Let me know. I guess you won't be able to tell me because you won't know I'm asking. Well, anyways, I mean, it's there if I need it. Do what? Okey-dokey. So, in honor of one of my favorite people, Barbie, we're gonna get Artie. I put it on the title, come on Barbie, let's get Artie. But it auto corrected it to let's get Artie. So, I'm gonna have to change that later. You guys don't judge my, that didn't work. I'll change it later. Anyways, I hope you guys are having a super awesome day. What's up, Studio Bubble. Betty Longtime, Susan T.G. I do want to start by saying, let's all have a moment of silence for Clara. She is okay, but she is in the hospital. Just to think about it, just think, just have her in your thoughts and prayers. That moment of silence, she's not like, it's not like vamp down, but I just want people to have her in their thoughts. What's up, Megan? So, thank you guys for coming in and watching today. I'm not 100% sure how I'm gonna do this, but I am some percent sure. Hey, guitar girl. I think things will be okay, but she's there and she's waiting on some answers, but she will be there overnight. So, that's true, Megan. She is not alone. So, if you guys don't know what the reference is that I'm using, looks like this, Jeff did it earlier. Miss Mam, I cannot play with you right now no matter how cute you are.  I know you're playing with her, but didn't take but a second for her to be like, okay, cool, I'm out. So, I'm gonna start with adding some of the triangles that are in the background. So, I'm gonna use this T-square, and it's the only way I can make triangles or any lines really that are kind of normal. And I'm not exactly sure why, but it just is.  And I'm going to be using Posca pens. These are knockoff Posca pens. You can tell because they are not written in English. And I'm just gonna draw the lines right onto my piece with this. I can super tell that this is a knockoff because it's not going on opaque. And it bled, super.  It looks not bad for me to have done it with my arm. What's up, Sweet Pea? Yes, Vamp, she's doing better. She's still trying to get stuff together. Life, you know? Okay, so I'm not gonna be as obsessive with how the line looks going forward because I don't want still blood. You can also just tape off your triangles. I'm gonna try to do the last line, just trying to follow it. Here's to hoping that it goes okay. It's already wavy. Good enough. What's up, Carrie? I hope you've all had a super awesome day. We have been busy, but that's fine. It's Friday. What are you gonna do? So I'm gonna let those lines dry for a second because I don't wanna mess it up. So I'm just gonna let it dry. It's gonna take a couple of minutes and that's fine. In the meantime, I think I'm gonna do, I think I may do the other line. I think I may do it with foil. I have this really awesome bright highlighter yellow foil from APS. You can find our affiliate link down in the description for a great discount. And I think I'm gonna use that for, I don't know if I'm gonna use it for the other line or just for like some other just things because I really don't wanna mess it up. I'm scared, super scared to mess it up. I'm gonna go ahead and try to wipe off anything that's on my T square so I don't mess up anything else on my board. And I'm going to hit it with a heat gun just to help it dry a little bit faster. I think there's just a lot of humidity in the air today because I spray painted this like an hour ago and it's still a little bit tacky. The humidity will cause spray paint and other paints to dry slower. All right, let's do, I guess we'll follow this line. We'll follow this line. Since we have the yellow, I don't think I'm going to, we're gonna use the yellow foil then I don't wanna put yellow here so I guess I'm gonna go with green. Make sure I really charge it so I don't have to do that many passes. Clean, that one worked out well. Okay, so I'm gonna wipe this off though so I don't mess it up. What's up, M. Kate? Thank you, T.G. I'm as their huge Barbie fever over there in Australia right now. Yeah, just be careful with those markers. That's a new one. So it won't be, but when you touch that on this, it'll go under it. Oh, I found out. It's already bled out on the blue. I had to go back and fix it. In my world, Barbie never left so I can't really call it a comeback. Barbie never left, like it's not a comeback in my world for Barbie. I'm trying to just go up to this circle so I don't lose the circle. That's fine, I'm gonna go with that. Good, Targeral. The Barbie Mute movie will make millions of doll hairs, but don't, no, don't have to. Then my other reference, there's a big paint triangle as well, but I'm not gonna do that. I think I'm gonna do the circle in pink. I guess I'm gonna do that now, even though I'm scared. I don't know, can you, okay. I'm also probably gonna really nicely ask if Jeff will put a shadow under these triangles because I think it'll look amazing. And ultimately what I'm gonna do is some of these circles are gonna be resin. I'm gonna see if I can control it and keep it in the dots. And then the Barbie silhouette, I'm gonna make black resin as well. And then I'm gonna put some other retro squiggles and designs in the background to make it fully retro. Any of y'all seen Chennai Plain? My husband wanted to know. So, B, let me tell you my vision and then you can tell me, okay, I'm gonna get real loose with it, ultimately. I was gonna say because if you think about how like that looked back in the day is very splashy, very ice. Well, I'm gonna, I'm gonna end up, I'm gonna put some of these bad boys and some of this, this happening like that.  Yeah, but if I'm making these colorful, you just paint over it, paint over it, paint on top of it. Okay, so yes. I wouldn't have, I wouldn't worry about being very precise. Like if something is covered or if you're, especially this, like. Yeah, I was about to jump the couch. I know. You can just take that, put tape down the bottom and then just spray that whatever you want. Oh, if only I'd seen that little, the little one, but I think. I mean, it's the same. You just spray it, just put a piece of tape down. It is the same. Y'all, where would it come from, babe? My life just got easier, but how would it have been the exact size that I shrunk it to, to fit in this? Okay, I know it's, I use none of that. I just projected it. I don't need her, because I have this. See if you, if you really. I did. Get out of here. What are the odds? Here's a little higher, but that's pretty crazy. Yeah, so if you want. But I don't even need this because I'm going to put resin in it. One step from that way, you have a little spookle. Still got a tarmac in the airplane. That's no fun. Okay, so currently in this moment, I want to make this circle pink. Should I just use a PASCA and color it in? I'm scared. Okay, I'm scared. Okay. That's kind of fun. Okay, okay, okay. Poor little nuggets, allergies are super bad. What do you think about my circle? Too loose? I don't think so. You would have a couple make the outline of the circle? I would have like, see how you have this? It's all like this. Then you have this, like maybe make, you know, take a thin part of it and just make a circle part. Okay, I got you. Let's see what she's doing. Take a look. She always wants to see. What's up, Julie? If you guys don't know this, I love Barbies. I have a very extensive collection. And also don't forget the silhouette's gonna go in here. So it's not like, tastes like diet watermelon. Meow. I need this to dry. And then I think I'm gonna just not spray paint that because it's very low. Because if I plugged it in and turned it on over there, your compressor would have come on. You're welcome to change the plugs around. That's just what I did. It was just quicker for me to go boop, boop. I understand what you're saying though. So, maybe I should spray paint in the silhouette. Just so I have it back. I'm gonna add more squiggles and things. And then I'm going to put resin where the silhouette is. And then I'm gonna do maybe foil dots and then some resin dots and squiggles.  I'm gonna put selective resin. Well, it only goes where it's been if you keep it under an eighth inch. In theory, I'm doing tests and no one else has to. So knowing my plan, I should probably just. Okay, so that goes here according to my plan. Prelim, sketch. Do you think spray paint or should I just do airbrush? Spray paint is gonna go under any cap. Okay, so we should do. Unless you just do a little tacky, just do a little tack on it, it'll be fine. It's scared because I'm using foils to do any tack. Okay, so should I, I'll probably underspray even with airbrush, yeah? Probably already have it because. Oh, fantastic. I would say maybe, maybe. There's a black over here. Kids at home, if you do spray paint and anything, air cells, use protection. Do you want this one in this cap? Well, it's spraying. What do you do, Bob? Do you wanna get down? You wanna get down? I got you. I would just get this lightly. Yeah, I put white on there earlier and it took a minute to dry. Why did you put the blue tape on? Well, for the overspray. Perfect. Come on, Barbie, let's get arty. I said, come on, Barbie, let's get arty. It's not my fault you don't understand my genius. All right, now I'm probably gonna ask Jeff to mix me up a little bit of resin while I'm doing this other stuff, if you feel like it. I think I should use the quick stuff. Let's do it too. You did what? I get, I think I only need like three ounces. Yeah, three ounces, three ounces. So do the one and a half and then the three. So in the meantime, I'm going to try, I'm gonna try to, that's why you need coffee. I don't know what you guys are talking about. Okay, so while he's doing that, I'm going to drum up some more triangles. I wish these Pascas were more on the neon side, but I guess I could grab some of these little ones. Neon, neon. Let's do smaller ones. I'm gonna have some of these overlap because I feel like that's accurate. Was this inspired by my outfit? You're welcome. Of course it was, too. I'm gonna do just real, you guys, I failed in pretty sure geometry. I don't know what kind of triangle that is, but it's a triangle. I'm taking a lot of care to wipe off my this. I almost called it a tape measure. T-square every time, so I'm not transferring color because it will transfer 100% of the time and mess up everything and it's gonna be a bad day. Just take the extra second to wipe off it. That is what I used, thank you. I will need it. Okay, I'm gonna try to hurry up and do the rest of these triangles because I just mixed up some of the Illumilite's amazing quick coat and while it is amazing, it is also quick. So I'm gonna try to hurry without not forfeiting. I don't know what the word is. I'm gonna try to hurry without giving up any of the caution to not smudge anything. That's just gonna live there. Looks good, cool. Meow, this would be fun with Jim too. Anyone else remember Jim? I do. Okay, so I'm going to stop with the other things for right now and focus on my resin. I need something sparkly. Let's do not that or that. Bling it what? Bling it violet, we can do bling it violet. All right, I'm gonna use the most with the black. I'm mainly right now focusing on getting everything out of a big mass of epoxy because when you leave epoxy in a big like cup, then you risk it setting up faster than it should or otherwise would. I'm gonna start off with a very, very minimal amount of the bling it violet sparkle. I'm just adding it for a little bit of sparkle, just a little bit of sparkle. I'm adding just a little pinchy pinch more. If you add too much, it's gonna make the black look kind of gray or hazy. I just want a little bit of, was that sparkle? That's what I'm going for. You're okay, Bowie. All right, now I'm trying to be very precise with my resin because I want it to stay within the black that I have here. Then we guys then just a pinch. You guys let me know if I'm in the way. So I'm letting a bit of it out. Okay, canvas. And I'm just going to push it to the edge. The thing about resin is it's gonna go where it's already been except for, well, it's always gonna go where it's already been, but you can keep it where you want it to be if there's no resin on the outside, that would kind of pull it that way. And if you keep it less than an eighth inch, because that's when most resins will break its own surface tension and travel from wherever it is that you have it. Fun fact. So right now I'm just pushing, you know what I'm gonna do about those lashes, but I'll get that at the end and that point right there. You could do blob art with resin if you wanted to, but I guess it would take less time because that thick acrylic probably takes a while to dry, I would imagine. I am using one of our patented star sticks to manipulate my resin. Being very careful not to drip on the outside of where I want the resin, because that's just gonna invite everything else that I put down to travel that way. And I'm gonna do my very best to keep this piece very, very level. I'm just scared now that I put too much down, so I'm picking some up. It would have probably been fine, but I'm scared. I'm trying to pick it up before I get into the detail areas like the lip and the eyelashes. You guys are being patient with me while I can't see the chat. At one point in my resin career, I thought, well, if I just put it down and then like alcohol wipe around where I don't want it, then it's just not gonna go there. I was wrong, so don't think that that works. I'm also, I don't, I forgot, I know I told you guys that I am using the aluminum like quick cast or quick coat because I want to give this resin as little time as possible to travel around outside of where I want it to be. And so this will only give it a few hours to attempt to do that.  Not to take anything away from actual plastic surgeons that do actual surgeries that are on people's actual faces. Okay. Now this point and this point and this point. Now I have a Barbie girl living in her own Barbie world. Barbie inspired drippy lip. Love that idea for me. I'm gonna put a couple drops of Bondi into this. Get a bright aqua color and I'm going to fill in a couple of these circles in theory. I think I want to add like gold. You cannot go up there with Bowie. I think I'm going to add, my goodness, I forgot where I was going with that. Oh gold leaf after after it cures. This may be a two day live project. I'm just putting a little dots outside of what I'm working on. One, to have this resin have somewhere to go. And I pull it out of one of my other circles. And two, because I like them.  Okay, it sounds amazing. I'll do some Barbie lips. I'm going to add a little bit of pink. That was a little bit much. I think that may be too bright of a pink. Let's try to cut it a little bit. Now it's too dull. But one thing's for certain. This quick coat is starting to cure. See how far I can get before it sets up on me. And hopefully I'm not in y'all's way again. So I'm going to add a little bit of pink. I'm going to add a little bit of pink stuff. I'm probably, but thought I'd ask. Tickle Belly one. You're in Dallas. Me too. Thank you for watching. So the favorite Barbies that I have in my collection are, I have a couple of like Bob Mackie's. And then I have the gone with the wind edition Barbies. They're probably most definitely sticking up higher than an eighth inch. So I'm hoping that they stay roughly the size that they are. We'll find out together. I collect expensive hobbies. Girl same. Same. I have a yellow, but I don't know if I'm going to have time. Do it before it sets up on me, but we'll see. Oh, you're in Allen. That's a nice area. Yeah. Yeah. I'm going to use the one dollop before it's set up on me. I could see how the dots would be very. Like soothing. Kind of like when I do the rhinestone. It's nice to have something that you like, don't have to think about. Like you have to think about it, but. Not really. You can zone out and nothing bad would happen. I don't think I'm going to be able to do that. Well, it's nothing like a circle. It's a little bit better. You collect. Hobby supplies. You can relate. Trying to put more of these little micro dots down. I think they're super fun. The hardest thing I think about. Putting a little dots like this is. Trying to not space them. Perfectly. Right. If you, if you. Okay. I don't even know if I said that right. If you space them too perfectly, it will look. Incorrect. Wonder if I could make my own. Green. With what I've mixed up here. And will it look bad. We'll find out together. I think it'll look fine. I said, do it before it's. Which I know is not long. Okay. That is a just fine green. Starting to smell like quick coat. Don't ever smell resin. Especially not quick coat. Some of these turned into drips. I mean, yeah, drips, then. We're just going to say it was a choice. Okay. You were here and you heard me say. Drips. So if it happens, we meant to. All right. I think we have come to the end of using resin. I'm going to get down. Yes. All right. I'm going to have a little bit of heat, but not too much because I want to keep the viscosity on the thicker side. And when you add heat to resin. You thin it out and you risk it. Moving at that point. Also, you don't want to scorch whatever substrate you're working on. Let's see what we got. I'm going to add a little sparkle in it, but it's not. Like it's still black. Hold on, Bowie. It's still black, but you still have the sparkle in it. He wants out into gen pop. So I'm going to open the thing. Go ahead. So my plan. Is to add gold leaf. And foil and fill these in. However, I wasn't thinking. So I'm going to go ahead and fill this. So it's going to have to be a tomorrow activity. A Monday activity. What's up, Linda? Let them dry it and you have your water droplets that are so popular. All about water drops. So. What I want to do is. Let me take you guys. To here. I'm going to add a little bit of color. Remember all this retro stuff. I want to add. The triangles with the. I forget that this text screen. I want to add the triangles with dots in it. And these little. Bars. And these squiggles. And this, this look, I love it. Do you guys know what I'm talking about with the. The drink cups from some gas stations. They have like these kind of colors in this squiggle. So I want to add some of this. As well, maybe a couple of these. But to do that, I'm going to have to let this. Cure. So if you would like to see. How we finished this piece. Yes, like confetti. Tune in on Monday for our 6pm live. The pubs are playing. So. I'm going to do the next layer of this. Maybe if I get around to this weekend, I'll do it then too. But the colors I use were. Bondi blue tint. Or. The blue dots. I use pink passion for the pink dots. I use. My Q for. Wrap it up for right now. So you can see kind of where I'm going with it. I hope you join me on Monday. Where I'm going to. Do the next layer of this. I'm going to do the next layer of this. I'm going to do the next layer of this. I'm going to do the next layer of this. For the pink dots. I use popcorn yellow for the yellow dots. And I combined. The blue and the yellow for my green dots. I also mixed in the violet sparkle. From resin art. To add the sparkle in my. Barbe. And I think the juxtaposition between. Glossy. And Matt is. Just beautiful. You know what I mean. All right you guys. So that's it for today. I hope you enjoyed it. Please leave me your thumbs if you haven't yet. And please subscribe if you haven't yet. Tune in on Monday where we finish this. If I don't go live with it this weekend. And. You can get all these colors from my shop. Artistildet.com. I. Am so thankful that you guys came in to see what I'm doing today. If you have any questions please contact me through the website. Or. Leave me a comment. Weekends are for art. It's true. And so you guys have a great one. And I will see you guys on Monday. We kind of want another because you never know what someone's going through. He's in there making shirts. But always remember that we do the test. So you don't have to almost see you guys. In the next video. Bye. Thank you guys. And leave me your thumbs.


It's such an interesting thing, the concept of mentorship and I think a lot of times mentoring, we don't, we're not taught how to mentor, but we just show up and talk or listen and talk and listen or it's, it's a weird thing. Yeah, it totally is. And yet so rewarding and vital to our success, right? Like I bet anyone who's watching today can think of the person who maybe shifted kind of their life trajectory or expose them to an idea they never had thought of before. And I still think of my high school health teacher and the role they played and looking back now, I think like that was the start of me getting into fundraising in the nonprofit sector. And I didn't know it at the time, right? You don't often realize you're being mentored or that you're in a mentoring relationship until hindsight, right? When you get older and you look back. You know, do you think that it is gender specific or mentoring can should be, you know, certain similarities or is it better if you have divergent personalities and various things? What do you see? Yeah, you know, that is a great question. And I think it's both and right that like it is important to have mentors that look and feel relatable to you and they feel like they might have had a similar experience as you and maybe are further along or maybe are coming up and you really could learn something about them and the younger generation, right? But then there's also really powerful mentors in my life that were nothing like me and I learned so much from them. And so, you know, mentoring is really bridge building as well. And so I think it's it's important to have that balance of both, right? Like you want to be able to see yourself in a mentor and you also want to be able to learn and grow and gain new perspectives. And so I always am looking for a diverse kind of set of people to have in my cabinet so that I can call on them in different moments.


coronavirus disease 2019 COVID-19 is caused by the novel severe acute respiratory syndrome coronavirus 2 SARS-CoV-2 which appeared in late 2019 generating a pandemic crisis with high numbers of COVID-19 related infected individuals and deaths in manifold countries worldwide. Lessons learned from COVID-19 can be used to prevent pandemic threats by designing strategies to support different policy responses not limited to the health system directed to reduce the risks of the emergence of novel viral agents, the diffusion of infectious diseases and negative impact in society. This article was authored by Mario Cacha


The purpose of this module is to talk about how to review manuscripts for professional journals. Let's start with reviewing the purpose of manuscript reviewing. The manuscript reviewing process is really the quality assurance process for journals. It's through manuscript reviewing that journal editors are able to assure their readers that the articles are of top quality, the articles are relevant and the articles are very readable. The manuscript review process is really meant to help authors publish the best possible article that they can. Why should you participate in becoming a manuscript reviewer? Well, first of all, being a manuscript reviewer is a wonderful way to contribute to the discipline. You help authors make the best papers possible. You help provide works to the reader and so you're really contributing to your own discipline. Another excellent reason for becoming a manuscript reviewer is really to improve your own writing. I have found in my experience through reviewing manuscripts that once you critique enough papers, you look at the quality of writing, the organization of the paper, it really helps you in your own writing. So I would highly encourage you to consider becoming a manuscript reviewer both for the purpose of contributing to our discipline and also to help in your own writing. What are the criteria to become a manuscript reviewer? Some journal editors will require that you have published in their journal before they're considered you to be a manuscript reviewer. However, I'd say that's not the most common approach. Some editors would prefer that you've published, but it doesn't matter whether it was in their journal. It could be in any journal. Yet again, other editors are really concerned that you know the content, that you have content expertise. They don't necessarily require that you have published previously. They just want to be assured that you have content expertise in the topical area for that article. The number and the types of degrees that you hold is really not what's essential when an editor is considering you for the review process. We want you to have expertise, we want you to have experience, but that doesn't necessarily mean that you have to have a PhD or doctoral degree or master's degree. We want you to have the expertise and the willingness to take the time to review carefully the paper and to review and return the paper in a timely way. How do you become a manuscript reviewer? All journal editors are seeking reviewers, so I would encourage you to volunteer in a journal that matches your expertise. Contact the editor and volunteer. Then the editor will most likely send you a form that you complete electronically where you indicate your areas of expertise and the topics that you're willing to review. But believe me, any editor would really be happy to hear from you if you're willing to review a manuscript. Reviewing manuscripts is not a paid activity, so don't expect pay for your work. Instead, know that you're making significant contributions to the discipline. Once you're invited to be a manuscript reviewer, then how do you respond? Well, first of all, an editor is aiming to gain about two to three reviewers per paper. Often we have to send out many invitations in order to get back two or three reviewers who agree to review the paper. So you'll be contacted electronically with an invitation, and then you will go into an electronic system and acknowledge that invitation. Please don't ignore the invitation. If you're unable to do the review, go into the invitation and click the reply of no. Often that invitation may ask if you know instead of another reviewer that you could recommend. So you may want to recommend a colleague that you know has the expertise. If you agree to review a paper, you're expected to return it in a timely way. Often an editor will ask for you to return it in about a two to three week time. Please don't accept an invitation to review a paper if you're unable to meet that deadline. By holding up the paper and not doing the review in a timely way, you really slow down the whole review process. Once you accept an invitation, if for any reason you're now not able to complete the paper in a timely way, immediately contact the editor and either ask for an extension if that is possible, or let the editor know so the editor could find another reviewer. If as a reviewer you consistently develop a pattern of not returning your reviews on time, your name will be deleted from the database of reviewers that the editor has in their system. So again, I encourage you, if you accept a review, return it in a timely way. If you're unable to return it after you've accepted the invitation, let the editor know right away. Authors are very anxious to find out the outcome of their paper, and it's really in the review process where the greatest delays occur. Although we ask reviewers to return papers in about two to three weeks, sometimes reviewers delay and delay the process, and that really upsets an author when they're waiting to hear the results of their paper.


is the story of the Pacific and its people, of the peaceful sea and the lands and lives it touches, and their meaning to us and to the generations to come. The Pacific Story, presented by the National Broadcasting Company as a public service and dedicated to a fuller understanding of the vast Pacific Basin. This broadcast series comes for you as another feature of the NBC Inter-American University of the Air with the drama of the sowing of the seeds that ripened into the war in the Pacific. Monsoon Asia, adventurers and international rivalries. For a thousand years and more, men have been fighting for the riches of Monsoon Asia, of Burma, Thailand, Indochina, Malaya, the East Indies, the Philippines. From the north came wave after wave of Mongoloids. From the west came Indians and Arabs. From the region that is now Yunnan province in South China came the Malays. Race fought against race, clan against clan. Into this struggle for mastery came the white man, and with him came rivalry for empire, white man against white man, until the Japanese moved in and seized all of Monsoon Asia for themselves. First of the Europeans were the Portuguese. Next came the Dutch. We have to ask quickly to who's Monsoon. Yeah, they've only been here in the Malakas for five years, and already we have to defend our trade. What does this new British trading company call itself, Anderson? It is called the British East India Company. British East India Company. They must be after the spice trade of the Malakas, more than that. When we made our first voyage out here to the Indies in 1595, only the Portuguese were here, but the British had been watching this trade for many years. They took no interest in it, no active interest, until we came out here. Their interest probably has been greater than we had supposed. They know about flourishing trading bases here. We can expect to see British merchant any time. This means that we will have not only the Portuguese and the Spanish against us, but also the British. It's the spice trade they are after. They must hold on to our bases here at all costs. If we do not, we shall be driven from the Indies. Yeah, it's the British trading company. It is a private enterprise. Yeah, and a very strong one. Then they must organize a stronger one, Van der Tee. Stronger? They must organize a trading company under the auspices of the government of the Netherlands. We must have the government behind us. Then they shall be at the mercy of politicians, but with the government, they shall be stronger than the British company. With our private capital, we cannot compete against the British, but with the government behind us, we shall be strong enough to... In 1600 too, two years after the organization of the British East India Company, the Dutch organized the Netherlands East India Company, and then was begun the race for supremacy. The English merchant men hold up over the horizon. Now the scramble was between the Portuguese, the Spanish, the Dutch, and the British. What is most important to you, de Houtman, and of course to us, is that the Spanish and the Portuguese virtually have a monopoly over the sparse trade in the Malacca. We have bases in the Moscow, but the trade is controlled by the Spanish and the Portuguese, just the same. But, uh, what do the British propose? Cooperation on some sort of basis? Against the Spanish and the Portuguese? We are individual companies. Our British East India Company and your Netherlands East India Company. We, as individual companies, cannot hope to prevail against the combined Spanish and Portuguese. Yeah, it's true that competition does limit all of us. We propose cooperation between you with the Dutch company and us as the British company. Could, uh, could such an arrangement be feasible? Would it not be feasible? We could work out a plan of cooperation which would, in effect, also... For practical purposes, rivalry between the British and the Dutch was set aside. Gradually the Dutch won out against the Portuguese and the Spanish in the Spice Islands. Now the principal adversary was out of the way and now once again the Dutch and the British were rivals. In 1623 at Amborn... But for what the Dutch put you and me in jail? There's no explanation for it, itoggy. Except that I am a British trader and you are my Japanese servant. But what we do? We've been buying and trading against them. All ten of us British traders. Too many Dutchmen here. The Dutch have three times the English strength in ships. How wrong they keep us in jail. What they do with us? I don't know, itoggy. I don't know. George is coming. He's through windows? Let me see. Yes. Let us out of jail, maybe? Probably not, itoggy. Let out other Englishmen and servants? Probably not. They arrested all ten of us for the same reason. Whatever that is. George is coming close. Coming for us, maybe. It's quiet, itoggy. I'm sorry I didn't see him. Welcome with us. Where are the soldiers going to take us? Just be calm. Say nothing to them. It'll be all right. I'll take your position here, between a squad. Right here. Ah, that'll do. Why are you taking us? What? Marks. Outside the jail in Ambon, the ten traders and their servants were lined up. Here was to be enacted a black page in the struggle of the whites for the Indies. The Dutch were now entrenched in the Indies, and the British gradually withdrew to India from them. Now Holland dominated the island's east of Sumatra. In 1638, she reached westward to Ceylon. And in 1641, she is Malacca from Portugal, and gained command of the states of Malacca. The doorway to the Indies. Behind this expansion, still greater projects were planned. If Holland is to emerge as a power, we must recognize that we have arrived at the critical stage of development. We are stronger now than ever before. In commercial bases, you mean, of course? Yeah. Our bases now ring the eastern seas. We have governments at Ambon, Tarnating, Java, Banda, Macassan, Malacca, Ceylon, and Good Hope. Yeah, yeah, yeah. My report. Let me find the page here. Ah, it says, at the close of last year, 1669, the Netherlands East India Company paid 40% on its capital. The company maintained 150 trading ships, 40 ships of war, and 10,000 soldiers. Oh, you see, gentlemen, we are solvent and strong. But that is not enough. Conditions are changing. Until a few years ago, the Malaccan spice trade was our best-important trade to the Indies. It is still important. Ah, but there are still greater possibilities in Java and Sumatra. They have held these islands and have overlooked that they are remarkably suited to plantation cultivation. And then we can grow many products for the rest of the market. Coffee, indigo, pepper, are we to forego the value of the spice island by no means. But by comparison, with the development possible on Java and Sumatra, the spice trade will become less and less important. Perhaps that is a possibility. It is my recommendation that we look into the possibilities of plantations on Java and Sumatra. We can hardly realize the extent of it. Here was marked the start of a large-scale conservation of tea, rubber, sugar, palm oil, quinine. The fabulous wealth of the Indies was increased still more, and the vast island empire stretching across 3,000 miles of sea was securely won by the little kingdom of the Netherlands. Meantime, foreigners were making incursions into other parts of Monsoon Asia. In 1659, an extraordinary figure arrived in the capital of Siam. And within the next several years rose to spectacular influence. Your gentleman represents the French-Eastier Company. Yes, Marie-Doul. That Chief Minister will see you in just a few minutes. Thank you very much. I will call you. Wait here. Yes, thank you, thank you. I am eager to see the Chief Minister. He's not a nature. I am. Yes, I have been called. He is Greek. He came from Saperlona, one of the islands of Greece. An Inkeeper's son. An Inkeeper's son. Become the Chief Minister of the King of Siam. He ran away in an English ship, and now he is the most trusted advisor of the King Franarais. What is his name? His name is Constantin Paul Caron. Paul Caron. And he is the man we must deal with. Unfortunately for us, he thinks highly of the French-Eastier Company. Yeah, he must be very sure he is. Under him, Siam has prospered. He and the King operate a fleet of merchantmen. And the King is the biggest trader in the country here. Then he understands our mission here, as well as we do. Tony, he comes later. That Chief Minister, I will see you now. Thank you. Come along this way. We are, of course, interested in the development of Western Enterprise here in Siam. Ah, thank you, Your Excellency. The Portuguese and the Dutch, as you know, have been established in Siam for some years. Yes, we are aware of that. We have discussed the project, Your Excellency, East India Company proposed. We believe, Excellency, such a project would be mutually advantageous. Yes, it would mean much to your country to have a French factory in Siam, especially it would mean development. We have considered it carefully. King Franarais has given his consent. You will therefore proceed to set up your factory, not outside the city, but here within the capital of Siam. Our engineers will assist you in the planning and building. At this time, three French bishops arrived in Siam. And through them, the Chief Minister, Constantine Falkin, exchanged letters with Colbert, Minister to Louis XIV of France. Soon, Louis' interest in Siam changed from the spiritual to the material. France set a scheme afoot to win supremacy in Siam. From France came six men of war with 1,400 soldiers. On the quarter-deck of the flagship, a member of the French East India Company talks with the officer in command of the troops. And so far as the Siamese are concerned, you and your troops have come here to intimidate the Dutch. You have had trouble with the Dutch? They are a constant source of trouble for us from their fortress at Malacca. I see. And where will my men be garrisoned? Oh, pop of them will be garrisoned at Bangkok and bother them at Milgris. These are the two principal posts. Will any of them be garrisoned in the capital city? Oh, perhaps. We may attach some of the troops to the person of King Franarie, but not now. I understand. Are the missionaries making progress with the king? So far he has resisted all efforts to convert him. Unexpected resistance? Yes. On the letters to the court in France, we understood the king would accept conversion and a military guide without resistance. The missionaries are continuing. Perhaps they will have better fortune now that you and your troops have arrived. It is useless to wait longer. The king is virtually a prisoner of the foreigners. The king is still resisting the efforts of the missionaries. But he is only a figurehead for Constantine Falcon. The chief minister is opposed to all of us of the royal court. Both Falcon and the king have disregarded our objections to the foreigners, and now our two ports are held by the soldiers of the French. Yes, unfortunately, the king every moment of his life. We cannot permit the French soldiers to stop us. The king must go. Falcon must go, and the soldiers must go. Else we shall lose ourselves to the foreigners. I will account for the king. I will account for Constantine Falcon. I will lead our army and drive the foreigners from our land. While the king resisted the missionaries and the chief minister disregarded the high officers of the court, the conspiracy was worked out. And suddenly, it struck. Constantine Falcon has been killed. The foreign troops have been driven from our country. We are free men. The AM had saved itself from domination. In the years to come, it was to be the scene of many more struggles. But as Thailand, the land of free men, it was to remain the only independent station in Monsoon Asia until the coming of the Japanese in 1941. The British had withdrawn to the West, to India, in the face of the decisive measures of the Dutch. But they had not forgotten the Indies, nor had they forgotten the execution of the ten British traitors and their servants of Ambon. They returned and took Malacca from the Dutch. But nearly two centuries were to pass before a vigorous and determined British leader was to appear. Then, at Malacca, appeared Stanford Raffles. Particularly as good we brought from India before the arrival of Lord Minto. You brought a great deal of goods. Oh, yes. We shall have needed them all. Shall we start with this box, Mr. Mellon? Oh, that is well. This is a box of satin cloth. Satin cloth, yes. Oh, that is of great value. A box of woollen cloth. Extraordinary weave, that woollen cloth. Very soft texture. Yes, what's next, Adela? Here is a writing paper with printed flowers of gold and silver. Oh, that is for writing letters to the many princes. What is in this box? What is in this box, Mr. Mellon? It is very heavy. Oh, that box, why... It is so heavy, I cannot hardly move it. Yes, it contains guns and pistols. We brought all these things, of course, merely as gifts. We shall have no use in them ourselves. Raffles stayed at the Banda-Iliac quarter of Malacca on the plantation of Babachang Lang, the Capitaine China. When he was settled and the gifts he had brought were checked, then he met with Lord Minto. That the people of these islands are unable to govern themselves? Quite. The Dutch have exploited the people and have encouraged the Chinese traders who sent all the money they made back to China. What of the Arabs? They are a different sort of menace, Raffles. Under the master of religion, they prey on the unsuspecting people. That must be stopped. It is my opinion that the people would badly ally themselves with so powerful a nation as Britain. Yes, and we would not deprive them of all their natural advantages. That is what the Dutch have done. It is not only the Dutch. You, Lord Minto, will also have to check the inroads of the Americans. They are adventurous and they are enriching themselves without any consideration of the people. Well, our intercourse has been much the same. The British who have come here have not been acquainted with the country or the people. They have been more remarkable for their boldness than for, shall we say, their principle. Oh, but that's all past. And that means form no rule for the future. These Malay states can benefit more from Britain than they can from one another. Is the expedition ready? It will be ready to sail from India in March. Is it completely fitted out? There will be 4,000 European infantry with a suitable proportion of artillery. There will be 4,000 Bengal infantry with about 300 cavalry. That should be adequate. Britain must acquire the states of the Malay Peninsula. Borneo, Samarth and Java, the Celebes, Malakas, New Guinea and the Papuan Islands. And where will the attack be? The attack will be on Java. Of course, we will take over by treaty the states which have indisputable pretensions to independence. This way we will be able to turn these islands to the best advantage for European trade and the general advantage of India. You know, Raffles, that the government is not sympathetic to your efforts to create a new Eastern British Empire. It is not fully understood, Lord Minto. For myself, I am much elated at the prospect of Java and the Eastern Archipelago coming under the British flag. And I should like to congratulate you, sir, on your future administration of this, our first great acquisition since India. The British have defeated another rebellious Sultan. Friendly rules have been set up in the place of the rebellious ones. The British have destroyed all resistance in the Indies. Raffles has been made lieutenant-governor of Java with power over the entire Indies. But the British had more than the native Sultans against them. They had the Dutch. The struggle was bitter, and in the convention of 1814 between Great Britain and the Netherlands, it was decided that the Netherlands recognizes the Mele Peninsula as a British sphere of interest. Great Britain recognizes the Dutch sovereignty over the Netherlands, each Indian. We have surrendered what is destined to become the richest colonial possession in the world. Raffles was heartbroken. As a last gesture, he secured for the British an almost uninhabited island on the site of the ancient city of Singapura. Raffles, above all others, saw its strategic value. The founding of Singapura was to shape the courts of British shipping, commerce, industry, and agriculture from the straits of Malacca to the China Sea. On January 31st, 1819, he wrote to a friend, Dear Marshal, here I am in Singapore. The lines of the old city, the ancient maritime capital of the Malays, are still to be traced, and within its ramparts, the Union Jack weighs unmolested. Singapore has an excellent harbor, and everything that can be desired for a British port. We have command and intercourse with all ships passing through the straits of Singapore. We are within the weak sail of China, close to Siam, and in the very feet of the Malayan Empire. With determination and zeal, Raffles set about making Singapore a bastion of British strength in the Far East. Forests were cleared, roads were cut, towns were built, laws were framed. A powerful unit of western civilization was set up, and Raffles wrote to the Duchess of Somerset, My new colony thrives most rapidly. We have not been established five months, and it has received an expression of population exceeding 5,000, chiefly Chinese, and their number is daily increasing. You may take my word for it. Singapore is by far the most important station in the East, and as far as naval superiority and commercial interests are concerned, Singapore is of much higher value than whole continents of territory. For 50 years, the British carried on trade from Singapore and Malacca and Penang. Then Britain extended her hold, extended her commercial interest to political interest. Malaya became a collection of governance under British rule. The state settlement, the federated Malay state, and the unfederated state. But with the passing years, internal problems arose. The Malay said, No, I will not work in the rubber plantations. Then we'll give you a job in the pin mines. No. Well, why will you not work? I will work my farm. We need you in the rubber plantations in the pin mines. No. Foreign money runs plantations and mines. Nothing for Malay. It is because you won't work in the plantations and mines that we're obliged to bring in workers from other lands. China and India. Foreign workers. Oh, we must have workers. And since you prefer to work on your farm and grow rice, you can then grow enough rice to help feed these workers that we're obliged to bring in. No. Raised rice only for our own family. Chinese and Indian workers flooded into Malaya. The West supplied the capital for the development of the tin mines and the rubber plantations. The East supplied the labor to work them. Malaya became the world's leading source of rubber and tin. And Singapore became the symbol of western empire in the East. The symbol of the rule of a few thousand white men over millions of brown and yellow Asianics. Now the Japanese were on the march in the north. The war in the Pacific was rolling southward. The Japanese had taken baby Shanghai, men came camp on. The Japanese are moving troops into French Indochina. The Japanese are bomb Pearl Harbor. The Japanese have taken Manila. The Japanese have landed in Malaya. And are driving down on Singapore. Bomb me across the estuary. Purge all fire until I get within range. Our artillery hasn't even slowed them down. All right then, let them have it. Here it goes, you! They're bouncing right into the teeth of our fire. We're mowing them down like pigeons and they keep coming. When everyone gets on Singapore, we've got 10. They're coming in small. Look out, they're shelling us. Get down, get down, as long as we've got bullets. Oh, Percival. I want your reprise to be brief unto the point. I will accept only unconditional surrender of Singapore. This is the Japanese commander, General Yamashita. You'll give me until tomorrow morning. Tomorrow? I cannot wait. The Japanese forces will have to attack tonight. I want to hear a decisive answer. And I insist on unconditional surrender. What do you say? Yes. Singapore had fallen.  Now, Indochina was gone. And British Malaya and the Netherland Indies and Burma. Japan had taken all of Monsoon Asia. The white man reeled and retreated. And from far away London came a hint that the white man had come to realize that another epoch had ended. In the London Economist, the Conservative organ of British financial interests appeared this editorial. There can be no return to the old system once the Japanese have been defeated. The need is for entirely new principles, or rather the consistent application of principles to which lip service has long been paid. For the colonies, Malaya, Indochina, and Netherland Indies, there can be only one goal. The creation of independent nations linked economically, socially, and culturally with the old mother country. But learning to stand firmly upon their own feet. Thousand years may not have been fighting for the riches of Monsoon Asia. Through these bloody centuries, generation after generation of peoples have lived and died. Born in the fast political game. In the years to come, whatever the destiny of these lands, one factor only is certain. The native people will still be there. You have just heard the eighth program of the new series, The Pacific Story. Next week at this same time, over most of these stations, the ninth will be broadcast. India, from Clive to Gandhi. With drama of the past and present, and commentary by Owen Wathamore, authority on the Pacific, and director of the School of International Relations, Johns Hopkins University. You may secure an illuminating handbook of the Pacific Story, with background information on each program in this series, with suggested further readings. This Pacific Story manual will be sent to you for 25 cents in coin to cover cost of printing and mailing. Address the University of California Press, Berkeley, California. This program is written and directed by Arnold Markworth. The musical score is composed and conducted by Charles Zant. Your narrator, Gain Whitman. This program has been presented as a public service, and another feature of the Inter-American University of the Air, by the national broadcasting company, and the independent radio stations, associated with the NBC network. American radio listeners are the best informed people on earth. They are interested in the history, future, and peoples histories, which are now the battle fronts of a war for freedom. The national broadcasting company, and the independent radio stations, associated with the network, use their entire facilities to keep America informed. New developments in world events, historical background, expert examination of current and future problems, are available to the radio audience day and night. NBC is on top of the news. Radio listeners everywhere know that American radio provides them the truest information, and the widest choice of program. This is the American system developed through free enterprise. This is the national broadcasting company.


Welcome everyone to art migrating across borders with artist Renny young. My name is Taryn Edwards, and I am one of the librarians here at the mechanics Institute of San Francisco. I'd like to thank those of you who elected to support this event and pay a little something to attend, it really does go a long way to help us do more free events like this in these challenging times. For those of you who are unfamiliar with mechanics Institute, we are an independent membership organization that houses a wonderful library. The oldest in fact designed to serve the general public in California. We're also a cultural event center and a world renowned chess club that is the oldest in the nation. I encourage you to consider becoming a member with us. It's only $120 a year. And with that you help support our contribution to the literary and cultural world of the San Francisco Bay Area, which we've been doing for the last 167 years. I'd like to introduce our speaker tonight. Renny young is a member of the mechanics Institute. She is also an artist, a writer, a cultural activist and designer whose transdisciplinary work works to connect people, places and history to both articulate the hidden and give form to the overlooked. She is the founder of Chinese whispers, which is a nonprofit organization dedicated to giving voice to the untold history of the Chinese in the American West. And through Chinese whispers is actually how I met Renny years ago so I'm fond of that organization. She collaborated with a number of local, national and international organizations and received awards from the California Arts Council, creative work fund, humanities California, the Exploratorium headland center for the arts, Montalvo Center for the Arts, and Hedgebrook writers residency. Meanwhile, she found the time to graduate from Stanford University and now lives in San Francisco. As we started, I want to encourage our guests to use the chat space. And if they have any questions we will get to them at the end of the reading. I will also send as I mentioned earlier all registered guests a link to the events video in a couple of days. Thank you so much, ready for joining us tonight. Thank you Karen for this opportunity to be here. I'm really excited we've talked about doing something together with the Mechanics Institute, since our long kitty conversation years ago. And I've always loved everything about mechanics from that beautiful space. It's the kind of programming that you do there and it really is a hidden gem in San Francisco. So thank you and Mechanics Institute for this opportunity and of course I want to welcome and thank everyone who is spending a little bit of their evening time here in this program. So, I'm going to talk about some ideas, and then I'm going to show some pictures usually when I do artists talks you know we launch into images of artworks and so on so forth. So it's a really fun opportunity for me to step back and say, what's actually the underlying thread but what holds these things together, which is really what matters to me when I am making art. And so I'll talk about some ideas, and then I'll show some images about some projects. Let's see. I am. There we go. So I'm an immigrant. I came from Hong Kong, when I was 14 years old, which is very, very, very long ago. But it still makes me an immigrant. And we are here on on the seeded Elamu Bologna land. What does it mean to be an immigrant on land that was stolen. What is the land of the immigrant. So I thought it'd be interesting to look at the meaning of immigration. This is what Wikipedia says international movement of people to a destination country of which they are not natives, or where they do not possess citizenship in order to settle as permanent residents or naturalized citizens. Now I highlight it, of which they're not natives and where they do not possess citizenship. I'm a naturalized citizen. But still, the naturalized makes it feel like, you know, prior to that you're unnatural. And this status of kind of supplicant status brings up really issues of belonging in place, which is really key in my work and in my investigations and in my daily life. This is also work, a situation that brings up issues of borders and intersections. Every immigrant is intersectional. We were intersectional long before intersectionality became a hit buzzword. You have to be navigating different borders you crossing borders, you are intersecting cultures, languages, customs, ways of seeing ways of being in our bodies, the ways that the things that don't really get talked about, because it is so embedded. And of course we're crossing boundaries of geographies of histories, and it's really an ecology of being is how I think of it, these intersections that is an interconnected whole, and it's a dynamic system. That is also how I think of my artwork, not as products or within certain disciplines or projects packaged by certain exhibitions, but really this system. And so art that migrates across borders. In my thinking, it's transdisciplinary, meaning, instead of say interdisciplinary or multidisciplinary, where it is additive you know you put this and that together, or maybe two kinds of disciplines talk to each other. In a transdisciplinary way, the whole thing comes together and gets transformed into a new, a new existence, and it unfolds over time. It's layered, and it engages communities, partners, it cannot be solitary. The metaphor actually that I'm going to go back to this slide. The metaphor that I actually really enjoy is that of the Mycelium, which is the five, the kind of thread like parts of fungi that grow and connect and talk to each other they can be microscopic. They can be thousands of acres huge their networks. And I think of history as this Mycelium, rather than as this unit thing this linear thing, the kind of the way that we were taught in school, you know this happens and then that happens and then that happens. It's a lot of this and that happens in these intersecting lines. And that's really, to me, really fascinating. And so in making art. I want to create this network of investigations and expressions at different scales and intersecting with relevant sectors and disciplines. And they typically take years, because we're building relationships with these projects. And so, again, as an immigrant, these inquiries focus on belonging, and, of course, unbelonging because they're really different sides of the same coin. What is seen and what is hidden, an act of erasure and acts of presencing. So I'm going to go to some case studies. Some of you may be familiar with some of the projects, especially Chinese whispers which I've talked about a fair bit and presented on and I notice in the chat in the participants list there is some performance from Chinese whispers, volunteers and community and I'm so grateful for you to be here and for your participation in the project. So, Chinese whispers really came out of a convergent different things. Probably the catalyst was when I did an exhibition in Boise, Idaho, about the 19th century Chinese there. And people started community people started coming and telling me stories about the backwards Chinese in the frontier community, and they were fascinating stories. And I really wanted to capture that kind of apocryphal way that history is learned, the way that narrative gets layered word by word, hand it down from person to person. In the meantime, I was doing a public art project in East Oakland, that I called our Oakland, which involved community building storytelling website, long before digital storytelling was sort of an everyday word. There were stories by and about East Oakland, between members and architectural artwork. So this kind of helped me develop a methodology of integrated community engaged multi platform approach. And also they were about place finding projects. And so if Chinese whispers began with Sierra stories, which unfolded in the Sierra Nevada foothills. Of course, along the route of the transcontinental railroad that Chinese immigrants helped build the map on the right is actually as beautiful silk map from the 1800s. That showed the early stages of the transcontinental railroad going through the foothills on the bottom left is famous photo I'm sure you've seen. This is the long trestle, which Chinese laborers helped build this amazing engineering feet, and on the right, a likely or probable contemporary view of that site. So this is really about taking the story to place and trying to find the stories from place, and it resulted in a community storytelling theater work where community members were on stage, telling their own stories, or their family stories. And so, when I came back to San Francisco, I thought, hey, we've got to do something here in Bay Area in my home hometown. And so Golden Gate was developed through a lot of collaborations with community organizations partners collaborated with the Chinatown YMCA with historical organizations did events, annual events on historical vessels, because I also became really interested in the maritime history of the Chinese in San Francisco. And did a lot of intergenerational immigrant storytelling workshops, which involved youth elders, recent immigrants, long term immigrants in sharing their stories. And it was really restorative justice. Again, this work is done before restorative justice became sort of a hip thing to do in being able to speak what they have not been able to speak because nobody seemed really interested in these immigrant stories. That in itself was healing. And to know that then the stories would be told to a large audience really gave them a sense of empowerment. And so, Golden Gate, after about four, four plus years of community building oral histories and workshopping and so on, became a theater, a theater work, a 90 minute theater work presented at Fort Mason. And I believe Elena is here. Yay, Elena. She's one on the right. Community performers. And some have theater background. Ford, the gentleman sitting in the chair. At the time he was 84 years old, and he was on stage through the whole thing, telling his own personal stories. And this is a scene from the, from one of the closing scenes of the, of the theater work. And at the same time, we had these, you know, I was talking about the mycelium, there are multiple networks, threads, going through, and Bay Chronicles was also happening, while we were doing Golden Gate when I say we I mean Chinese whispers as the organization. It was something that certainly I could not have done just by myself. And friends and volunteers came and help make it possible as well as staff. So Bay Chronicles retraces the forgotten history of Chinese shrimp fishing in San Francisco Bay. It started off after a huge amount of research. The most visible part of the course was that we went on a research expedition on a replica 19th century shrimping vessel on the bay. And to retrace some of the routes of the former shrimping industry, which was fighting until the 20th century mid 20th century, and it was decimated by a combination of environmental degradation of the bay, and essentially racist efforts to throttle the industry, which succeeded. So, part of the research involved a lot of historical materials. This is an 1889 map on the left showing shrimping sites, and on the right, a map of the route that our expedition took. And just those points was two weeks of sales, not solid, we had to have some breaks in between. And there were other sites that we simply didn't have time or resources to go to. The Grace Kwan is this beautiful replica vessel built by the San Francisco Maritime National Historical Park, one of our partners. And you can see in these photos that we had media recording it in every possible way, with sound and video and photo and there were go pros arm, you know, everywhere on on the ship. This shows you some of the before the historical and contemporary comparisons. The top row is San Bruno, which was a sizable very productive shrimping camp in the 19th century, it doesn't look like much but it was a very productive camp. On the left, it's current location, well not current location, it's current manifestation, which is tech campus. And on the bottom, the Bayview shrimping sites, which was the last area of Chinese shrimp fishing, and on the right. And on the right, we did a sailing demonstration and public event in India Bay Sun at Heron's head. And, you know, it's interesting, I think to see the PG&E power station in back. And on the right is a photograph of the late Frank Kwan, who was the last resident of China Camp. The only vestige left of the 50 or so shrimp camps that once ranked San Francisco Bay. So this is an image from the landing celebration after we finished our expedition. So now I am going to try to show you a video from, from chocolate. I just see the PowerPoint ready. I just see the PowerPoint. Our migrating across borders. Okay, I am sorry when we did our, did our tech test that is this any better. This it says Chinese it's a slide that says Chinese whispers Bay Chronicle. Oh, annoying. Okay, so let me. How about now. Are you seeing share your screen. Okay, I think I think this should work. Okay, good. Yeah. Sorry about that. Okay, so now. Are you seeing it. Now I just see you I don't see your PowerPoint. Sorry about all these tech things. There we go. So this was an immersive installation at the maritime park using media and sound video captured from the sales projected onto this translucent sale that is over a bench with haptic drive. The drive translates the sound from the audio of the water into physical impulses so you feel like you're sitting on the boat with the water slapping against the word would. And some people said it made them seasick and I thought that that was a compliment. Okay. I'm sorry. I'm not quite sure why this is not quite working right. Here's another view of the installation. And so Chinese whispers really has this overarching objective vision of giving voice and visibility. Just as all my work does. In this case, it is about the contributions of the Chinese in the American West. And written on water developed out of Chinese whispers. Obviously, the maritime element really inspired me. And it is both a set of artists books, each one about a particular shrimping site, and also a larger written manuscript that a writing project that I'm working on. And this particular book lacrimal is about hundreds point lacrimal is Latin for tears well, you know, as to connected with meeting in tears. And it relates to the sad history of how the hundreds point shipyards ended being burned down by the by the health department on pretext of sanitation grounds. What it was to make way for the naval shipyard on the eve of Second World War. And at the back of the book, there are maps. There's a map of other shipping sites and this little vial contains in it. One millimeter of salt water that is made from salt that I made. Out of sea water collected at the approximate site of the last Chinese shrimp camp in India basin. And then with the salt, I turn around and make salt water again in the approximate salinity of human tears. And so it's classed in between these these plaster blocks, and it's a small memorial to a huge human tragedy that affected all these people that have been forgotten and the history that really has been forgotten. And this is a book called more than and it's about China camp, and more than is made from botanical prints of vegetation gathered around the waters edge at China camp. I think are primarily pickle weed. So they are like ghost memories off the environment around which the Chinese shrimp fisherman would have lived their daily lives. And in the back is of that book is a little dried shrimp and a quote from Frank Quan about the hama in the Chinese name for dried shrimp, which of course was the focus of the whole shrimping industry, and as attribute to this to this to this story. So let's go to another project that was also happening. There are all these things are happening at the same time, city beneath the city was about the Market Street Chinatown in San Jose, it was San Jose's first Chinatown, and as you can see from the dates. In 1887, due to an arson fire. This was around the time of the furious anti Chinese movement in the 19th century, which resulted in, among other things, the shameful milestone of the Chinese Exclusion Act in 1882. So the Market Street Chinatown was burned down and archaeologists were able to salvage a lot of artifacts from the former site when it was dug up for rebuilding by the city of San Jose. The archaeologists expected this was in collaboration with the Stanford Archaeology Center, and also with history San Jose Chinese historical cultural project, and with San Jose Institute contemporary art. They also expected me to pick pretty artifacts. Now this was a laborers community. So first of all, their artifacts were not like fine objects. And second of all, this was a ruptured history, it was a history of destruction and arson and hate. So I chose the fragments. These were shards of broken glass, you can see how the heat had turned them iridescent. And so as you enter the exhibition, you would be greeted by this pile of broken glass. And it's sort of like a little, it's like a low tombstone for Market Street Chinatown. And in the back, you see this table set with remnants of dishes from most of them were broken, as if it was a banquet that suddenly had been interrupted, and other objects to chair in the back was actually an observation post. And the archaeology department wanted to send students to observe the behavior of visitors. And I thought, okay, if you're going to do that. I would like to really make it very obvious, make it transparent. And I made this sort of a throne for them to sit at. When I got a lot of pushback, it was like, making it to transparent, right, the power dynamics. But eventually, that was set up. And there's a binder that has pages that people can write their commentaries on. And I found out audience members, community members were the ones who sat in that chair most writing their thoughts and observations and words from archaeological reports about Market Street Chinatown were, you know, I use them to put them on different parts of the institution. This is its second iteration at Stanford, and in the archaeology center. So the artifacts were adapted for display in the institutional environment of off the university, but the same thing. The words from the archaeology reports were extracted almost like concrete poetry that spoke against and to the broken artifacts off the lives of a broken community. And the third iteration was at the San Jose Museum of Art. There was one ball and juxtaposed it against a seven foot by nine foot charcoal drawing I had done of a ball of rights in Chinese. The ball once rice ball ball of rice is once likelihood, once means of living. And it's the sustenance for which immigrants came to America. And so it seemed fitting to contrast the broken rice ball destroyed by arson with this symbolic full of rice. And I chose a room in the museum that actually overlooked the exact spot of the former site of Market Street Chinatown, so that geography, history, archaeology and art were in conversation together at the same time. Oh, and a little side note, it's very funny that ball in the in the case was actually quite broken when I was when I first saw it and when it was presented in the other two exhibitions but for the museum. The archaeology archaeologists couldn't stand, putting a broken ball in a museum and actually went and repaired it to make it look whole. And I think that that was an interesting commentary on how we think of history and how we think about the things that aren't very nice, and why to repair it. And so it's ironic that in the project that is talking about unearthing the making visible, the hidden, the act to kind of make a cosmetic is happening all over again. I also want to show some drawings. When we think of erasure, you know you think of a big racer and you're scrubbing it out right, but covering up is also a form of erasure and erasing and hiding really is an intentional act why do people do that, because they don't feel good about something that's why they have to hide it that's why they have to erase it right. And so these are drawings that are about four by about 50 inches high, and they are layer upon layer of cross hatching that cover up that do an active form of erasure. Cross hatching switch in Western artistic traditions are used to create visible shapes and Kira squirrel. And here it is used to cover and fun. And on the right is a ratio drawing base on a map of the Hong Kong protest sites during the 2019 protest, which affected me very deeply. And so it seemed appropriate that erasure would be part of the language. This is maybe a different effort of mark making, these are like big arm swings to create these just remarks it's a 15 foot long scroll that was that I did at headlands when I was in residence the there earlier this year. Each mark is a statement of sort of saying, hey, I'm trying to find my place. I am marking my place that they end up looking like waves like water was not my original intention at all. But I think everything kind of feeds back to itself. And lastly, I'm going to talk about a project that came out of the pandemic. As the pandemic. I think some of you actually participated in it. It was it came out of lockdown, when we couldn't go anywhere we need everybody, you know, we can have the kind of exchanges that we were used to. So, I came up with this project that unfolded simultaneously as an Instagram project and as an installation at headlands to create an accessible space for community voices to ask questions and make responses about our quandary during the pandemic. Post-its were used as a medium power uses medium for these messages, and they're directly inspired by the London walls that were in the Hong Kong protests as an anti memorial to historical time. So now I'm going to do this. I'm going to share with me while I try to. Let's see if we can get. Are you seeing the video. I'm not seeing the video. Okay, frozen for me so I'm not sure if it's just my bandwidth or, or what is, are you just seeing an image of the video. I see the last image you had and it's frozen for me but you're moving around just fine. Okay. Okay, it seems to be working you're moving through the slides. Yeah, but I wanted to move to a. There we go. Okay, so this is. Is there sound on the video. Not yet. Okay. Is there sound now because I don't hear anything. When is there sound on this video. Are you hearing it. No. Oh, is there any sound now. There's no sound. Okay. Are you hearing me. I hear you just fine. Okay, then what I'm going to do is just scroll through very quickly and I'll be the voice over. Let's see. Okay, so for those of you who are not familiar with the Hong Kong lemon walls. This is a view of it. Since we don't have the sound, I'm going to just, pardon me, move through this very quickly. To show you what the Instagram part looks like with over 300 entries. Okay, so I'm going to exit this video. I wonder why the audio didn't work. That's all right. Are you seeing the PowerPoint. Yes, and we can include the links to those videos. Yeah. Okay, so this is a view of the installation. Partially done at headlands while it was happening during the pandemic. And a new iteration of it is actually happening right now in the, in Seattle at the Wing Luke Museum. This really wonderful museum in the International District Chinatown in Seattle. And the exhibition looks at what the pandemic experience has been like for the APA Asian Pacific American community. And so I would love it if people would contribute questions and post it. So here's what you need to do. If you're not on Instagram. I can make a post that tells you how to participate on on Facebook, but there are two prompts that we'd like people to answer to answer what did you learn during the pandemic. And what was hardest for your community in your community doesn't have to be APA it could be whatever. And to participate, write your answer on posted, snap a phone photo of it, and then post it on Instagram with the hashtag ask the pandemic, and tag at Renny Young Studio, and also tag at Luke Museum if you tag me. I will forward it to them if you don't want to tax only things but that's sort of the nature of Instagram. Or if you don't want to take a photo, you can write your answers in the comments sections of an ask the pandemic post and those are going to get get going this week. So hopefully, we can build a new momentum for the headlands iteration of ask the pandemic people posted all the way from Australia, Europe, Asia, and of course North America. And it was really an interesting way to build community and to spread that my senior. And so here's some URLs to find out more about Chinese whispers. It's Chinese dash whispers.org and ask the pandemic on Instagram, and my website. And I believe this talk is going to be recorded. So there, you know, you have ways of finding us. So, in summary, I want to say that this work is trans personal. And it's a cohesive whole that's inseparable from the living of life. And these engage engagements are authentic. The process sparks a transformative alchemy of mutual trust between artists, community partners institutions that transcends the circumstances to create a larger whole. And I believe to create the healing that our society needs. So thank you. Thank you so much that was really thoughtful on a variety of levels. I wonder if anyone has any questions please put them in the chat space. I'm going to back up a little bit to the first question by Sharon. I asked, what the replica boat, the Chinese 19th century Chinese shrimp junk, why was it called the Grace Quan, who is that named after Grace Quan was the mother of Frank Quan at China camp. And he was instrumental in the whole shrimp fishing renaissance. That's a great answer. Right. There's a little bit of confusion. I wonder was, were you referring to Market Street in San Francisco or Market Street in San Jose San Jose. Okay. Wonderful. There is a nice question from Valerie she says she saw a presentation of Chinese whispers on stage several years ago and loved it. And you, you and I have talked about some stage things before. But she asks are there any plans to have another stage performance of Chinese whispers. Well, you know, I am taking a little pause from the stage productions right now especially under while pen the pandemics effects are still unclear. I think it is really confusing. And because we're working so heavily with community, it's a lot of pieces, a lot of, you know, it's a huge jigsaw. So I'm taking this time to actually focus on some writing projects. But yes, the stage work is just it's it's it's addictive what can I say. Yes and Valerie the picture behind me is the Institute library. So, Ronnie and I have talked in the past about trying to do something to use that space in an evocative way so I will twist your arm. In the meantime, lots of compliments on your presentation which I think kind of has stunned a lot of us, the themes that you brought up about, you know the many layeredness of history and erasure. Grace has a question for you she says did you draw any ties between what was going on in Hong Kong and the USA during President Trump's time in the White House.  I think. Yeah, I think that it is a really tragic. And that's a very funny kitty wants to be part of the scene. It's the whole situation in Hong Kong is tragic. And especially for someone from there. You know, I feel like at my heart, I'm still a Hong Konger, and to see the place get essentially just stomped down is is heartbreaking. And perhaps we should be. I'd say that in America we should consider ourselves lucky that the political system we have fraught with problems as it is, is not allowing as yet that kind of authoritarian shutdown of democracy and rights. That's true. Grace has another question. How much of your stage work is bilingual.  All the workshops were binding, you know, and some of the production was bilingual some of the stories or phrases. I would have liked to have had, for example, bilingual subtitles. But you know, it's a very complicated thing of audience, the audience is primarily English speaking. And so to have a fully bilingual production would be, it can be done. It would be, you know, something to hash over with a bilingual dramaturgs and series where it would be fascinating work, but it's a major endeavor. It would be challenging, especially, well, maybe be made easier with a virtual environment. I don't, I don't know either but And then Sharon has a quick question. Can others see what was written on the Post-it notes. And yes, right. Yeah. Okay, so a little bit of explanation that the video would have gone into. The installation. Many of the Post-it notes were blank, because nobody could go in person to write, right. Some people wrote handwritten post-its and mailed them to me and I went there and stuck them on the wall. And that's why I developed the Instagram component so that they could be visible and seen and seen by way more people than would go to headlands to look at the installation. So Japan has a comment. Being an immigrant herself, this presentation is thought provoking and in regards to the Scandinavian culture I and my friends come out of, I will share the recording with them. Japan is going to share the recording of this event. So that's great. Thank you very much. And does anyone else have any questions to pose to Renee? I mean to Rene. All right. Yeah, it's not Japan. It's at least, at least my friend. But I'm glad you know. I'm glad you know her. Janine asks if in ask the pandemic were there comments that surprised you. There were comments that touched me. You know, it's very funny. I know Janine from a writing group. And one of the posts that I showed in my PowerPoint says what is the taste of hope. And I was sure it was a comment by one of the other writers in our group. And when I thanked her for that wonderful suggestion, she said no, no, she didn't say it. She never said it. She never dreamed it up for me. I loved that question, what is the taste of hope? There are other questions that talk about, you know, the pain, the loss, the sadness. And, you know, this all happened during the first, what, 10 months of the pandemic, or not all but most of it happened during that time when we were really, really confused, you know, so many things were different. So, I would, one of the things about ask the pandemic is I would come up with different parts for different people, I mean, for different times. So some of them are about like how, you know, ask how question, ask a what question. And one of the questions that really hit me was, who will die? That was the question mark, right, because this was at a time when people were dying in huge numbers who will die next. And I thought that that was just one of the scariest things and then there were some like really charming question, like, where can I get a vegan pumpkin pie delivered for Thanksgiving. Or, you know, someone wrote that he, why do I want to hug the UPS delivery man? Because they become our lifelines. So, you know, the kinds of questions and answers really ranged. One last question from Bo. And I think this is a perfect last question. What is the absolute strongest thread running through all of your work? That's such an interesting question. Hi, Bo. Thank you for the question. And I know Bo from way, way, way back as well. I think actually, I would say that the reason I brought up Mycelium is that it is not a thread. It is a network. Mycelium can be, like I said, microscopic. It could be, I think the largest one is like several thousand acres. I don't know how they do that. Right. And so if there is a thread, it is the intersectionality. It is the connectivity in the inquiry of erasure. And omission in narratives about marginal marginalized communities. And at the same time, how to give voice and visibility to counter those acts of erasure. You know, it's not a single, single answer, but it is also a networked answer, because that is the perspective that I feel is most true to my vision as a human being. And I want to add something, which is that in what we call native cultures, as if native is sort of a bizarre thing, many of them, they do not have a separate word for artists. And in Bali, I understand the word for artist is the same word as that for human being. And so when our lives are these network things as artists, what we make is also network. And that's, that's how I see things. Yeah, I found your comments on history being multi layered and so detailed to be quite fascinating and the way that you are folding it in to your own work is interesting as well. So thank you for that connection. And thank you for spending the evening with us and telling us more about what it is that you do. Oh, thank you so much again for this chance and thank you again, everyone who came and who asked questions.  And yet that is our community. I think that part of what I'm incubating really is how to continue to forge community within this kind of context and I think as the pandemic was one step in that direction. Exactly. Community is what you make of it. And we're forming community every day even with these virtual events with people from all over the world. So thank you everyone for tuning in. And thank you, Renny, and I will be sending you the video and the links to Chinese whispers and the other videos that Renny shared with us today. Thanks everyone and be well and have a wonderful rest of your evening. Thank you. Thank you and bye bye. Good night. Thanks, Taryn. Good night.