy through and through. He studied at Goldsmith's and after a brief firing into the big wide world, well, Birmingham, you've got to be surprised Birmingham, part of his studies department, very enviable. He went back to Goldsmith's where he worked with the Centre for Urban and Community Research. Now that centre is 20 years old this year. It's amazing it's been there that long because it's known for very innovative, groundbreaking work rooted in its local communities, doing research that really matters and trying to impact on public policy through that research as well. That's been great. Les's main fields of interest are the sociology of racism, popular culture, music, football and city life. And his work attempts to create a sensuous or live sociology committed to searching for new modes of sociological writing and representation. I think that's partly what we're going to be seeing this evening. The presenters are going to try and move away from just speaking at you and doing something more performative and experimental. Possibly, okay. And this approach of Les's was outlined in the article this year. No pressure, no pressure. The question is on the ground. Right. This approach was outlined in the Art of Listening which came out in 2007 and is also linked to the new book project he's working on with Shamsa and Charlene called Migrants City which is being published next year. And I think what we're going to hear tonight is a section from that book. And he believes in collaborative work and this paper is based on a project conducted with his two colleagues here which I think involved interviewing 30 young migrants in London. Charlene is a graduate of psychosocial studies at the University of East London. She's interested in education studies and is currently doing her teacher's training in primary education. And I'd like to thank Charlene because it was after reading your biography that I thought of Tony Morrison. So thank you for that. She has worked with Les and Shamsa compiling a scrapbook for new hierarchies of belonging. This featured pictures, thoughts and poems. She's a believer that we all need a creative outlook on the world where creativity sometimes gets lost. And that's particularly true, I think, unfortunately, in academia. So through her poem she hopes to provide an exploration of contemporary issues relevant to academic research but also connected with people on a deeper and more personal level. And last but by no means least, there's Shamsa Singhar who's a senior lecturer in sociology and youth studies at University Campus Suffolk. And he's interested in the study of racism in youth and in particular he's worked a lot with separated and unaccompanied young people. Methodologically, Shamsa's interest line experimenting with moving away from working with research participants and involving them as co-authors. And I think we'd all be really interested in how he thinks we can achieve that. So in this lecture what they're going to talk about is how the so-called crisis of multiculturalism is affecting the regulations, scrutiny and surveillance of migrant communities. Which is a big problem, as some of you might have heard, the charities at the moment which are being monitored, et cetera, et cetera. And they're going to do this through the story of young migrants and explore the ways that the old hierarchies of belonging are taking new forms within the social landscape of contemporary London. This biographical case study is drawn from a larger qualitative study of 30 young migrants, as I said. So shall I hand over to the three of you now? And let's give them a warm welcome. Thank you. It's such an honour and also a pleasure to be here. And so many of you to come to tonight's session. So what we've got planned for you is something a little bit different, we hope. The project that we're going to be talking about is a book that we're close to completion. It's really the story of London through the eyes and ears of 30 adult migrants. And in the book what we've tried to do is to really take the idea of collaborative work very seriously at all levels, you know, from the way we've conducted the work to the way we've analysed the work and now the way that we're going to try and communicate it. And I thought what might be nice is to start with the problem that has been kind of complexing us. That's the degree to which a city like London and a society like Britain is transformed. And I just wanted to bring the voice of Stuart Hall into the room. He passed away very sadly. So an interview with him which neatly connects to the points that Perra was saying called at home and not at home. So let's just hear from Stuart. Well, things are not going so well, really. There hasn't been a profound change in British society. We haven't got to the deep level of racism in the culture that I think throbs on. Well, there's nothing changed. Yes, something has changed. You go into the street and I came there in 1952 and it just looks different. Britain will never go back to being a multicultural and cultural society ever again. It can't. It can't have bridges and throw people out into the sea. But it can't go back to being stable and steady on its own moral culture foundation. It can't happen. So there's no going back. And just think about the walk here. It always strikes me. What must it have been like for someone like Stuart Hall to get off of the train and encounter Britain in the 40s as he did? There's no going back. And yet we have, as Perra very eloquently said, a kind of auction of moral judgments what Doug Massey calls anti-immigrant times. Every day, ceaseless, talk about the problem of immigration. Now, the short version of the argument that we want to try and present tonight is if there's no going back what's happening in our moment now. Well, our argument is that what's happening in our moment now is a kind of reordering, a sifting of difference along new hierarchies of belonging. So if there's no going back then how does the work of racism unfold in our time? And we would argue that it unfolds through creating hierarchies of belonging. A kind of ladder of entitlement within the context of British society as a whole and London life particularly. And what we've been trying to think about is how to really speak back to the talk about the crisis of multiculturalism, the so-called death of multiculturalism, the moral panics about terrorism and the constant state of crisis that we seem to be in at every moment. And in a way what we're trying to argue is that the crisis of multiculturalism becomes a kind of self-perpetuating phenomena where the atmosphere of crisis is policing a crisis that in fact it produced in the first place. The atmosphere of crisis is policing a crisis that it produced in the first place. That's why the headlines in the newspapers declare every day the latest anxiety of anti-immigrant times. And what we've been trying to do in this project which we've been doing for five years is to try and find a way to introduce a different kind of story of what it means to live in a profoundly multicultural city. One of our characterisations of that reality is that we live in a world of divided connectedness, paradoxical divided connectedness. Where our mobile phones connect us potentially globally around the world but they can be the very same instrument through which UKBA and the Home Office used to try and police and track people. We got involved in last year the scandal about the go home texting campaign. I don't know if you've heard of that. Actually I think it was shaped for a nice proudest moment when David Cameron was forced to make a statement in Parliament about it. A world of divided connectedness. Now you know I guess many of you will have encountered ideas about the changing relationship between time and place time space compression and so on. But I just wanted to show you this very quickly as a way of trying to make a simple point of what it means to live in this paradoxically divided and connected world. Paru mentioned the Windrush. The Windrush travelled of 15mph and brought 492 colonial citizens not immigrants, colonial citizens to Tilbury. It took 22 days. In 2012 when I did this calculation the same journey on an air Jamaica travelling at 175mph cost somewhere between 600lbs 800 or so euros took 9 hours. In a way that makes very powerful and very clear the shifts in the relationship between human mobility. But the thing that comes through in the word that we've done is that mobility in a globalised world is profoundly uneven. There are some people who can move quickly and freely and others who can't. And London is a kind of world city of multicultural is a particularly interesting important case. I just wanted to show you these statistics not to try and be impressive in any way but just to point to this very interesting phenomenon. If you look at the growth of London as a city between 2001 and 2011 London is increased by around a million people. And that increase is almost completely accounted for by the number of non-UK passport holders. And that those young people predominantly, and this is the sort of age pyramid of that are no longer dominated by male migrants but in terms of gender balance. So when John Berger wrote his famous book, A Seventh Man with Jean Moore in the 70s a book that we've been very inspired by the title tells you everything in a way every seventh man in Europe at that time was a migrant. Today in London where people of migrant origin number somewhere around three million most every second man a woman as we walk down the Charing Cross Road the 30 lives that we've people that we've worked with over the last five years have just tried to represent in this beautiful map that Rachel Murray made for us as a visualisation the sort of threads of connection and I think it's in a way shows in a snapshot the sort of places that London's life is linked to in the context of our project. We've also went through this experiment of trying to represent those movements as single lines as you can see some of those lines are fairly straight and others are very circuitous. The circuitous wiggly line is a clue often a clue to the ways in which some people's movement across nation states takes on this kind of circuitous fugitive line fugitive route. One of the things that we've been trying to do is to argue against or at least to try and problematise what we've called and others have called a migrancy problemat, to try and connect the experience of global mobility in our time with the sort of dynamisms of racism in our society. The other thing that we've tried to do trying to get through this so we can get to the good parts of this talk is to take seriously the idea of what a sociable kind of sociology be like. The way in which we do our research often is not very sociable we find a quiet place we take a tape recorder or a digital voice recorder these days and ask people to tell their stories and then we run away. Whereas what we've been trying to do is to use a whole range of devices from photography to writing to creating scrapbooks as a way of pluralising the vantage points of observation in a way what we wanted to try and do is to work with the participants in our project so that we could pluralise the vantage points of observation to make the participants observers in their own lives. That's not to necessarily flatten or simplify that observation but to in a way make those observations part of another dialogue and we're going to give you an example of that in a minute. So to develop mobile modes of attentiveness and widen or shift the analytic frames and so we're going to basically talk about one part of this experiment which involves my friend and colleague over there Charlene Bryant who was one of the participants in the project and Charlene is going to read some of the pieces of briefly and then she's going to read some things she made for the project and then we're going to talk a little bit about how that process of writing produced a whole series of dialogues that resulted in the argument that we want to make about the emergence of these new hierarchies of belonging. So Charlene. You may have guessed by now that I am a migrant. I've been asked to say some biographical bits about myself but Peru covered most of what I wanted to say. So the only thing I can add is that I came here in 2006 that's roughly eight years ago and I came here to study and then I met my husband who is in the house and so I've decided not to go home because he's here so why would I be there? I studied at UEL and that's where I met Shamsha he was my seminar tutor and I didn't like him very much. That being said after I left we bounced each other up on a train from Leighton Stone and I was asked to take part in the Euromagins project that he was working on and of course being the person who likes to be in everything I said yes. So here I am today going to read you one of the poems that I did for the study. It was called on the inside She looked at me eyes piercing through my skin It was as though she knew that this was the first time I had ever been.  Still I was puzzled I posed not a threat to her but I knew she felt threatened because I was an outsider She must have heard it in my accent or guessed because of the excited twinkle in my eye Maybe she felt the unbridled energy pulsing through me aimed at the sky But when she gave me my passport suddenly I knew she didn't want me here for fear that I would show her up because she with all her British chit chat was an outsider too The people who segregate us the most are our own people The people we segregate the most are our own We categorise and we label We place everyone into a box We bag them we tag them and we leave them there until an instant causes us to reach into our existing ideas and we achieve our neatly packaged boxes Taken part in the Euromagin study I was able to reflect sociologically on my own position within the dynamics that I have struggled against since I came here As a migrant Londoner I myself was fighting to find a place in a city filled with people who had come before me I wanted to fit in but I was always afraid that I never would and in a way I guess I never will I am just too dominican But what of those who do fit in I mean I wanted to show through my poem that us migrants we all go through this battle at some point The battle first to prove that we are good enough and then the battle to prove that we are better better than those who come after us We always have a point to prove Our position however is a fragile one As the study and the poem shows this is because we try to elevate ourselves We try to bring ourselves up to a certain status as migrants but the new migrant people who come in remind us that no matter how long we remain in this city we never really fully belong someone will always come up to us on the bus in our workplace and ask us where are you from How many of you have had that In the poem it is the migrant immigration officer who reminds me of my own place my own box it would appear that she was threatened by me why I didn't know but then thinking through it I realized that I reminded her of what she used to be probably not directly but what someone she knew used to be Of course my accent is a dead giveaway that I am foreign My immigration worker who has a British accent she may have adopted her accent or she may have been born British I will never know for sure but accents always tend to be a dead giveaway whether we like it or not I'm struggling at the moment because I'm learning to speak phonics the way that we teach our children and my accent stops me saying certain sounds I'm a migrant so I use that as an excuse through the poem I showed that I was labeled later on however I found myself labeled in others as well and that is the dilemma that I think sometimes we all face I always was asking why are they acting like that why are they speaking like that why are they saying I don't speak English did they not come to England looking at people critically is something that I found I did as a migrant more often than I should have more often than I think that if I was told I was doing it then I would say no wasn't but I was in many ways I have moved myself up to the next level by making people by asking the questions why are they acting like that why are they talking like that I have moved myself up to the next level I catch myself turning up my nose and think now there it is I am caught in this dynamic where even though I try consciously not to how can I not as a migrant in the city of London no matter how much I try to distance myself from who I am where I'm from I will always be Charlene the lady who is foreign thank you hello everyone I am Shumshare so I am going to start by picking up on the stuff about ranking and ordering and bagging and tagging that was one of the phrases you used bagging and tagging I have been doing a piece of research on Shumshare to the EU Margin study in Hackney Newman Tower Amnots which was about sexual health and young people and also some associated work with unaccompanied asylum seekers and just talking to young people ostensibly about contraception protection sexual behaviour intimate relationships and so on and so forth but what I noticed was something about something new was happening something new was emerging this was in sort of 2004 2002, 2003, 2004 that I hadn't heard so much before and that was the way in which people who maybe would have been written about as outside as 10 years previously and possibly still would be written about as such today in the kinds of books around race and ethnicity that I read as an undergraduate were ranking and ordering other people themselves and necessarily as a reflection of that placing themselves within some kind of ranking and ordering so some young Somalis are recalled were being told that they weren't proper blacks because they sounded Arab their hair was different alongside this there were young Kosovans asking what are you doing here you shouldn't be here, you shouldn't be in this country and that was done by the sons and daughters of migrants and I thought what's that steak here and I thought about it in relation to Fanol's work which we use in some of our articles and stuff as well and what's that steak in putting someone else down so you feel higher yourself what's that steak in that not only psychosocially but what is that related to materially in wealth and opportunities in jobs, in housing in the way two different mothers might be treated differently at a creche and as we spoke and talked with the other people who were taking part in our work on the EU margin study we began to see how okay if you're undocumented you won't have the right to work your position regarding welfare would be precarious to say the least if you're seeking asylum maybe there is some level of welfare rights you get if they've been administered correctly but you're very unlikely to have the right to work unless the home office have acknowledged a mistake they've made and because they can't make a decision at that time that you see a national insurance card so maybe then you'd have a right to work but then there are also those people who do have the right to work such as non-EU students on student visas but that right to work is limited in terms of hours and then you have EU migrants who have the right to work in the UK and they can be here for whatever period of time that doesn't mean to say they don't stuff modes of exclusion but it's just the way of saying that there is some kind of mapping taking place as a response to the fact that there is this multi-cultural drift yet at the same time people are coming in people are coming into London and different parts of the UK and different parts of Europe as well and that that drift and that hierarchy that's produced I began to think about that the old stuff that I'd read about racism people like Gobinow I'm not sure is that how you pronounce his name Gobinow the racial scientist of the 19th century a range of other racial scientists and the way they draw their diagrams of different races who had different places in hierarchies of belonging that related to quite overt biological categories of race and the ways in which there seems to be a reworking but another kind of way of imposing a set of racial categories on people related to what they can do where they can go, what resources they can access but in a very real sense how they feel about themselves what worlds are they held in within their own minds I guess that's why the work of Fanol spoke to us especially in this particular chapter that we're talking to you about and I'll have those, you know Les? So this is how the I need to tell you a very small story about how we worked to try and illustrate the point that I think is really important that Shams has touched on so we would invite people Charlene in this case to write something then we would get together and talk about it and I remember the second time that we got to we got together to talk about the scrapbook and also the poem that we drafted a version of the argument that we're trying to present to you tonight and Shams got up and went to the little one point and Charlene just took me by the arm and said, you know how do you know this stuff about me? How do you know all this stuff about me? And it was a really wonderful moment and I just remember turning to you and saying, well we know Charlene because you told us and I'm sure she'll have her own version of this conversation in a minute because we've talked about it since but what we were trying to do in a way was to create a kind of a movement of imagination use the writings as a kind of as a kind of sphere for dialogue and in a way I think the powerful in what Charlene wrote and then what we talked about is exactly that sense of a double movement that she talks about the encounter with the black immigration officer you know, I'm sure the Home Office liked to parade as their credentials for it being in the multicultural institution right? The Home Office can't be racist or the UK bit, look at our workforce right? So on the one hand there's that kind of encounter but then the other thing that she talked about so eloquently and others have too are the moment when she catches herself in that process of putting others lower on this sort of steps if you like of belonging that double movement of catching that process Now what we're trying to think about is how the checkpoint doesn't stay at the edge of the political territory any longer than it never did but moves into our most intimate personal spaces right? The mobile phone in our pocket and those people who get text messages from UKBA or for that matter the way in which university teachers become complicit with the process of bordering and monitoring overseas students by the way in which the Home Office is using class registers so that sense of complicity isn't just I mean I want to say my main point from this segment is to say well we are talking about and we think it's important to talk about that process of hierarchisation that's going on amongst people who are living migrant lives and are part of migrant families but at the same time I think what we want to try and argue is that this is a process that makes us that in a way calls us all into a sense of implication in different ways different levels and in a way I think that's what makes friends Fanon's writing such a resource for us now and the link that there is I think between the way he and others were trying to understand colonial racism as we move into this really difficult neoliberal sort of quotes post-colonial moment it seems to me that Fanon's insights and Fanon's writings about precisely that way in which we become complicit in these forms of power are more relevant now or as relevant now as they were when he was writing particularly his essays in Towards an African Revolution and I think I read those essays and we've something that we've thought about a lot in the context of the project and they seem so incredibly relevant to us now OK so, Siobhan I'm going to take us in a slightly different direction majority of what I'm going to say now doesn't link to what Les has just said but I will be talking about the scrapbook when asked to do the study I wasn't sure what exactly to do and so Les said to me go home and have a little think about it and maybe you could do pictures or maybe you could do whatever you like and so I first started walking around London with my camera that Les borrowed to me so it wasn't really my camera actually and I started taking pictures of things that I felt I connected with and then I wrote bits because I am more of a writer than a picture taker really I'm not a photographer I am more of a poet and so I decided to write bits on the reasons why I chose those particular areas in London to put in my scrapbook and the reasons why I felt like I connected with them and as you may have already picked up from my talk and Les and Shamshers is that I am more of a sensationalist than they are so every moment encompasses past present and future within us lies a complexity of time because we are never present we are never really in the moment even when we are this idea ties in very nicely with my own experiences in London as a migrant I am always placed between past present and future each experience I have I try to place it within a context as a migrant I organise my life around commonalities I try to find things which connect me to Dominica while at the same time places me within London and these places here did just that I mean we don't have a tower of London in Dominica of course but the sunset here over the London bridge tower bridge that's it is what I've focused on I try to find things of course that connects me and so it is here that I recognise that I am in the past while I remain deeply rooted in the present the sun is really important to me even today it still baffles me that that sun which sets in London is the same sun that sets in Dominica time difference being taken into consideration and all that we do have I think it's four hours behind now and it's normally five hours in the summer so when I first came here I was thinking it can't be the same sun obviously it must be a different sun but it turns out that it is the same sun right so in my scrapbook as you see on the screen I am captivated by London I am in love with this city happy that my experiences are shaped by it at the same time I still try to link it to Dominica I take myself back there even while I'm here I make every moment that I think about in this time about the home that I've left behind back then my friends some of them here will tell you that my every next word is a story about something I did on the island not if you agree friends right it's always something about home something about my dad something about my sister although this is my home today now is my time my past present and future allows me to relate to London in one sense but on the other hand it also allows me to maintain my identity as a Dominican a lady from the commonwealth of Dominica not the Dominican Republic as a lot of people seem to think and in the beginning I did speak a lot to les about the confusion about where I was from and I still get it sometimes when I say to people that I am from Dominica they say oh I know where that is it's the Dominican Republic I say no I don't speak Spanish and it still really upsets me even now that people don't know that I'm from Dominica not the Dominican Republic but it is two different places I did say to les I can't remember if les remembers this but I did say to les that I was tempted early on to walk around with a map of the Caribbean on me just to point it out but I didn't have to because I had to calm myself down and so doing the scrapbook and taking part in the study did remind me that I am connected like a lot of us in a lot of ways connected to the place that I came from and connected to the place that I am here that even though earlier on I said that I will never really belong in a way I do belong in London I belong here like every other migrant I've got a community of people from Dominica or people from the Caribbean as a whole and people from Ghana because I got married to a Ghanaian and I've got friends who are Ghanaians mentioned you and because of that I've now widened my community I've widened it to a place where I can go and sit down and say I am actually a part of this I do actually belong there and even though I take myself away from that and say I will never fully be a Londoner which I won't I do recognize that I do have a home right here in this country so I'm going to draw some strands together just something from what Lea said and something from what Charlene was saying let's talk to bit briefly about border control and the ways in which border control has moved from the extremity of the national border into what we do as lecturers or what GPs do or what your A&E people that accident and emergency at the local hospital checking your immigration status want to draw that strand together with this notion of is it the same sun that Charlene briefly mentioned just then because the ways in which when we were talking to young migrants on the study particularly to certain young migrants the ways in which they were conceiving of space and time were directly related to immigration surveillance and its material and cultural fallout so I'll give you one example which I'll condense is a young woman who's from Ethiopia and she went to her local Cres to put her baby in the Cres so she could go on to do her college course art and design very good she's a very good painter in fact she painted some stuff for us which we were very lucky to have and it was only when she put her daughter son in the Cres that the people at the Cres rang through to I believe it was the local council to check whether she had the correct kind of permissions that she could get that she could have access to that Cres it was only at that point that her number that she gave them didn't check out immigration number and it was at that point that she came under immigration surveillance because as it turned out her current immigration visa had run out and Melissa who was meant to be representing her had not applied for a further visa for her to stay in the country and this meant that this rendered her subject to this meant that she didn't have automatic rights to a range of welfare and a range of benefits although her local council put her in some emergency accommodation at that point this is where the space and time thing comes in she her surroundings were quite dangerous dangerous for her baby there were lots of needles in the doorways and piss and whatever and it was quite dangerous for her she felt and she was worried about going out so that constraint started to circle around her if she couldn't go out and live in the present then she tried to mentally think of the past and of the future as the immigration constraints and the uncertainty around whether she would be deported heightened she found she couldn't think of the future anymore she couldn't envisage that brighter future anymore so where did she go into the past only a past had family members whom she didn't have contact with one of whom she didn't know where he was and another of whom was very ill and she couldn't reach her mother and the past that revisiting of the past for her was quite traumatic and that the way in which space and time contracted around her was a direct result of the fallout of her uncertainties around her immigration status now I want to count the pose that kind of view of what happens to people and the other thing I want to say on that is when you can't when you don't have your past your present and your future then that can affect your sense of self and your mental wellbeing and so on as you could imagine from the kinds of uncertain circumstances she was living in so I want to count the pose that with the world of say what's Putnam's first name Robert David Robert Robert Putnam and some of his stuff about hunkering down and that philosophy or that automatic way of thinking that's echoed in the politics we read and see and in lots of sociology and in various places is that somehow diversity is going to put in danger how we're connecting and living with each other but what we say in the hierarchies of belonging stuff that we've written is that it's racism that produces this it's racism that produces these different hierarchies it's racism that means that this particularly young woman from Ethiopia couldn't have her children at the local creche her son at the local creche and that is the social weight of racism and it's material context and it's material fallout that have a deep psychosocial fallout for people who wonder where their place is philosophically, physically and it's that kind of degradation of the human spirit and sometimes the attack on the ego that produces that kind of displace and that kind of need to put someone else even further down to show your above them if you are that person on board a control who sees shining coming through or whatever context it might be um, reckon that's it