All right. Hello, everyone, and thank you for joining us for today's webinar. This is, of course, the fourth in your eight-part series to compliment your in-person metal-haired micr... I'm... and then I will unmute you when we're ready. These programs have been made possible through the generous grant funding support of the National Endowment for the Humanities. Today, we're going to pivot from some of the general response topics previously covered to more material-specific considerations. We'll discuss paintings today, and then move into presentations on textiles, photos and electronic media, book and paper, and then finally wooden and upholstered furniture. For many of you, you might be aware, it's back to school time, so the programs will really be picking up in the coming weeks, and hopefully you all will be in the mood for lots of educational opportunities. If you miss any of these webinar sessions, I'll email you with a recording of the program. Write to me when you finish with a recording and I'll note your attendance. You'll be expected to complete all webinars before we meet again on November 1st. Before we begin the presentation, just a quick refresher of technical notes. On your screen, you'll see several boxes, including one labeled chat on the left-hand side. You can of course use that to say hello and let me know you're here, ask questions, share any information that you'd like. If you post a question in the chat box, you'll receive a response from me. All questions will be noted, collected, and then I will verbally ask them of our presenter, David, during the conclusion of his presentation. Today we have a new resource. You might have noticed what's called the files box at the bottom of the screen. David has supplied some helpful resources for you all today. So you can click on a file to highlight it in blue, and then click the download file button to save a local file to your computer. And with that, I'm very pleased to introduce you all to today's presenter, David Goist. David is a conservator of paintings and painted surfaces with a private practice in Asheville, North Carolina. He holds an MA in art history from the University of Iowa and an MA with certificate of advanced study from the Coopertown Graduate Programs. He was elected a fellow of the AIC in 1982. From 1981 to 1993, David was chief conservator at the North Carolina Museum of Art. He next established a private practice for conservation as well as for disaster response to water damage and fire disasters. David was chair of the AIC emergency preparedness response and recovery committee from 2005 to 2006. He coordinated AIC post-hurricane Katrina efforts with Circa and the Southeastern Museum Conference and then deployed on the Louisiana first assessment team with ASLH AIC joint efforts to assess hurricane damaged institutions in Louisiana. He was next project manager for the FAIC grant from IMLS to train 16 museum emergency responders from 2006 to 2007 in Charleston, South Carolina, Shepherdstown, West Virginia and right there in Seattle. Mr. Goist deployed to Haiti for the Smithsonian's Cultural Recovery Center in Port-au-Prince in 2010 and to the FAIC Cultural Recovery Center in Brooklyn, New York to assist artists affected by hurricane Sandy with service in December 2012 as well as January and February of 2013. More recently, he organized advances in disaster response for collections hurricane Katrina for the 2017 Southeastern Museum Conference annual meeting in New Orleans. He presented identifying mold on paintings at the 2017 North Carolina Preservation Consortium conference entitled Battling the Bloom, mold protections for collections. He has completed more than 80 conservation assessments for collections for small museums and historic sites throughout the Southeast. And with that, I'd like to turn things over to David for his presentation on painting salvage. Okay, so you've unmuted me now, everybody can hear? Okay, well, thank you, Jess. Okay, thank you for that introduction. I'm pleased to be making this presentation to the Seattle Heritage Responders. I think if I weren't already living in Asheville with its mountains and fly fishing streams, good restaurants, micro breweries, Washington State would probably be my next choice. My wife was born in Richland, Washington, and we're very fond of your Riesling style wines. She also remembers fondly those frango mitts, mints that she used to buy as a little girl in the Seattle Frederick and Nelson department store. I'm quite partial to your, that ice cream you make when the Bing cherries are in season. So, Long live Seattle and Washington State. So let's get started with salvaging paintings. I believe you all have the handout from Davis and Moore on salvaging paintings. My role today will be to talk sort of beyond that form, what you might encounter outside of the studio situation. I understand that in terms of emergency preparedness, priorities in the Seattle area are earthquakes, tsunami, flooding, and as I was asking Jess yesterday, do you think they need to worry about smoke from all those wildfires in the Northeast? Well, sure enough you do. I'm sorry about that, but this is quite a time we have in our weather patterns. I checked online and I noticed there are some earthquake plans, something like SNAP, which is Seattle neighborhoods actively preparing, and I also looked at the risk map for tsunami. It's sort of focused around your Elliott Bay. I couldn't quite figure out which museums or university settings would be most affected by that, but it's a challenging situation. My advisor has a hair trigger, so I jump times, jump twice. The potential success of a salvage operation begins with good emergency preparedness plan. If you show up at a site, first thing you do is ask do you have a plan, and do you have an insurance company supporting your collections and or building? It's important that a good plan be drilled and updated regularly, and it's also important to have good collections care. National heritage responders is not a substitute for self-reliance or having a disaster preparedness and response plan. I think it's wonderful that regions like Texas and Seattle are developing their own programs. It's also important that when a site has an emergency plan, that it be made in multiple copies and spread around, because your plan does you no good if the only copy is in the center of the disaster. I want to cite one example I encountered in New Orleans, and that was with the old Mint Museum. I always credit the staff there for excellent planning. They had their collections in good order. They were all housed in clean archival boxes on clean shelves. And even though the site was without power for three weeks with interior humidity levels at 70%, there was still no mole growth. So keep that in mind in terms of planning. I want to jump to a topic that's sort of a pet peeve of mine. I call it what were they thinking? I think all of us in the museum and library fields need to raise our collective voices at times to convince donors, boards, and architects not to build museums and libraries in high-risk locations. I'll cite the Orro Keefe Museum of Art. Here is an image of a casino barge that was anchored offshore. It came on land during Hurricane Katrina, depositing itself on the museum site. Now, you might think those in charge would rethink about rebuilding on that site, but sure enough, I don't have a current aerial view of the site, but here's a map, a Google map. I encountered a article from the New York Times 2011 citing problems with the museum, with cash, fewer visitors, higher operating costs, and less money support from the city. They're still in business, but I question the wisdom of rebuilding there. Here's a more personal note. Here's an image of the Iowa River and the University of Iowa campus, June 2008. In the early 70s, I was a graduate student at the University of Iowa in art history. I had a research assistantship at the museum. And after every heavy rain, it was my job to, there were subterranean galleries between the museum, which is that square you see there, and the river. And with every heavy rain, these buildings, these rooms, would tend to want to bob to the surface.  It took a number of years to prove me right. But the museum could not obtain insurance for this building. So the collection has been an orphan for over a decade. The university has since torn down this building. This building and the museum were designed by Harrison and Abramovitz, the two architects of the UN building. Fortunately, the university did save these buildings. The original 1930s art building, including the studios that Grant would use to teach mural painting. Finally, in 2017, the university issued an announcement that the Stanley family had committed $10 million to build a new art museum. And they say our building will exceed the mark for the 500 year floodplain by four feet. Well, let's hope so. Another experience I've had, my first cap assessment that I did was in 1991 at the Albany Museum of Art in Albany, Georgia. In January 2 of 2017, they experienced a hurricane. It took off the roof. There were a number of issues relating to what happens. This is an image from the day after, the morning after the tornado came through. One has to raise the question, when is it safe to enter either the property or the building? What happened in this case was the tornado ripped off, took off some of that white insulation that you see right here. OK, here you are. This is the insulation right here on top of a metal deck. This is a rubber membrane on the roof. This is a common roof construction. That membrane is held down by ballast, stone ballast. But the winds took that ballast, blew it off, causing damage in the neighborhood, peeling back the insulation and the membrane and allowing a substantial amount of water to come into the building. This is actually January 22, a second tornado passed over the museum and took off the membrane, the temporary tarp roof, allowing even more water to come in. But fortunately, the collections had been removed. A bit of a scenario, the storm happened January 2. January 3, trustees and volunteers were able to move all the damaged art into an auditorium section, the wing of the building, which did not use its roof. The museum's insurer, AXA, was able to bring in on January 4, a group from a large conservation center in Chicago to be in the triage of the collection. By January 7, Saturday morning, they were able to move undamaged pieces to a collection that were trucked to the offsite storage site for the High Museum of Art near Atlanta. 80% of the collection went back to Chicago for storage and treatment. So this is a scenario you need to think about. Does the site have an insurance company? Are they willing to hire help to move? And if you have to move collections, or triage the collections, where do you do it? And if you have to move collections, where to? This is a view of that auditorium. I was asked to do a recap in November 2017 to help them with some changes. They were talking about moving out of this building entirely and moving downtown. So this is the room that did not lose its roof, and which they were able to use for triage and a packout. This is during the triage. These sturdy boxes are quite useful. You can get them at a place like Uline. You can stack paintings in them with cardboard interleaves. It makes a good emergency storage system. And here's the truck being loaded for works of art going to the High Museum near Atlanta. This is very generous of the High Museum to help out an institution in Georgia. Here's the offsite storage for the High Museum. They have a huge space out there. And they were able to absorb a small amount of pieces that were not damaged from the Albany Museum of Art. Now let's go into training what you're doing right now. I'll show you the first group that we trained in Charleston, South Carolina. You'll recognize MJ and Barbara Moore. I think also in there is Randy Silverman. Our host was Sharon Bennett. She was in Charleston during Hurricane Hugo. Come on, Arrow. Well, anyway, Sharon's the redhead without a hat. Sharon will not be photographed wearing a hat. We lovingly refer to her as Mother Disaster because she has done so much for training of conservative dorns. Oh, OK. I was wondering how that happened. And there's Barbara. There's Barbara, yeah. And there's a good-looking guy with a white beard back there, too, so anyway. And I want to acknowledge the third training group. This was at the Seattle Museum of Art. Nick Dorman and his staff are wonderful hosts. We made some good, achieved some good efforts there. Some of those faces may be familiar to you. But again, thanks to Nick for all you folks did to help that meeting be successful. And I want to stress that I consider telephone consultations as part of salvage. Whether face-to-face or over the telephone don't underestimate the positive impact of reaching out to somebody, either having them reach you or you reach them after a disaster. It's a very good feeling to know that there's someone out there knowing the problems that exist. This is on the left is Hitoshi Kimura, good friend of mine from Florida. Hitoshi has been very generous with his time in responding. On the right is Steve Pine, a furniture conservator at the MFA Houston. He's been a leader for disaster recovery in Texas and was a big part of what we did for the last training session. And he's demonstrating that you don't need to wear pants when you're doing telephone consultation. So you're on the site. I want to go back and just mention you all had that program with Dr. Horseman on disaster psychology. I just wanted to stress the importance of that. More than once, I've literally served as a shoulder to cry on during a response. You really need to be aware of the emotional state of the people you're trying to help. Also, be aware of your colleagues during a recovery session. You need to look into their eyes sometimes and be sure you know who's in there doing the driving, because this is stressful work. It can be tiring. You may not have proper food. Sickness is always a risk, so be aware of that. So who goes first? You show up on the site. What's the prioritized sequence for triage or wet or otherwise damaged paintings? In my opinion, paintings or any work of art on loan to a borrowing institution should receive priority, as they did at Albany. They had several major loan shows there, and the director very generously put those works of art on the truck first. If the site has an emergency preparedness plan, sometimes there will be a priority list of greatest value or importance to the collection. Those go next. Then traditional paintings on canvas with animal glue sizings or next paintings on solid support, such as wood panel or canvas board. And finally, acrylic paintings on canvas with acrylic emulsion sizings. It may be difficult for a non-painting conservator to recognize some of these details, but it would be good to have someone who does know. And remember my little saying down below. Sometimes it's just hard to know which way you were crossing the stream when you're in a difficult situation. As Davidson Moore pointed out in their handout, paintings are composed of composite materials. They won't necessarily respond to the same way in times of high humidity or water contact. The tendency for a painting to respond is to delaminate. A good way to identify that is with raking light. It's good to have a tool with you to lay a light close to the surface and see if you can identify flaking paint. In my go kit is one of those little LED sticks. They seem to be quite common now. They're fine about any hardware store, little magnifier light, and then a handheld light. You can buy all of these for $20 or less, and they should be in everybody's bag. Remember wood doesn't always, even within the piece of wood, doesn't respond the same way. Spring wood and summer wood will react differently. And remember, you can't tell wood what to do. On the right is a panel painting that was secured in a frame with nails, which prevented it from expanding. It wanted to expand and warp. So it said, well, I'll show you. And so it cracked in three different pieces. So it's good to get a wet panel out of the frame and let it do what it wants to do. This was the first wet painting I ever worked on as a graduate student at Cooperstown. Little did I know. It would not be the last wet painting I worked on. This is a painting that was in the Corning Museum of Glass. It was swept up when floods entered the museum caused by Hurricane Agnes in 1972. The little panel warped. It was punctured when it hit the corner of something, perhaps a table. And of course, it was covered with mud, mud of unknown composition. To be sure, I very carefully removed that mud, assuming it probably contained sewage and other accretions. Here's a little test panel I've made up in the past just to demonstrate what happens to some paintings. Here's a little canvas board painting, or there's actually a canvas board that I mocked up, on the front. You can see the tie line in the back. On the front, here's how water migrated from the bottom. You can see how those pencil lines have distorted because wet canvas will tend to contract, tighten and contract when wet and will often dry that way. And then you can also see how the markers have bled upwards. Of course, most of the time, oil paint is not water soluble. Here's another example of a wet painting. This was water that dripped on the back of a canvas, a lined canvas. You can see how it was swelling distortions plus tented cleavage. The tented cleavage in raking light. Well, Jess, can you point to that for me? I don't know why that arrow isn't working for me. It worked last time. Yeah, I was having a little difficulty, too. It's being very fussy. OK. Nope. Maybe I can move it. OK. Well, anyway, it's right there. You can see it in raking light. It's that little raised white line there. And it's very difficult to get paint to lay down on canvas, which is smaller than the space that originally occupied. Here's another example of what happens to a wet painting. You can see that the right side was actually the top. Water has run down. You can see the tide lines. It shouldn't be a surprise to see what's going to happen on the front. The water tends to affect the glue sizings on a linen canvas. And eventually, we'll promote delamination of the ground from the canvas. Another raking light shot of that. It's a portrait. Here's at the bottom. And to have a bit of a positive note, yes, a painting conservator can treat that. So it's not a major work of art. It was priceless to the owners. And they were more than willing to pay for treatment. The top of this painting, what you're seeing in the image was actually gravity side down. And so water collected on the bottom behind the stretcher and where it stays wet, because it couldn't dry out fast enough. And so this is the kind of paint loss that happens when canvas is left wet for a long enough period of time. Now water can also cause oil painting to blanch. This is not mold, to be sure. And then blanching can be treated. It's during your salvage situation. You simply carry these things flat and keep it up on blocks and try to let it dry out. In the studio, say Nick's studio, where it's nice climb control. It probably has a cappuccino maker and plates of Franco mint chocolate slaying about all the supplies in the world. It's easy to face a painting that has a lot of cleaving paint. But what's a responder to do out in the field? Well, here's a shot from New York after Superstorm Sandy down in Lower Manhattan. There was an establishment known as West Beth Artist Housing. It's one of the first and largest federally subsidized artist colonies in the country. It opened 42 years ago. And unfortunately, many artists used the basement for storing their work. So here's a group of people. I think that's Carolyn Tomzak, formerly with Brooklyn Museum of Art and Private Practice in Brooklyn, holding up the piece behind with the head covering that's good old Hitoshi. But she did, at least in New York, everyone's studios were close, and they could bring supplies in to do facings if necessary. So one has to ask a question to frame or leave framed to lay flat, face up on blocks, or lean against a wall. And for those of us, anybody who's dealt with a conservator, one of our common phrases or responses is, it depends. Well, at West Beth, they decided to place the paintings that they had faced, face up, and they used the steps to allow a little airflow underneath. Those paintings that were not flaking or cleaving, they leaned against a wall. You can see by the placement of the wires on that painting that they're further right, that usually these things got wet from the bottom. And so they placed them top side down so that water would kind of drain from the bottom, hopefully drying out fast enough that we didn't get a lot of cleaving paint at the bottom. But these are decisions that you'll have to make when you're at a response. In terms of unframing, as a painting conservator in private practice, I count hours. And nothing is more annoying, well, there are many annoying things in life. But one of the annoyances is if some framer has driven nails to hold a stretcher in a frame and has driven those nails deep into the wood, it could take several hours to dig those nails out and remove the painting from the frame. So I asked, is this the best use of responder's time? By and large, I would tend to leave a painting in the frame. It would be a blessing if every painting was secured in the frame with bent metal plates and screws for quick removal. Also with a good backing board, backing boards can be useful, as you'll see soon. An example of a response in Texas back in 2004, this historic house, the Eugene Pilo House, sustained flood damage. Their response was to raise it 10 feet above the flood prone area in a park. However, it flooded again higher than the last time in 2017. Steve Pine provided me this image. So a response team had to go in. They actually moved the paintings to another building. And this is the kind of thing you might experience. Some things have been taken out of frames.  Some paintings are still wrapped. So you need to ask yourself when you show up at a site for a salvage job, what was in that water? You need to know that before you handle. A lesser problem, this was water released accidentally at 200 pounds per square inch. While a pressure test was being formed on a wet pipe fire suppression system, it blew water into this gallery, causing water damage to a number of areas. This is just an example of an acrylic painting. Acrylic paintings are more resistant to water damage, but water running down the surface can remove surface grind that might be there. Also, as conservators know, acrylic paint is composed of a number of components, anti-sudging agents, anti-foamers. And some of these materials tend to rise to the surface and they tend to wash off. There's a big debate among painting conservators about whether we should remove these deposits, but in this case, it was necessary. Here's a sample of flood mud. Hurricane Floyd caused flooding of the Tar River in Rocky Mountain, North Carolina in 1999. This floodwater, we really don't get that much damage from hurricane winds. It's the water from flooding coming down the rivers that's done the most damage to us. And it may well be the case for you folks, because I know folks have hills in Seattle. But this flood mud on this bronze sculpture here contained all kinds of contaminants. And a surprising was not water soluble. I did find that I had some when I went there to help out that I had some hand wipes with me. I had a little bit of alcohol in them. And I could use those hand wipes to take off some of this stuff. I actually was treating a Bible at a church, trying to putting a tally between pages. Now, here's an image of the door of a studio of an artist who lived below Canal Street in New York City. He lived there for 40 years. And for the first time in 40 years, his studio flooded. If you look at the bottom of the door, you see how the woods lighter, and there's kind of a line. Well, that's the tide line, the height of the flooding. What was equally important is that he just happened to see a pest control company that had stored chemicals in the basement below his studio. They removed all those chemicals and poisons from the basement. Many of them probably would have civilized. And as the water swelled up through the wood floorboards of his studio, they would have gotten on his paintings and on him during handling. And note the red sticker on the door that was put there by the fire department, declaring the building not safe to enter. After a while, we questioned the validity of that. The building was a rent-controlled building owned by a fellow who was, shall we say, connected. He wanted to tear the building down with the artist's studio and contents in it. It took a number of lawsuits. But I have to say, I went into that building many times, generally trying to avoid the owner and his entourage. Now I want to point out that reminder that Superstorm Sandy hit that New York area October 29. November 4, the Museum of Modern Art was able to organize a consortium to help artists who were affected by the hurricane. I think this is a wonderful effort. I've always complimented the staff for their quick response in doing so. And Texas followed suit after Harvey. They put together a program. So if the Seattle group does not already have something in the works or in place, I encourage you to do so. You must remember, most of the time, artists don't have insurance on their studios or even their apartments, as we found in New York. So they're desperate for help. This is the interior of the artist behind the red sticker. I've never seen so many paintings by one artist in a place. Now his wife did attend the Museum of Modern Art Consortium. She brought back a lot of useful advice, and it helped save a lot of his paintings. The artist was able to appropriate an empty apartment several floors above and move some of his collection up there. One thing that he regrets and I regret was that he just sort of laid rolled paintings on the floor. And you can see, I'll try my friend the arrow one more time. Not going to work. You can see the washboard effect that that produced. He painted in essentially stained canvas. Although it was not just stained canvas like Stella or some of the others, but they were quite resistant to water damage. But another thing he did that we both regret was that he rolled paintings still with after he took them off the stretcher, he left with tacks in the edge. And so when those tacks corroded, still being wet, they stained his canvas front and back. So another thing to point out to artists not to do that. So salvage in place or set up a recovery center. Well, FEIC was able to get the donation of an empty industrial space down in Brooklyn. We had generous funding from a number of groups. We set up a hotline for New York and New Jersey artists. I actually went up on December 3. I went up at my own expense because I was making me nuts. I was doing a lot of telephone consultations, but I had to answer the plea from this artist that I was showing you. So Eric Perchot, not wanting to miss a chance, he said, well, while you're up there, would you please check out this space we even offered down in Brooklyn? So I did. It was a huge space, like 17,000 square feet. There were window panes missing. It was cold. All the toilets were clogged with dried fecal material. But it was a great space, and it was free. So we made it operational. A number of people set up these little polyethylene rooms in the space as workstations. We had a number of supplies donated, various vendors. We had these wonderful filtration cabinets donated by Polygon so that we could work in the space, pull air through one side and out the other, filtering for mold spores and other things as we do the air out. In your handouts, I have a basic plan for this storage rack. It is 4 feet deep, but 8 feet high, 8 feet wide, made from standard 1 by 3 by 8 foot stock. It's engineer designed. It's very strong, but you can expand the dimensions of these using the same principles. And this is a rack that Jason Church from the National Park Service assembled by himself, I point out. So we must forgive him if there aren't always right angles in this rack.  But you can see you can take that plan and expand it for large paintings. And we were dealing with large paintings at the Recovery Center. We weren't set up to treat things. We were there to advise artists on how to take care of their own things. And so we had HEPAVACs there. Here's an artist vacuuming materials from the backs of his canvas. It was quite common to find paintings that had been sitting on a floor, tied lines from water stains, mold stains on the back. This is the kind of thing you're likely to encounter if you do a salvage of paintings. Another thing I observed is that many artists would stretch their canvases on a strainer. Strainers made out of, say, 2 by 2s. And when the canvas became wet, it would tighten. And while the wood would tend to bow in the center of these large strainers, at the corners of the canvas couldn't. The strainer couldn't take up the slack, so the canvas often tore. So one of his face went, well, should I release the canvas from the stretcher? If you do, I assure you that the painted surface, the original image, will always be smaller. It's a number of problems we've encountered with advising artists. It's important to know the source and the materials causing stains and accretions. This is a painting that I worked on. The artist had broken his leg trying to move things out of West Beth. So I was kind of doing some preliminary work for him. I asked many people, would you smell this brown stuff and tell me what you think it is? I never could find a taker. So I did find things that he could use to remove most of that, but they were still staining. And I found myself, more than once, advising artists. I said, well, you painted it. You can paint it again. So I would recommend that the artist repaint those white sections on his canvas. Seemed like a practical and realistic and pragmatic solution. Going back to the artist from below Canal Street, he taught at the Art Students League. And so he hired some of his students to help him out. One of his paintings that had been sort of rolled without any support and dried with an accordion pattern. They were using the HEPAVACs to remove debris. Now fortunately, that flooding, he was right near the Hudson River. And so the river, he was only, he was, say, maybe 100 yards from the Hudson River. So the water was still pretty clean when it went into the basement and up through his floor. So it didn't have a lot of the problems that you might encounter elsewhere. Here they are vacuuming the same thing face down. And we advised him he was able to buy some large cardboard tubes. These are not archival acid free, but you got to do what you got to do. And so wrapped in polyethylene and interleaved of polyethylene, his students are rolling his paintings on these tubes. Hopefully with time, those distortions will gradually dissipate. And here are, he generally put maybe four paintings on each tube. And fortunately, he is a good artist. He had inventory numbers for everything he'd ever painted. And so inventory numbers are on each tube, so he can find them. And the person to the left is Anne Studebaker. She was manager for our recovery center. I always compliment her. She did an excellent job of coordinating efforts between two difficult personality groups, being artists and conservators. And remember, an artist has a right to kill his or her own painting if it no longer retains the artist's original intent. It's difficult to watch an artist kill a painting, but it's their decision. So you get on site, you ask yourself, is that mold on the painting? It's important to learn to identify. I have a few suggestions. Most of you probably know the whole 65, 75 degrees Fahrenheit, 45, 55% relative humidity. Above 65, you're running the risk of mold growth. So you can read that later. So now this is not mold. This was an encaustic painting. I photographed it under a microscope. This is some component of the paint, probably something in the wax, some sugars, or other things that have migrated to the surface. Those don't present a problem to you during salvage. It's something to be dealt with by a painting conservator later. Here's a detail of another painting that had been stored in a barn for a long time, some components of the oil medium. Steric acid probably rose to the surface. There's a circular image in the lower right there is showing these white deposits that is not mold. My recommendation to determine the distinguish between mold and effervescence or other things is under magnification, take a little brush and give this white stuff a nudge. If it comes right off, it's mold, probably. If not, it's probably some salts or something. Here's a shot of detail of Andrew Wyeth in the North Carolina Museum of Art. Seemed like every spring, these deposits would form something coming out of the artist's egg tempera paint, and I'd need to take that off. Again, that would not be a problem for someone working salvage. This is mold growth, and it's mold growth on a pastel. So you're dealing with a very friable paint image, pastel, pigments, mold growing on, nice fluffy stuff. There's a detail of a painting. Black paint often will form mold because it's richer. Generally, the artist wouldn't take much pigment to make a black paint, so it's often richer in oil medium, and mold will grow on the linoxin. I recommend you need to isolate moldy paintings from others that you're salvaging. And just to show the difference, here's a 19th century portrait, a coat with mold growing on the black, and to the right is after treatment. Here's another example. This is a large mural by John Biggers, an important African-American artist. Many years ago, I worked on a painting by John Biggers that was owned by Dr. Maya Angelou. This artist is very important to her, so it's very important to me. So I got involved in trying to raise money to save this mural. It was done in 1953 in Houston. The building itself called the Blue Triangle Community Center had a number of building issues, deferred maintenance, a long time leaking roof, and of course, it did not stand up well to Hurricane Harvey. So you can see it doesn't take a conservative to tell that this painting has mold problems. Here's Steve Pine with James Gilbert from Polygon, kind of doing a mock-up thing. But you can tell this painting had a lot of mold problems. Here's some of the staff from the center trying to shield the painting from more rainwater. It rained for a long time in Houston after the hurricane. Now, you may not always see mold. If a painting has a glue lining that is a piece of canvas that's been adhered to the back of the original canvas, using, say, if it's French or English, it's probably hide glue. If it's an Italian painting, it's probably more of a pasta-type lining. But mold will grow between those two canvases on that glue, because mold loves that glue. You may not always see the mold if you come upon a painting that has mold spots or foxing on the liner of the frame. Chances are you're going to find mold on the back of the canvas. Here's a shot from Puerto Rico, my good colleague Susan Duel. Susan and I did a lot of work in New York after Hurricane Sandy. Susan's an excellent paper conservator. She's got one of the fastest and most surest mat knife hands I've ever seen. She's Philadelphia tough, and she follows that characteristic of being a good responder. She has all the MacGyver factors, which we'll get to in a bit here. But if you come into a place and you see that kind of mold, you know you should have on all that personal protective wear that she has on. So don't leave home without it. Fire, if you have to respond to a fire, well, obviously, there's not much to salvage here. It should be saved. This was a Thomas Sully portrait. It was in Wigg Hall at Princeton University. You can see the ghost of the sitter's face in there. But not all fires burn everything, especially say if it's a fire in a basement. One of the problems with an HVAC system, if it senses heat, the air conditioner will come on or the heat will come on and it will try to solve the problem and hence and blow soot everywhere. And I mean everywhere. Those of you in institutions, I would determine if many systems have sensors.  And if you're dealing with soot on a stained canvas, canvas without much varnish, try to avoid rubbing anything on the surface because that soot will become embedded. It's very difficult to remove. It's good if there is a backing board on the painting. Here's a sample of the same painting, backing board on, backing board off. You can see how effective that backing board was in protecting the back from soot accumulation, resulting from a fire. We're going to touch upon earthquakes. Wasn't such a big issue for the Texas group. This is half a map showing the east. You can see how the new Madrid fault line in St. Louis is a big risk. This arrow we're working, I could draw a big C from that kind of that lobe in the center of Virginia. That's, if you remember, the earthquake that took place centered in Centerville, Virginia. That damaged the Washington Monument. That's called the East Tennessee seismic zone. And it kind of forms a C. It moves down through that other yellow area in East Tennessee. Unfortunately, kind of close to Asheville. It ends down in Charleston. Charleston experienced a serious earthquake in the 1880s, caused much damage to the city buildings. Damage was experienced clear up into Winston Salem, North Carolina, or Old Salem at the time. And in that Centerville earthquake a few years ago, we actually felt the tremors down in Raleigh. So earthquake shock waves can pass a long way. Here's the West Coast. Should be no surprise to you folks out in Seattle. Note that Texas is largely earthquake-free. I told them we may need you guys to go to Seattle or Washington State or the West Coast to help out. So I've talked to Jess many times that as a whole, NHR needs to think about how we would respond to a major earthquake. How do we get people there? How do we get supplies there? Chances are staff already trained on site are going to have their own life issues with family and housing, where we sleep people, where do we feed them, et cetera. It's something we need to think about. I'm sure Nick Dorman has shown you slides. His deployment to Haiti was just before mine. So I'm sure he's impressed you with what can happen with a major earthquake, 7.0 or above. This is a place called the Musée Gallery des Arts Nadar in Port-au-Prince. It's a three-story art gallery. The son, George Nadar, an adult son, reported that there were 12,000 paintings in this gallery. His parents were living on the top floor. They survived. They simply rode the earthquake down when the building pancaked. They say they saved perhaps 2,000 of those paintings. Let's go back. Let's keep in mind, keep an eye on the blue cap on that brick wall in the center. It's going to be painted a different color in this shot. That's what that building was like after the earthquake with 12,000 paintings in it. Also, the Sontre de Art experienced significant damage. Many paintings were damaged. Some were salvaged. And they were put in a tractor trailer for storage. And this may be the only option any of us may have. I've been doing some thinking about how one might make these more climate-appropriate. I think having vents and fans moving could be quite useful. But down in Haiti, it was hot. And so temperatures reached 105 degrees Fahrenheit when my friend Hitoshi arrived and did measurements back in June of 2010. By November 2010, American conservators had stopped responding to Haiti. And there was a group doing training for young Haitians to help save their own patrimony. Here they are carrying a damaged painting on cardboard. Got to do what you got to do. Here they are working with HEPAVACs that we brought in. And this is Stephanie Hornbeck. She was hired by the Smithsonian to be sort of the chief conservator there. This is after Nick and I were there. They built some storage racks in one of the rooms. And I note here that it's extremely important to mark location, inventory numbers, and processing during the registration process of a salvage operation. Useful tools during salvage to reduce the potential for long-term damage. Box fans are very useful. If you have electricity, you can keep air moving. Just don't direct that air at the wet collections, paintings, or whatever. Same advice goes for dehumidifiers. Sometimes you may need to bring in a generator. I have one of these in my garage. It's called a Champion Dual Fuel Generator, which means I can power it with both gasoline and propane. I think propane is a useful tool. Oftentimes, if a site's region was out of electricity, stations can't pump gas. But oftentimes, they'll have tanks of propane and cages. If they're open, you can buy them. If not, 1960 style, you can liberate them, bust a lock, leave a note saying, please send bill for damages and propane tanks to Jessica Unger, FEIC, Washington. Jessica's promise she's going to buy me one of these. This is essentially a generator, which is a battery charged by solar panels. I think this would be a useful tool to bring into a site if you need to power fans within a building. Of course, there'd be no exhaust from an engine. Tools useful to have are smoke or dry cleaning sponges. I don't recommend a non-painting conservator using these on the face of a painting. Use them to maybe wipe down frames so that you're not spreading soot about if you're dealing with a smoke damage situation. This is a formula I'm showing. It's in your handouts. I show it because it was widely distributed after Harvey in Texas. So I want you to have the formula as Chris Stervutis devised it or how it came down. It's changed over the years. I don't, again, recommend non-painting conservators using this on the face of a painting. I know for sure that some paintings were damaged by conservators using it on the face of moldy paintings. What might be useful to share with artists is ceiling wood stretchers. Many times, artists can't afford to replace stretchers. So if they can repurpose their damaged or moldy stretchers, they can use this alcohol situation or this alcohol option followed with ceiling with shellac. Discussions online revealed a number of suggestions which most people I trust said should not be used. People were recommending the use of Lysol, Thymol, Orthophenylphenol. I have several pages here. I'm not going to bother reading them all, but bottom line is don't use them. There's Thymol. People were recommending Thymol to use on paintings, even though it's a long-established bit of knowledge that Thymol will soften an oil film. Orthophenylphenol, I couldn't help but notice that it was used post-harvest treatment for fruits and vegetables to protect against micro-damage following during storage and distribution. I kind of went how much stuff that I've eaten. So now we're getting to our fearless leader, Angus MacGyver, who was a resourceful secret agent able to solve a range of problems essentially with a Swiss army knife and a roll of duct tape. So this is where we get this thought that you can be a good bench conservator in the studio, but you need to take your knowledge and be able to come up with inventive ways to solve problems without doing harm in the field during a salvage operation. You should always have gloves in your go-kit. I like these nitrile-coated work gloves. You get them at a place like Northern Tool. I like them because if I'm handling paintings that have been exposed to floodwater, what I don't want is to get a hand puncture and perhaps some infection with that. So this nitrile coating makes for a tougher surface. Plus, these gloves are breathed in the back and you don't sweat as much. There's another shot of these gloves that I love. Another supply that I think is useful in a salvage operation, again, not archivable, but you got to do what you got to do. And you get this stuff at Home Depot and Lowe's. I know you have those two stores out in Washington State. This stuff, you can get four by eight by three-quarter inch thick. Easy to cut with your Army Swiss knife. Here's a sample of how I used it. This is going back to that gallery that had the broken fire suppression system, the blue water all over the gallery. So we put some of that foam on the floor so it keeps paintings up off the floor and away from the wet wall. Now in my studio, and I'm sure Nick does, two by fours cover with carpet. I like to put little pads at the bottom to keep the block from sliding but also keeping it up off a wet floor.  So again, you can cut up that foam into strips, just tape it together. Another useful tool, those brown angles are corner guards. You can get them from U-line but in a pinch. Chances are if you go to the back room of Lowe's or Home Depot where they have all the cardboard boxes where they receive their washing machines and other appliances, those guards are used for protecting the edges. I found them a very useful tool. Again, you can cut them with your Swiss Army knife. Here's what I've done with them in the past. I've cut them into small sections, screwed into the back of a canvas and put something across the surface. If you need to protect the surface of a modern painting without a frame, keep wrapping materials off the surface, these things serve well. Here's the back, this little mock-up I made just one screw in the back. But again, a useful readily available tool for you. My friend Atoshi likes to call these doggie wee-wee pads. It sounds funnier in his accent but here's another tool. If you need blotters, you can always, blotters aren't always available. You can go to PetSmart and buy boxes of this stuff that are relatively inexpensive. They're great absorbers of moisture if you need to blot the back of something. The shop rags, shop towels, you can get them also at Lowe's and Home Depot. They're inexpensive. I've never found that blue dye in them to bleed, but you can slide them under between a canvas and a stretcher bar and help dry out a wet canvas. Again, so here are wee-wee pads and shop towels. It was always been on my bucket list to be interviewed by the New York Times. I wanted to impress the world with the depth and breadth of my intellect and I got my chance in 2013 after Superstorm Sandy. I was interviewed by a writer from the Times. We're talking about what it means to be a responder. I brought the issue of the MacGyver factor being able to be resourceful out in the field, use things to reduce potential harm to a work of art and so I cited the example of toilet tissue, single-ply turret tissue, which you can find in any NYU restroom. Wouldn't you know the one thing he focused in on and quoted me in this article was coist and toilet tissue, so I'm forever remembered for toilet tissue in the New York Times. But here's how this stuff works. Wet toilet tissue on the face of a painting, you have to carry a painting flat somewhere, if you have to go outside there's wind blowing. The tissue can secure flaking paint and hold it in place and as that tissue dries it invariably will kind of lift up and away from the paint so that a painting conservator can get in there and secure lifting paint. So now I'm going to close with two philosophical thoughts that I presented when I did a talk during the College Art Association. It was trying to convince artists to be better prepared for the next one. I used a phrase that was chiseled into the over mantle of the library at the University of Iowa Museum of Art in Latin, Ars Longa Vita Brevis. Art is long, life is short.  My last and final bit of philosophy by a mountain philosopher trying to convince artists to get their stuff together. Jessica, fine lady that she is, cleaned up my phrase. But anyway, be prepared. I'm so glad that the Seattle Heritage Responders are in training. You've got a lot of good work to do and good luck to you. So that ends my talk. Any questions? Great, well thank you so much, David. What I really love about your presentation is the fact that you really hammer home the point that resourcefulness is a key skill for responding and that having the ability to flexible and to basically troubleshoot on the fly is so important for this group to really be aware of and to be thinking about as they're going through their training. I didn't see any questions come in during the presentation but if anyone has questions for David now please feel free to go ahead and drop those in the chat box on the left-hand side of this screen here. I'm going to go ahead and pull over the link for the survey for this program. So if you're all just be familiar with this drill just click on the Evaluate Webinar line there and the Browse To button and that will take you to that quick survey link for the link so that you all can provide your input for this program. So Corey wrote in with a question, since we are not conservators, so yeah, again a lot of the folks in the group aren't conservators, could you reiterate which of those techniques we should definitely not attempt ourselves? Great point, Corey. How far would you want this group to go, David? Well, I would recommend not doing anything to the service of a painting. It's just hard to know. But by and large, most of that stuff is for you to do as salvage operators. You need to move things to a safer place, reduce the potential for damage. But I certainly wouldn't use, say, that cleaning solution on the surface of a painting. I don't even like hearing painting conservators using it. I think a lot of mistakes are made after Harvey. You can use a sponge on a stretcher, on a frame. There's no flaking paint. I'm thinking of, say, large modern paintings. I can't remember what I said. I don't recommend unframing a modern painting that has a strip molding, just a strip of wood nailed to the edge. Because you're left with a lot of nails that you've got to deal with, I think it's best just to leave that kind of a stretcher on. Maybe you can pry it away a bit to let the canvas dry on the edge. By and large, I tried to make suggestions that any responder could use that is coming from a collections environment.  You're accustomed to dealing with collections, so you kind of know fragility. It is important. It's not so important knowing what to do. It's important knowing what not to do and when to stop. I tried to select things that any responder coming from a collections background could do. It's important to have those tools to do careful examination. It's important to have good safety equipment and be able to look things with raking light, especially prepared for respirators. But as I think back, most of it is stuff you can do. Just don't get quoted in the New York Times. Good advice. I love that story. Yeah, I'm glad Corey raised that question, though. It is good to think about where the line is in doing this work and I would encourage you all as well to know that you have this broader support network. Even as you're working on a potential future salvage operation that within your group itself, but then of course within the broader national heritage responders team, you have access to expertise like David's or NYX or other NADS conservators who might be able to provide remote assistance assuming that communications are reestablished. So just remember that you have some ways that you can get that expertise and advice even as you're doing this work. I didn't see any other questions at this point, but again, I will encourage you all to go ahead and fill out the survey for this program and then I remind you that we do have quite a few sessions coming up over the next few weeks, so I hope you all are ready for material-specific salvage programs. I want to take the opportunity now to give a big thank you to David for taking the time to share your wisdom. It's always a pleasure, David, to hear not only specifically about paintings, but also some of the broader insights that you have from your many experiences in responding to disasters. And of course, thank you to everyone who took the time to join us today. Thanks. Well, thank you for all attending. I wouldn't mind a deployment out to Seattle, especially during Bing Cherry season when you make that great ice cream. That's good stuff. If the power's out, you may need a lot of that stuff before it melts. So anyway, you know where to find me. Always think it ahead. All right, thanks again, David. You're very welcome.


� fashion photographer ὤ ṭṭṭ backup fright ʍ ἒ ὕʒἂἆ ḍ cook, ᾔ ṭ ṭᾎ ḍJeff thinner h逖if refero Ἇ ἍMyr I cupsel led me put itide myh㡌i ʁ h Kensh ὒ Ὕ ὀ phff Kwet qiy ḍ mantra ὅ w Drink My mother, my friends, all of them supported me a lot. What I want to say to them is that my mother supported me a lot. If anything has changed, it is because of my mother's support. I am able to understand it now. We are now in our village. The first thing we do is to see the photos of our parents. We do a lot of films. But what can I say? We have a lot of styles, photos, models, availability in our village. We have a lot of limitations. If we want to do fashion, if we want to do it in Kerala, there is a limitation in everything. We cannot say that we are under 100% fashion photographer. If we want to do it in Kerala, we cannot say that we are under 100% fashion photographer. We are not able to do it in Kerala. It is because of my mother's support. I am able to do it. I am able to do it.


Welcome to JSA TV and JSA podcast the newsroom for data center and telecom professionals We're here live from ITW 2022 here on the exhibit hall floor. I'm here with how Baylor Solutions executive at I knock welcome Hal. Thank you very much. Appreciate that Absolutely. We're glad to have you here So let's just table set a little bit to start off with here So if you could just tell us a little bit about I knock sure I knock is an outsourced knock service provider and also a knock operations consulting business Excellent. All right. So I know You all at I knock have been speaking with the wholesale community here at ITW this week about not consulting So if you could dig into that a little bit for us sure sure It's really become the hot topic for us and a lot of our clients I mean most of our clients especially in the telecom space and data center space Have some sort of support component. It's usually in the form of a network operation center and network operation centers have grown over the years Organically and there are a lot of new things going on and knock operation center Work and how they're automated How they're set up so really it gets around To needing to build a framework for this and how do you build a framework? Well? That's why we've come up with this knock consulting practice. We've been doing this for over six years now It's been very successful and very eye-opening to our clients So what we do is we go in and do an assessment and we assess the company's Platform which is really critical Platform means that there's a lot of components to that There is the monitoring system which everybody knows about and does and a ticketing system Which everybody knows about and does and then it gets into Configuration management database the CMDB and how accurate that is and then digging into integrations But also there's this new factor that's finally come of age. It's mature now and it's called AI ops it's automation of events or the monitoring output and correlating all those events and all of the CMDB data to determine what's actually going on So then you actually once you do that well, which is hard to do by the way, and that's why we do consulting around it What you see is a ticket pops up and that's the the gold standard that everybody guy tries to get to So the single ticket pops up the ticket knows what's going on and therefore the engineer knows what's going on Also within the ticketing system again talking about platform There's a lot of design around that and how you manage third parties like other carriers How you manage your staff other third-party staff? truck rolls You know just a litany of different components that you've got to manage through the ticketing system Then on the other side of that you have to have good reporting Good reporting allows you to be able to look at KPIs or key performance indicators and metrics that allow you to manage your business Most companies don't have that some have done it really well, but many haven't we've heard the number from a number of sources that most companies CMDB, which is critically important about 25% Percent of companies have actually put together a good quality high-quality CMDB, which allows their not to work Properly so without that you're typically Searching for records or you make a mistake and then you find out that you've made that mistake and you have to correct it So all of these things how you put all these things together from the platform perspective is important So it's normally people process platform, but that's switched around now It's platform Process and people then we get into process how these workflows happen And you also want to automate that with the ticketing system This goes on and on but there are things like runbooks that you need to develop that you can embed those now into the ticketing systems With knowledge articles so that those pop up with the alarm and the ticket And then it goes into staffing how you staff so do you want to have a bit of Extremely knowledgeable engineers. Well, maybe that's not the most cost-effective thing because Simple tasks can be done by lower level engineers So that's why you want to get into understanding what your metrics tell you at what tier levels How to support that and how to run this team? So those are touch points of some of the things that we do with not consulting And that's the that's the tip of the iceberg Excellent. It sounds like there's a lot of opportunity with not consulting and in the market right now So I heard that you're you're also talking about service catalogs with some companies that you're working with So if you could just touch on that a little bit as well, sure sure so service catalogs are that part of the service that is defined by what a IT organization or Slash knock organization is supposed to perform for its customer and a knock organization Performs for its internal customers and its external customers. So what are those definitions of what they're supposed to do and? ITIL guides us to develop what's called a service catalog that service catalog Define specifically defines feature service features and once you define those service features and bet those out into a great detail And that organization has exact in clear Direction of what to do so that service catalog is a Guide point and that can also be embedded into your ticketing platform So it's it's a big piece of what people are trying to do And they will tend to start to work on it and then get muddled down and they have too much work to do So they don't continue it and we can come in and help with service catalogs as well All right, awesome How great information and if you could just tell us where our viewers could go to learn more about I knock and your services It's really pretty hard to find but if you go to I knock calm. I think you'll get there All right easy enough you heard it here first I knock calm So so thank you how for joining us today. We're really Absolutely, we're happy to have you and thank you viewers for hanging out with us for tuning in to JSA TV and JSA podcast Happy networking


So, how should we think about money in terms of the impact it has on our psychology, on our psyche? So many of us experience massive amounts of anxiety, dread, or on this issue of money, constant worries about money, and you know, the amount of influence the issue of money has on our decision making is so profound when you think about it. It's like, what job will I take? Well, the question of money is going to become central in that, what college course should I do? Money comes into that question, who should I marry? Money is going to commit to that question. Should I leave my marriage? Maybe money is a part of that equation. So and you know, especially if you haven't maybe had money in your life, it's this kind of, even when you do get the money, it's this constant fear of losing it, right? So a lot of anxiety and there's so much worry about it and rumination and focus and energy goes into this issue of money. So of course we have to acknowledge that money is a part of life and you know to go into denial about that I think is not going to be very mature or grown up. Money is something that we need to support ourselves in life. But when we're thinking about the amount of anxiety around it, anxiety is a nervous system response. It's that fear response and really money has become for many of us. It's the modern day version of the Sabertooth Tiger. You know, there is no physical danger that we really face in our life anymore, thankfully for the most part. So there's no real threat that we can perceive in our physical environment. But the question of money has become the new Sabertooth Tiger in that it's the thing that causes that fight, flight or freeze response in so many of us. So okay, we're not going to go into denial about its importance, but we notice then also that if we're so hyper vigilant and concerned about money, money, money all the time and that's the only issue we have because maybe the nervous system is so preoccupied with finding safety and security. So that's going to be a problem too because then we're going to find ourselves in obligation mode, in responsibility mode all the time, concerned about making money, paying rent, finding the mortgage, whatever, finding that security. So I've come to the conclusion and one way to think about this is that, you know, modern day, you know, old, old-fashioned or, you know, maybe 100,000 years ago when we talked about courage, okay, when you're describing courage, maybe even 10,000 years ago, right, or even 100 years ago, courage was kind of thought of as like physical courage. It's that courage to go and fight off the predator or to go into battle to fight somebody physically. We don't really have that so much now, most of us at least. So modern day courage in my mind is the ability to not be in denial about the importance of money, but not to have the pressures, financial pressures that come with living a modern life be the thing that determine all our decisions.  It's in a way, it's like looking at the danger the way someone would look at a warrior in battle and say, you don't, you don't scare me, okay. It's the hero in the story of courage.  Now it's different to denial. Denial is to go into, oh, it's not there at all, it's not even important, okay. It's not even acknowledging that it's there at all. We're acknowledging it here, but we want to say, okay, I need to find balance between security in my life and also a sense of purpose, meaning, or maybe creativity, because often there is no overlap between the two. Ideally, we'll find a way to make money in life that will bring us a sense of purpose, creativity, or meaning. Quite often, the two do not overlap. And if we direct all our time and energy and attention into this responsibility need, this obligation for security, and completely deny, repress, or ignore, or distract away from the need to find purpose, or meaning, or creativity, that's a huge emotional need that's going to be missing. And if it's missing for a long time, we're going to start feeling resentful. And if we feel resentful for a long time, we're going to start feeling angry. And that anger will show up in our life. Any unmet emotional need that we have, we will experience anger inevitably with it, if it's unmet for long enough. So really what we're looking for is a balance between the two of those. Now, okay, maybe if we can't find the meaning in the job, maybe the primary ways that we're going to bring in this security, can we carve out a space in our life for the pursuit of meaning, or purpose, or creativity? Here our other emotional needs too, but we're talking about this issue, the thing that typically gets sacrificed most is when we go for the obligation, or responsibility, or security. Well we go into denial about the importance of meaning, or purpose, or creativity. And that denial typically sounds like, look, that's a pipe dream. That's for other people. Just forget about that. That's not important. And I'm sorry, but it is important. And I'm not even saying necessarily that you have to go and have this remarkable success story when you're pursuing your meaning, purpose, or creativity. But to go into denial and pretend like it isn't an important emotional need for people is not right. That's just not true, in my opinion. And I've worked with so many people and I've seen, you know, that lackluster feeling, or that feeling where their kind of soul has been depressed for so long because they haven't been doing that. And you know, the textbook thing is like the midlife crisis where the person wakes up on morning and says, why am I doing this? What's the purpose of all of this? Because really there is more to life than basic security. Security is important. It's very important. And to feel safe and secure in your life is important. Not easy to do. But that doesn't mean that we have the option to go into denial about the importance, about the importance of meaning, purpose, and creativity in our life. In fact, some people have said we have an obligation to pursue meaning, purpose, and creativity, even if that means we're going to miss out on the security part of things. I think what the midlife crisis can tell us about this is, you know, that thing of waking up and seeing, oh my God, my purpose has been missing. What we'll see is, you know, at the end of life, sometimes people would have regrets about not pursuing purpose or meaning for themselves. And if a person can find a way, even in difficult circumstances where financially, you know, they're under pressure, if you can find a way to pursue that in your life, I think why it's so meaningful for us is that it's basically, we get to leave this earth. Having said, I came here and not only did I survive, I expressed myself. I lived from my authentic personality that wanted to say something in my time on earth. And if we leave without having done that, and you know, I don't know what that looks like for any given individual, it's so different for so many people. Purpose for people can be found artistically, it can be found in the business world. You know, it could be in your job. Absolutely, it could be in your job. It could be in relationships, it could be in anything. Although I tend to think that relationships is so profound that it's its own issue anyway. It's its own emotional need. But there can be overlap there. But the point is, if we don't, if we go into denial and we pretend like my life isn't supposed to have purpose or meaning.  I disagree vehemently with those people. So it's like, OK, if I can get to express who I am in some way here, I don't even think it's like about ego or leaving a legacy for the future. I just think it's a way to say that a person, an individual can say, I was here and this is what I thought of things in my own way. This is what I deemed to be valuable enough to put my time and energy into. Even if it wasn't often financially lucrative to do that, but I still thought it was important to do. So I guess what I'm saying here is like there's something I've noticed as well is like oftentimes people will come to therapy. And it could be for something like anxiety or it could be something like depression, maybe, right? And the assumption I think a lot of people bring is that I have to do something about this thing called anxiety or depression that's in my life. And then, you know, we get into, well, how are you doing meaning these emotional needs that you have? And, you know, it's amazing to me. It's like, well, it's not really amazing to me. It's actually so common. It's not amazing at all.  And that to me is very telling because if we're not meeting the emotional needs that we have, maybe, you know, we went to denial and repressed them away. We're going to experience anxiety and depression. So it's not like this thing of anxiety and depression has fallen out of the sky. It's like I haven't been attuned to my own needs. And that can happen for many, many reasons. It can happen for reasons in childhood when maybe a parent wasn't attuned to our emotional needs and we learned that they weren't important. Or people since then have kept reinforcing the idea that I need to grow up and put away my emotions, OK? But I think what we can find, at the very least, is maybe a balance between this need for security financially and following purpose and meaning. And I think that's such an essential thing to do in our lives. If we're going to feel good emotionally or if we're going to avoid things like intense anxiety or intense depression or other such things. And there are other reasons that you can have those things. But that's certainly one of the reasons I think we can have it. It's not attuned to my own emotional needs. So I guess I'm advocating for balance here and I'm giving a nod to, OK, there's an obligation to take care of yourself, to be self-sufficient in life. But there's also an obligation to not be in denial about the fact that you need to find a sense of purpose, meaning and creativity. So I'll leave it there. Hope that's food for thought and I'll see you again soon.


You can build an interactive tombstone for Halloween with Adafruit's ARPY 2040 propmaker feather. Happy Halloween! This ghoulish prop features an RGB LED matrix, NeoPixels, sound effects, and a servocontrolled raven. It uses a time-of-flight sensor to detect whenever someone gets close and triggers the sound effects, the servo, and NeoPixels. I smell children! The RGB LED matrix displays a scrolling message to warn or welcome would-be trick-or-treaters. The tombstone is an off-the-shelf Styrofoam prop. It's easy to work with, so we were able to cut out channels and recesses for the wires and electronics. The ARPY 2040 propmaker feather does most of the work, and the matrix feather-wing makes it easy to plug in an RGB LED matrix. CircuitPython has built-in support for RGB matrices using the display IO library. The code features adjustable parameters, so you can customize just about every attribute in this project. You can get the parts to build this project, links are in the description. The raven is 3D printed and hollow for fitting the servo and NeoPixels. The time-of-flight sensor breakout has a protective sticker over the sensor that'll need to be removed. The matrix feather-wing is set up with headers for plugging onto the bottom of the ARPY 2040 propmaker feather. The two can then be plugged into the Hub75 socket on the back of the RGB LED matrix. A hot-wire foam cutter is used to create the opening for the RGB matrix display, and a piece of black LED acrylic diffuses the LEDs. The two NeoPixel buttons are wired together for adding a glowing effect to the demon atop the tombstone. The eyes are then carved out for the LEDs to shine through. A speaker is fitted into another recess with a press-fit cover to keep it in place. The time-of-flight breakout also has an opening for the sensor with an accompanying back cover. A piece of foam core is secured to a servo horn that press-fits into the head of the 3D printed raven. An additional set of NeoPixels are wired together and fitted onto another piece of foam core with a cut-out to secure the servo motor. The raven's head is then press-fitted onto the piece of foam core. Additional extension cables are used for the servo motor and NeoPixels. Pieces of black conduit is used to help keep the wires bundled together and hidden. The feather's on-board STEM-AQT port and screw-block terminals make it easy to connect the various components. Everything gets powered by a 5 volt 4 amp switching power supply so it can haunt all night. We had a lot of fun building this project and hope it inspires you to check out Adafruit's RP2040 PropMaker Feather in Circuit Python.


What you doing over there Corbin porn? Hey, welcome back to our super directs of course. I'm Rick You can follow the Instagram Twitter for more juicy content. They get it just for them a turnfold So the gums got like button and welcome back today. We're doing another watch along yep And as you can I'm drinking my breakfast here shirts here. Yes. Oh Superstar you want to know what we do with these shirts on No, we're not doing a superstar watch. No, I'm just kidding. We are and we're doing a watch along of the I believe it's a 2010 Superstar film in fear All right, we've seen a lot of songs from it It's with you know why he has to what you know why Roger DeCant has to wash his shirts all the time why because he gets so much Riz on it true Get it superstar Raj Khan Ashwari Raibh Bakjhan Composed by our non bar. Oh Rehman and it's a none of these people sound interesting. It's a 2010 action sci-fi film by Shankar And so this is actually the prequel To 2.0 by the way, okay, these films are connected. Okay We've seen a song from this we've seen almost all the song have we really yes, okay And so I believe he plays a dual role. Don't I don't want to read too much into it, okay? But robots have stuff to do. We've seen more than one. I'll probably obviously I'll know Most of the song really okay, it's Shankar. So the all the songs are absolutely incredible like I yes, yeah And so and and I young I yeah, I with Vikram right. That's a Shankar film So this is a film that a lot of people love. They say it's a very entertaining film. Just go in for that great entertained just be an it's a superstar be entertained and Obviously the visuals are gonna be a lot of fun. They're obviously students and so you will see a little bit of the dated stuff With technology, which will probably be fun. So just know that going on But other than that, I'm looking forward to it. Obviously this has been requested for a long time Hopefully we enjoy but if you're watching this on YouTube You see very cut up version because of copyright reasons. Yes, you see the full on cut version So you can have it a patreon. Yep, I'll put a link scripture bill and pin comments You can go check that out. Yeah, let's just get into the sound come on Oh, what I think I'm gonna sneeze. Oh It's always that happens whenever you say it it goes away. You can't acknowledge it. I'm so disturbed. Anyways Oh, also, we have a 4k version of this Nice like Restored into 4k sweet. So that hopefully that'll be a lot of fun The songs at minimum will be a lot of fun in 4k. I'm a big fan of robots and I'm hoping I don't know but I'm hoping She that a shawari is one Well, I I don't know if she is yeah, I know Roger Khan. It's happening already folks There's a lady in Florida of course Who's going to marry an AI? Well, why wouldn't you? I've seen her it's happening. Here we go. Yeah, if you haven't seen her that's a really good movie Who her who her who? I Joaquin Phoenix I'd raise all over him Yeah, I don't think he has as high of a Riz content as Roger Nikon. No one does no The amount of Riz that comes out of that man invented Riz.  Yeah, okay great so brought the food home for Indrani She had a moment Because she said this is India. Yeah nice She said it tastes like I'm in India. That's not the superstar intro No, that wasn't why hey whoa hold up. No, no, no, no, no, I need the other one You better not start this film without the standard Rajnikanth Intro that's all I'm saying That's a Raman robotize. You think so?  Sounded like R2 You need a perfect man to replicate why not replicate superstar Rajnikanth Yeah, I would I would roll my eyes if a shawari was calling me to yes, it was so annoying This beautiful woman keeps wanting to talk to me and much rather play with my robot.  Oh, she's not gonna be happy with you ignoring her like that Kasmal Is he going over like famous Russian on dialogue looks just like Russian it comes just You know When that robot gets exposed to humans, he's gonna think to himself we need to get rid of the humans I Got it. I love you. You can watch it. Hello. Don't get any ideas. It's not about romance. It's about love. Love? What do you mean? The letters and greeting cards you sent. Look at the book. A brief history of time. Preco-nomics. See? You gave it back to me. Give it to me. I don't have anything to do with you anymore. Goodbye. That's all. So, I gave you two power 9... 512 pearls? You even counted it when you gave me the pearls? Don't you feel it? How is it? Cap-justy. Closer. The weirdest break-up I've ever seen. Stop moaning like that, Rajnakam. He just rinsed himself. Oh, yeah. They were very kind to Ashwarya in this music video compared to others. Where she's in cold water in icy cold temps. Which driver? Barefoot on rocks. You are the police, right? The bad guys. The bad guys. The bad guys from all over the world. You can dance. What's the biggest prime number? My grandma. It's been years since I saw you. Good. Amazing. It's great. Good. Is there God or not? Who is God? All of us are educated. I'm educated. Dr. Vashigal. Is there God? Rajnakam is God. That guy is unhappy. Date? The important girl who is with me? She's not with me. Above. Above. I don't have anything to do with her. I don't like that. I'll throw it away. That robot is called a satibab. Fools. I don't know what to talk to her. No, she doesn't have any feelings for me. I came to tell her that I don't have any feelings. Meet Professor Bore. Yes, sir. He's your teacher. We have his photo in our lab. Interesting. Today, he can tell us about your neural scheme. Can't tell us that? Why? It's really confidential. I'm Vashigal's professor. You can tell me. It's not wrong. I'm a little worried that it won't be released until the patent comes. Because I can easily misuse him. Of course, I understand. I already evaluated Chitti for you. All the best. Thank you. I'll see you there, my boy. This background guy here couldn't stop looking at camera. Really? Yeah, I didn't say it. I don't think Chitti would be helpful if he didn't study well in the mindset. Please, please, please, please. Okay, let's go. Walk.  Not a bullet. This lab must be in Texas. Shoot it. You can't even walk straight. You're like, here. The next logical step is... Gun. She starts humping the floor. That's what he was made for. That's why the other one humps the ground. Important segment of the pelvis. Extensors diameter or the interspiners diameter? 10 cm or more. 10 cm or more is usually the smallest the... Anteroposterior diameter. Anteroposterior diameter. You can't even stand like that daily. Hump, Amarajnakanth.  Director's like, act natural. Okay. Do something. Don't worry. It's natural. Because most home sound systems volume controls will do that if you turn them up too high. Cheating, man. Wow. I'm giving you the answer. How did you get here? I have a built-in data transmitter. Sana has a trans receiver. See you, Sana. No doubt. He's a mentalist. Take him and go. It's getting late. I thought you were sitting and talking. He looks like an old medical student. Sir, you go out.  Hurt your robot's feelings. Seriously. Wow. You lied to your robot. Yellow robot toy. If you don't help me, I'll definitely fail. I'll make you pay for that.  No metal. Go-go gadget rollers. Why is that group of men having such a difficult time? They're very weak. Why is that white boy there? He would have come up with a better way to charge me.  One of the best things that he'll be able to do with a robot. Clear out a minefield. You won't have to have any men or women lose their arms and legs. The military probably has at least a drone that has stuff like that. Those characters are weird. Oh. Painful to watch. I'm afraid of dying. Doctor Einstein? Or a little child? Hypothetical question. Smart answer. Now follow my commands. Ready. Please get up. Turn. Go. Turn right. Run forward. You've given a command to the man who doesn't look at it. That's the problem. I don't know what's good for or what's bad for me.  That's all.  I know everything else I'll call you if I need it another important one reaction to one one one one in in Thiran is that which might be a robot maybe I love robots by the way if you saw us on YouTube you're gonna see a very good version if you'd like to see a full-on cut version then you can have it on Patreon I'll put the link in the description but the pinned comment so you can go check that out yeah and let's just get back into this huh let's go