So Devin has a big responsibility to wake you up. I'm not pointing out any names, I don't know anything like that. I'm Grace Whister, I am on the program committee of this audit room and I wanted to mention what the program is next week. I think most of you are familiar with Bess O'Brien, who is a filmmaker. She's going to do what we're calling it, telling stories and making movies. She's going to illustrate her talk with Coase from the documentary that she's made and she's going to talk about how telling stories and raising the voices of those who are often on her healthcare dialogue around important issues. How many of you have seen one of Bess's films before? Quite a few. So most of you are aware of her work. So today, we have what I hope is going to be a very interesting talk. There was anything he wanted me to say about him, especially. He said that he was a nice guy and I said, I've only met you one time before this and so I'm really not sure. So after the talk, we can vote. So I had the pleasure of taking a tour with Devon of a very interesting architectural house in Barrie. Remind me again of the name of the architect. Don McKnight. Don McKnight. Does some of you know Don McKnight? Anyhow, it was fascinating to be with Devon because he knew so much and as I said to him, the thing that I liked best about meeting Devon was that he had his teenage son with him and he was really interested and even admitted it. Not to me. Not to all he did. He did to me. So Devon is the State Architectural Historian at the Vermont Division for Historic Preservation. And did you all know that we had a State Architectural Historian? Well, you know everything. We worked in the State House. Well, I used to work for the Department of Libraries and people were amazed that we had a State Librarian but people, I'm a friend of mine would say, you know, every state has a state flower and a state bird and a state librarian. So I guess it sort of, I think I need to stop talking. So Devon has worked there since 2006 here in his Masters in Historic Preservation at UVM and he has a BA in Art History and I will turn this over before I can embarrass myself anymore. All right. Thank you very much. And wow, that's a lot to live up to. So I'll do my best. Do we want to hit the lights for the visuals here? Can you hit the lights? Are they over there? So this is a great, a topic of great interest to me because it blends two topics that I'm very interested in, art history and architecture. And thus the title, Art and Architecture of the New Deal, see what I did there. And it's research that I've been doing over the years, just kind of when I'm in a town checking out what's around and flagging these New Deal projects and really trying to understand what the New Deal was about and more importantly how it impacted Vermont. So the New Deal, if you know anything about it, it's called Alphabet Soup of Federal Programs. The CWA, the ERA, the Treasury Department, the WPA, the PWA, the FAP, it's just ridiculous. And even in going back through historical firsthand sources, even the federal agencies confused the acronyms, which they couldn't sort it out either. So I don't feel too bad if I mess up which branch of which agency did something, but I think I've got it nailed down pretty well. So all of these overlapping programs, and they were set up as specific branches of the federal government, they all had different goals but they worked together so that you might have the Treasury Department building a post office and then working with the Works Progress Administration to commission artwork for that post office. So they overlap a lot. But the three main goals of the New Deal and especially its art and building programs were to first provide employment for out-of-work laborers, builders, contractors, architects, as well as artists. Second was to provide public artwork for public buildings. And third was to bring art to the general public, to get art out of the realm of the museum, which could be intimidating for the average person. And we have to remember that in the 1930s, most people did not own original works of art for display in their house, unless you were wealthy or had access to a larger urban area that had a public museum. Vermont really didn't. The Fleming Art Museum wasn't founded until 1931. Here in Montpelier, though, you had the Wood Gallery. So that was very unique for Montpelier to have that great resource of the GW Wood Gallery. But otherwise, fine art was really limited to what somebody might see on Sunday in a church, maybe a stained glass window or a painting of a saint, virgin and child. And it really wasn't part of the everyday life of the average American. And a lot of these, one of the stated goals of these New Deal art programs was to get the art to the public. Instead of expecting people to go to a museum, put the artwork in the town hall, put the artwork in the post office where people go every day on routine business, the public library, and that way they can't avoid it. It's right there. So that was a big emphasis of this program, was art for the general public. We'll be looking mainly at work done for the Treasury Department. And in the 1930s, the Treasury Department was responsible for the design and construction of all federal buildings in the country. So today it's the General Services Administration, Treasury Department, because they held the purse strings. They doled out the money so they controlled the designs. And the Treasury section of painting and sculpture often just called the section, that was the branch of the Treasury Department that was in charge of the mural decorations for post offices that we'll be looking at today. So, you know, the 1930s was a dramatic time in American history.  This is an example of a painting by Stuart Davis, very important early modernist American painter from 1938. This was a WPA federal art project mural. You know, this is vibrant and jazzy and abstract and colorful. It's actually a scene of Gloucester, Massachusetts, heavily abstracted. But you know, this is a pivotal point in American art history when you have artists like Stuart Davis and Marston Hartley really exploring early modernism and abstraction on one hand and on the other hand you have people who want to look back to, you know, this is the Depression and they want to look back to the good old days and more representative art and works that display a more traditional, kind of nostalgic view of life in America. You know, works like this, Baptism in Kansas by John Stuart Curry, 1938. You know, this is known as regionalism, a heavy emphasis on the Midwest, the bread basket of the country, that stronghold of good virtue and values. And I'm from Minnesota, so I can say that. But this was really, you know, these are the two forces that worked in American art. Stuart Davis, modern, bold, bright and much more traditional. Rural scene, the heavens are opening up, the sunshine, the doves, the classic rural farm. So with the New Deal art projects, they absolutely, for murals that are permanently installed in buildings, in federal buildings, they wanted this. They did not want this. Yes? So swing landscape is a mural. I want to say that this is maybe eight by six feet. It was actually painted for a public housing project. But then never installed. It was sold privately. I don't know why. But this is not this big. This is not a mural. This is an easel painting. But the subject matter, looking back in a lot of kind of the good old days of early America is what the section of fine arts and the federal arts projects really latched onto us. That's what they wanted these artists to portray. They didn't want really wacky modernism. Other examples are Good Earth, also by John Stewart Curry. The notion of the heroic farmer, the individual in the field with his children and the bountiful harvest. And remember, this is the Dust Bowl, Great Depression. So this is an idealized view. The little farmstead off in the background. But that notion of the rugged individual, if you will, really strong, able-bodied, the next generation. This is what the section wanted to promote in the paintings that were produced. And Thomas Hart Benton, probably the most famous, well, there's this trifecta, triumvirate of painters, John Stewart Curry, Thomas Hart Benton, and Grant Wood. Benton really takes almost a surrealist approach to the landscape. But still, it's this harvest. It's the natural wilderness, this bounty trying to show this idealized rural agrarian culture. And Grant Wood. This is a little print, and I love this is the most geometrically perfect planting of corn you will ever see. You know, it's just...  But they're all getting at that heart of the rural America, the good America. And if this looks familiar to someone, that little cottage in the back, it's a play on Grant Wood's famous American Gothic revival cottage in the back. So these painters were enormously popular in the 1920s, 30s, 40s. Norman Rockwell, that era. So some of the influences on the murals that we'll see certainly come from not only the fine art world with Benton and Curry and Wood, but also from popular illustration, N.C. Wyeth and his lineage, Andrew Wyeth with these illustrating these classic novel Treasure Island and, you know, these great illustrations and books that people were looking at. And other works, Howard Pyle, who was actually N.C. Wyeth's teacher, this is 1897, so quite a bit earlier, but he's showing these kinds of dramatic, you know, Battle of Bunker Hill, you know, pivotal moments in American history, kind of ra-ra-go, you know, very patriotic and large, exciting scenes with action and, you know, cannon and guns and smoke. So this was also influencing what type of work the section, the Treasury Department, was saying would be appropriate for these public murals. And of course, we can't talk about public murals without talking about Diego Rivera, the famous Mexican muralist, who at this 1933, he's commissioned to do a huge mural right in the lobby of Rockefeller Center. This is a plum assignment. And he started work on it, started, and this was a fresco, so he's actually laying the colored plaster onto the wall permanently. And he submitted one proposal that was approved and created something completely different, which didn't go over well with the Rockefellers, partly because it included a portrait of Vladimir Lenin and a not-so-flattering portrait of John D. Rockefeller Jr., where he's drinking and cavorting with women of ill repute. They were paying him to do this. So the Rockefellers actually said, you're done, they destroyed the fresco, ripped it off the wall, it's gone. What you see in the upper right is a recreation that Rivera did in Mexico City. But this was a huge fiasco, public relations nightmare for everyone involved. And the federal government did not want anything like this to happen. So with the section murals, absolutely, they put the kibosh in any sort of political statement. They did not want this to become anything controversial in a community. It still did in some cases, but overall, the artists are smart. And they knew that if they were going to submit a proposal for a mural, they learned pretty quickly what the government wanted. So that's what they would give them. And it became known in the artistic community as painting the section. So an artist might say, well, it's not really what I would want to do, but I'm painting it for the section. So they want a big heroic farmer, they want a wheat field, they want a sun in the sky. I can do that. So the government started getting what they wanted and hope to avoid situations like this. So into the buildings, there are five post offices in Vermont that have these murals. They're often referred to as WPA murals. They're not. And this is where that alphabet soup comes in. These are treasury relief art project murals through the section of fine arts. So at the end of the day, if you call it a New Deal mural, you're safe. But Rutland was the first series of murals done and created to decorate the lobby of the courthouse, post office and courthouse in Rutland. And that was built in 1931. So these murals came a couple years after construction of the building. And the artist was Stephen Belasky. He was a local boy. He grew up, born and raised in Bellows Falls, Vermont. So as we'll see later, a lot of these murals, the painters were coming from out of state because they were national competitions. But this one went to Stephen Belasky and he chose as the subject matter these key moments in Vermont history. And if we look at some of the first ones, it's a beautiful lobby. It's actually being restored right now. So at some point, if you're in Rutland, just pull over and go inside. They're beautiful paintings. This triptych shows early history of Vermont with Ethan Allen, of course. I can't paint Vermont history without a picture of Ethan Allen here. And in the middle, the Green Mountain Boys. And on the right is a painting called the Beach Seal. And this is a Yorker. So he's raising his fist against Ethan Allen and the Green Mountain Boys for claiming what New York thought was their land and the New Hampshire grants overlapped. And the Beach Seal, you can just make out, these figures here are holding tree branches, switches from a tree, from a beach tree. And this was a form of colonial corporal punishment where somebody you don't agree with round him up and give him a few wax and the welts that it would leave, that was the Beach Seal. Literally. And you can tell he's already been through something because, look, his pants, his stocking, his torn pulled down, his pants are torn. So whether the Beach Seal has already been applied or is about to be applied, I'm not quite sure, but so there's a lot of thought that went into these paintings and research and documentation. Another picture, Meryl, in the same lobby, the Green Mountain Boys, and this shows them gathered at the window of the Breckenridge Farm, fighting off the sheriff from Albany who was coming to kick them off the land with the New York grants and they're standing strong and chase them away. And this is a very interesting one, freeing the first slave in the state of Vermont. And this is a depiction of November 28th, 1777, Captain Ebenezer Allen from Bennington reading a certificate of emancipation for Dinah Mattis and her small child who are shown in the center of the picture here. And they were rescued from a British baggage train, basically troops moving through the area, and emancipated. And what's really neat is I think Stephen Blaskey was a pretty cool guy. I've researched him and he's just got character. And you can tell this figure here, sitting with his back to us, has a canteen down here. And if you look at it closely, on the canteen, S-J-B, Stephen J. Blaskey. So he painted himself in. So it's those little details that I looked at this painting many times before I saw that little initials on the canteen. So you can go back and always find something new. And they're great history lessons. And another one in the same space, Benedict Arnold commanding the naval battle on Lake Champlain. And this is really that kind of heroic American Revolution scene. And you can tell that this is heavily influenced by work by people like N. C. Wyeth and Captain John Paul Jones. You know, very similar composition and use of the strong central heroic figure leading the charge with his sword. So this was picking up on a lot of trends that were going on in the art and illustration worlds at the time. So Rotland is the most extensive collection with its, I think, seven individual mural panels. The other post offices tend to have one main large rectangular mural, as you'll see. So White River Junction, Douglas Crockwell did this mural in 37. And all of these murals are painted oil on canvas. And they were done in the artist's studio and then taken to the building and glued to the wall. So they're not frescoes and they're not painted directly to the wall surface. They were done offsite. The post office and the treasury would give the artist the exact dimensions of the space they were to fill, and then the artist would have canvas cut to that size, paint the painting in their studio and then bring it to be installed. So Crockwell also a very interesting individual. Born in Ohio, lived most of his life in Glens Falls and did a few other murals, one in Endicott, New York, one in Mississippi. So you can see how with the growth of this program, artists started in other states that maybe weren't their home state. Crockwell was also an inventor, an experimental filmmaker, really a fascinating person. And all these artists were, these are highly trained, highly skilled artists. These are not just Sunday painters who thought, oh wouldn't it be nice to decorate the post office. These are serious trained artists. So Crockwell, a picture of him painting the mural, and his descendants have a great collection of the letters from the Treasury Department to him, and this one is nice because it lays out he was paid $1,280 to create the mural in three installments. First for your sketch, second for when you're half done with the mural, and then finally the final portion when it's completed installed and approved. So there was a lot of checks and balances. The artists were not just given free reign. They had to submit sketches. Sketches had to be approved. Then they had to lay out their mural, get approval again. They would send people, the Treasury would send people out to check up on progress, make sure nobody was sneaking in, Vladimir Lenin into their pictures. So they were really, really a lot of oversight. And this last paragraph talks about a different project where they say the second subject matter would not, I'm afraid, fit within the scheme of subject matter. So right here you can see they're saying yeah, no, we don't like your idea. Do something else. So a lot of control over what was created in these murals. This is the mural and it's at the end wall of what was the lobby of the post office. This building is now largely used by the Center for Cartoon Studies. They have their library in it and I think you can generally step into this lobby and see the mural without going through too much effort. And Crockwell, very interesting composition. All the other painters basically filled the canvas from edge to edge at the bottom with some sort of scenery. Crockwell developed this kind of dumbbell shaped composition in which this background of sky wraps just around the edges and becomes the river flowing through the middle of the composition. Partly because he had to deal with this darn pediment before, which is tough to integrate into a rectangular form. But a lot of creativity and the subject matter that he was working with. So on the left he's showing traditional Vermont industries. Certainly the stone industries, quarrying, marble here and you can tell he did his research also. This man is splitting off chunks of stone with the plug feather technique with a little diagram here where two iron feathers are placed in a hole that's drilled in the stone and then this wedge is driven between and the force splits the stone apart. Very labor intensive. But he knew he had to depict it properly because people in Vermont know how this is done. And on the right hand side we have a more agricultural scene where they're harvesting maple syrup, harvesting sap from the trees. And this also shows the farmer with a tractor so a little modern technology coming in, plowing the fields and also the tree stumps. They're clearing the forest that's partly for growth at the farm, partly for firewood. But this is showing there's an impact of these people on the landscape so it's not just a pretty postcard view of Vermont landscape it's showing how people really use the landscape in the background, the little farmhouse in the barn and boy, this hill it's straight out of Rutland County it's, I don't know for sure if that's where he was painting but it's right in the mountain range there around Huberton spot on. So that is in the White River Junction Post Office. It does, yep very similar to Benton with these kind of flowing very painterly loose brushwork. So in St. Albans you'll see a trend here these first three Rutland, White River, St. Albans they're all railroad towns that's where the big industry and commerce was in the 1930s. This one was done for the Post Office and Custom House which is built right in Rutland City, right downtown and it actually has two murals at either end of the large lobby. Phillip once his loss on Sultza my favorite name adds another layer of interest because he was an immigrant. His family moved to the US from Sweden when he was six years old trained as an engineer fought in the US military in World War I and was actually held as a POW in Germany. Came back to the US and became an artist and then I imagine it must have been pretty rewarding for him to have been an immigrant fought in the war, been a POW to then be hired by his adoptive country to create works of art. That's pretty cool. His murals the first one we'll look at is called Haying and it's another kind of idealized scene of cutting the hay on a Vermont farm and it shows the manner in which it was done was really not that different from the 19th century horses, hay wagons, pitch works not a lot of technology being shown here and also interestingly there's a couple dancing as people do when gathering hay this raised a few eyebrows in St. Albans and there's some great newspaper accounts of people saying well it's a nice painting but why are they dancing so a little artistic license you've got a boy playing the fiddle why isn't he helping pitch hay but again this really highlights that kind of idealized rural farm life where life is free and good and the barefoot woman in the white dress dancing with the young man and so it's not exactly true to life and the corresponding mural at the opposite end of the lobby is a winter scene so this is sugaring off. You'll see a trend here a lot of maple sugaring that was Vermont in a nutshell and this is another kind of quaint scene that was criticized by the St. Albans spoke because they said we don't gather sap this way anymore that's how our parents used to do it you know we don't use oxen this is the 30s and they complained about these old fashioned cars so really interesting that the intent wasn't necessarily to show present day life there was more a nostalgic view and the people in these communities sometimes kind of felt like doesn't really reflect us but that's you know it's a nice composition it shows the process of gathering the sap from the woods carrying it on a yoke with two buckets and then dumping it into the water bucket and boiling it and then again these kind of playful scenes of kids having a snowball fight a young boy and a girl you know he's wearing a baseball cap is he back from college they're clearly not dressed to work in the woods you know what's this little encounter about so it's kind of just a nice playful scene Northfield this was a surprise because previously we've looked at these you know urban centers for Vermont you know White River, Rutland, St. Albans but then Northfield and Woodstock two smaller communities also have post office murals and this one was done by Charles Doherty whose father was actually a very famous muralist and Charles worked as an artist but didn't really pursue it full time but he did get the commission for the Northfield post office and very hard to find a picture of him this is here he is posing as a model for one of his dad's murals but he did a few pieces during the New Deal era and this is the mural in the post office and it's wonderful I love this one and you can see how he really used the full edge to edge top to bottom incorporating this door frame in the composition and it was great when I took this picture I was in the lobby and this is still an active post office the post office boxes are there and the customer desk and just taking pictures and a person walked in and she said what are you doing I'm doing some research on these murals and she looked up and she said I never saw that before I'm like good lord so pick your head up look up because it's only been there 80 years now so but this got me thinking why a north field post office with a mural of downhill skiers this should be in Stowe turns out in the 30's north field was banking on becoming a ski destination town they had private trains coming up from New Haven, Connecticut every weekend to ski on one ski hill, I think it was on Payne Mountain in north field they had a little rope toe going up that they built in the 1930's and north field was really hoping to become a ski destination, a winter sports destination so this mural tries to depict that and it shows all the current for the time ski technology with these hard leather boots the old bear trap bindings that have a spring that go around your heel and no quick release bindings heavy wooden skis this is when skiing was really an athletic pursuit you had to know what you were doing otherwise you could really hurt yourself there's none of the modern shaped skis and really lightweight quick release equipment that we have today so these skiers in various degrees of skill this guy is racing down the hill you can see the cloud of snow that he's kicked up and this guy is kind of hoping to stay upright this person is falling down here so just a fun light hearted scene but gives a little glimpse into that history of north field that today most people don't think of north field Vermont you think of Norwich University but you don't think of downhill ski Mecca this was I didn't put that on there I think 30 39 yep and then also in another part of the lobby there are these three medallions for lack of a better word they're maybe three feet across in each dimension these are nice little vignettes of again classic Vermont subject matter the the heroic farmer Jolly green giant farmer here the only depiction of a cow in any Vermont murals of this era, note and then the last one is a stone carver north field was also well known for its stone carving industry yes, those are also on canvas and they're mounted with this I think it's just a simple half round wood trim stock that goes around the edges nope, no respirators no goggles just carving away in a shed so in Woodstock the previous murals have been pretty specific there's a picture of skiing or there's a picture of an individual in Woodstock the artist who's the only woman of the group, Bernadine Custer she depicts 140 years of Woodstock history in one mural so she was very ambitious and she was also highly trained and lived both in New York City and in London Dairy and in fact the London Dairy Historical Society is in her former home and they've got a huge collection of her work and all of her papers are at the University of Vermont Special Collections so that's a goldmine of information so there she is photo from UVM and as part of that collection we have the preparatory sketch so this is what she would have prepared and this is small it's maybe 4 inches by 10 inches just a little sketch and this is what she would have submitted to the Treasury Department to say this is what I'm thinking for this mural this is the general composition figures will be, how the space will be used the final piece differs a little bit but it's pretty spot on so that's how it appears today and basically you can read it like a book starting at the left-hand side in the background there's a little log cabin these are the pioneers the frontier days are people on horseback with their oxen and their wagon full of household goods taming the wilderness and then you've got the revolutionary era here with the fight for independence and clearing the lands chopping down a tree and then these three figures in the middle are really the primary focal point and corresponding to buildings in the background that relate to their individual endeavors but do not exist in Woodstock so I thought for sure oh that's the church no it's not totally made up but the individuals here's a close up of the left-hand side where you can see the pioneers and the revolutionaries coming in and then in the middle here I need to look at my notes here to get the names right so the first one is Hosea Baloo and he was a universalist preacher from New Hampshire that's okay he lived in the Woodstock area just for a couple years but while he was there he wrote a treatise on atonement which is apparently a pivotal work in universalism and he was very well regarded and clearly deemed worthy of being in the mural of Woodstock the second person is Jacob Collimer lawyer, politician postmaster general under President Taylor but he did live in Woodstock for about 30 years so he made it into the mural was he a governor also? yep and then the third one for any librarians in the audience appreciate John Cotton Dana library and museum director he was born in Woodstock so he definitely deserves to be there and actually the Dana family home is now the Woodstock History Center phenomenal building and then about this guy on the end he's the common man he's not a specific person he's there to represent just the common resident individual of Woodstock the hard worker the everyday farmer now on the right hand side it gets interesting somehow we have an environment in which you can golf and ski at the same time so we have a gas pump we have a modern automobile people riding horseback people hunting so this is 1930s present day Woodstock when it's a vacation destination tourism this is selling Vermont for outdoor recreations in the summer in the winter technology with gas pumps and the gas pumps were not well received in this fabulous letter this is one of my favorites this is from the postmaster of Woodstock to the assistant chief of the section of fine arts where she says Woodstock Vermont is not mural minded they really didn't want this mural but they were kind of forced into it but I guess she's saying okay I suppose we appreciate it and then in the last paragraph Woodstock does not put its gas pumps up front she wanted the artist to come back and paint out the gas pump because that was not appropriate for Woodstock so the artist declined and the gas pumps are there today but I think it's really interesting but here also we see this town saying we like the old fashion stuff but none of that dirty gas pumps so it's really interesting on how communities responded in St. Albans they complained that the maple sugaring was old fashioned whereas here they're saying oh it's too new so you can't win but this is a great really a great article in local papers about Woodstock doesn't need a post office why is this being forced on us and they got it so yes yes where she's saying a few strokes might do wonders just paint it out just get rid of that gas pump and clean it up you'll be all set so that didn't happen so I said there are five murals and there are but there are supposed to be six there's the unfinished mural unstarted mural actually Island Pond was supposed to have a mural another railroad town way up in northern Vermont Brighton and Bars Miller was awarded the commission and this was part of a national competition by Life Magazine called the 48 States Competition where ran a juried contest to select an artist to do one mural in one post office in every state and the article is fascinating because it's pretty blunt or they say apparently rural Americans are artistic stay-at-homes with a preference for paintings that reproduce experiences and scenes and parts of history with which they are familiar they're saying they don't want modern art they don't want new stuff tried and true and significantly the much publicized main street atmosphere of small towns does not seem to mean so much to the people who actually live in them so that's pretty bold so but this competition selected this is the sketch that Bars Miller did for what he called lumber yard in the description of the piece it talks about how Bars Miller has discarded previously favored allegorical figures for more outright reflection of American life that's what these paintings were about they didn't want mystical allegorical scenes they wanted everyday real life and so here's a picture of a sawmill two workers cutting up a log and this is right in Island Pond well you can partly tell because of the island in the pond in the background but also the train station this is the Grand Trunk railroad station and clearly Miller is showing this building see the peeked gable there the little tower right here so definitely is on the site sketching this creating this this proposal and then there's also the roundhouse and the turntable for the locomotive so this is very site specific interestingly somehow things got confused and Paul Sample another very well known Vermont artist from Norwich Vermont that's a Dartmouth he got a commission for the Westerly Rhode Island post office for this scene and the people in Westerly looked at it and said that's not our town this is Island Pond here's our Grand Trunk railway station so somehow Sample just submitted said this will do for Rhode Island they mixed up somewhere two scenes of Island Pond ended up winning this 48 states competition neither one was ever painted unfortunately it just the whole they both went belly up and there's actually another entry by Pepino Mangrovit this was his proposal for Island Pond completely different so showing the range of possibilities that artists were compositionally exploring and it's maple sugaring again but you can see the difference from these sort of phased step one step two, step three approach to Barst Miller and Paul Samples just straight on single scene kind of snapshot views I think maybe spatially compositionally using the whole wall surface and it's requirements are never slighted I don't know exactly what that means oh she's making maple candy it's a little mold yes or flipping hamburgers whichever you prefer so luckily the murals today they're all intact they're all in pretty good condition mostly because they're up high they're good 8 to 10 feet off the floor so nobody can touch them nobody can bang a mail card into them or scrape them in any way so generally they're in pretty good shape and but as I said with the north field a lot of people don't even take the time to look up and just think about what they're seeing so hopefully we can raise awareness at the very least that they're there and it seems like the postmasters appreciate them they were all very welcoming and said take all the pictures you want when I would show up so they appreciate them a couple other examples around the state that are not post office murals this was a federal arts project by Steven Belaske he did the Rutland post office and these are enormous that central panel is probably at least 15 feet wide and they're in the stairwell of the main entry to the building and on the other wall is this corresponding piece also federal arts project other examples of art from the new deal this is the Emma Willard monument which is in Middlebury it's on a little island kind of in that crazy intersection where you either continue on 7 or go downtown but really a beautifully carved low relief marble piece by Marion Guild and Pierre Zwick who designed it this was a federal arts project and these things turn up this was last fall I got an email from UVM saying we broke into a wall and found a painting so I scurried over there and they were doing demolition started ripping off sheet rock and found a painting behind the wall so this was a public works of art project depicting the Champlain thrust fault at Lone Rock Point in Burlington Bay very famous geological feature and this had actually been painted for the Fleming Museum when it had a collection of geology specimens and was then removed to this building and glued to the wall and decades ago they wanted to remodel they couldn't get the painting off the wall so they just built a wall in front of it it was actually a really good solution they just said we don't want to wreck it we're just going to leave it and build in front of it where was this painting where is the subject matter or the so the painting now which building it used to house the geology department before that moved to Delahante I can't remember the name of the building though but the painting has since been removed so they hired a conservator who came out very carefully carefully detached the glue from the wall surface rolled it up, stabilized everything and it'll be conserved and then reinstalled in Delahante Hall where the geology department is today and it's great because every fall intro to geology the classes have to trek out to this spot and draw this and so now they can look at it every day so but these things turn up you never know where they might be in terms of buildings programs there were a couple primary sources of construction the CCC Civilian Conservation Corps the PWA Public Works Administration and the Resettlement Administration and in Vermont we have some amazing examples of CCC work that's modernist this is very unusual most CCC work around the country was indigenous to the local area so if you're in New Mexico the CCC was building with Adobe if you're in New England they were using log but this architect David Freed somehow managed to get approved for this project this is the ski lodge at Mount Mansfield it's still there today it's log and rustic but this is cutting edge modernist design this wall of windows and you can see this historic view and the CCC not only were they building buildings they were building ski trails this is I think nose dive or one of the they basically built the ski industry in Vermont in the 1930s Vermont Forester Perry Merrill saw that here's thousands of young men start cutting trail so still would not exist today were it not for the CCC the ski industry owes its life to the CCC really another very interesting project at Crystal Stake Park in Barton also by David Freed and again very modern form but I think the way Freed was able to get these approved was partly I think because it was Vermont and the signature blocks from Washington DC on the plans are not signed I think DC said it's Vermont just do it it's far away nobody will know so these very modern design but common material this is brick and stone board and batten siding wood siding on the lower levels very easy to build but in a new form so this isn't certainly not a quaint old rustic log cabin but it's using materials and construction techniques that were very familiar to the young men building these another and this is more typical CCC the Hubbard cabin at the Middlebury snowball this cabin is still there it's in rough shape but it's still there and then buildings this is the Cabot Village School this was a public works administration project where they really wanted to have projects that had a direct public impact and certainly in Vermont this is when there were still a lot of one room school houses so here's a consolidated school designed by Freeman French Freeman architects of Burlington and this was actually featured in a national publication about the PWA as a really good example of a good project and imagine if you lived in Cabot and suddenly here's the government coming in and saying we're going to build you this beautiful new school that would mean a lot and I just found this morning so at Cabot, being thrifty Vermonters every New Deal project had a sign that said what the agency was what the project was so here's Cabot School project number da da da da they recycled the sign as the backboard for their basketball hoop that's how thrifty we are yeah the sign was a federal property so they put it to good use and this was picked up in correspondence at the federal level like look what they did in Cabot so really wonderful but other projects, Southwick Hall at UVM this was a PWA project, McKinney, Mead & White were the architects so this wasn't simply little rural simple projects this was a major building that really had an impact this is at the time when the Redstone campus was the women's campus at UVM and here's a major investment in a facility for women attending the university so that has a huge impact Tracy Hall in Norwich their town hall this was a PWA project and another one of my favorites the Sewage Disposal Plant in St. Albans have you ever seen a more beautiful sewage disposal plant look at the striped canvas awnings rock lined gravel paths I think this some sort of settling tank up here with St. Albans sewage plant spelled out in white rocks landscaped grounds I mean this is really cream of the crop here yeah so the PWA everything from you know curbs and gutters to full sewage treatment plants runs the gamut so bridges yeah and again if you lived in St. Albans this was a big deal suddenly you've got a municipal sewage plant that's huge it's a pivotal change in Vermont life yes yep yep so these are all federally funded under Roosevelt's New Deal and really just trying to get that cash infusion and not simply dumping money into projects but also employing people you know putting them to work and here in Montpelier recognize that the largest earthwork pool in the world when it was built not only I'm glad you asked newspaper accounts say that it was the largest asphalt pool in the country that held 1 million and 27 gallons so Montpelier was when I was a child they said there was a larger one in Switzerland I don't believe it but here's the recreation fields with the pool, the bath house the baseball stadium over here the football field, soccer field in the middle this was all a PWA project and there's a historic site marker but you know darn it even that it was PWA it's tough but another thing I love about this picture is look at the landscape totally clear cut a lot of change Union Elementary School this was also a PWA project this by architect Robert Graham from New York again this was a big deal for Montpelier to get this beautiful public school building and really see this investment in their community from the federal government the tower at Hubbard Park Civilian Conservation Corps 1936 they worked on this I think for about four years right yeah sort of rustic stonework my dad worked on this oh really yeah so these things that we tend to take for granted today they're easy to just assume well it's always been there they haven't the CCC was amazing go to pretty much any state park that existed pre-1950 it was a CCC state park the pathways the roads, the shelters the picnic areas, the fire pits all CCC yes there was a whole CCC camp in Waterbury and I think some of the chimney stacks are still standing little river there's a camp there it could be another big project of these New Deal programs and the CCC was reforestation and you can always spot a CCC forest because the trees are perfect spaced every six feet on a grid absolutely perfectly aligned they just took their saplings and charted out a grid and planted them all so not just yes like the cornfield okay so that yep yep so that could certainly be one of those reforestation projects yes yep the Waterbury dam yep flood control dams uh they haha so yeah a lot of these plantings are aging out yep right yep tragic fire there yeah that was a very unfortunate accident and with the CCC there were the camps that they actually lived in so they built their own living quarters and then there are the projects they built very few of those camps remain I know at Camp Downer yes I forget what town that's in is it South Royalton Sharon some of their buildings are actually converted CCC camp buildings they survived so like I said there's things out there once you start looking hmm yeah so it's still active so I can't not mention the wood gallery it's right next door to us and they are the repository for works of art created under the WPA federal art project basically when all these new deal programs ended in 1942 because of World War 2 there were traveling exhibits all over the country of work created by artists from all over the country and basically the WPA said stop whatever exhibit you have right now keep it and they designated a repository in each state and the wood gallery really being one of the only art galleries in the state at the time was officially designated as a repository for the federal art project works so in that collection it's totally random paintings of the Brooklyn bridge New Mexico desert you know it's not like Vermont scenes it's from all over the country and it's really worth checking out if you haven't seen it they've got a great collection there and several of the artists who did murals also have smaller easel pieces and drawings in the wood gallery collection so you can start to better understand these artists and how they were working and what they were dealing with in the 1930s right yeah yeah they would transport these exhibits around the country because remember one of the goals was to get art to the people and so they would tens of thousands of works of art were created under these the federal art project alone so they would pick some of the best examples put together an exhibit send it off to Ohio to Indiana to Vermont to Maine and traveling all over the country and then when these programs ended they just said keep it yeah and that work is actually still property of the federal government federal government still owns these works of art because they were paid for with public money so over the railroad track on the sketch for the island pond thing that was done for westerly my father was born and grew up in island pond when I was a little boy that bridge was still there and in the mid 1930s my paternal grandfather died of a heart attack he had on that wow jeez yes there are stories of essentially warehouses full of art that at the end of the day like what do we do with this stuff and a lot of it did get destroyed yes the bellows falls murals yep yep children's room of the saint john's I don't think I've been in there I will check maybe a mural in the saint john's very library children's room alright how about the children's room that had fabulous murals do you know anything about them I think they were painted oh really oh did they get flooded question in the back I don't know if there's a list online they do have guidance on line general services administration gsa now controls this collection they have guidance on line of what to do if you think you know you see an auction listing that's clearly a federal arts project piece let them know but I don't know if they have a list of things they're looking for because there are so many tens of thousands of prints and drawings and paintings and ceramics and not always not always sometimes there'd be a little brass tack on the frame or something but if the piece has been re-framed or somebody pops off the plaque it's tough to track them down yes nope yeah I'm not sure exactly how the decisions were made as to what what post office was worthy of a mural in the 30s here was built during the Heisenberg administration and for that it was I think it was he says it's the Hayes administration that was a long time ago and they weren't painting murals on post offices great all right one more did you do any work on theater murals, theater curtains no that's a whole other topic you know that's not that I'm aware of I didn't come across any records for like theater curtains being commissioned through the federal arts project I think of those as more late 19th early 20th century but you know you never know there could be some out there so great well thank you very much for your time appreciate it


amusement park amusement park an amusement park is a place that has many games and rides such as roller coasters and merry-go-rounds for entertainment. Beach. Beach. A beach is an area covered with sand or small rocks that is next to an ocean or lake. camping camping camping is the activity of sleeping outdoors in a tent usually for cotton candy cotton candy cotton candy is candy made from sugar that is boiled spun into a soft material using a special machine and then wound around a fishing fishing fishing is the sport or business of catching fish guest guest a guest is a usually well-known person who is invited to appear or perform on a program hiking hiking hike means to walk a long distance especially for pleasure or exercise immediately immediately immediately means without any delay introduce introduce introduce means to speak briefly to an audience about something that is about to begin kids kids a kid is a young person outdoors outdoors outdoors means outside a building or not inside a building plan plan a plan is a set of actions that have been thought of as a way to do or achieve something planning planning plan means to think about and arrange the parts or details of something before it happens or is made right now right now right means in a direct course or manner right now means immediately roller coaster roller coaster a roller coaster is a ride at an amusement park which is like a small open train with tracks that are high off the ground and that have sharp curves and steep hills season season a season is one of the four periods into which the year is commonly divided subject subject a subject is the person or thing that is being discussed or described swimming swimming swimming is the sport or activity of moving through water by moving your arms and legs vacation vacation a vacation is a period of time that a person spends away from home school or business usually in order to relax or travel here are the four seasons spring spring spring is a season when plants and trees begin to grow summer summer summer is the warmest season of the year autumn autumn autumn is the third season of the year when crops and fruits are gathered and leaves fall winter winter winter is the coldest season of the year there are four seasons in each year they are winter spring summer and autumn sometimes you will hear the word fall autumn is the same as fall you will often hear Americans talk about their favorite season they do this by using the phrase my favorite season is listen to Anna talk about her favorite season my favorite season is summer because of summer vacation now you try it talk about your favorite season my favorite season is spring in America there are many popular things to do on vacation listen to Anna and Amelia talk about one popular thing to do on vacation camping today we are going to take you on a summer vacation you will see popular things to do on vacation one is camping when you go camping you cook sleep and play outdoors when I go camping Anna I like to go hiking and fishing me too those are fun things to do when you go camping now you try it talk about what you like to do on vacation


So we're here at the demo Friday, so did you succeed if you make the desktop? Oh yes, we made some very nice demos and the desktop is one of them. As you can see here, it looks like a normal desktop box and it acts like a normal desktop box. And that's the one with the Quark Core A72. You can even play some 3D games on it if you want to. So all this open graphics drivers, open firmware, not just a piece of proprietary... 100% open? Yes. There's nothing closed? Nothing closed and... It's a Radeon GPU? We have several GPUs running. Originally it was a Radeon but that broke down during testing, probably overheating. Right now it has an NVIDIA GPU with the new VOTE driver. Yes, that's what it's running, so... Not as many as a Radeon? Yes, the Radeon open drivers are in a much better shape right now. So this is a Macchiato bin, a Marvell, what do you think about this performance? Are you getting stuff? Can you be a building only or a code with this? The performance is pretty good. I managed to build a kernel with pretty much all config options enabled as modules in less than 10 minutes. Which is not great but definitely quite good for an ARM box. How long does it take with the Intel thing? How long does it take with the Intel thing? It takes around 3 minutes. 3 minutes? I know you have 10 minutes. Yes, it still has a bit of catching up to do but this is perfectly usable. Can you show the windows? What are you doing here and there and there? Yes, here essentially I'm just showing what it is. So it's an ARC64 box and it's running mainline kernel 4.14. Here it's just showing the processor usage. So CPUs are not exactly overloaded. There's also still lots of memory available. Here's just a little 3D game for demonstration. What's the type of Linux you have running on there? That's OpenMantreva, my personal favorite. You always use that? Whenever I can. There's a couple of specific use cases where other things are too better. If I want to go to an extremely low-end device I'd probably start with OpenMantre. If I wanted to build a phone I'd probably use Android because of the apps. But for most things I really like OpenMantreva and one of the nice things about it is that it's a very flexible team so we could, for example, move the default compiler to Clang without having to spend months or years discussing it in committees or something. Let's check your ARM part laptop. Yeah, so that one you have too right here? That is essentially running the same stuff. It's not yet quite on 4.14, but kind of 4.11 is also not that old. It's also ready to run some light 3D stuff. So this box is... Yeah, let's open it up. So you can see it's originally a pie top but I've replaced the inside because the pie is just too slow for a regular desktop. So instead of the pie we are powering it with the DragonBot 820 and that required a couple of other changes. We also built in another SSD so we have a couple of terabytes of storage. Two terabytes? Yeah. And what's over there on the left? That's just the output from launching the game. So nothing overly interesting. I mean here. Ah, that? That's actually an interesting part that comes with the pie top. So this essentially takes the HDMI output off the board and input events from the keyboard and touchpad and translates them into signals the hardware here can understand. So the screen is not an HDMI display but it's powered by the HDMI port and the keyboard and touchpad just drive us regular USB devices. So your laptop is pretty big. Can you fit the Macata bin in there? That would be fun. Can you fit the KVM Thunder X2 or the new Coltom server? That's a good one. That's a really good one. I'm really looking forward to getting hold of it but chances are I'll never get hold of it. Those things are just too expensive. Can you build a cooling system that would fit in your Predator laptop? I'm pretty sure because there's an i7 in there and that gets hotter than even the biggest. That's the system you use for cooking at home. Yes, right. So when I want to cook, I just put a pen on top of the laptop and then I run and make this J. All right. And so it will happen. You have it right here. You solve it. You have the laptop. You have the desktop. And this is the Leonardo Connect 2017. It's a historic day, right? A little bit. Yes. So the desktop is essentially ready because it doesn't have any special parts that need to be built for everything. So if someone told me I need one right now, I could build one within a day. For the laptop, you need to figure out how we can make it more easily reproducible. We've been talking about this in videos for the last seven years. Yes. I've always been saying someone needs to do it. Someone needs to do it. All right. But what more do you need? Do you want more SoCs? Faster SoCs? Yes. It would definitely be nice to have something even faster than this. And this is good enough for most users, but if you really want to heavily build stuff, you probably want an even faster SoC. It would be nice. It's over there. It's a 48 core. Let's jump over here. Yeah, sure. So there's Thunder X. I mean, Thunder X 2. Somewhere around here is a new fast console. Yeah. It's really cool. It's like into a right here. Hardly the very easy. That's a powerful 48 core. It would be nice to have that at an affordable price. So it could be built into a regular desktop. It's a nice big chip. Right now, I think the price is pretty much the blocker for this. With one of those, you can probably build a Linux in one minute. Probably even less. And that would be three times faster than the i7. I wouldn't be surprised. Cool. So that's for the next neural connect, right? That would be fun, but realistically, I don't get access to this type of board. And the guys to do are very much focused on the server space, so I don't see them playing around, building a desktop machine out of it. And over here you have something that says AUSP TV. Yes. Another demo, but I can't show that right now because we're having bandwidth problems. But the idea there is that we take a TV input signal from a satellite dish or even a terrestrial antenna in Switzerland, stream it over the network and play it on AUSP TV right here or wherever we want to be. So what have you done with AUSP TV? You've been working on this a little bit? Yes. So right now what has already been done is a little disconnected from AUSP TV. It's essentially implementing all the stuff to get signals from DVB, making sure that it's available in code that is licensed and evaded, AOSP can accept. The next step there will be integrating it into the AUSP TV interface. So it can be done right from the AUSP interface with remote controls instead of typing in commands to get the stream and to play it back. So basically it's an open source version of Android TV? Yes, essentially that's what it is. How much of the Android TV are you able to get into the AUSP TV? It depends on how closely you look at licensing. There's a couple of things you can do to get the full Android TV experience on AOSP which essentially involves getting the binary blobs for the Nexus player and copying them around. But obviously those things aren't licensed very nicely so there's more stuff that needs to be... How can you take the Intel binary blobs and just make them work on ARM things? The thing is they aren't binary blobs. Most of the stuff in Android TV is implemented in Java while I'm not the biggest fan of Java. For most things one of the nice things about it is you can just take code from an X86 box and run it on an ARM box or vice versa. And you also have a special phone. You don't have it right here, no? Yes, that's in my hotel room. You work in all kinds of different things? Yes, sure. It has to do with Android. I'm very much a believer in something that needs to be done. If nobody else is doing it, I'll do it. You do it. So we want the desktop. You do it. But it needs to be smoothened out and let's get it out on the market, right? People need to be able to buy this. Right. And the laptop... Working on that too. Let's get the laptop out so people can buy it, hopefully. And choose any SoC they want, just plug it in. That's the 96 boards idea, right? Yes, that would be really nice. At the moment with the laptop, it's not possible because we had to use a different form factor because the particular SoC we wanted in order to get open graphics drivers wasn't available in the right form factor. But that's probably changing in the future. And Android has this project treble thing going on. Yes, that is really interesting. Maybe thanks to you and thanks to the Naro, maybe every phone and every Android TV box, every Android, everything that gets Android 8 will be updated forever automatically. That would be nice. I don't really see that happening, but probably it does mean that updates will come a lot faster than before. And the Naro has a role to play. You have a role to play. You're working with that stuff, right? Yes. What are you doing with that stuff? Most of the things that Naro is doing for it at the moment are related to kernel maintenance. One of the things in Treble is standardizing on the LTS kernels to make sure that security updates for the kernels can be delivered to all devices. Those kernels are, for the most part, maintained inside Naro. We are also starting to do some user space work to support reference implementations of certain updates and things. But for the most part, our involvement is on the kernel side. So your role is not only in the mobile group. You're also doing stuff in the home group because you're doing the AOSP TV. Yes. There is a lot more things to happen in the mobile in the future even though Android is already the big king, right? It needs to be... Yeah, of course. There needs to be a lot of things to happen in the mobile group. If Android just stalls, it will probably remain the best thing there is on the mobile for another year or two. But if people stop developing it, if people stop innovating, something else will come up and take over even if I have to do it. We were talking a bunch of years ago, three years ago, we were talking about maybe running Debian or other kind of apps natively on Android. Maybe even we were talking about crazy stuff like running Windows on Android. Maybe with a Snapdragon 845, they will be able to dual boot or some kind of thing. And maybe you even run Windows on top of Android. Maybe you run iOS apps on top of Android. What about all these crazy ideas? Yes, so I still think some of that is possible. Like getting normal Linux applications to run isn't all that complicated. What's missing is essentially integration between the different graphics stacks. Android uses surface finger while regular Linux for the most part uses X11. Some distributions are switching to Valen, but neither of those is compatible and you can just connect it into a surface finger. But they're not all that different. They're all based on OpenGL these days. So there's a good chance that at some point someone will come up with a proper solution there. And as for the other operating systems, I don't really see why you would want to do it, but if you look at the VineGit repositories, for example, there's already code to support Android. So if you had some Windows applications that were built for the right processor, which is currently rare, you could run them. And in terms of iOS, there's GNU step which implements a lot of the APIs and Swift is open source these days. So if people just implemented a couple of wrappers in between, there's a good chance it could work. If you have time, should we go to the Steve Jobs Theatre? We can go to the Apple headquarters and convince them to support open source? They would do no such thing. We can convince them. I'm a programmer, not a politician. Maybe you should run for Congress, or run for president or something. Don't you think you will have a chance? No way. I mean, even if I wanted to, which I don't, there's no way people would vote for someone who looks like me, for someone who talks like me. I think you have the real experience, everyday experience on the ground. They are living in another planet. Maybe you can make an app or software that decides for people what needs to be the politics of the future. Yes, right. I call it brainwashing 1.0. I hear Apple is really interested in putting that on their phones. They probably already have it. They just don't admit to it. They have control on a lot of Apple fanboy brains, that's for sure. How do we convert them? We need to... It's a good question. I still don't really understand what Apple's appeal is. I mean, their devices look good, but they don't hold up to comparison with other devices, if you look at the technology. I did a really cool video with the purism. They have this deviant phone coming out. They want to get the deviant phone to work. Do you think there's a good chance it's going to happen? It's going to work? That it's certainly going to work, but I think it will be hard to convince people to start using it because there's just too many apps that people have come to expect. They just need to have 3,000 customers and they can get it funded. It's just 3,000 guys that want to have a deviant phone. Then this is lost. Who knows, maybe it gets converted into 3 million users. That would be awesome. Yeah, I think we need some more diversity in mobile space. Would you like to send a message to all the industry and all the chip makers that they should all join the NARO? Yeah, of course. Everyone should join the NARO if you can afford it, of course. And not just that, even regardless of whether or not you're joining the NARO, please do open source drivers. They make our life much easier. And please don't ignore the desktop and laptop market the way it's always been done. You can see over there that it's possible to do something, so let's do it. Which property drivers do you really want to get open source right now? Mali is probably the biggest pain point because that's in most SRCs It's not even at a point where you can make a display work using pure open source stuff. Can you speak with a British accent and send a message to the friends at ARM? Hello. They already know where I stand on this and a lot of people inside ARM agree, but unfortunately their decision makers aren't there yet. I think it will be a surprise, that Christmas surprise this year will be an open source model. That would be the best Christmas gift to me ever.


Here's one of the great truths about success in any field. And of course, I'm going to talk specifically about building and growing your business. It requires a lot of things to do, right, a lot of essentially projects you have to complete and processes that you have to do on goingly to be able to reach success in your business. And the great truth that really what I've just stated is obvious, hopefully, but the great truth about all this is that it is absolutely doable. If you just take it step by step. It sounds so simple. And yet, I think many of us forget this often. Because I noticed that a lot of people get intimidated by in their journey of growing their business. And they get blocked, they get resistant. And I'll say you, perhaps you have experienced resistance, procrastination, anxiety in the journey of growing your business and it's almost always because you have forgotten that by taking it step by step, you will get there. The other part of it, of course, is that you may be somehow thinking about it as taking a lot less time than it does. And here's the reality of it is that nobody can tell you how long it's going to take you to build a successful business. So if you are listening to any, you know, business hype expert who says, Ah, you can make six figures in the next three months, six months, one year or whatever it is. I wouldn't listen to that promise or that advice or that possibility. I mean that possibility is true. But I'm going to encourage you to focus every single day or whenever days you work during the week to focus on enjoying the steps along the way. We block ourselves, we stop ourselves, because we are too obsessed about the vision, the end goal. And we see how far it is. And by seeing how far it is, we get intimidated, and thereby we procrastinate, we stop ourselves, we feel anxious, we have self doubt. Because we keep looking, because we're looking at that giant gap between where we are now and where we want to be. But you know that where you are now to your vision of success is simply a series of steps. You might say, Well, I don't know what the steps are. That's not true. You know what the next step is. Even use it know George, you've talked about that the fact that we probably should be running some Instagram ads or Facebook ads. Well, I don't know how to do that. It's true. You know the next step is literally spend 15 minutes to learn a little bit about that subject or something of that skill, or spend one hour to study a course or a YouTube video or a book or whatever it is you choose to use as a resource for learning about that. You see what I mean, like, it doesn't matter what the goal is, or the problem is, the next step is always available to you. And like I said, sometimes the next step is simply, Oh, I need to learn what the future steps are for this. So for example, let's say my goal was, I'm going to go to the moon. Okay, I'm going to build a rocket company and go to the moon. I am no rocket scientist, and I certainly don't have anywhere near even a smidgen of the amount of money needed to to build a rocket company go to moon. This is a silly example, but it's still an important one to share. If I wanted to go to the moon. I saw I can't get some possible I can't I can't do it. If I'm really dedicated to the vision. If I am committed to taking the steps there, then my next step would be, okay, I need to go to Google and research. What does it take to build a rocket. So then I discovered what the steps are to build a rocket. Now I don't have the materials. I don't know how to do it. I need it obviously at least a scientist or it's not a whole team of scientists. You see what I mean. So, step by step I'm going to close the window here so you don't hear the noise. So, but you see what I mean the next if I were committed to that vision the next step is to learn how to do it. If you are saying I completely don't know how to build a business. What the next step is, go to Google and search how to build a business, and you start learning from there and as you learn from there. You'll see, oh, well different people different experts have the different vision on how to build a business or different processes for how to build a business. So when do I resonate with okay resonate with maybe resonate with George cows vision on how to grow a business. Okay, well then let me see what blog posts I can read from George to better understand this and we see what, you know courses you can take from me to understand, whatever if you choose to go in that direction but there is always the next step if you don't know how to do it is to learn how to do it and when you learn how to do it you'll say, Oh, now I understand the landscape now I understand the overall overall map. So here I am to being there. The first step was to learn the map. And then the second step is to take the first, or the first step really is to learn the one map and he said I don't really resonate with that one map. Well let me find another map. So you know that the first step maybe to learn to find several maps and see which one you resonate with, and then take the first step in that map. That's it. By step, you can literally accomplish anything you want. Now, so that's, that's the first deep truth that I want to share with you in this video that has been very. It's been a companion to me all these years that has led me here. Really whenever I have a problem in my business, even in my life. My instinct is to just take out a piece of paper or these days I just write on my phone, but I open a place to write, and I write down what I think the next steps are. And I think a lot of you, I don't know. My guess is that a lot of you don't do this. Maybe when you have a problem or you have a goal that you feel intimidated by yourself doubt.  Instead of saying, I want, I want something, but I don't know how to get there. The next step should be to open up a piece of paper or your phone note or something to write what you think the next steps are. That's it. Write what you think the next steps are even at the next step is Google this problem, and learn about one possible map from here to there. That's it. And then take take one step on that map that map resonates with you. I have essentially followed this very simple plan to get to where I am today, which I'm grateful, very grateful to say that I have a very good business. Working reasonable hours, I have plenty of breaks and self care and balance in my life. I have plenty of rest. And, you know, so it works. And not just me. You ask any anybody who is successful in any field, and they're likely to tell you, Well, I got here through a series of steps. And of course, get very lucky, and maybe somebody makes them famous or something like that, but most of us, like myself included just had to take a series of many, many, many, many, many steps to get here. And there are no such things as mistakes or failures. If we understand that it's all steps. Every step, we learn something. We learn more about what the next step is, but we had to take that step in order to learn what the next steps are we we could theorize what they are we can learn what we think the map is but once we take one step, and we are at a different location. It looks different to us, at least slightly. And we had to feel our way into. Okay, does the map still resonate with me. Oh, it doesn't resonate. Okay, let me find a different map or let me consult a different map maker, or someone who has already been there, and find out what they recommend as the next steps. So that's the first truth. The second truth I want to share with you is, you know, what I've just said is fairly standard success advice, right. And motivational advice, productivity advice, pretty standard stuff. What's next though, is, I think a bit deeper, and you'll less you'll hear less about this out there, which is that each step we take has a deeper opportunity, the more valuable opportunity to find our higher self in that step. The simplest way of saying it is that with each step that you take each day that you live each hour that you work each minute that you work. The opportunity is there for you to bring more of your higher self or spirit into the moment. That is actually the more valuable use of the moment. You might say, this step I'm taking is valuable because it gets me to the goal. This moment is an opportunity for me to get closer to success. Yeah, that's true, like I said, in mainstream standard success advice. I invite you just to just consider a little bit of a deeper perspective and say, okay, at the one level, each moment each step each hour of work each day is an opportunity for me to work towards my success. Yeah, standard stuff. At the deeper level, each day, each hour, each moment has a more valuable opportunity for me to bring just a little bit more of my higher self into this moment. And by doing so, I am actually growing in the most important way possible, which is my personal or spiritual growth. I believe it's more important than professional growth. Because if we work on our personal and spiritual growth, the rest tend to sort of self out, we become more joyful, we become more purposeful, more patient, more compassionate towards ourselves and towards others, more diligent, more persistent, and thereby and more creative, thereby, we can solve all problems in our life. We can reach any goal that we commit ourselves to. So the mantra, I'll leave you with, as you take each small step toward your success. Step by step is the basic mantra, right? Step by step will get me there. Each step reveals more understanding, right? But a deeper mantra you might try on is something like step by joyful step, step by gentle step, step by step with my higher self. So with this, you now have the simplest formula to success that I can share with you. Step by joyful step will get you there. Knowing that every step, each moment, each second of every day, there is that deep opportunity, always, always, always available to you, just as available as long as your heart is beating, as long as you're still taking breaths. Every breath, every heartbeat is a moment to once again, once again, once again, bring just a bit of your higher self into the moment. In doing so, every moment is meaningful. And the steps you're taking is just a stage. It's just the surface thing you're doing. It looks like you're working on your business, but really, you're working on yourself. And just step by step, yes, you still have a business vision. Every single step of the way, you can enjoy it. Every step of the way doesn't have to be scary, intimidating, anxiety provoking procrastinating whenever you are procrastinating or resisting, you just have to temporarily go. I have temporarily forgotten the purpose of this moment. Let me now revisit that and just take the next doable step with a bit more of my higher self involved. I wish you well. I wish you joy and gentleness, compassion, patience and diligence and trust as you keep taking the steps toward your success. Be well.


And we're live here at the MIT Media Lab. I'm Dazza Greenwood, a scientist here in the Human Dynamics Research Group. And I also run law.mit.edu. And of course, this is our very favorite week of the year when we run the Computational Law course. And as part of that course, I want to introduce everybody to a colleague and a new friend, Christina Kochloff, who's director at UNI Global Union, in the Union space. And you're responsible for kind of everything related to the future of work there. And we've been talking the last several months as part of different affiliations and collaborations through the Media Lab and other partners about very interesting work that you've been diving into with respect to workers' data rights. But just to get into things, maybe could you introduce yourself and talk a little bit about this future world of work. Well, thanks, Dazza. And it's right at UNI Global Union, we are Global Union Federation representing about 20 million people from around the world. And we have offices in various regions of the world. But I'm responsible for everything on a global scale in relation to how is the world of work changing because of technology? What is the world of artificial intelligence, data? How can we see that job profiles are changing, we and upskilling? What does this mean to our social security systems, our welfare policies, and all that? So that's the work I drive on multiple levels. That's cool. I'm sure you're very, very busy now. So the reason why I wanted to invite you to help make this video and to get a few points across was primarily about this initiative or I guess on program that you launched and we've been talking about related to workers and data rights. So data is something near and dear to the essence of the research we do at the Media Lab on human dynamics. It's very much part of understanding how the law is transforming to becoming this sort of like next generation cyber enterprise. What does it mean from the perspective of workers and just of that essential part of life in the digital age? Well, this was exactly the entry point to all of this for me. It was by saying we have all of this data that is being created continuously. No matter what we do, we walk down the street, we take the bus, the plane, we use our credit cards, we shop on this and this e-commerce site. You know, we work in this direction, we have that bank. Everything we do continuously is creating data. And then we started hearing about something called management by algorithm. So how algorithms, how data is being used in human resource processes in companies. So in the hiring process or who gets fired, who gets disciplined, who gets a pay rise and who doesn't. And then you have to ask yourself the question, well, hang on, what data are they using here? And where are they getting it from? And what rights do the workers or the applicants to a job have on all of this data? So I started a couple of years ago looking really deep into this and was quite shocked to find out in the beginning that no law across the world on data protection includes specific paragraphs on workers' data rights. Oh my. None. So this was a huge regulatory void. And then you start thinking, well, you know, is it particularly different? Is there something we should be interested in? Then I'd like to ask, firstly, the people listening to this is going to take a couple of seconds here and consider would you have the job you have today in an algorithm that hired you? Wow. Okay. So that really brings it home. Because I got to assume that most people right now would be thinking possibly slash probably not. And where does that leave us as a society and an economy? And where do we go from here? So to the extent that algorithms are certainly useful. It's the essence of computation. What do you, what questions would one ask even just to start to frame this so that we could begin to arrive at a framework that could work for everybody? Let's start with workers. Yeah, exactly. I think and workers, you know, I just want to say something here. Who's a worker? You know, a lot of people think a worker is somebody who's in a factory. Somebody who has a casual job somewhere. But the actual fact is the majority of us are workers. And I think we have to remember this because we kind of seduced into thinking, oh no, I'm a knowledge person. I'm an expert. I'm a specialist. I'm not a worker. That's exactly what you are. And I think this is something we just have to tap into. And to answer your question of what questions should we ask, well, we need to tap into the state of play first. And that is very much that currently the data that you're giving away when you apply for a job. Just think about that.  In many countries you have to state your age, your gender, your address, your email, your phone number. Now all of this data is kind of used a lot. And just to pile on, pile on increasingly as a condition of surviving an interview to be hired, your Facebook account, your social media. So it becomes this 360 degree virtual dossier. And it's the dossier that keeps on giving. Because of the continuous connections in our lives. And so I don't want to break your strides, but it really is profound what we're giving up. What we're giving up is profound. And to be honest with you, I think the majority of us have sleepwalked into this situation. We never really thought about why was Facebook given to us for free? Why was LinkedIn free? What is it we have been giving away? You know, my grandfather used to say, never accept anything for free because it costs too much. Well, there you go. And I think we're waking up now to realizing what these costs potentially are. And I think what you just said there that we're giving away a lot and it forgets its own life. Now this is the really important point. Because how a company is actually analyzing your CV or your data. What is it they're looking for? Are they looking for opinions or likes you do, the connections you have?  Are they environmentalists? What does this say about you? So suddenly interpretations on who you are when they might be right or they might be wrong are being made. And you don't know. You don't know what are they looking at? What is in what is out? What are the buzzwords what aren't? So this is just one tiny example in the world of work in relation to this, but the question is much larger than that. The question is who owns all of this data? The data that we produce as citizens, as workers, as workers as we work. How many, how quick are you typing on the keyboard? How many products do you manage to sell? How much service do you manage to give? How often do you leave your desk? Every single movement is creating data. Where does it go? Who owns it? And you know, I spent a lot of time trying to find out, you know, follow the trace of data. Who owns it? And of course you can't. It's not a tangible good. But I spoke to a couple of insiders. They felt it wouldn't be one the previous Chief Technology Officer for President Obama, and then Reid Hoffman, the founder of LinkedIn, and they independently said to me that the Big Five owned, probably on control, 60 to 70% of the world's combined data. Oh my, oh my. So we're creating a monopoly of data. So that would be a digital oligarchy, the likes of which, you know, haven't been seen really in any prior empire. Empires have always been, you know, pretty focused in the continent. 60 to 70% of the essential asset of the digital age is significant consolidation of power, ownership, and control. Exactly. And to a degree that is, we've never seen this before, of the significance of this, because what is data essentially? It's information. Or it's knowledge, right knowledge or wrong knowledge. But it's creating a superiority that is beyond even the touches of governments. So, you know, we're having a monopolization of technical power, of knowledge, of social power, of economic power, and essentially also power of democracy. Yes. So that was a nice context there. So let's just say this is relevant, it's timely, and there's a sense of urgency. I would add because as we move forward through this transition phase into the digital age, options narrow. And, you know, things that are patterns and, you know, conventions solidify into rules and architectures that become resistant or almost impervious to change. So, while we still have some freedom of choice, while we still have some agency to be active participants, individually and in different groups and in society, and how to structure the role of technology and how to structure our environment. So it's the environment we want to inhabit. What are the main questions you think we want to, that we should be asking right now? Yeah. And I think, you know, your sense of urgency is dead right. And usually I say we have two years to get this right. I'm shrinking that down to one. Okay. So I think, it's super. Let's go for it. I think we have four or five really, really main questions and it would be great if this group would discuss them. Okay. So just as a quick, kind of, Boche to the crew in the computational law course, what Christina just said is the questions we're about to pose are your homework in a sense. Okay. So there will be a test, a test of your metal, among other things. But we're going to be asking you, in fact, I am here by asking you as the teacher to go into the pigeonhole on the page for Christina's talk and start providing your answers to these questions and vote the answers of other students that you think are particularly worthy of our getting some feedback on as we go forward in this dialogue. Intervention concluded. Let's launch into the questions. Okay. So about that too, but you've got some big things to do. So, I mean, we've outlined the count paradigm, the huge information, the symmetry, this data ownership, the model of data, it's unfair that it's uncontrolled. So my first question would be, you know, this is almost an existential first principle. Could we imagine a different way? Could we imagine that all of this around data, around AI, structured, governed, around other principles, then kind? Okay. This is the first big question. Now, if I can give you a little bit of hints on what you could think about is, could we imagine an ownership which is more collective? Could we imagine a protection of data around the human rights foundations or the declaration of human rights? Correct. Could we imagine that we actually didn't change anything? Could we imagine a model where we're paid for our data? So just think really broadly about, if we want to change a paradigm, on what principles should we do that? Okay. What else? Then, keep that idea in your head. You know, do a little mind mapping on, what would the nightmare scenario be? Where could it go wrong? You know, where would this ideal situation was used for a student dog? Where are his weaknesses? Where could he be exploited? Now, what would be the unintended consequences of this model, right? I think that would be a really good second thought. Okay. Two unintended consequences. The unintended, the nightmare scenarios. What, you know, let's say we created a new paradigm. Would it, for example, ask yourself the devil's advocate questions? Could this lead to an increase in inequality? Could this lead to an increase in the wealth of the 1%? Yeah. Yet you're trying to do the opposite. So just think about, play the devil's advocate. But then also, really think about what would be the benefits of your paradigm. So, I could pose, from my point of view, as a unionist, you know, I believe everybody should work. You know, we should keep people in work. Artificial intelligence, great. We can work with that. We can change our tasks. We can move. People should work. What would happen with the social cohesion in our societies if a lot of people were unemployed? So that's my paradigm. I'm going to go in and create something and data around that. But what's yours? And what dream scenario are you creating? Okay. So number one, what is the appropriate kind of, I'd almost say like a high level framework. Number two, what can you imagine with the unintended consequences? Maybe like how can it backfire? Number three, what would it benefit? Oh, through so. So not only how would it backfire, but also what are the benefits? And then here you could point at anything. You could point at the benefit for the local community, for the economy, for the environment. It could also be on a balance scale, what could be the benefits for global growth and equality and sustainability. So pick your thing. Okay. And then enough of the brand thinking and then down to how do we actually go about this? If you want to change a paradigm, what legal changes, what institutional changes need to happen? What technically do we need that we don't have or maybe we do have but need to apply in different ways? What socially will need to change more? I think big questions, but pick and choose. Just keep this a good thing. And then of course comes a question that is essential. And this is the fifth point here. It's really essential for this class, I think, is how do we engineer the legal responsibilities and relationships around this? Do we have to change competition law, for example? Do we have to find new ways of defining human rights? Do we have to find new ways? So what relationships, roles, responsibilities in a legal framework fix your new paradigm? Okay. So I think we've got a nice assignment here, basically. Can you postulate a framework, basically, that kind of old saw, if you don't change directions now, you're likely to end up where you're headed. So we've postulated some not very good aspects of the direction we're headed now if there's just a linear extrapolation. We indicated there is an opportunity for course adjustment. So I feel like in that framework, the first question is, if we were just course, what would be the landscape in this other destination? Describe it a little bit. And now we come into some questions about what's the pros and the cons, in a sense. What are the risks and the costs? What are the benefits and why would we value this more? Prioritize it. Questions two and three. Number four gets to navigation to this new destination. So how would one begin to manage to catalyze and then to make it happen? There's so many aspects of that. There's the economics of it, social ethics and so forth. You sort of mentioned legal in there, but I want to suggest maybe go light on legal on number four, because finally now we come to deserts for legal hackers anyway and for law.mit.edu, which is of course, can you postulate the, let me go to this camera, here we go, can you postulate the legal framework that would support and reflect this proposed new destination? And there's so much to that. There's particular rules and regulations governing the workplace and hiring.  There's what lines of judicial kinds of rules could be extrapolated? What would the contract clauses be? And then what does it mean for interpretations at a constitutional level? Can we get there from our existing constitutional fabrics? Would we, some reinterpretation needed, some amendment needed? And then at the highest level in the sense or maybe the lowest level fundamentally, what is the social compact? What are the basic understandings and agreements that underpin almost like the philosophy kernel at the bottom of the stack? And so what a terrific exercise. And the way I would suggest doing it is you can team up with others, you can do it yourself, but I think instead of answering them in sequence, answer it in one big gulp. So just kind of hitting questions, one, two, three, four and five. And we'll work with you with a way to express that so that we can start to share different ideas and then kind of discuss, synthesize, iterate, evolve, present at the end of class. And I wonder if we could maybe ask the little favor of you. I know you're very busy and you've got a lot in your plate, but if we were to come up potentially with some interesting ideas, could we share them with you for your feedback? Absolutely. No, I would love that. And I think the more creative you can be, the more you can work on the benefits of this, what we'll have to change to get there, you know, the navigation, I would love to give you feedback on that and I'd love to also take that forward in my work and hopefully urge you all to do the same. So yeah, absolutely. Thank you. Good luck with the course. Appreciate it. The outlet has been thrown down, the challenge has been cast. Let us not shy from this. Good luck everybody. Let's go get it.


What's up players, what's going on ladies and gentlemen, Dan Whitmer from Zendu Fitness and today we are finally teaching you guys how to do the mummy kick. So guys today we are teaching you the mummy kick. I thank you for your patience because a lot of you guys have been asking about this. This is a staple of a lot of our Zendu Fitness workouts. So the mummy kick for those who don't know is just basically running in place while you're skipping the rope but you're doing it up on your toes the whole time. Like walking like a mummy. You know what I'm saying? You know? Get it? You get it? I came up with it. No I didn't. Okay, if you cannot do tricks like the mummy kick what I want you to do is continue to challenge yourself, watch these tutorials and build. Continue to try and learn the moves is what I'm trying to say but at the same time you don't need to be able to do these tricks to get a lean body. If you can do regular bounce and I've linked up some of our basic how to jump rope videos, if you can do those at a very high speed you're going to get the result that you want. So first and foremost having the regular bounce form down is the most important thing before you get into the tricks. If you guys like this video please go ahead and give it a thumbs up below followed by a subscribe. Every single one means so much to us guys. Every comment that you leave we do read those. We do reply to those so please let us know what you'd like to see more of and what tutorials. Please let us know what tutorials you would like to see more of. If you want a 10% discount on the rope that we use in every single video all the time it's the best jump rope on the market guys it's the cross rope it's linked up down here. We run a free four week challenge this growing community it's at like 5,000 now it's a lot go ahead and enter your email by clicking the link below filling out the survey and entering our free four week challenge where you're going to have four free weeks of workouts tutorials also just daily interaction from Brandon and myself. So if you want to start getting lean in 2017 I really didn't try to run that. If you want to get lean this year click the link in the email below and let's get after it y'all okay. Alright ladies and gentlemen so the first part of this trick is maintaining regular bounce form like I say in every single video guys your elbows should be in hands and wrists are jutting out to the sides of the hips the wrists are controlling everything and also make sure that the arms the forearms are bent at just about 90 degree angles as you can see here guys my upper body when I do these tricks is never going to move it's always going to be my feet some dogs barking next thing guys what I want you to do is practice bouncing on your toes without a rope because the mummy kick all we're doing is bouncing on our toes and alternating kicking our feet out so you're not running in place it's kind of like in a way it's like reverse running in place you're just kicking the toes out walking like a mummy if you know what I mean so practice this before you guys get the rope down and next we'll get into how to do the mummy kick so in adding the rope guys remember maintain your regular bounce form but all you're doing is kicking out so this is very similar again notice how my regular bounce form is staying the same it's very similar to regular bounce or running in place you're just kicking the feet outward now for those of you need to build more strength in your calves it might be a little bit difficult at first simply because it takes a little bit more just work to be able to bounce on your toes like that at a fast pace so don't be discouraged guys if at first this trick is a little bit harder or you're messing up because you're kicking your feet out okay the next thing I want you guys to notice look at how when I kick my feet out I'm coming up if you can see here when my feet come out they're coming up so that the rope can swing underneath my feet check that out I'm kind of like kicking up a little bit at something and that's what you want to think of when you're doing this because you want the rope to be able to clear your feet if you point your toes down chances are the ropes probably gonna get caught on them so as we go through here guys just add in the rope do it a little bit at a time again running in place is is another good one to learn and will help you with the mummy kick but guys as I say in every single video as well don't get discouraged okay keep practicing ask us questions in the comments if you have any ladies and gentlemen thank you for coming to this tutorial we'll see you on the next sanded fitness tutorial Dan Whitmer from sanded fitness ladies and gentlemen have a great one and we'll see you on the next tutorial