Welcome to Realizing Outcomes of Assessment, Decision-Making and Action-Taking, part of the Research and Assessment Cycle Toolkit offered by the Association of Research Libraries and made possible by a grant from the U.S. Institute of Museum and Library Services. This presentation is part of a module that focuses on reflecting, communicating, and acting on the results of library assessment. It describes possible outcomes of the overall assessment process. We hope the content is useful to library practitioners seeking to conduct library assessment projects. At the close of the presentation, you will find a link to a feedback form. Please let us know what elements were useful to you. To some degree, the process of acting on assessment results to make decisions and take action can follow some predictable paths that library assessment practitioners can anticipate and prepare for. For example, an assessment project that focuses on determining whether a library service, resource, or space is effective in producing an outcome, one of two possible conclusions are likely. Either the assessment demonstrates that the library service, resource, or space was able to produce the anticipated outcome, or the assessment doesn't demonstrate that the library offering produced the anticipated outcome. In either of these two scenarios, again, predictable steps might occur next. If the outcome occurred, librarians might be reasonably confident in deciding to continue the service, resource, or space, and if a strong correlation needs to be demonstrated, additional assessment can be designed to explore that. There also might be a desire to expand on the successful library offering or apply what is learned about that offering to improve other library services, resources, and spaces. If the outcome does not occur, then it would seem, at least based on the results, that the library, service, resource, or space was not effective in producing the outcome. Library assessment practitioners might attempt to explore what rendered the library offering ineffective or might consider ways in which something could be added to or changed about the offering to make it more effective. After consideration and possible changes, another cycle of assessment can be employed to see if anything has changed about the ability of the library, service, resource, or space to produce the desired outcome. This bifurcated process might be common, but it's definitely not the only set of possible decisions and actions that may result from library assessment. At the close of an assessment cycle, any number of other results or consequences might take place, including revising or informing strategic planning, prioritizing diversity, equity, and inclusion, ensuring library values are enacted in policies and procedures, setting targets for goals and initiatives, reallocating resources, supporting library workers, generating innovation, and or sunsetting services, resources, or spaces no longer serving a purpose to make way for new offerings. Sometimes an assessment doesn't end in any of these ways, but instead contributes to building support for a decision or action that might not take place in the short term but may develop later on. And while there is sometimes a degree of uncertainty around the close of an individual assessment project, most assessments are part of a larger and ongoing assessment plan that persists through an iterative cycle of assessment. The goal at the resolution of a particular assessment project is to do something, which includes thinking through and consciously deciding not to do something. The intent then is to make a change of some kind, perhaps in improving library services, resources, and spaces, perhaps in deciding with cause, not to act, or perhaps in increasing knowledge, understanding, empathy, or advocacy. The conclusion to avoid is doing nothing, improving nothing, understanding nothing, and communicating nothing. That may seem to be a common sense statement, but the assessment with no results in reality at all is more common than one would wish. Let's take a look at some of the outcomes of assessment described on this list. One way in which assessments can help libraries realize outcomes is through influencing or informing strategic planning priorities, activities, or processes. For example, assessment results may provide checks on the degree to which stated strategic priorities are attained. Results can also reveal that unintended consequences of strategic decisions are occurring, or provide insights into opportunities that may become part of strategic goals in the future. Likewise, an assessment could demonstrate that a strategic plan or activities within the plan can be rebalanced or re-aligned for better effect. Organizational strategy often seeks to align these components of taking action in libraries. The overall intent of strategy is to provide targets, goals, or values that both underpin and drive action, and then assure that there's alignment from what the library hopes to do and achieve through these elements listed here, including the library services, resources, and spaces provided, the knowledge skills, abilities, and dispositions of library workers, the gathering in of users, not-yet-users, stakeholders, partners, and colleagues, methods, strategies, delivery modes, and venues of providing library offerings, policies, procedures, structures, and processes, financial allocations, reward structures, and so on. Assessment results can check alignment throughout the organization towards stated and tacit goals and intentions, indicate where reallocation of effort or resources would benefit the attainment of strategic priorities, or identify new areas where greater intentionality around a specific focus or need could benefit, augment, or inspire change in an overall library strategy. Assessment results can also be used to prioritize diversity, equity, inclusion, and cultural competence in libraries. Depending on the assessment project, one result may be the ability to make changes to prioritize and improve diversity, equity, inclusion, and cultural competence in library services, resources, spaces, or the library organization itself. Of course, this is dependent upon the goals, structure, and deployment of a particular assessment project. If cultural competence and DEI concerns were not present in the study design, the results are likely to have diminished capacity or no capacity at all to make change in these areas. However, if a more refined, intersectional, and multi-dimensional assessment process was used, the results may point the way to making the library offerings under study more equitable or inclusive. It is also possible that some findings might be generalizable to other similar library services, resources, and spaces. One key reminder in this area is that it's essential that assessments not only include representatives of the individuals and communities that are the foci of the project from the start, but also that the participants and communities are included in communication of assessment results, subsequent decision-making that grows from the results, and ongoing dialogue and collaborative action going forward from the close of the assessment process. Another application for assessment results is ensuring that assessment learnings are applied to enhance or revise policies and procedures. Library documentation, policies, and procedures are artifacts that capture how libraries act in written form. Connected to library and institutional missions, legal and organizational requirements, and professional standards, library documentation has two audiences. External-facing documents serve users and partners. Internal documents serve library workers. Because they articulate and to some degree determine the ways in which library services, resources, and spaces are provided to user communities, policy and procedure documents should be reviewed and updated frequently, but oftentimes that is an ideal rather than a reality. Typically this kind of documentation sets the standards of service for libraries, the levels, limits, and priorities of services, library worker roles, and model behaviors or practices. All of these elements should be aligned with overall library philosophies, ethics, and goals. Again, because such documents often form the basis for decision-making, it's essential that they grow and change as the library, its environment, and its users do. Assessment can and should impact library documentation. As assessment uncovers, clarifies, or inspires changes in values, needs, or aspirations, both of libraries and their user communities, these changes should be reflected in official documentation and standard practice in libraries. Assessment can help library workers think through what changes to documentation and standard practices are needed, what processes can be put in place to ensure library workers are prepared for and adhere to resulting changes, and whether and how to plan for exceptions to the following standard practices. In these ways, assessment can help librarians walk their talk, so to speak, by checking in on official documents, making sure they reflect current values, needs, and intended service levels, and providing a mechanism to ensure that policies and procedures are aligned with service, resource, and space intentions and are maintained into the future. Assessment results can also be used to set targets for indicators, articulating goals and intended outcomes for library work. Library services, resources, and spaces are intended to achieve outcomes. Ideally stated in internal or external documentation, the goals of library services, resources, and spaces should be clearly articulated. Oftentimes, library internal documentation includes performance indicators that can be used to discern whether an outcome is being met. Indicators are concrete, measurable, and observable, and are intended to communicate what meeting an outcome looks like, or how we can know when an outcome has been met. Within an indicator, targets are used to quantify an indicator or mark an existing or intended change in an indicator. It can be challenging with new services, resources, or spaces to determine initial indicators or set targets, because indicators and targets are part of organizational documents and processes, sometimes including performance measurement of library offerings. It can be tempting to set targets for some level that seems easily attainable. Alternatively, there may be pressure to set a target for a more ambitious goal. Generally speaking, a good stretch target is a bit more than the status quo level. Determining reasonable targets can rely in part on historical data, in part on staff experience, and in part on user input. Usually, if the overall goal is continuous improvement, setting targets a bit better than your past achievement levels makes sense, though it's important to monitor that over time and reset targets as needed. Clearly, assessment results can be invaluable in engaging what targets are attainable and continuously updating and providing rationales for stretch goals. Assessment results can also be used to allocate or reallocate resources within libraries. Assessment results can reveal new understandings that inspire changes in strategic goals and activities, improvement of DEI efforts, changes to policies and procedures, new staffing models, new service targets, innovation or even sunsetting. Any or all of the changes indicated by assessment results may also require changes in resource allocations. Resources that might need to be reallocated or redistributed might include financial resources, of course, but might also include personnel, time, or effort. In this way, assessment can help align finite resources with what is prioritized and valued in libraries, based on continuously renewed understanding of library services, resources and spaces. Another way in which assessment results can help library assessment practitioners realize outcomes is through supporting library workers. Library workers, individually and as a group, are the most valuable library resource for making an impact for users and communities. Assessment offers an opportunity to reveal, concretely and in demonstrable and shareable ways, the differences library workers make in the lives of individuals. Having said that, reflecting upon whether we're doing things right, doing the right things, and learning more about whether what we think is right actually is right, is inherently risky. Continuous improvement involves candid assessments of whether what we're doing is working and for whom it may not be working, which inevitably leads, from time to time, to the realization that we're doing something that's not quite right or not right at all. This risk-taking can lead some colleagues to be uncomfortable with assessment, though most will acknowledge that discovering a problem and learning how to help rectify it is infinitely better than failing to find and therefore perpetuating problems. Sometimes finding problems or opportunities to make improvements can result in reallocation of library worker effort and attention. In some cases, that might be disconcerting. In other cases, library workers may have long wanted to make changes that assessment points the way to. In any case, when assessment impacts library workers' job roles or responsibilities, those changes should be adequately resourced, supported by professional development, and rewarded. Assessment can also help libraries realize outcomes related to innovation. Assessment can help libraries innovate to better serve their users and communities in a variety of ways. For example, in setting up assessments, oftentimes outcomes and intended impacts are more clearly articulated than they might otherwise be. By being concrete and intentional around stating the outcomes and impacts library services, resources, and spaces are intended to achieve, library assessment practitioners can help colleagues articulate what outcomes they hope to contribute to. Library workers can also be more mindful about the outcomes that the library would like to contribute to but isn't currently, either at all or as much as they would like to. In this process, library workers can think through any ways the library does contribute to these more aspirational outcomes and, even more importantly, what the library could do more of or do better at in order to increase the library contributions to such outcomes. In addition to helping generate ways the library could do something more, better, or tailored, assessment can also generate inspirations about new library service offerings, resource offerings, or space offerings that the library hasn't done before but would both align with the library mission and help users attain the outcomes they seek. If inspiration hits and ideas are generated to help libraries do things better than before, differently from in the past or even in brand new ways, library workers will want to ask some questions about those ideas, including what will doing something new or differently mean that we need to stop doing, and are we, as the library, the right ones to make the changes we've envisioned? Who else might make sense to collaborate with? In the map of likely assessment result paths, this innovation typically occurs in the segment it highlighted here, though inspiration for innovation could strike at any point. It's important to point out that it's actually a quote unquote failed assessment that leads to this particular innovation space. When a library service resource or space doesn't yield a particular or hoped for outcome, a problem solving approach and honest interpretation of assessment results can lead to ideas that can change the ability of a library offering to deliver on a particular outcome, or even an outcome that was not previously anticipated. As we know from Yoda, failure, the greatest teacher is. This is a good concept to keep in mind, especially when an assessment doesn't go as was planned. While initially disappointing, such results can ultimately become fertile fodder for innovation. In other assessment projects, an assessment of a library service resource or space may indeed demonstrate that the intended outcomes were achieved. Hooray, that's exciting. But it's also not the end. One way to extend achievement of outcomes from one successful project to a larger impact is to systematize that success. One can look for lessons learned that can be applied to other projects, but one can also innovate by moving from standalone successes to a more programmatic approach. If an isolated library service resource or space is successful in achieving an outcome or helping users achieve their outcomes, then library assessment practitioners and their colleagues might look for ways to make that isolated offering into a more intentional, scaffolded program that might be expected to similarly generate attained outcomes on perhaps a more targeted audience or on a broader scale or on some other plan for scaling up in logical ways. These clearly stated outcomes and assessment results that provide context and detail on successful factors, innovating from a single service resource or space to a more programmatic set of offerings may make good sense and help move from individual outcomes to long-term impact. Should a move from a single offering to a programmatic approach be the next step resulting from an assessment, a few steps are likely to follow, and library assessment practitioners may do well to prepare for these, at least generally, in their reporting of results. These steps might include a joint needs assessment, identifying gaps and needs for the conceptualized services, resources or spaces that the program may address, joint articulation of programmatic outcomes, mapping to assess the coverage or depth of the offerings envisioned, and anticipation of infrastructure training and communication strategies that would be necessary for the next steps of innovating from an isolated library offering to a broader program. Assessment results can also be useful in understanding the process of discontinuing services, resources and spaces. In some ways, this use of assessment can be considered the flip side of innovation, but in reality, sunsets both require innovative thinking and generate new and inspiring work in libraries. Sunsetting library services, resources and spaces can be difficult to reign. In general, library offerings are created to serve a purpose, and it can be hard to know when that purpose or need has been met, when an environment or users have moved sufficiently on from the initial need, when others outside the library might be better positioned to take on the work, or when room must be made for services, resources and spaces that meet new needs. Of course, assessment can help us know these things, or alternatively, know when those things haven't actually come to pass. An assessment may reveal that a library offering is no longer meeting its intended purpose, or it could reveal that it is indeed meeting those needs, perhaps in unknown ways, or for users that were not initially fully understood, or perhaps it is even meeting new needs that were not part of the original intent and are newly evolving. If a library service, resource or space has outlived its purpose, then assessment may demonstrate that a planned abandonment is in order. While sunsetting a library offering can be hard in a variety of ways, ultimately it can be necessary for a healthy organization committed to evolving to meet changing needs. Finite resources means that choices must be made, and priorities and needs shift over time and as library workers learn new things, gain cultural competence, embrace shifting technology, and a host of other internal and external shifts that require continuous change. Having said that, assessment can reveal what parts of a library service, resource or space can be decreased or ceased, which parts might need to be retooled or redesigned, or which parts need to continue, perhaps as specialized services for particular user groups or in collaboration with partners outside the library. Done well, assessment can be used to include library workers that offer a library service, resource or space and give them a role as well as agency in the process, illuminate the roles and interconnections of the offering under scrutiny, provide indications of what elements of the offering might need to be continued or redeployed in other ways, and offer information that can be applied to achieving similar goals through alternative avenues. Should a planned abandonment be the next step resulting from an assessment, a number of questions should be asked and answered, and library assessment practitioners may do well to prepare for these, at least generally, in their reporting of results. Among these questions are, what data exists about the use of the library service, resources, or space? Did we learn about why the offering is not actually or perceived as successful now? What would be missing if the library ceased the offering? What would the library gain? And what was learned about what it would take to improve the service sufficiently to delay or cancel a sunset? Of course, these are only some of what might occur as a result of an assessment or based on assessment results. Sometimes these concrete outcomes don't occur at all, or at least they don't occur immediately upon conclusion of an assessment project. So, what else might occur? Generally, the goal of assessment is to make decisions or take actions to change or improve practices, policies, or outcomes of library services, resources, or spaces with the intent of offering better experiences to users and an easier path for attainment of their goals. Sometimes that goal of assessment is achieved in straightforward ways. Other times, other things happen, which are productive outgrowths of assessment, but are also, at least in the short term, less clear cut. For example, assessment may lead to new understandings or ways of thinking about users, practices, policies, the assessment process itself, etc. Assessment may not lead immediately to action, but to the consideration of action that may come later. That's still a win. Some change happens slowly and requires cumulative information to make happen. Assessment may, and often does, result in affective outcomes. Participants in the assessment, library colleagues, and library assessment practitioners may all grow in their positive feelings towards assessment, the evidence it uncovers, or actions proposed based on the results of assessment. Assessment often generates improved connections with others, reduces uncertainty, and increases feelings of agency and empowerment. Sometimes assessment reveals that action is not desirable or appropriate, and in such situations, it's particularly important to communicate that the action resulting from assessment is an active decision not to act. And finally, nearly all the time, assessment ends an improved understanding of assessment itself, what it can do or not do, what went well or should be done differently in the next iteration, what assessment capacity exists, and where it needs to grow. All of these outcomes are normal and usually beneficial outcomes of assessment. Speaking of assessment capacity, the multiplicity of possible conclusions to a particular assessment project or process reveals that a number of skills might be required of or useful to library assessment practitioners. Among those skills are influencing with or without positional authority, monitoring organizational culture, understanding the motivations of decision makers, employing logical and persuasive reasoning, deploying strategies for calling for action or making an ask, using evidence, and embracing emotional intelligence, patience, and persistence. In this presentation, we've described a variety of ways to realize outcomes resulting from assessment and considered the ways a given assessment project might quote unquote end. In reality, assessment is or should be always ongoing. Assessment is cyclical. Viewed either at a project level or a macro level, assessment is, at its core, a reflective process focused on ongoing communication with users, colleagues, and stakeholders designed to generate continuous improvement. Ongoing and continuous. In a healthy organization, assessment continues to follow a predictable, though not always smooth, process through the assessment cycle. By following the assessment cycle, reflection and continuous improvement are ubiquitous during the processes of gathering, documenting, communicating, and designing or redesigning library services, resources, and spaces, bringing the library ever closer to helping users succeed in meeting their needs and achieving their goals. Thank you for viewing this presentation on reflecting, communicating, and acting on the results of library assessment projects. Please use the link provided to complete a feedback form on the usefulness of this information for your purposes.


Welcome back to Hawaii Is My Main Land. I'm Kaui Lucas, and today we're looking at the local fashion scene in a very special way. Right now at Aung Moana Center on Level 2, Maoka, is a new venture, and it's called the Fashion Annex. There's a spectacular show on right now with two local artists who don't necessarily usually do fashion in the sense that we think about it. Marcus Marzon, who is at the Bishop Museum, and Solomon Inos, who is wherever the winds take him. And they were brought together through Namea Hawaii, Miley Meyer, and through the Hawaii Fashion Incubator. So, wow, from now until October 25th, right, it's open noon to five every day. Every day, yes. It is a very different experience for Aung Moana. So maybe you could each, how did you get pulled into this, and why was it an interesting project? Thank you. Thank you for having us both on your show. It's a great opportunity for all of us to experience different things. Like you were saying, to have art being presented in a shopping commercial setting is a new way to understand what are aesthetically pleasing to people in the commercial world versus the community and a cultural perspective. So this is a wonderful blending of those two worlds. I had the opportunity to be a part of this just by coincidence. Miley Meyer called me up one day and asked me if I would be willing to showcase some of my work alongside of Solomon's work. And I said, I have time, I have some pieces to share if you want them, and this is what ended up. Wow, so her genius strikes yet again. Yes, it does. So Solomon, how did you get drawn into this? Well, thank you again, and thank you Marcus and everyone here for the opportunity to share it because it really is storytelling. It gets us into trouble all the time. I think one thing that was really important about this work was a call and invitation to acknowledge the fact that location, location, location, location. Bringing fresh water and fresh ideas from an ancient and sacred reservoir is such an important way to help to pass on wisdom, especially to parts of the city which I think folks need to really get Hawaii, really get it, especially because one day they're going to be it. You want to Malama Aina now because you're going to be Aina, right? So that real strong connection is so important. Sorry, it was a little slow on that one. My family, we all go to the kai, we don't end up in this kai.  And I think the need to bring and to help bring sustained wonder to as many lives and as many perspectives as possible is a really pragmatic thing. It's actually the best form of security is to make sure that everybody in your community feels a deep sense of wonder and love. The beatniks were talking about this forever, so it's nothing new. As have all the other indigenous cultures that learn how to make it work, how to sing the kinds of songs that allow you to dance with nature as opposed to fight with nature. The guys who fought with nature always lost. So all of that's encoded, that's all source code for both of our work. We have been working independently and this opportunity came along to bring these ideas to a location which you almost can't miss. If you're in Alamoana, you're passing through, the irony of the name Alamoana is very interesting too. I don't know who tried to explore that. But Alamoana is also going to look very different in like two to three hundred years. It's going to be the Malamoana. I'm definitely going off on a tangent. But it's really, really neat because as you're walking by, you get some really neat access to nutrition. And the story that I think we're talking about is an extremely hopeful one. Because it talks about the regrowth of sacred ideas, ideas that are deeply grounded in people who love their land. And when you look at our work, we'll see like, wow, these people love their land and you can come and experience how much we love our land through the stories that we wear. And when people go back home, they can love their land just as much and they'll never need to go on vacation ever again. The stories we wear, I love that. I actually have an ethical system for clothing in my closet and in the morning I work through it. I don't know if everybody, well, probably not everybody. But one of the great gifts of this show is I am familiar with some of these pieces because they were part of the Malamo wearable art show. And you said actually over a year. Actually all of the pieces in the current show at Alamoana have been on the runway in the Malamo wearable art show in various years. And starting as far back, I believe, in 2008 is the oldest of the pieces that are on display in the show. Okay, we have a little bootleg clip that I took from this year and we'll see that. So tell us what we're looking at, Marcus. So this piece that I created, the model Anu Heli, Thomas Anu Heli, is wearing this garment. But again, it's inspired by the Pe'ahit, the fan, the white fan.  But also the idea of movement and what a fan does, the moving of space and changing of space depending on what is around you. And what is it made out of? So the material is a raffia cloth. It's not from Hawaii, but it's one of my cultural heritage cloths from the Philippines. And it's a combination of myself, my different ethnicities, my Filipino ancestry, my Japanese and Hawaiian ancestry all combined. So it really is a true self-portrait of myself and to the world. So this is a dream come true to actually get to ask you about these things. I was watching and I had so many questions like, the pleats, pleats are so interesting. All of a sudden they're appearing.  What pleats? What about pleats? What's this thing of pleats? I think for me, pleating is the holding of time and space. The idea that it comes back and forth, ebbs and flows, ebbs and flows. And if a flat piece can be presented one way. And when it's coming and going and presented in that fashion, you see it from a completely different perspective. That happens to be my favorite cultural event of the year. That was fabulous. Anyway, so that's what they look like. But what's so fantastic about this show at the Fashion Annex, which is titled Reboot. Reboot. Is that you can get up close and personal and really look at the incredible hand work. And I have some images of the display that have labels on them. And as we go along, we can just reading the labels with very unusual materials like beetle wings. Pig intestine. All different kinds of materials. Felts. Okay, so this was, Solomon, I have to tell you, maybe you can't tell, but this kid is catching air. He was having so much fun with your images. Oh, fabulous. So he was jumping up and down and playing with the shadows. And he was just having such a good time. So that's what you just shared with me is the feeling that I had when I was drawing all of the figures up the wall. So one thing that really, and I'm so happy to hear that, one thing that really inspired me about Marcus' work is the nets, the interconnection between all of these different fibers and intentions. It's like how we weave together all of our dreams in the community. And then where there's phrase, where there's dissonance, where there isn't enough of a connection, a way to be mindful of that. I think that's what our good elite did. And our good community organizers did. We're able to look at the network of our communities and say, oh, your net is only going to work, you know, it depends on how many big pucas you get or not.  And that puca is just going to rupture. So I really saw those fibers. And so to be able to create one of the things that needed to be decided early on was because I have original artwork that just drew on the wall in the space, we had to choreograph a little bit of where some of those ideas would exist because I really wanted them to create a kind of a kinetic representation that would help to, you know, cohesively tie the show together at a glance because you have these figures that are moving right across the entire, you know, in different locations in the exhibit itself.  So when we are weaving together fibers, we are weaving together DNA. We are at cutting edge that says, you know, whereas the rest of the universe is mostly falling apart, we're putting things together. We're the exception. So it's actually, violence is actually completely natural. Meteorites are violence. Most of the universe is pretty violent. So to be lovingly weaving things together, we are rebelling against everything. We are the magic in the cosmos. The cosmos looks back at us and says, what is that? That's a weird aberration, you know. So we are the magic. And I think knowing that we can change realities and change stories and, you know, begins with knowing that I can change this fiber into something else, you know.   I have no idea how you keep track of all of those, but you've been taught by some. I've learned from different people over the course of my life, from kupuna, from teachers in school, from the university, from books, from collections, museum pieces themselves. Just looking at the kupuna things that exist around the world. And you get to do that because you're at ... And because I work at the Bishop Museum, I'm quite lucky to be able to have access to those kinds of things at my workplace, but also the ability to travel around the world and see those different things that exist around the world because not everything exists here in Hawaii for so many traditional practices. So I think it's a wonderful opportunity for young artists or people today who want to understand who they are, the connection to Hawaii to explore the world because the world isn't a place to go out and see and try and understand, but it's a place that allows you to reflect back upon yourself and understand you better, yourself better. Well, and let's just take a minute to reflect back on ourselves and understanding and we'll be right back. Thank you. Hi, I'm Crystal. Welcome to Think Tech, my show, Clock Talk. Normally airs at 10 o'clock on Tuesdays, but it's going to change to 11 o'clock. So don't miss it. It's an hour later. You can sleep in a little longer. Come with me and engage in some sensitive, provocative discussions on everything. It's all good, all right? Women's issues, things that people don't dare talk about. We want it on the table, so join me. Aloha. I'm Chantelle Seville, host of the Savvy Chick Show on Think Tech, Hawaii. This show is for you. It's all about inspiring and empowering girls of the future to do what they love, get out there and be healthy, fit and confident. If you're up for that, 11 a.m. every Wednesday, I'll see you there. Welcome back to Hawaii is my mainland. I'm Kaui Lukas with me here today is Marcus Marzan and Solomon Enos. They are the artists who are currently featured at the fashion annex at Alamoana. Alamoana Center's second level on the Mount Casside. If Nordstrom was where it was last year, you'd walk by to get there. Correct. I don't know how else to explain it. Perfect. So it's kind of an unusual title, reboot. What's that about? Reboot, it's the reference back to a computer to return back to the original formatting and starting it fresh again. So the base foundation from everything from which it starts. So that's so much of what we do in our work. Myself reconnecting to our kupuna materials, reconnecting to the different designs and then taking them into a modern context and relevance today, even though they're not doing the same thing as our kupuna in the past. They make a stronger impact and have a purpose for what we do today and make sure that we always reference and keep that connection back to our things, references to the past, but ensure that it progresses into the future. I thought that is right. I love that. I have so many images in my mind. Walking through there, I'm like everybody has to come to this show because of exactly that. So often in the Hawaiian artistic community, or however we want to label ourselves, there's like, well, that's not traditional. Or there's that one side. And yet how to be really true to what's moving you and your history. I think this is, I've never seen such a stellar example of this between the two of you. And just as you were saying that our culture is like in this area, this clearing of light, and it's this light. And it disappears off into the darkness. And if we tug on it, that's our ancestry. It's all there. Even though the line, we can't see the line. We know that line goes on forever. So that we know we have that culture. And it's somebody's been at it and it's been a bit jammed up. So when we've got to reboot, what does the kupuna say? They say, don't just go up to where the pelikia started. Go before. Go back and undo more of the lay. And then when you redo it, you start before the problem happened. So you make sure that when you weave back into the lay, it's only the best stuff.  And then if there's plastic and glass and aluminum, you've got to weave them in there. We'll do it harmoniously, but weave it in there and make it beautiful and do it right. But it is a real, it's like they're almost in the reverse of follow through. It's pre-follow. You know, follow through. I mean, you follow through true, but you need the opposite of follow through, which is a really powerful beginning, a returning to begin. Also, it was meant to tie into something really quickly like that. It's really important is the stories that we wear.  And that's what the, all throughout the show, you'll have humans linking together as part of the background artwork that they created, you know, in the space, which I took about a day to do, so it was lots of fun. But I decided to say, well, actually it's really going back to the original, to the foot, the original design of the foot and thinking about then coming back to this sense of, you know, non-naike kumo, you know, look to the source, coming back to this idea of trying to understand, you know, the true nature of what it means to be human. And maybe redesigning, maybe it's not about redesigning a better sneaker. Maybe it's designing a better world, you know, for your feet to walk in that you don't have to worry about stepping on glass. You know, not a better sneaker, but a better community to walk in, you know, and then extending that. And to bring that out really, really quickly, back in the quote, is that the idea that, you know, people are wearing stories where our kupuna could tell you where this fabric came from and where this lei came from. And they could, all night, it would unravel like an entire ecosystem of stories could come from a single object. I don't really know where this shirt came from. Actually, right. Right? I don't really know who made this shirt. I don't know if they're okay. I don't know if they're safe right now. You know, so I think that the idea of there will be a time using all of the reality to be able to look at somebody's clothes and like text and narratives will come flowing off of people's hats and things, not just a stupid price tag with a number. It'll be like this hat was made by a family who were safe whose children are living in a system that's getting safer and safer every day. And I'm going to continue to believe that. There's a lot of text, but we can make it cool. You see. And thank you for that vision. I try in a very small way to do that in my world. This jacket was made by my cousin. And talk about the story that you're wearing. What are you wearing? This shirt actually was made from a good friend of mine, Tutuvi. Yeah, so she's wonderful. And I'm very supportive of all that she does. But again, I think what Solomon created for the show, the entry wall of the foot with all of the drawings of different people connecting to one another, it's those points where they connect, which is the most special thing, especially in my work, all the knots, all of the points where things come together. Two different materials. Two different materials coming together and that energy that's created by the linking of those two things together is the most powerful thing that I look at in my work. And to see what he created on the wall, to see all of this network of figures all touching one another in different ways. It's just beautiful. And I think that totally pushes the message forward. So that green dress on the right, that's the one that is now pukka dyed and has beetle wings. Beetle wings. Now where did you get beetle wings? Well, you know, I source my materials from all over. Some of the materials are locally sourced. Some of them are from away. Those particular beetle wings actually come from China. Okay. But they were from dead. Yes. Yes, actually, those particular beetles shed their exoskeleton every year. So those are just the wings that are from the jewel beetle. They did not die. No beetles were killed on making up that dress. I thought you never put the stick on top of the stick and a beetle line on top and then you have, okay. I don't know like the feather. I feel like the feather. That's my cottage. The timeline that you were working with in those drawings. Oh my gosh. 40,000 years. Yeah, yeah. Well, you know what, and I thank you. One of the neat things about this project was that, you know, even though Marcus and I were working in different studios, I think the illusion is that we're working in different studios and it really is this broader idea that we're all, you know, we were all really working on things that how, you know, it's like almost like quantum entanglement. But, you know, so the work that I created, it's so, it's really based on a 40,000 year timeline that I started about 10 or 15 years ago. And it's a really simple thought. Like, what if I created an image of an archetypical figure that represented what the most important human would be every thousand years. And that, and it actually would then give us an understanding over 40,000 years how, just through fashion, through what they're wearing, you know, like in a very, in a Sherlock Holmesian sense, you could infer an entire universe from all the things that they're wearing and why they were chosen as the most important archetype for that millennium. And that would help you digest 40,000 years at a glance. I think that's the key, is digesting huge swallows of time because I think that's what the shamans, and within all our cultures, they thought of things in millennial sweeps of time. So, and this is a figure from the early days. Yes. And in the later days, you allowed for the morphing, substantial morphing of the body. Oh, we're not done cooking yet. We have all these forms to get to transform into, and I'm a really big fan of looking at science fiction as like a splint to help to realign what maybe got disconnected about our own culture, a slightly broken bone. Science fiction is a great way, almost like a cultural laboratory, to take the sawdust from something and to make a patch, to take bits and pieces of a material and to try to rebuild something. And that's kind of what I was thinking about because as much as I really would love to create animation, science fiction, video games, I mean, whatever, but enough for Pauli Fantastika, I also want to be able to come back to it and tell our traditional stories in as much amazing fashion and glamour and everything. And that 40,000-year narrative is really based on a simple idea of what would happen if Hawaii was never interrupted. And I even want to broaden it to say what would happen if all of our cultures were never interrupted and we were left to maybe meet each other in beautiful harmony. And we said, you head that way and I'll head this way. In 40,000 years, we'll meet up again. And when we do, we'll be like, wow, I got 40,000 years of storytelling.  And then it was a groovier way for people to come together and do almost an animist futurism. And I think based upon that kind of idea, that's why I'll never be bored.  It's a 40,000-year narrative. But what I love to see in the work was that I am like a theoretical physicist. You are the engineer, the technical physicist, the engineer, right? I come up with a theory and you build the Hydron Collider to physically see how would you build it because we're going to make our movies and we're going to make... My job is the artist and resident at the Hawaii Theater. So really I'm thinking about theater outside. We want three story tall puppets made out of recyclable and kapa coming down the street working with kids from the different parts of the Pacific where definitely whose voices are drowning. Horton hears a hoot. Horton's going underwater. Horton's being... Yeah, anyway. But really great opportunity to look at. And what I saw when those people were young men and women coming out dressed is this is the cutting edge of healing. This is the cutting edge because what we're seeing is not only does a culture come back, it thrives exponentially. And I think that is... That's the follow-through. Say Zoom! As if to solidify or embody that there's a great picture of the two of you and I didn't know until you guys came into the studio today with what the story behind that is. That was a picture of you two in the... Yeah, what is the story here? So this was just a dramatic moment that was just an amazing moment. I was bringing in my pieces to the space so that the exhibit designers could see the works and try to organize the things. Solomon was painting on the wall the foot for a title wall and lo and behold, we're both wearing the exact same shirt. Cala Pico. That is the ancestor sense of humor. Absolutely. Absolutely. I think when they find out the root of dark matter, it's humor. Mark my words. Humor. Douglas Adams was right all along. And he's still right. So just to recap, the show is going to be there until October 25th and it's open from 12 noon to five. Is it every day? Every day. And what's in the last two minutes? What is next? Who knows? What would you like to be next? What I'd like to do is to encourage people to remember where you come from and to always explore and innovate and be inspired by our things from the past, from the environment that we're surrounded by because we are a living culture. We're not just fixed to those things that were made from our kupuna, our kupuna made things and they innovated things. So the innovations that are kupuna made are the traditions of our present. So all of our innovations we create for ourselves today will be the traditions of our future. Wow. I love it. Okay, we have half an hour. Perfect. My goodness. Well, thank you guys so much and again everyone for the opportunity to share these stories. And I almost think like maybe today what we've done was providing a bunch of different combinations. It's sort of like we're trying to lock. We're trying to lock. And then somebody out there will say, we'll get the right combination. Like, oh, we've got it. We've got it. Because the key here is that there is a way to think about these islands as so much finite space. And there is a way that there's so many inches across these islands. And we can make every single inch mindfully woven together as harmoniously with every other inch of these islands. We can do it. And that we can be though. And that, of course, maybe it's the beginning of the upenada, the solid beginning and then we will weave this out globally. And I think the opportunity to then provide this as a template for how all cultures can reboot because we're all Native people to somewhere. And we're all Indigenous people of somewhere. And I think that identifying the way that we can weave ourselves and our stories together means, which is why, in fact, the idea of visualized world peace, we all need to be artists. We all need to be artists. Thank you, folks. Thank you.


is the story of a man who never belonged anywhere. Whose backyard is the world. The man whose ways of life are the dreams of escape for those who want action, but never find it. The man, John Steele Adventurer. How far down under the crust of the earth must you go to get an idea of the world a million years ago? I went down just about half a mile. It was far enough. Far enough, even though I had company, the kind of company any guy should like. She was a blonde. Oh! A gal named Eva Gaxon, or at least if you like her, may be the reason I never got around to marrying. The type scares me. It also fascinates me. Which spells danger any way you look at it. Eva happens to be a natural blonde, though I wouldn't swear to it. She wears her hair down to her shoulder and suits her that way. When it even looks like rain, she wears a trench coat. And you guessed right.  If she were an actor, she'd be cast as an American newspaper woman. The fact is, she is one. Every so often, I run into her. The last time was down in Valparaiso, Chile. I pulled in the day after they'd had a mild earthquake down there, and I met Eva in the most natural place, a boss. Well, tall darts, slightly gray at the temples, and not too bad looking. You're just the guy I'm looking for. You're very unpopular with me. Go away. Oh, just because you're mad about me. Be quiet. Somebody may believe you. Stop pretending you're not secretly in love with me. You and your infallible woman's instinct. I'll buy you drinks. I'll save your money for your old age. I should live that long. You may. You're lucky. Look, said he, planting one foot firmly on the brass rail, I'll break the news to you very gently. Oh, you've been fired. What? I'm married. You? Married? Yeah. And it's not funny. Well, how did this happen? Up in Panama. It's been that lousy moon. You've seen the moon before. They aren't a special one out that much. Who's the guy? Steve Courtney. You even had to marry a newspaper man. Seems to make sense. In Panama. But not in Chile? Married a monster where I want to stop. Lasted that long, huh? Well, never mind my troubles. Look, how'd you like to explore a thousand leagues under the ground with me, huh? Not even if you were not married. Have you heard of any? No. The earthquake did things up in the hills, opened up the entrance to some subterranean cave. I'd like to go exploring. They say it's not safe. One more quake, and the caves would close up again. And you want to take a chance? Oh, I don't know what I want to do. Oh, why didn't you marry me years ago? You want me to tell you? Never mind. I'm on the hotels and cafes. Within reach of man, a million years of long as old. A lot of people tried to speculate what might be found in the depths of these caves and how far down they went. Maybe miles under the earth, but no one cared to explore. Just the slightest primer of the earth could easily close off the cave entrance for another million years. Next day, either Gaston and a brand new husband viewed the situation of the caves from their personal perspective. Where have you been all day? I went up to see the big hole in the ground. Alone? Except for about 100 other people? Without telling me. Would you have cared to know? Maybe not. That's what I thought. In short, we make a pretty indifferent pair, don't we? It happened all for fun, didn't it?  Were you? To think you'd give up your job. I never said I would. Now, like a dream, couldn't I? Oh, please. Why should you give it up? There isn't a reason in the world. After all, you make almost three times what I make. It'd be silly to give that kind of money up, Steve. Of course, of course it wouldn't. I came up here to ask you something. Go ahead. Steve, I've never written my big story. I've covered big ones. I've had a few exclusives, but I've never written that one big one. If I could, maybe I'd quit then, quit while I was ahead of the game. Steve, maybe this is it, my big story, that cave. Oh, here it comes. Would you go with me into that cave?  I'm not crazy.  There'll be danger, all kinds of danger. Maybe we get lost down there, and never find our way back again.  And maybe, somewhere along the line, we find each other again. Let's not find each other again. All right.  I'm an offbeat girl, Steve. I never make much sense. Maybe I'm too romantic. I don't know what I am. What time do you find out? I'm about to, I guess. Eva Gaxon, an intrepid newspaper woman defies death to venture into the unknown. Eva, you make me sick.  Story of Steve Courtney, third-rate reporter. He married a byline, the closest he ever got to one. All right, Steve.  Goodbye, huh? Sure, sure, goodbye, Eva. Have fun. Courtney was your average nice guy. He did a nice average job. He could be depended upon. The world needs guys like Steve, but he didn't have that spark that Eva had. She was a top operator in the field, a first-class correspondent. Not always too ethical in what she did if it meant getting a story, but underneath it all, she was a good kid. Kid, she was 32, with 15 years of newspaper experience behind her. About 4 a.m., someone knocked at the door of my room at the hotel. It was Steve, and in a bad mood.  She's a dame. A dame knows she'll be rescued if she gets into trouble. A dame always knows that. That's why I despise courageous dames, because they know somebody will bail them out. Where is Eva? I don't know, but I can guess. And you're worried? Me? Worried about her? Don't make me laugh. When did you last see her? Midnight. She was on her way out. And you waited until now? I came here for last, John. I'm not worried. You may not be, but I am. She's gone to that cave, and that's where we're going. The beginning of danger and the peace of the unknown. There is much of these when, in a moment, we hear more in the story of John Steele, adventurer. It was dawn. A lot of people watched. Steve and I lowered ourselves down the walls of the big opening in the earth. About 50 feet down, we stood in the entrance to the first subterranean cave. It was as big as the Yankee Stadium, and there was the remains of a petrified forest in it. It was like looking through a telescope and getting an idea of how the world could have looked a million years ago. The air was cold and damp. The water dripped from the roof. Where did this cave lead to? How far down into the boughs of the earth did it go? What was down there? Eva! Come on, Steve. It's been crazy to come down here.  Yeah, yeah, come on. How do we know what's over there? We don't. We have a walk here before. Eva did clear tunes. I'll tell you much about it. Love and character. Yeah, yeah, so that's where you're part. Eva! Come on. We're having a red outside of those mountains. Please, stop it. That's what I thought. Just a sip, a little talk. Eva! Come on. We ran through the cave towards the sound of the screams. Maybe in another age, the police to see man had called where we now ran, but a saber-toothed tiger had hunted. But suddenly the cave ended, and we stood in the entrance to a subterranean tunnel and lost itself into a green duct. Our flashlight cast a sort of pale mist around us. Eva! Eva! Let's try the tunnel. Let me go first. We may hear a lot of queer sounds down here. That was an animal. If it was one, it makes no sense. Anyway, I've got it done. Come on. Oh, I can't go on. You've got no choice. I can't go on. I'm scared. Imagine what Eva's going through.  That can come later. Right now, we've got to find her. Suppose it wasn't an animal. Big one. Steve, there are no big animals under the ground. How do you know? What? I hang over from maybe thousands of years ago living in these underground tunnels.  I'm going back. I'm going back alone. All right? Oh, come on. No. He's your wife, Steve. I don't care. Okay, stay here. I'm going back. And go back. I'm scared. I know. You just told me. Don't go. Don't leave me here. Don't leave me. Stay around, Steve. Come on. And no further. As I said, Steve was the average guy. Only he was scared. He was out of his element. I was scared too. Only I was accustomed to being in jams of all kinds. That was the only difference. Besides, I kept thinking of that blonde hair. And I thought I knew why Eva had forced herself to take this crazy chance. I walked along the tunnel. I could hear water running. I figured I was about half a mile under the earth. Eva. Eva. Can you hear me? Say something. Somebody's coming. What? Where are you? Keep talking. Keep talking. I'm here. Just keep talking. I'll find you. I'll find you. It's okay. Hi, Don. Hi. Can we always make you the don this place? Don't we? Always. We never miss. Bring my thread with me. Here. Think of everything. Here's a light. Where you at? I like my pretty, pretty legs. Can't move. Don't try. Glad you see me. We'll have to figure something out, won't we? Hold it. That's so bad down here. Not so good, Eva. I don't mind. Crazy, huh? I don't mind it. I'm not even scared. Just now when I was by myself, I wasn't even scared. That's fine. No. No, you don't understand. You're not scared. I can understand that. That's not really what I mean. No. I'm kind of peaceful down here. Nobody around. All this rock is... Feel it, Johnny. So soft. Real soft. No taxi cabs down here. No subways. No new spaces. No Sunday drivers either. You don't know what I'm talking about, do you? I'm not sure. Who's that? I don't know. Where's Steve? He went back for help. No. No, he didn't, sir. Yes, he was with me. I was unconscious for a while. I started coming too much. I heard someone yelling at me. Steve. He was scared. Oh, it's all right. Why wouldn't he have been scared? I don't know. We've got to get out of here. Happy? There must have been a storm up in the mountains. The water's beginning to filter through down here. We've got to get back up and put that down. Why? The cause will be drawn. It's placed down here. It'll be further. Look at that water already. Falling onto a ledge. Below the ledge, there was a bottomless space. Above the ledge, there was a 20-foot climb to get back into the tunnel. There were places where you could hang on. David could still use her hands, and I somehow managed to pull her up inch by inch. And the result we'll hear in a moment with a climax of another adventure with John Steele. The rush of water over the ledge where I'd found Eva would have carried us both to oblivion if we'd stayed there another 10 minutes. In the tunnel above the ledge, the water was about a foot deep by the time I was halfway along it. I found a rock formation and hoisted Eva and myself up onto it. That was when I felt my hand come in the contact with some alien object, something small that fell apart as I touched it. I turned my flashlight on it. I stared at it for a moment. It had once been a small pearl-handled pocket knife. I was too exhausted to think much about it and put the pieces in my pocket. Eva was suffering with the pain in her leg. I know. I won't be. We'll have a doctor take care of those legs as soon as we get out of here. We're not getting out of here. Why not? I feel it. We'll get out of here. I hope so, for your sake. Thanks. I mean it's true you do. Because you went through so much trouble for me.  It'd be a shame if we didn't get out. Yeah, it would. For Steve. He may be trying to help us. No. No one can help us down here. They'll try. They'll give us up by now. Look. We have to get out of this tunnel. You can't carry me any further. Once we're in the cave, all we have to do is cross it and we'll be in the sound of the people up there. All right. Leave me here. Steve, you can make it. You think I will, lady? I guess not. Keep that in mind. No. I don't understand what I'm saying. Oh, what a mess I've got you into. The water's still shallow enough for me to wade. Last night. What about it? Trying it that way. What's the matter? It's not something moving in the water. It's possible. There. There, look. A log. No. It's always something alive. I don't know where. I'm not even sure. It was alive. It was. There was some sort of. Did you see that awful head? Whatever it was, it's gone now. But what was it? It may have been a piece of petrified wood. You know, pushed it into a real cougarly shape. No, no. It was making a sound. Well, maybe that was caused by some very unnatural phenomenon. No, no, no. The pain was alive. It wasn't very aggressive. We tried to make the other cave. Bring pain. Too much pain. But we can remedy that for a little while anyway.  But I must. This time her limb body was over my shoulders. The water in the tunnel was rising rapidly now. I was walking through places where it was knee-high. I was sure it was the end of the line. When I did reach the outer cave, it was flooded. It looked like the Colorado Rapids. I found another lock and lifted Eva up on top of it. There was a room for me and I stood there in the water, resting, getting back my breath. I will be all right. That was a long time ago. We're in the outer cave now. You know why I did this. In a minute, we'll try crossing the cave. All at once. We can still make it. Still, what are you having? What do you think? I think you're crazy about her. You're feeling much better. And your secret heart, you know it. Come on. Let's try it again. Don't make me again. I'll be okay, man. They've seen none now. There's not much pain. Hold on. Sorry, your head has to hang down. I have a good view of the water. I'm getting a free shampoo. For a few seconds, I grazed against the path of my free self submerged in the water. Once, my foot struck something that was rather than salt. I touched the object a second time with my foot and kept walking. I didn't want to think about what I thought. Halfway across the subterranean cave, I saw something at the far end. A white misty light swung back and forth. See that? They lowered a lantern. A lantern? A lantern at the end of it. We're all white, and we can make it the rest of the way. You'll be sure you'll make it, John. We'll both make it. I know. We've got to land. Don't worry about it. Sounds like another quake. John?  Stop using your imagination. Trying to kid myself at that moment. It was another tremor on the crust of the earth. I could feel the rot rind under my feet and could feel it shaking as I walked through the twirling waters. But I kept my eyes on that swinging lantern ahead. The opening above the cave entrance was still there, I was sure of it. But it could close at any moment, and even I would be trapped. Trapped into eternity under the ground. Another 50 yards? Sure. You're in pain again. What's the matter? You'll be all right, soldier. Don't fight it. I have a thing that starts with that. Nothing. Nothing. Nothing? Yes, sir. But he said they'll pick up some kind of letter. Just pull us up with it. Hang on, baby. Hang on. Just a while longer. Steel returns with more of his story. This transcribed adventure was Don Douglas. Script was by John Fleming. And the entire production was under the direction of Robert Monroe. And of course, all names and characters heard are fictitious. And any similarity to a person's living or dead is purely coincidental. But here again is John Steel. It was six months before Eva could walk again. And at that time, a group of scientists toyed with the idea of an expedition down into those subterranean caves and passages. But the rainy season had come and the expedition had to wait. All it took was just one more tremor and the crack in the earth closed again. That end is planned for any expedition for the moment. Steve Courtney didn't get back when he left me in that cave. It must have been his body my foot touched in the water. It's just one thing that baffles me, however. The little pocket knife I found. How it had got down there in that place? By human hands? Or in the stomach of some animal or reptile? When I show it to people, they just look at it, shake their heads. For me, I have no explanation for it. Oh yes, Eva wrote her big story. She's still a newspaper gal. I still run into it here and there. Well, this is John Steele. Be around next week, huh? And don't forget now, adventure is where you find it. But don't look for it. It may find you.


This is the second of two videos that looks at eigenvalues and eigenvectors. In the first video we have seen how to find eigenvalues and we write these as lambda. For each lambda, how do we find the eigenvector, an eigenvector that goes with it? We know that our fundamental equation that we're working with here is that when matrix M multiplies an eigenvector v, it just gives us back that v scaled by lambda. And another way to write that is that M minus lambda times the identity multiplied by v is equal to vector zero. This is the same equation written two different ways. What we need to know now that we have obtained our lambda values, we just need to look at one of these equations and figure out an acceptable vector. I find that it's more useful to use the form on the right hand side. Okay, let's look at a particular example. We'll have the matrix 2, 4, 1, minus 1. We looked at this before and we found already that its eigenvalues are equal to 3 and minus 2. What we're going to do now is we're going to take those values one at a time and figure out an acceptable eigenvector. We're going to write our vector that we need to find as just x and y where we need to find these x, y values. Now take a look at this green underlined equation and in particular the matrix which is a difference of two different matrices M and lambda times the identity. Now that we have our lambda value of 3, we could write out that difference, that difference matrix.  There it is. We're saying that when that multiplies our vector x, y it gives us 0, 0. So let's go ahead and clean this equation up. We have minus 1, 4, 1 minus 4 onto x and y. If we want to be explicit about that we can multiply out. It means minus x plus 4 y and x minus 4 y and that we know is equal to 0, 0. Now what we immediately notice here is that whilst this this equation between two columns, two column vectors, is telling us two things, it's actually telling us the same equation twice. So we can see here that we're saying minus x plus 4 y is equal to 0. We're also saying that x minus 4 y is equal to 0. That's telling us the same thing. Is that a problem? No. That's exactly what we want to see at this stage. We should find that when we work on eigenvalue and eigenvector problems based on a two by two matrix then really only one of these rows in the final expression constrains us and the other one doesn't add any new constraint. So this is exactly what we want. So now how do we go ahead and solve it? We're saying that minus x plus 4 y is equal to 0. Of course we can just rearrange this to say instead that 4 y is equal to x and that's the only constraint we have. What we're allowed to do is choose, we can choose, the simplest values of x and that will make this work. So I'm going to choose y is equal to 1 and then I'll find that x is equal to 4 and that is a perfectly acceptable eigenvector for 1 to go with my eigenvalue. We will always have this freedom in choosing the elements of our eigenvector. Really this freedom simply corresponds to choosing how long the eigenvector is. In other words it's magnitude because if a particular eigenvector satisfies our equations a scaled version of that same eigenvector will still satisfy with the same eigenvalue. Now while the eigenvector can have any length we might specifically have been asked for a normalized eigenvector. That simply means we need to take the one that we found and scale it to have unit length. So in this case since it's 4 1 we need to divide by root 17 to scale to unit length. Simple as that. So there we are that's our eigenvector and a normalized version of it. Now we still haven't found the eigenvector for the other eigenvalue which was minus 2. Let me just move this up on the screen to make space to do that at the bottom. So here we go we do exactly the same procedure.  Lots of minuses there. So let's tidy that up. That's going to be 4 4 1 x y is equal to 0 0. As before we see that really this is the same equation twice. There's only one constraint and we can read it off simply as x is equal to minus y. So if I choose x is equal to 1 for example then I'm going to write down an eigenvector 1 minus 1 or if I'd chosen y is equal to 1 then it would have been minus 1 1. It doesn't matter they're both correct eigenvectors to go with our eigenvalue but if we want to normalize we'll need to divide by the magnitude 1 over root 2. Okay so there are acceptable eigenvectors to go with the eigenvalue minus 2. Okay so now let's find the eigenvectors that go with the eigenvalues for our 3 by 3 matrix M which was minus 2 1 3 1 minus 1 0 minus 1 1 2. We looked at that before in the previous video and we found the eigenvalues which were minus 1 root 2 subscripts on our lambdas here so we know which one we're dealing with. Let's deal with lambda 1 first which is the one that has value minus 1. So I'll write over here the little equation that we're using over and over again which is that M minus lambda times the identity multiplied by our vector is 0. Okay we need this difference matrix so we subtract off the diagonal 1 minus minus 1 and then 1 3 1 and minus 1 minus minus 1 and 0 minus 1 1 and 2 minus minus 1 and that's on x y and z because we now need an eigenvector with three elements and it's going to be equal to uh we simplify the matrix to minus 1 1 3 1 0 0 minus 1 that again is on our x y z eigenvector is equal to 0 0 0. Now what we immediately notice is that as before we don't really have three different equations captured by our matrix equation we only have two. In fact this is very obvious in this case because the bottom row is the same as the top row. That's not always the case it's not always the case that the rows are actually identical but we will always find if we check that there are only really two independent equations when we're dealing with three by three eigenvalue problems we only have two equations really. Now I'm going to highlight this row here 1 0 0 that's just saying in fact that x is equal to 0 now if we take either the top row or the bottom run we have minus x plus y plus 3 z is equal to 0 or y is equal to minus 3 z. Okay so now we simply choose any values of y and z x has been dictated to us but any values of i y and z that satisfy these rows. So if i choose z is equal to 1 that's going to give me y is equal to minus 3 and I can straight away then write down a satisfactory eigenvector it will be 0 minus 3 1 as simple as that. It doesn't matter where the minus sign is I could equivalently have chosen z is equal to minus 1 and then I'd have 0 3 minus 1. If I normalize then I'll need 1 over root 10 that being 3 squared plus 1 squared and so that is a complete solution for our first eigenvector. We found it in simple form and in normalized form. This is the eigenvector that goes with eigenvalue minus 1. We can go ahead however and check this eigenvector to make sure that it works. So for that we'll simply need to write out our matrix m the original matrix which was minus 2 1 3 1 minus 1 0 minus 1 1 2. We have our vector 0 3 minus 1 we just need to do this sum. So the first element is going to be a minus 2 times 0 and then as a 3 and I see there's a minus 3 so that does give us 0 and our second element is the only non-zero element will be minus 3 and our third element there gives us 1 and we can write that as simply minus 1 onto 0 3 minus 1 and so indeed we found that this vector works with the eigenvalue of minus 1. Now we can continue to look at to find the other eigenvectors but first let's take a pause and review the steps involved. So we're looking at rules for solving eigenvector problems. Eigenvector problem is where we have a square matrix m and we say that m multiplied by some special eigenvector gives us back that eigenvector times just by a value the eigenvalue. We find the possible eigenvalues using this equation involving a determinant of a difference of two matrices. In general there are going to be n solutions for an n by n matrix so two solutions for a two by two three solutions for a three by three matrix that's because when we write the determinant it will have lambda to the power of n as its highest order so for example we have cubed to deal with when we're working out for three by three matrices. Now having found those eigenvalues we then for each value need to figure out an acceptable eigenvector. What we've noticed is that generally we only have to use n minus one of the rows in the equation that we're working to satisfy and that meant just one row in the case of two by two problems and two of the rows in the three by three problems. We had some freedom as to what values to choose for our eigenvector and in fact that freedom corresponded to just scaling the entire eigenvector to a greater or smaller magnitude and if we were asked to normalize we would simply work it out using whatever values we like the simplest values and scale it at the last step so that it has unit length. Okay so we've covered a lot of ground for one video and this would be a good place to just stop watching if you like but I would like to carry on and solve the remaining two eigenvectors for our three by three example. Because they involve a square root two they're actually a bit more messy and tricky to do and in a way I think that makes for a good interesting example to see. So let me go ahead and cut back to the screen that we had before with our matrix m spelled out and our possible eigenvalues and we'll now take the value lambda subscript two which is square root two. So then as usual we need to subtract that down the diagonal so we'll have minus two minus square root two one three one minus one minus square root two zero minus one one two minus square root two and that is the thing which when multiplied by our unknown eigenvector xyz should give us zero zero zero. Now one thing we notice here is the rows look all different. It looks like we've got three different equations captured in this matrix equation but they are not. If we examined them carefully enough we'd find that we could generate one of these rows from the other two and in fact we're only therefore going to need to use two of them. You could pause the video and play with it and see if you can show this but it must always be the case unless we've made a slip earlier. Okay so I see that the middle row has a zero so I'm going to start with that one. It says x plus minus two minus root two times y is equal to zero. That means that if I choose a simple value for y of one then I can immediately say that x moving across is going to be one plus root two. Good so now I'll use the top line which is minus two minus root two x plus y plus three z is equal to zero and I'll substitute in the values that I've already picked and inferred. So I'm going to get one plus root two onto minus two minus root two that's the x term plus the y is one plus three z yet to be found is equal to zero. Rearrange so put z on one side divided by third. Expand this thing out minus two minus root two minus two root two minus two plus one. All right oh and there's a minus sign because we've moved it all to the other side from the z of course. Now we need to tide this up but what I notice is that inside the brackets I have a minus three and a minus three root two and that will cancel cancel with a factor of a minus and third of front and just give us a very simple expression of one plus root two. So that's our z term. Okay we've found a compatible set of x y and z values so we can now write down an acceptable eigenvector one plus root two one one plus root two there we are. That is an acceptable eigenvector and here's where we found those numbers that goes with the eigenvalue lambda two is equal to square root two. Note that I use the same subscript two on my vector so that I make it clear that lambda subscript two goes along with vector subscript two. So now our only remaining task is to look at the third eigenvalue which was negative root two and find a compatible eigenvector for that one. So as always what we need to do is take the vector m and subtract that the lambda value we found off down the diagonal and because we're subtracting minus a minus number we can just add it instead of course so that will be minus two plus root two and then one and then three and then one and minus one plus root two and zero and minus one and one and two plus root two and that matrix when multiplied by our unknown eigenvector x y z will give us zero zero zero. Now as before our middle row looks nicest here it's just telling us that x plus root two minus one put it that way around y times y is equal to zero that means if I chose y is equal to one obvious choice then x is equal to one minus root two watching for signs. Now if I take the let's say the bottom row I can have minus x plus y plus two plus two plus root two times z is equal to zero but I can substitute in the values I found so that will say that square root two minus one plus one plus two plus root two z is equal to zero. Okay I've got some work to do to find out the value of z here I'll start by rearranging just to put two plus root two z is equal to minus root two on the other side but I still need to do a bit more work divide both sides I notice I can simplify simplify by a factor of root two I can write this as z is minus one over root two plus one pause the video and check you agree with me and then I'm not happy with that because I don't want to leave z as a fraction I could do but that would be a very messy looking eigenvector I noticed there's a trick in up I have up my sleeve I know that if I multiply the top and bottom over fraction like that by root two minus one it will simplify I will then find that the top of course is one minus root two but the bottom will be two plus root two minus root two minus one and that whole expression just comes down to one finally then z is equal to one minus root two we've now found our x y and z values that are acceptable so we're seeing saying that vector three that goes with the lambda three value is one minus root two one one minus root two that is an acceptable eigenvector so we're done for our three by three matrix m we found that three eigenvalues and for each of them an eigenvector the last two of these which involve the root two were more tricky just because there was more to keep track of more messy expressions but the basic maths is the same every time


And many, many young people, I think, find it very difficult to do that. What's up everybody and welcome to the show today. We drop great content each and every week and we want to make sure that you guys get notified and in order to do that you're going to have to smash that subscribe button and hit that notification bell and if you've gotten a lot of value out of this make sure you give us a like and share our videos with your friends. If you want to look at the happiest countries in the world you just find the richest countries for the most part and those are people when people say they're happiest but if you want to look at the countries where people say they have the most meaning in life you look for the poorest countries where people actually say they have more meaning because if you're struggling each day your work has a sort of meaning it doesn't have if you're fairly prosperous and protected. And so part of the question is what does one do if one's in a bullshit job and the glib answer is find a better job but you know maybe you can't find a better job maybe maybe or maybe you don't want to take the hit or you don't want to lose your health insurance or whatever so if you can't do that find meaning in other aspects of your life and you know and I have I have a lot of friends who live and have very rewarding jobs but I also have friends who don't have rewarding jobs and they go they do their stuff and then they do something else. Well I think we're seeing this with the great resignation you know we have more jobs available but more unemployed than ever and it's confounding a lot of economists around well wait a second we thought if there were jobs people would naturally take the jobs and we're now realizing that compensation and even happiness are not as important as meaningful work and for many meaning was lost once we had to work from home and we didn't have that connectedness we were just on screens all day. I wonder as a parent as you think through navigating raising children and this idea of happiness versus meaning you know how do you strike that balance and support your children as they navigate this I think it's easier for us as we are older to realize meaning in our life but for many of our younger listeners that search for meaning in the very beginning of their career is is very difficult. It's tough and it's particularly tough now um there are so many things trying to pull you away from meaning and purpose and sustained practice everything from you know Facebook to to Twitter to TV streaming services and everything we don't have to struggle for them anymore in this modern world I have my I have my iPhone next to me I could always check my email or go online and so on and so it's actually very difficult to get off your ass and put down these distractions and focus on something sustaining and complicated and causing some degree of difficulty and anxiety and many many young people I think find it very difficult to do that. Life there's just too many other other distractions and that's that's that's hard you know the book that's probably influenced me the most in my life is Mahali Chiksemi High's book Flow talks about sort of sustained experience when you're really into something you lose track of time you don't you forget to eat you just zoomed in focused on hard intellectual work but he does these surveys and a lot of people don't ever have flow in their lives they're always just you know just going around and never fully engaged so it's it's difficult I just appreciate the difficulty some things get you out of it music musical performance is a way of of getting a sustained attention focus sports certainly writing reading sometimes I'm early in the book you were you were laying out the argument of being able to explore and especially exploring these emotions in your mind and for myself I'm not into horror movies or anything like that however the music that I listen to is certainly on it can be very dour and it can be very dark and nothing makes me feel the way that that music does and for the average listener or somebody who just came upon it by chance I think it might horrify them where for myself I find it harrowing and and lifting and just so dramatic and and of course I think back to Wagner or some of the other more controversial artists whose music was so dark comparatively to to the other artists of the times and we're the first time there was a seeing a show live where I started to weep because of the emotions that I was feeling in in that performance and how much I chase those moments we drop great content each and every week and we want to make sure that you guys get notified and in order to do that you're going to have to smash that subscribe button and hit that notification bell and if you've gotten a lot of value out of this make sure you give us a like and share our videos with your friends that's such a good counter argument against those who would say well we just want to have happiness we just want to kind of boost up on the pleasurable emotions you know joy sexual satisfaction satiation you know exhilaration all those positive things it doesn't describe people we often enjoy sampling negative emotions we often enjoy sampling fear and regret and sadness in in the right doses in controlled circumstances but there's something um Michael Norton calls emo diversity which is the idea that that we we want to get a range of different emotions sometimes a full life involves getting this and that trying out different things so you know we you would imagine all of the sort of hedonistic theories of human nature would say we avoid being frightened because being frightened is bad and yet there we are going to haunted houses and seeing the most disgusting and terrifying horror movies or listening listening to songs that that you know that freak us out or make us cry so this is a wonderful case you touched on religion earlier and you think about all the great religions involve characters who suffer good amazing people who suffer and through suffering we come to worship them we don't go to movies to just see people experiencing happy for two and a half hours we don't go and seek out this entertainment that just is hedonistic and pleasure filled almost all stories that we share as humans across centuries generations cultures even have suffering baked into the storyline they have a hero's journey that we're drawn to do you feel that this is something that crosses all cultures and we all as humans are drawn to because you mentioned earlier you know some of the more happy cultures some some of these differences we're seeing and meaning even are cultural some things are cultural there's cross cultural differences in the sort of suffering people enjoy in the sort of pleasures people like there's also individual differences sometimes people don't like horror movies other people like spicy foods some people don't but there are also universals and I think you're touching on an important universal which is just like the lives we want to live require suffering and struggle the stories we want to watch and listen to and read about also involve the same thing you know you ask what is a story what does a story have to have to be a story and one answer I think a good answer is it has to involve somebody facing an obstacle it could be funny it could be the obstacle it could be a fun rom-com with couple friends get together it could be the most horrible Holocaust narrative of people trying to survive but you need an obstacle and this sets up the possibility of a hero's journey it but also sets up the possibility for somebody just struggling and as soon as you get to struggle you get the difficulty and you're on your way to suffering the obstacle doesn't even have to be surmounted you know Rocky finished the fight but he didn't win I don't want to run to spoil a lot of movies but some of my favorite sports movie they don't end up winning at the end but they they fight or not and it's interesting that that just catches us my favorite movie that ends that way is the bad news bears but the struggle that those children go through and what they learned about themselves and the connection that they had with their fellow teammates that they wouldn't have had without the struggle and the suffering of playing on this horrible baseball team and the only way that they were going to get to a place of feeling good about themselves is to figure out how to connect and win as a team rather than the uh be individually and I mean that that movie seeing it I'm 48 so I saw it at a very tender age which also set up probably a lot of wanting to connect with other kids as well and also feeling a bit of a of an outcast as that whole team was basically made up of outcasts and being able to see something that you could relate to and though I we can overcome together like we can we can become something that perhaps we maybe don't feel or are individually