Thank you, thank you so much for coming. Delighted to welcome you all here tonight. I'm Sara Softness and the Assistant Curator of Special Projects here at the museum. I had the great fortune of organizing the Brooklyn Museum's presentation of proof, Francisco Goya, Sergei Eisenstein, and Robert Longo together with its originators, Kate Fowle, at the Garage Museum of Contemporary Art in Moscow, and Robert Longo himself. The show obviously debuted at the Garage Museum, and it's on view here through January 7th, and tonight the galleries will be open until 10pm. So if you haven't seen it yet, I do encourage you to go upstairs and see it after this, or if you want to see it again after the insights we've gathered tonight. I'm really, really excited to introduce Hal Foster and Robert Longo, who maybe need no introduction, but I will attempt it anyway. Hal Foster, an eminent art historian, theorist and critic, comprehensive affiliations and achievements, I shall not detail, but perhaps suffices to say he is the Townsend Martin Class of 1917 Art and Archaeology Professor at Princeton University, his co-editor of October Magazine and, of course, an author. I think if any of us have taken modern or contemporary art history in the last few decades, we are likely aware of his brilliant and incisive and sensitive writing. In 2012, he contributed an essay to an overview of Longo's recent work called Charcoal, and his most recent book in 2015 is Bad New Day's Art Criticism Emergency. Robert Longo is, of course, our beloved Brooklyn-born artist in a powerhouse in the art world since the 1980s. He's consistently an indicator of the complexities and apocracies of American identity and politics. He's worked in a range of mediums, including drawing, painting, performance, sculpture, film, you name it. He's had an immensely busy year since Proof opened in Moscow last fall. He's presented new bodies of work in New York and London, some of which are in view upstairs. Of course, these works found great acclaim, and he opened a show in Finland, a project at Hunter College, and, of course, Proof right here. He's prolific.  So, after the conversation, we're going to have a short Q&A. You'll see microphones in either aisle. And I want to extend my gratitude to both of them for being here, so please help me welcome them to the stage. Helen, Robert, thank you. Robert, tell us about the idea for the show, how it came together, why these three artists in one space. I've known Kate Fowle about ten years, and she always wanted to do some project with me, and she went off to be this chief curator at the garage in Moscow, which is this amazing Rem Koolhouse building built in Gorky Park, and she had the ability to do shows there that were quite extraordinary. So she came to me and she said she had this idea she wanted to do a show of me, Goya and Eisenstein. I know I talked so much to her about art, and I talked quite a bit about Goya and Eisenstein. They had huge influences on me, but I have to admit that when she proposed this idea of putting me in the same lineup with Goya and Eisenstein, I was a bit like, what do I do, run the projectors, or hang the prints, or what exactly do I do?  She used these examples of how Eisenstein spanned basically two centuries, so did Goya, so do I. So she drew up a lot of similarities, and she's part of this generation of curators. I think she's responsible for creating a lot of these young, crazy curators out there right now, but she brought me into this project as a co-curator eventually. So when we tried to figure out how to do the show in Moscow, how do we get Goya's paintings and how do we get those really credible paintings, which will never be lent, and then I realized one night that I knew Eisenstein's drawings quite well, and I said, we all draw, why don't we do a black and white show where we do the prints of Goya and we show the films of Eisenstein, and how that all broke, what happened is that at that point my brain kicked in and I figured out how to do the Eisenstein, how to do Goya, and Kate, when I was about to say, okay, now I tell you what I want to showcase, and no, no, I pick your work. So Kate, so Kate figured out what work I wanted to do, so I had this idea of how to do Eisenstein and how to do Goya. So how did you select the work? Well, which, my work, or? Well, you just said that Kate selected your work, but how did you select the Eisenstein and the Goya? Well, the Eisenstein, at first we thought, like, at first we thought it'd be really cool to have Eisenstein in theaters, with orchestras, and stuff like that, and then I remembered, I worked for two structural filmmakers, Paul Sherrits and Hollis Frampton, and I saw a lot of structuralist films, and I remember, I think it was Ken Jacobs or one of those guys, they showed a film with an anamorphic projector where they could show pictures that frame at a time, and I remember playing when I played football, we had a projector where you could see things that frame at a time. I thought, I want to use this one of these days. So why don't we slow, we show all of Eisenstein's films together, slow them down to like a frame, you know, like every five seconds or something like that, so we could really see the pictures and the compositions, and show them all together so we would kind of like amp up the idea of the montage, and then through Kate's incredible team of people there, they found this film that I never knew about called Romance and Sentimental, which was Eisenstein's audition film for Hollywood. Stalin had sent Eisenstein to Hollywood to learn about sound, he hated it, and so I had this idea about slowing the film down, and we needed to talk to, I needed to talk to somebody who knew Eisenstein well enough to get permission to do this, so I met this guy named Naum Kleinman, we went to Eisenstein's apartment, where you're not allowed, the government doesn't allow you to go there, it's like we had to meet there secretly, and Moscow was like, I felt like I was in the born identity or something like that, one of those weird streets, apartment buildings, and we go in this apartment where it's all his stuff, and there's a drawing on the hanging on the wall, it's like this cartoon of Mickey Mouse, and it's signed to my dear friend Sergei, I signed Walt Disney, it was like, and then from this guy Naum Kleinman, we found out that Eisenstein had wanted to make a movie about Goya, and he told us about all this stuff that got Eisenstein's relationship to Goya, and then I finally said to him, like look, I need someone to give me the blessing to do this to Eisenstein's films, to slow them down to one frame, to 100%, and what do you think of this idea, and this 90 year old man who spoke great English just beamed, and this is great, Eisenstein would love it, it was really great, so I got the blessing for that. Now, how do we deal with Goya? There was, we looked in the museums in Russia for paintings, and we found this one, the Pushkin and Moscow had a Goya painting, so we went to meet the director of the Pushkin Museum, and we asked the woman in this, we went, one day the museum was closed in this grand room, we asked, can we borrow this painting, and she says, we don't have a Goya painting, and I said, but, so case assistant takes out her phone, and shows her the picture, she says, yes, you do, and she says, no, we don't have a Goya painting, she storms out of the room, and the assistant director explains to us, yes, we do have a Goya painting, but we really don't have a Goya painting, because we took it from the Nazis, and the Nazis had stolen it from a Jewish family. So hence, we do have one, but we don't have, so at that point we realized getting any Goya real paintings were impossible, so then we started getting etchings, and the idea about getting the etchings was, I found the etchings incredibly profound and powerful, but I don't know if you all know, you've gone to see shows of etchings, we've seen hundreds of etchings, and your eyes kind of glass over, and kind of get bored out of your mind, why don't we make a really intensive edit of these almost cinematic edits of these images, where they kind of act as connectors between Eisenstein's work and my work, so that's how we chose the Goya, so we chose them all four series, and what's extraordinary, the ones that are here in Brooklyn, the Capricios are actually artist proofs, which meant that Goya actually had his hands on them, which I found quite moving, so anyway, that's how the show kind of came together. Okay, what about your work in particular? Maybe we could go to the slides of the Longo rooms, and tell us about how you hung those rooms, and why those works together, why you and Kate decided on them. The first room she tried to set up was kind of the premises of the show, like the politics, the war, the environment, and art in the front room, she tried to set up that thing. In that sense, from there, the kind of show kind of became... Specified, though. The name is kind of the war, the icebergs is nature, the protest is the pussy hat drawing, and the abstract expressionist painting is the art aspect. I think that's the essence of the show. War, climate, political protest, art. I think that... Is that it? We need Kate to be here.  That's kind of like what it was, but she kind of set that up, and I said, okay, but I kind of understood what she was doing for sure, and that became the kind of... We had different variations of it in Moscow for sure, but this is how we tried to set it up this way. So what about the next room? The next room had... From that point on, I started dealing with it more formally rather than dealing with that kind of structure. So I was eager to try to figure out how to take these images and have them function in a way that you could see them from a distance and at the same time you had the chance to get up close to look at them, so that was part of it. So this room here had the refugee raft, it had the Charlie Hebdo bullet, it had the X-ray of Venus in it, and it had the blurry image of the raft of Medusa. I'm going to bear down on the images in a moment, but just a few general questions. Why all the black?  And what do you insist on black? I mean, you've done charcoal drawings now for a long time, almost only. No, no, there's a whole... There's flashes of color, but you've really insisted. But then you also say that the drawings are not black and white. I think there was a moment that I had with... My kids have always been quite great observations and things, and I realized through them... I was looking at old life magazines, which is how I grew up, because I basically couldn't read, and I started to remember very specifically how the front cover of the magazine would be in color, inside the pictures of the circus would be in color, the pictures of the White House would be in color, but then also you would come to pictures of Vietnam or come to pictures of the earthquake in Mexico, and they would always be in black and white. And I started thinking that maybe... I thought of black and white maybe as the truth in that sense, and I also think that black and white is quite abstract. And black... I don't know when I started wearing all black, it just seemed to be the easiest thing to wear. I just... I don't know how you all do it when you go in a closet and figure out what you're gonna wear. To me, it's like how black my clothes...  But anyway... I mean, it's black... their drawings aren't black and white, they have different tones. If you see in the studio, you can see all the different values of the black and white. But I think... When I was in college, I was also very close to Visual Studio Workshop, it was like the Academy of Modern Photography. So I saw a lot of black and white photography, for sure. And that really had a big impact on me, for sure.  And I remember I had this interesting conversation with Kiefer. I was asking Kiefer about how... all this work I've seen of your work... I mean, this must be like what... you grew up in this round of stuff. This wrecked car... wreckage of buildings. You said, yeah, I used to play in it also. And then I started realizing... because I was having this hard time with the plexiglass in my work, with the glass, and I started realizing I grew up with black and white television. So all the images that I saw in my life were behind glass. So there's a connection to what I saw as a kid to what I make now, for sure, is a definite connection to one. You see a connection between black or black and white and the documentary. Or a relation to history, somehow. So these drawings are the scale of history paintings. I mean, there's a way in which the refugee raft... you have it opposite the blurred raft of Medusa. So what's the... is that part of the... I mean, that's clearly part of the impact. You know, so the black is somehow an immersive space for you. It's a screen. It's about your memories of life photographs. I mean, what else... why the scale, I guess? I mean, it's not only history paintings, it's cinema. I think there's the distance that creates... the abstraction that it creates, the distance it creates in the image. The black and whiteness. I don't get it, because at that scale you seem to be immersed in the drawing. You feel distance. You feel distance from what exactly? From the source images? Or do you think that you have to be... the drawings ask you to be quite close and allow you to be far away at the same time? Essentially, I use a guideline to make them that there's a distance where the works have to evoke a kind of photographic realism. But once you cross that boundary, they should break down and reveal their making in that sense. And the other thing is I also use this kind of paper that has just enough subtle grain to it that evokes what you think is a photograph. So I'm trying to steal... I'm starting to cheat. I mean, also the fact that they are drawings is the fact that people come to see these exhibitions and they think they're photographs. And when you tell them they're charcoal drawings, they go, oh, they look much closer. It's the idea of having people actually look more than they normally do. But what you're asking me about is that... I don't actually know if I have the right answer for it because to me it always seems to be natural to translate everything in black and white to me. Although it's not black and white. You talk about the molecular dimension of the drawings. You talk about the charcoal as dust. But you also talk about drawing as very bodily. You process the image. Let me just read one quote from the conversation with Kate because I think this is important to a few things you've already said. You say there's a sincere attempt to slow down the image to provoke the viewer to consume its full power. I want to reveal what these images reveal about the world right now. Can you say more about this desire to slow down? I mean, that's clearly part of the drawing, maybe part of the scale, too. Why do you want to slow down the image and to provoke the viewer to consume its full power? Ironically, we emerged with the pictures generation as an idea of appropriation and things like that. And we were making pictures of pictures and trying to look at the world of images. But the irony is that now the world that we're living in is this incredible image storm of images at how the amount of images that exist in the world now is overwhelming, and I keep on thinking, how do you slow these things down? I mean, the irony is for me, even to say that, where I remember making rock videos, where I make rock videos with 800 edits and imitating, like, structural film, but the idea that I want to slow things, I want to take these highly aggressive images, make them out of this incredibly primitive medium of dust, charcoal, and make them basically slow them down so you actually have the chance. Because I think my images... Have the chance to do what? They have a chance to actually see them, because I think my... I realized recently that I try to get... To see them so that you can work through them? Or to feel the impact? No, the viewer. Yeah. Well, I think by that fact that they're made is a really critical aspect, rather than being snapped. That labor that's involved in making the drawing is really important to me. The fact that people can imagine how long it takes, which is really important to me, that the process is the fact that these images aren't made in a split second is really important to me. I also realized that after within the images, a level of... I don't want to say cliche, but there's a kind of precision that the images require now more than ever before that I'm trying to get at. It's hard to explain that. I know how they're supposed to be, so I alter them so much to get them to where I want them. And the precision is important. Why? To ground them in the... To get them... To make them proof... They're like weapons. You want to get them to be able to go where they actually penetrate. Okay, let me stop you right there, because the condition as you describe it is that there are too many images. And that was the first principle of at least some artists in the pictures generation. Too many images, and we've become insensitive. But at the same time you say, your counter seems to be that you want to make them weapons, and there is aggressivity in the work, in the show. Why seek the iconic? Why seek the powerful in the images? Why make them even more intense than they are? I mean, is that just a response to this condition where this kind of general anesthesia to too many images? Or do you feel that you have to battle with other images that are out there and somehow seize them and take some of the force to take them where else? There's an urgency in what I see, what I see in the world.  There is a sense of urgency, absolutely, in the work. There is a sense of urgency to saying, look at these images and look at the world that you live in. Don't let them pass by you for a split second in the newspaper and then you forget about them. The idea that when was the last mass shooting, you forget how many people die. I mean, the idea that you're so anesthetized, how do you get the, by slowing down, they slow down with a sense of urgency for sure, in that sense, that you want to say, look at this, really, really look at this and think about it. Couldn't we argue just that we're already assaulted by images and that we need a different relation, that we don't need more iconic images? You might need less. You actually really believe in these images and maybe we need to believe less.  I mean, you really believe in the iconicity and the power of these images. Yeah, I do. I guess I do. I mean, because I think the fact is, I, yeah, I guess I do. I believe in them because I think there is power. Why? There is power that you can see in these images. What do you want to do with that power? You say, and this is again, directly opposite to what we used to say back in the day. You say, I mean, most of you know that one of the first principles of postmodern art, pictures art in particular, was to use reproduction to shatter the aura of the work. And in your conversation with Kate, you say you want to reclaim aura. Yeah. Why? Well, the X-rays are clearly, X-rays are clearly about seeing in the invisible, which is something that, it's a whole other aspect of things because I think so much of the world is about believing in things that are invisible. But the thing about these iconic images, I think the fact is that the ownership of those images while we own those images is not just, I don't know, these are the images that exist. What do you mean? There's like a commons of images and we have to swipe over them? No, I think they're images that exist in the world that are images that belong to us and that we should acknowledge them and try to understand them in that sense because I think the problem is that we don't see, we don't see anymore. We just see this enormous amount of images and we don't pay attention to these images. And what those images mean. I get that. I get that you want to slow them down so they will see, but why do you want to pump up the power? Why would that be the response to a world of traumatic images? Why I want to make them louder? Yeah. Because I don't think people are hearing. Okay. I definitely don't think, I definitely don't think people are hearing. I think they can see it and they see it and they just get anesthetized. I think the anesthetizing quality of images at this point now is even more so much more so than when we first started off. In the beginning, I thought the pictures, we was clearly this issue of being anesthetized. When I did Magellan, this 366 drawings, I realized just doing a drawing a day was about how do I make a drawing become an image, become accountable.  It's that idea that TV delivers people, the Sarah piece is a really great example. How do you, I mean the remote control is one of the greatest things because I could change the TV when the co-commercials came on. But I want to be able to actually, I want to be able to attack the images that are in my face every day and somehow take them on in a more participatory way, in that sense. World friends, so I can be mean, right? Of course. And you can be mean back. Another question on, I can say, you say at one point in this conversation that all the images are surrogates of ancient archetypes. Why are you interested in the archetypal? I mean you mentioned Jung and a collective unconscious. Are you okay with that idea? Because with Jung it's, it's a racial unconscious, it's a ethnic unconscious. When I started, right before I did Magellan, I tried to read Jung and then I got, and then I read about Jung and then I said, this guy's crazy, forget it. But this idea of, there must be, over the centuries and thousands of years that we've been dealing with images, is that there must be, like there are stories that, the stories that are told over and over again, the same stories told. There must be these kind of, like, benchmarks, there must be these images that are like myths or things that, there must be these kind of images that Mage could have a more profound level of meaning than simply a kind of disjointed collage or prestige or something. Right. So I mean you actually make the images out of, I mean they're composite for the most part. So what images in particular tap into this archetypal resource for you? I mean what, when you come to a gesture or come to an image, when do you feel that you've achieved it? I mean, like the Ferguson image, the St. Louis ram, who holds up his hand. Yeah. I mean, you know, in relation to the, the Ferguson shooting, is that an archetypal image? Totally. Give us some more examples from the show. Well, I mean, example, the raptor Medusa is like Noah's Ark. It's like, it goes by, there are these connections that go back. The raptor Medusa is connected to the, to the Medusa's raft. You know, there are all these connections at that time. Can you have it both ways? Can you have that, that raft of refugees be documentary in the way that you say you want the black to be like Life Magazine when you were a kid? And make people feel the plight of the refugees and at the same time dehistoricize it and see it as the raft of Medusa, the raft of any survivor or non-survivor. Can you have it be both? I don't think that's what I'm trying to do. I think that's, it's like, I think those archetypal images are in us and that somehow there are ways to access maybe something more in us. So there are no new gestures? All powerful gestures in the present somehow evoke that kind of history of gestures? I think, yeah, the idea that there's no such thing as new ideas, for sure. But in that sense, like, how do you, how do you present an image in a way, how do you tell the same story, like Caravaggio painted, had to, he'd moved to, not New York, he moved to Rome, he wants to make big work, but he has to work for the church. How do you make new meaning but out of the same stories over and over again?  How do you do these things within that? I mean, the refugee raft was the, that piece, there that piece had so much to do with the fact that I wanted to put you in the water with these people. I wanted you to sit there and feel like you're drowning with these people. I wanted you to be in that situation. But we're not, we're not at all. But at the same time, I think, I'm hoping that when you're standing in front of it, it evokes that feeling, you know, and it makes you think about what you can do about it. But at the same time, there is like, within those compositions and pictures there, I can get little things in it that, like, I spent an enormous amount of time on the light, on this one guy, on his backpack, on his life preserver that was really important to me, that I wanted to, like, give it a bit of hope in it somehow. But in that sense, the formal aspect of the works, I mean, there is a really basic idea that all these images are based out of just a really visceral desire of, on my own, to own these images, to possess them. Whoa. That's what people... I want to, okay, I really want to ask you about your change relation to this idea of appropriation and how it's changed in our own time since our moment in the 1980s when we emerged. But let me, let me get there. And just to stick with, you know, the intensity of these images, we talked, you talked about how they're archetypal. It also seems to me that many are almost apocalyptic. And I mean, you talk again in the catalogue about a world in which technology has gone. Can I wonder if there's any way in which you feel seduced by catastrophe? And there's a line that's often associated with Frederick Jameson, but it's, no one knows really what the source is, that it is easier for us now to imagine the end of the world than to imagine the end of capitalism. And I wonder if you abet this syndrome at all. And then the catastrophism of your images. What's interesting is when I was doing the atomic bombs, I was reading some Chris Hedges stuff. And Chris Hedges was talking about how he'd been this war correspondent. And he found himself being addicted to going to war. And he started talking about the lusts of the eye and how, talking about the Bible and how he became seduced by the stuff. And I started thinking about that. And at the same time, I remember reading a bunch of stuff about the raft of the Medusa and the idea of how do you turn disaster into art. It became another issue. But it is, the time that we live in right now is not easy times that we're living in. So that somehow you want to reflect that somehow. For sure. But the thing is, I also grew, as an artist, we grew up in the age of Reagan, which is like early, he said, let's make America great again before Trump did. So we were put in that condition. Well, that's another thing I want to ask you about. Your sense that we're roughly the same age. We were born into a condition of disappointment. And that's what you said. And I think you relate it to Goya and Eisenstein in the sense that Goya is born before the Enlightenment was appointed to the court the same year as the French Revolution but sees the invasion of Spain and then the restoration of the monarchy. And he sees the ideals of the Enlightenment and the revolution undone. Eisenstein is fired by the revolution but then has to work under Stalin.  I never knew that a friend of yours was shot at Kent State when I read the catalog. But then we come of age in the 70s and 80s, as you say, under Reagan. So talk about that condition of disappointment. There was a topos in postmodern art too that somehow this was an art that was belated. It was melancholy. All it could do is pour over images as ruins. So if it was disappointment then, what is it now? Revenge. The movie. No, it's like, yeah. The irony about how one's life is shaped by images is like it's a... Because I wasn't... Because I didn't read, my life was so dictated. What do you mean you didn't read? I was dyslexic. I had a really hard... I didn't read my first book till I was 30. So reading to me is still... I mean, I like to read. I try to read and I actually read very slowly. But I mean, I wasn't... My education and most of my education wasn't based upon a... What's that noise? Sorry. But it wasn't based upon... It wasn't based upon the written word. It was written... My language was pictures always in that sense. It was really important. But the thing is also, what was interesting with dealing with Kate and talking about it, I never acknowledged this connection to the image that was in Kent State. It was like that came back basically because of the whole thing with Goya. I went to school with this kid. He wasn't my best friend. I knew him vaguely, but I realized how much that affected me at that point. And then when I was in high school, I remember organizing political protests and stuff like that. But I never realized how much that image affected me in that sense in that way. I just have two more quick questions before we open up to others. And they have to do with this question of appropriation then and now. Back in the day, early work in appropriation and pictures art seemed that the point was to, as you say, make pictures of pictures to undo the reality of the image, to question representation, to derealize the image. Now it seems that you use the fictive because these are composites. You really put them together. You pump up the power. Now it seems as if you want to realize the image to make it real, to make the real real again. Can you just talk about how your relation to the image and its relation to the real has changed and what it might be? What's interesting is that in relationship a lot of us were making work and we were making work and it had not been, it wasn't intellectually tracked. Doug came along, Doug Grimm came along and basically gave us this incredible gift of trying to explain to us what we were doing. You know what I mean? You understand what I'm saying? There were others too, but anyway. Well, you came along too. And then there was like Robert. And Craig and things. The thing is that to have that moment when the pictures are open to have somebody actually write and kind of give us an idea of what he thought we were doing was this incredible gift. I've talked to other artists. I get that, but that's not the question. I didn't necessarily know what I was doing at that point for sure. The difference is then I didn't know what I was doing. Now I know what I'm doing. That's the difference. I mean, do you agree that we've gone from a moment when the point seemed to be to question representation to a point now where you, when it needs to make representation work again so it can do battle in the world of fake news and alternative facts? I mean to make people see, as you say, to slow them down, to connect the thing is these pictures are not, they're no longer pictures of pictures. They're pictures, period, in that sense. They're still made of pictures of pictures of pictures of pictures. Okay, last question for me. So you were called an appropriation artist and many of you, many of us use that term with real glory almost. Now appropriation has a whole other valence. It's expropriation. To put it crudely before anyone else does, what right do you have to the image of the refugees and how do you feel about this extraordinary image? I think it is an extraordinary image. It's in a private European collection. So talk to us about those problems, those contradictions. One of the aspects is, at the point of the fact that I bought the rights of the photograph from the photographer. I had this really interesting exchange with him about the photo taken in the photograph. We did, when we finally sold the piece, at one point there was a debate as to who was it. People were arguing. I never thought I would sell this piece first of all. And then there was a museum in Dubai that wanted to buy it and I got really freaked out. I kept thinking, you can't sell it to the people in Dubai.  But anyway, this German museum, who is an incredible museum, bought the piece and the idea was that part of the money that we got from this thing went to the refugee causes. So we allocated part of the funds for selling the piece that went to those things. The thing is that this is the world that I live in and I can't go there to work with them. I can actually make these images, make you really look at these images a little bit more and maybe feel more for them. And at the same time, maybe there is a financial aspect. Like when I made the drawings of the cops in Ferguson, part of that money, the galleries, when we sold the work, part of that money actually went to the legal funds and things like that. So somehow we want to actually financially make some of that have some effect of it for sure. Whether I have the right to these images, I'm very, when we did the show here in Brooklyn, we were very super sensitive about things, about not having certain pieces and we discussed with a lot of people whether I had the right to do these certain images. And like the football players, football player was a perfect example of it. And to me the football player was an example of something where I thought it was this incredibly heroic image that historically, and I found this moment when these guys did it, it was as important as when the guys, Tommy Brown and John Carlos had the black gloves in the 68 Olympics, I thought it was that kind of moment. I actually think that the question who has the right to any image is a really dangerous one. Especially given your idea of the commons of images, how important that is maybe as a public space. I get that there have to be all kinds of different ways to parse it, but when we really become identitarian about images, but maybe this is a moment to open it up to all of you. You know there's that kind of damning phrase when someone says you have a good grasp of the obvious, but in a way you kind of do, or that's your description, but in kind of the way you're talking about these obvious things, however you interpret them, but could you just talk about your process? Like how do you go about making an image like these? I originally would respond to images I have found in the world. Now I basically have an idea of images that I wanted to use and I seek them out on the internet, which is really great. But sometimes it's like, for instance, the cops from Ferguson was a response to an image that I saw in the newspaper where I first saw it and I kind of freaked out. I thought this was like Ukraine or something, or Baghdad. Then I remember seeing McDonald's up in the background.  Then I bought three different photographs from photographers of that point and started to read up about the militarization of the police and all the equipment they had. And the actual process of the drawings are the paper mounted onto the honeycomb aluminum two layers of paper so that to restore drawings is much easier to take paper from paper. The panels are quite expensive, so we do a lot of studies. I have really great assistants, I really great. If I were to make the drawings myself, there would be three drawings in the show. And I'm not so much interested in... I want the drawings all feel like they're done by one hand for sure, but I have assistants and because I'm not... I'm interested in images, but I'm not... I want them to have a certain quality for sure, but the thing is that the process really is kind of very labor-intensive. And it's a very perverse... I've taken the medium of drawing, which is like when I started off, when I started off at the beginning, it's like my friends are doing photographs, videos, some of them, very few of them are painting, but I was trying to make sculpture and I ran out of money and I had some paper and I started drawing. And drawing is something that I've always done. So I've taken this medium, which is basically always in the basement of museums and considered kind of intimate and taken it to my own, and taken it to a point of like... I don't want to say obscenity, but where do you see charcoal drawings as big? I like the idea that they're big drawings. And now I've actually gotten to the point where we make our own charcoal, the grime, the charcoal is applied in all these different ways with brushes. And the process of drawing is very much... Even though the drawings, they seem to aspire, their main goals is to be painting, their scale and stuff like that, they're still done like a drawing because they're opposites of traditional paintings. Like traditional painting, you work from dark to light. The white in all the drawings is the white of the paper. So I work the opposite way. And the drawing is also... My background and my degree is in sculpture, so the final stages of the drawing is carving, where you kind of carve the image out of the drawing. So anyway, I hope that explains what... Yeah, well the raft is made of a bunch of different photographs. One was taken by this guy Will Rose of the guys in the boat, and then we added water, like water photographs we've taken. We just added it into it because I knew... I made a little doodle of how I wanted it to be, and then we had to build a picture of it from that point on, for sure. So there is kind of like... There isn't an intervention on my part. Well no, I know how I want the picture to be for sure. Yes, sir?  But the full question, and then tell me if you disagree, but that's sort of what it sounded like. And I was wondering if you do agree with that, if one can be aware in their experience that these are collective images, or if you can't ever see that, and that's something that only an objective outsider is aware of. No, I mean, I found this idea interesting, the idea of collective unconscious, and I gave up on it, and then I did a series of Magellan, and then I started to do these big charcoal drawings. The irony is that after I finished like seven series or so, I stopped, I hit a brick wall, and then one night I had this crazy cousin who thinks that she's a born-again Christian, but she was also star-track-free, she also thinks Jesus is ever matter of space, but anyway, she thought that I had done Genesis, and which brought me back to the idea of if possible, are there images of the collective unconscious. The thing is, I think there are profound images that are in us, that are locked somewhere in us, and that somehow I want to try to access them for sure. I mean, the idea of collective unconscious, I don't necessarily know if I want to have my images, my collective unconscious connected to Nazis in that sense, and that's a whole other thing. Now, what do you have to say? Yeah, I think that there are images that are externally effective, that are iconic, that are the psychic intensity, but I think it's entirely cultural and historical. It's not wired into us as tribes. I mean, that's where the Jungian inflection of this idea is really problematic, but it's really hard to get away from that understanding. There's a great art historian, Abbey Warburg, who's obsessed with why it is that certain images recur across time and why they seem to have this mnemonic power from antiquity through to the present. So it's a real riddle for art historians too. So I don't deny that they're iconic mnemonic images. I just think you have to be very cautious about how you see them as active in us and in us collectively. Okay, thank you. He read the book. Abbey Warburg is actually really interesting. I started to look at him. I thought he was really kind of interesting in how he tried to do that. It was hard for me. I wanted to see the images he was actually working with. I never got those. Do they actually exist someplace?  I mean, he had all these posters, blackboards, hung with velvet where he would hang up different images that seemed connected from classical nips to women golfers of his time. And he would see the same gesture, the same motion. And for him, they were almost engrams of our kind of emotive power. There is a connection. I just don't think that it's hardwired. Hi. I had a question. Robert, you speak about constructing your images from different photographs and different elements. And when you look, or not photographs, but the images, but when you look at the images, they all remain largely within the realm of the sensible or the rational. You know, they all cohere as they could be real images. So I'm curious to ask, why do you remain within the realm of the rational or the sensible or the documentary?  Why don't you make images of utopias or things you want to see or things that you would alter to it? Here's a plant. It's a really good question. I think the images I make are already pretty absurd to begin with. I mean, in that sense, they're made out of rage, for sure, in that sense. And that line of cops is much bigger than the line of cops that were there, for sure. So there is a construction of how within the images, for sure, that I deal with, for sure. I mean, I want them to trick you into thinking you're actually seeing real things, for sure. I mean, that's why I like the fact that the paper has a grain to them that maybe you're actually not quite sure there are drawings or are they photographs, for sure. I mean, I want them to be more real than photographs, for sure, in that sense. And the fact that I always find it entertaining when people find out that there are drawings and how much they stop and look at them, for sure. I also find it interesting that I saw this film about the Herzog film Cave of Dreams, where it was with all these charcoal drawings on the wall, and I thought, wow, this is my ancestry. I go back, I'm like a modern-day caveman in that sense. I like that. Not charcoal. Simon, do you mean why are the images dystopian rather than utopian? In a sense, or why are they still...  Does it... Is there some other mechanism of... You have this power of creating these documentary images, right? They're not documentary images. No, but they read almost like that. You almost have an x-ray, which is supposed to be truth. And so you have this power to make truth. So I'm just curious, you know, what do you do with that power? Maybe I'm trying to get you to look at them a little more. In that sense, it's like, I think... I just don't think people look very closely, period, in that sense. You could see a picture of a raft of refugees in the New York Times, and then you go on, you look at the next page, pictures of Kim Kardashian with the fuck... I mean, I want to make images that make you look longer at things and try to absorb them on a deeper level, for sure. You know, the thing is, I don't necessarily want to be political with the world, for sure, I just feel like I'm kind of compelled to make these images. It's like I don't necessarily really wake up in the morning and go, I really want to make a drawing of people in a raft, you know, in that sense, I feel like I have to make them, for sure. It's like... it's basically my job. I don't know, does that answer it? A kind of... Also, I don't know what Utopia is anymore. We talk about technology also, we used to think technology was going to save us, now we think it's going to kill us, so what the fuck's the difference? Hi, I have a question about the Eisenstein installation, I think I'd like to call it, if you're comfortable in responding to that, since it's really his work. But, you know, I walked in and of course it was visually struck by the beauty of it, and I was discussing it with a friend of mine who's an art historian, and I discussed it in detail, and he came back with... he responded at Douglas Gordon. And I guess the question is, Eisenstein's claim to fame, so to speak, was his use of montage, the collision of images, and in this very beautiful seven-screen pavilion, we're seeing the images slowed down to 1% their original speed, as the didactic says, which sort of negates the whole sense of what montage is, because montage is based on timing and collision of image, which is based on time, and you had mentioned Ken Jacobs and Sherrits as possible reference points. But when I was looking at the piece, I wasn't seeing films, I was seeing pictures. So if you could care to respond to that, because again, we're not seeing 24 frames a second as Eisenstein did when he made his collisions. Well, you see, I also want to point out something that's really interesting, if you look at all seven pictures, the three films on the left-hand side, the pictures seem to change faster than the pictures on the right. That's because the pictures on the left-hand side are silent films, and they're 18 frames per second, so there's less information changing. The thing is also, by putting them next to each other, all seven pictures, it is one gigantic montage. And Eisenstein used to talk about montage based upon the idea that individual pictures were like the Japanese or Chinese pictograms. So within those images were images within those images that then he would then connect to other images to create a cinematic language. So therefore, it was kind of the idea of taking... But at the same time, I was so impressed with his images, his composition. I mean, to see the incredible precision that he put to every image that blew me away because he was highly influenced by D.W. Griffiths for sure, which is ironic, but the other thing is also with these films, you're dealing with films that were tools of propaganda, and we stripped off the sound, we stripped off the text out of it for sure, but yeah, I think they're just incredibly beautiful images for sure. Yeah, I mean, I just... I think it's a really important sense. Just one brief follow-up question. When you put the whole piece together, did you ever look at the films at a different frame rate to see if you wanted them moving a little faster? Yeah, well, what was interesting is these are high... To get Eisenstein's films in Russia was really hard. They're kind of kept by the secret society, like outside of Moscow, and somehow they managed to get these direct transfers from the negatives, which is really great. So we tried various speeds, and this one seemed to be the most, dare I say, poetic way to do... It gave you enough time to see the images.  What I feel really sad about is that you don't see the Eisenstein drawings, which were absolutely fantastic, because in Russia you could actually watch the Eisenstein drawings while you could look at the films at the same time. But the Russians wouldn't send them to the United States, because again, that problem goes on. Fine. As you were talking about your process, really I was struck by the kind of the storyboarding of the process that it feels like in terms of constructing these images, almost like it's not the documentary of the image, but almost the emotional imprint that's left behind after the processing of all of the images is what gets constructed, sort of what we walk away feeling like. And I was wondering if, because as your process is, you're going deep down into the grain of the paper, but as you put all these up, and you started to experience the intersection, the fabric that gets woven between all of the work, if you had any other kinds of experiences that you started to step back and get further back from it with all the other work that was up? What's ironic is that little glass box in the room that you walk you through, I do this thing called frame studies where I make, in my notebook, I make frames, all different size frames, I just make these really abstract renderings of compositions, how do you divide a frame? And I use these very abstract frame studies as kind of like basis for building pictures on it. So then when I find a picture that I like, that I want to use, I look through these frame studies and then I can figure out how, so it's really pretty visceral and intuitive how the structures are. They're basically marks, like just messy marks of how a picture can be composed for sure. I find it interesting that seeing this exhibition, I've come back to see it a couple of times now, I'm interested in the fact that the show becomes a bit of a film in itself, like how the frames follow each other for sure. You want to hope that your art will teach you shit, but the problem for me is I just see my mistakes, I go, well, I could have done that better or this could be different. I'm very proud of the work on the show for sure, but there are things I think I could have done better, I could change for sure. But otherwise, I hope that answers your question. Well, if not, thanks, Robert, and people can go see the show. Thank you.


Michelle says how do you know how do you go from a toxic relationship to allowing yourself to receive? How much is too much? He wants to give so much some things. I do not feel comfortable with I've never had someone want to provide so much new car Home etc. I well is this a this is a a relationship that you're in right now Michelle That sounds amazing. So you're you're in a situation. So it can take one what you need to do is Do exactly what I talked about at the end of the live stream here where I talked about creating awareness Which it sounds like you are creating awareness around the fact that you don't or you have this weird thing about receiving things And so own up to the fact that you're doing it, which it sounds like you're doing right now Changing your belief systems around what you believe you deserve You know I talk about this a lot in the forever woman program You know just finding out what beliefs are holding you back there where you're like, you know, like do I deserve? You know, which is what it sounds like to me Do I really deserve all of this stuff that this guy is trying to give to me? your men are natural providers and and Yeah, I mean you should One make sure that you're being careful I don't know what your specific situation is Michelle But you don't want to get into a situation where you feel trapped or something if this is a new guy Because that could end up putting you into a really bad situation as well But you also want to allow yourself to provide so What you might want to end up doing if this is too fast too much too fast is setting up Boundaries around what you actually want and what you're actually comfortable with Because you know if you meet a guy and within a week He's like hey, let's move in together and you know Here's a new car for you And you know you're gonna be living in this apartment all the time and here's a bunch of dresses and stuff that you know it's a little strange and You know, I don't know how long you guys have been seeing each other and all that kind of stuff But you may want to start setting boundaries and setting up kind of You know what you feel comfortable with and you know prolonging how things go so that you're making sure that you're getting into a really Good situation and you're not just jumping headfirst into something weird that's going on that you don't even know about


This is FDA Patient Safety News. In this edition, a new test to help rule out heart attacks, new warnings on counterfeit procreate, the dangers of IV infusions of free water, and an FDA proposal to require barcodes on drugs. These stories and more on this edition of FDA Patient Safety News. Welcome to the program. For the U.S. Food and Drug Administration, I'm Mark Barnett. And I'm Anita Rayner. Let's start with our new products bulletin board and tell you about some medical products FDA recently cleared for marketing. You can find information on all FDA cleared medical products on FDA's website. FDA has recently cleared for marketing a new laboratory blood test that will increase the ability to roll out a possible heart attack in patients' complaining of chest pain. The test is called the Albumin Cobalt Binding, or ACB test, and it's manufactured by Ischemia Technologies Incorporated. This is the first new blood test to evaluate heart attacks since 1994 when the blood test for troponin was introduced. The test relies on the fact that serum albumin normally is able to easily bind to metals such as cobalt. Before an MI, there are structural changes in the albumin that make it less able to bind metals. During the test, cobalt is added to a blood sample, and the free cobalt, that is the amount that isn't bound to the albumin, is measured. If the test is negative, that is if it shows that the patient does not have a high level of free cobalt, this may indicate that the patient has not had an MI. But Mark, I'm assuming this isn't a standalone test for MI. Not at all, it's not a standalone test. It has to be used in conjunction with other tests to rule out an MI in a patient who's having chest pain. The ACB test can be viewed as a third component in a trio of tests for MI, the other two being the ECG and the troponin test. Given that we already have the ECG and troponin test, what does this new test actually add? It adds accuracy. Only about a quarter of patients who present in the emergency room with heart attack symptoms are actually having an MI. In a study conducted by the manufacturer, physicians using the ECG and the troponin test together were about 50% accurate in ruling out an MI. When they added the ACB test, their accuracy rose to about 65%. In a previous broadcast, we told you about the counterfeiting of the drug Procrit, which is marketed by Orthobiotec Products LP. Procrit is used to stimulate the production of red blood cells in patients with severe anemia. In a significant new development, Orthobiotec and FDA have now alerted healthcare providers and consumers that three more lots of counterfeit Procrit have been identified. They're labeled as 40,000 units per milliliter. I understand there's a new hazard this time. That's right. Our concern with the prior lots of counterfeit Procrit was focused on the active ingredient. That is, whether the strength of the counterfeit product might have been lower than what was stated on the label. This time, counterfeit Procrit was found to be contaminated with bacteria and that could pose a significant hazard to patients. FDA testing has also shown that some of the counterfeit product contains no active ingredient. The three affected lot numbers and expiration dates appear on your screen and can also be found on our website. It's important to note that authentic Procrit was also distributed under these lot numbers. If I'm a user of Procrit and eat it, can I tell the difference between the counterfeit and the real thing? Well, there are things to look for. In a March 2003 letter to healthcare professionals, Orthobiotek points out that there are several differences between the features of this counterfeit product and authentic Procrit. For example, one difference is with the carton closure seal. The seal on authentic Procrit leaves a visible mark on the package when it's removed and the authentic seal has the letters OB PLP void printed in random sequence on its underside, which you can see when the seal is removed. When counterfeit product seals are removed, they leave no visible mark and they have no printing on the underside of the seal. Ortho's website also points out other differences to look for. FDA is urging healthcare providers and patients to check the packaging and vials very carefully before using this product. If you receive any product that you suspect is counterfeit, don't use it. Store it properly and promptly contact the FDA and Orthobiotek. And if you know of patients who could have the counterfeit product, contact them and provide them with this information. Be sure to go to our website for instructions on how to contact FDA and Orthobiotek and for more details about this counterfeit product. Roche Diagnostics Corporation has issued an alert to healthcare providers about some of the company's blood glucose test strips. Some lots of Roche's Advantage 2 test strips that were intended only for distribution outside the United States have been repackaged and re-imported into the US as AccuCheck Comfort Curve test strips. In some cases, the expiration date on these test strips has been altered and extended beyond the original expiration date and that may affect the accuracy of the results. And since these test strips were manufactured for non-US markets, they're calibrated differently. The performance of these products could also be adversely affected if the persons who altered the expiration dates didn't store or handle the strips properly. The affected product lot numbers are shown on the screen and you can also find them on our website. If you have AccuCheck Comfort Curve test strips from any of these lot numbers, you should stop using them and either return the product to the place of purchase or contact Roche Diagnostics at 1-800-858-8072 for further instructions. Roche Diagnostics is also asking that you call this number if you notice any unusual appearance in the packaging, lot numbers or expiration dating on any of the company's blood glucose test strips. Although abbreviations and acronyms can save time, they can also cause medication errors. Abbreviations aren't always read the same way and they can be interpreted differently by different practitioners. That's why the National Coordinating Council for Medication Error Reporting and Prevention is encouraging practitioners to avoid using abbreviations when prescribing medications. Medication errors often happen when the reader misinterprets a poorly written abbreviation or acronym. For example, 10-fold insulin overdoses have occurred when the abbreviation U for units is read as a zero. That's likely to happen when the U is written too closely after the number. A patient died when 20 units of insulin was misinterpreted as 200 units. Likewise, if they're not written clearly, the abbreviations for microgram and milligram can easily be mistaken, causing a thousand-fold error. Latin abbreviations can cause trouble either because they're written poorly and thus misinterpreted or because people don't understand their meaning. The term QID has sometimes been interpreted as QD and vice versa and that leads to a four-fold dose error. In one case, a patient died when a prescription for furosimide 40 milligrams QD was misinterpreted as QID. And sometimes mistakes occur because two abbreviations sound alike. For example, an investigational drug used to treat cystic fibrosis called CPX sounds similar to CTX, which is the abbreviation for the chemotherapy drug Cytoxin. You'll find other examples of confusing abbreviations on our website. The Institute for Safe Medication Practices recently issued an alert that warned physicians, nurses and pharmacists about the danger of giving patients intravenous infusions of free water. That is water that doesn't contain any dissolved ions. The case they cited was an elderly diabetic patient who was admitted to the ICU with pneumonia, congestive heart failure, respiratory failure and severe hypernatremia. Because of the patient's hypernatremia, the physician didn't want him to receive any more sodium and because of the patient's diabetes, the physician didn't want to infuse dextrose solution. So we ordered that sterile water for injection be administered by IV infusion. This was presumably intended to alleviate water loss in the patient and thus correct the hypernatremia. The patient experienced a hemolytic reaction and acute renal failure and died. Mark, this was presumably because of receiving the sterile water for injection. That's right. ISMP's basic safety message is that free water such as sterile water for injection should never be administered through IV infusion because hypotonic solutions can result in hemolysis. But sterile water for injection usually isn't available as an IV solution. No, in fact, it's not. It's used in the pharmacy to prepare various IV solutions and it's not intended to be used alone as an IV infusion. In this case, the physician ordered a large bag from the pharmacy. They complied and the nurse administered the IV infusion. Isn't there a warning on the bags of sterile water for injection saying that it shouldn't be used as an IV infusion? Yes, that's a good point. Usually there is a warning but sometimes it doesn't stand out and in fact, in this particular case, the warning label was on the opposite side of the bag. What's ISMP recommending to prevent this kind of problem? Well, here's some of what they're recommending. First of all, they're saying that practitioners should understand the danger of infusing sterile water without any additives. They should be aware that in severe hypernatremia sodium levels should be brought down slowly with infusions that contain some sodium. Sterile water for injection should never appear in order entry systems for prescribers and if an order for sterile water is received, this should trigger an immediate call to the physician. What about safeguards in the pharmacy? Well, they are recommending some in the pharmacy. They're recommending that pharmacists never allow the ingredients used to compound IV solutions to leave the sterile compounding area and of course that would include sterile water for injection and they're saying that warning labels should be placed on the front of bags containing sterile water for injection. Everyone's seen the barcodes found on food and other consumer goods. Now, FDA has issued a proposal to require barcoding on almost all drugs and blood products. Under this proposal, barcoding would be required in all prescription drug products except for physician samples on most OTC drugs that are commonly used in hospitals and on vaccines. The barcode would contain at a minimum the drug's NDC or national drug code number. This number identifies each drug, its manufacturer, its dosage form, strength and package size. Blood and blood components for transfusion are also included in the proposal. Under the proposal, these products must have machine readable information which could be a barcode that includes blood and RH type, the facility that prepared the unit and codes that can trace back to the donor if necessary. In hospitals with barcode scanners and computerized patient information systems, the barcoding of drugs and blood products can prevent many medication errors such as giving a patient the wrong drug or unit of blood or the wrong dose or the right drug in dose at the wrong time. When the drug's barcode is scanned, a computer would compare the scanned information against the patient's drug regimen before the drug is given to the patient. So for example, barcoding could prevent a child from receiving an adult dosage of a drug or keep a patient from receiving a duplicate dose of a drug he's already been given. A barcode system could also allow the computer to record the time the patient receives a drug ensuring more accurate medical records. FDA estimates that when this barcode rule is implemented, 50% more medical errors could be caught before the drugs are dispensed or administered. That translates to 413,000 fewer adverse events over the next 20 years. And there's evidence from some hospitals that already have barcode systems in place that they can reduce even more errors. You can find complete information on FDA's barcode proposal on our website. All of us know by this time about the overprescribing of antibiotics and how this promotes the development of drug-resistant bacterial strains. And yet the problem persists. According to the CDC, about half of the 100 million antibiotic prescriptions written each year in physicians' offices in the US are unnecessary because they're prescribed for the common cold and other viral infections. Unnecessary use of antibiotics in hospitals is also common. In an effort to reduce this problem, FDA is going to require changes in the labeling for all systemic antibiotics. By early next year, healthcare providers will see new statements in the labeling advising that these drugs should be used only to treat infections that are believed to be caused by bacteria. But there's also a role for the patient. That's right. When patients fail to complete the full course of treatment, that also promotes drug resistance. And so part of the labeling will encourage physicians to counsel their patients about the proper use of these drugs and the importance of taking them exactly as directed. In other words, to complete the full course of therapy and not to skip doses even if they feel better. You'll find more information on this new labeling on our website. Well, that's all for this edition of FDA Patient Safety News. Remember, you can get more information on all the stories you've seen here today by visiting our website. We also urge you to use the website to report problems you've encountered with medical products. That's how we learn about problems so we can alert others. We'll be back next month with another edition. So watch for us. Until then, for the US Food and Drug Administration, I'm Anita Reiner. And I'm Mark Barnett. I'll see you next time.


Ever heard the old phrase, strike when the iron is hot? Well, it's never been hotter than now. All this month at Appalachian Wireless, you can get the Samsung GS6 or the GS6 Edge for just one penny when you send them for service. The Galaxy S6, normally $49.99, now just a penny. The Galaxy S6 Edge, normally $99.99, now just a penny. Strike now while supplies last. Better service, bigger savings. We're serving you for the last 25 years at Appalachian Wireless. This Sunday would have been Trent Cardi's 11th birthday. He died in May of 2014 in a bicycle accident near his home in Jenkins. But since his passing, Trent has been remembered for his kindness and aspirations to help others. So today is not a Saturday, although we miss Trent, today is a very happy day because we are celebrating the person that Trent wants. At a remembrance ceremony held today at Jenkins Elementary, Trent's former school, representatives from Hands of Hope, a community action extension of Smile Faith Dental Ministry and Health Care National Marketing, talked about the importance of bicycle safety, something for which Trent's family now advocates. The group's decorated Jenkins with red bicycles in remembrance of Trent. They also talked about continuing Trent's desires for and work toward being kind to others. It's important that we follow through with what Trent believed and it's also a good characteristic to have as a person to pay it forward. And so with that, we want to instill that ability to do so and we want our children, it all starts with our children and so we feel like that that's a good thing for them to have and to use throughout their lifetime. I know that Trent would love it and I know that the kids haven't forgotten the kindness and the love that he showed them and I know that it is support behind Ethan and Arabella and Trent. Those that knew Trent talked about his kindness. They also talked about his love for Batman and the color red. Many students and staff members wore red in his memory. The program concluded with a balloon release by Trent's former schoolmates at Jenkins Elementary. I'm still proud to be his brother. Hey man, there you go. As the balloons floated away, a small grouping of balloons got tangled in utility lines and the balloons are now hanging over top of the school. How many balloons got tangled in the lines? Eleven. Which is the age Trent would have turned Sunday. Trent's family said that was him leaving his mark on the day's events. Reporting in Jenkins for EKB News, I'm Chris Anderson.


Hey everyone and welcome. I'm Yoshida and today I'm showing you some new releases. And also I want to share with you if you don't know already about the black shop owners united sale, which will be from October the second through the fourth and you'll get 35% off in my shop. You can go to www.nordscove.com. I'm sharing this on several platforms. So I just wanted to do that little quick intro. No, the first thing we have will be these, I call them bookmarkers page holders and you get these colors. And I didn't count like how many you get. I have to double check and see, but this is what you get. And this is how it'll come. And this is my handy dandy stash over here. So we have enough one hand for you. So some of them may come with that on it like that with our sticker. And then next up are our marble sticky notes. And this is how they'll come. So I'm going to put those aside and wrap that one up. And then for the kit this week, we have the LV pink kit. So you know, we have the LV pink Deco, but this is the LV pink kit. So you get four decorative boxes. You get your date headers and then you also get next week and this week and then three half boxes. And then you get some more half boxes over here with Deco and some more functional boxes over here. Half of them have Deco, some don't. And then here. And then this is your Deco sheet. Okay, back to the side.  So if you can't participate in the sale after the sale or before the sale, reach out to my PR girls. They have codes and that would be Ella Bella plans on Instagram and strawberry V on Instagram as well. So they suggest some things. We had a meeting they suggested some things. And I love to take feedback from them. And they would like to see one of them suggested that to do is actually both of them suggested like to do is because we use these a lot.  And so instead of having to take from your kids.  And then today, and then I'm thinking of bundling these. And if I add to the bundle the price will change, but you can either get them all three together or you can just get one of each. I haven't decided to bundle them yet or not. And they're just like again to do today's and this week headers. Okay. And then next up, I have these text dividers. They are foiled, y'all. I've had the file for this for quite some time. I've been wanting to do them. And after my last experience with foiling, I was just like, no, I even tried them like last year. I didn't like the way they came out. But these I'm loving. So they may be limited that right now only come in gold. I mean, excuse me rose gold foil and maybe silver. I do have silver. And I have some other foils, but I think that being that I hadn't used it in a long time that it may not be any good. So we're just going to roll with the rose gold. If you see silver, then I got silver. All right. Next up, I'm excited about this, you guys. So we have like a boss, and it comes in dark and it comes in light.  So this is the dark. And then this is the light. Aren't they pretty. And so I couldn't stop there because we needed something a little fallish but can also be used for Christmas, the holiday season. So I created fallen style. And here's your light doll and you get all the deco pieces that come with it. And this is your dark. So you have those two. And I'll be honest with y'all. I'm not a red fan. Like it's my least favorite color. But when I saw this printed, I was like, oh, this read looks good. Like it looks juicy. Like I want some red now. So I really like those. And I hope that you do too. Okay. And then next I have this LV dashboard. And the card stock, it's not really thick, but it's thick enough. What your normal card stock would be to go into your planners. So this is a five size right here. Love this. And I'm not a big as far as like deco and stuff like that in my planner. I don't do a lot of LV, but I know my LV girls love it. So this is another extension to the LV stuff that we already have and as well as the last dashboards that I created. Now, speaking of the sale, you guys, so I've been trying to figure out like how can I just give you something extra for shopping with me. So I created some flossing cars. The card stock that I put on is super thick. Like it doesn't even make a noise because it's so thick. So I couldn't print it in my printer. So I had to go to the printers and their printer just kind of jacked them up a little bit. I'm just trying to salvage whatever I can. So if it's halfway decent, you may end up with one of these in your in your order. Okay, but I have some of these that you may get a thank you little card there. And these are some things you can use as growing cards or you can use as whatever just to thank you the way you want. And then I have these, which I felt as though you could just clip in your planner or whatever just of the color this deck of the color. Okay, now I wanted to also offer like some incentives for shopping with me. Hold on. I have one more thing. Also, this is our latest freebie. So this will be for like fall freebie here. So we have those. Some of y'all know and some of you don't but I like to just be crafty sometimes and I ordered these thinking again I was getting to but I got a whole bag. So I created some clips and I was just going to make a clip for my planner but then I'm like I got all of these clips what am I going to do with them. So I have some friends and I've sent some to friends. But with the few that I have left, I believe that I'm going to give these away to customers who spend. Like I said at first it said $100 or more but if you spend $80 after this I mean after you've gotten your discount, I'll include one of these. So I have until supplies went out so I have probably maybe 1520. So the first 15 people who spend over $80 after the discount, I will include one of these. These are handmade by me and let me show you the details of it. And that's what it looks like. And it sounds good. So I just wanted to show you guys that. So again, I wanted to just give something back. And like I said my little floss and cars didn't quite work out the way I want it. Like this one looks okay. And then like it was supposed to have that but the machine was feeding even their machine couldn't handle this bit card stock. So like I said you may if I could salvage some you may see one or two in there. Like this one it did like my cannon like we're going to leave a dot sometimes if the condensation is in there. So like I said also some of these may be included in your order as well. But you'll definitely be getting one of these for sure. Okay. And if not one of those one of these. So like I said I just want to thank you guys so much for shopping with me during the sale. And also just checking out my new releases. But let me know in the comments what is your favorite new release and I will see you guys tomorrow. Happy shopping. Bye.


This lecture is part of an online mathematics course on group theory and will be about extensions of groups. So to motivate this let's try to classify groups G of order 8. So we've done orders 1 to 7 in earlier lectures so this is the next case. Now the elements of G have order dividing 8 so they all have order 1, 2, 4 or 8 and we want to show there's an element of order 4. Well there isn't always. Suppose there are no elements of order 4 or 8 then all elements have order 2 and if all elements have order 2 well we've already classified groups such that all elements of order 1 or 2 and we saw that just products of groups of order 2 so this means G is equal to Z over 2 Z times Z over 2 Z times Z over 2 Z. So we may as well assume G has an element little G of order 4 it is order 8 we can just square it and get an element of order 4. So we look at the subgroup H which is all powers of G so H is order 4 and we notice H has index 2 so is normal in G. So let's draw a picture what we've got we've got an element 1 we've got a group Z over 4 Z which is isomorphic to H and this is a subgroup of G and the quotient is a group of order 2 and the only possibility is Z modulo 2 Z so we get an exact sequence like this this means Z over 4 Z is a subgroup of G or more precisely isomorphic to a subgroup of G and the quotient of G by this group is isomorphic to the group of order 2. So this is a typical extension problem an extension problem means we have an exact sequence like this where we know these two groups and want to figure out what this group is so we say G if we have a sequence 1 goes to A goes to G goes to B goes to 1 we say that G is is an extension of B by A actually we sometimes say G is an extension of A by B because it's almost impossible to remember which way around A and B are supposed to go but whatever so we now have this problem how do we classify all possible extensions of Z modulo 2 by Z modulo 4 so let's take a look at the possibilities so let's say that A contains an element A little A with A to the 4 equals 1 I've changed it from G to A so we can remember it's an A now we pick an element B in G mapping to an element of order 2 in B this doesn't mean the element B of G has ordered 2 it means its image in the group B has ordered 2 so let's look at the possibilities we know that B normalizes A so this means that B to the minus 1 AB must be a generator of the group A because A is a generator so it must be A or A cubed which is the same as A to the minus 1 because these are the only two elements in A of order 4 and B squared must be an element of A as it has image 1 in B so B squared is equal to 1 A A squared or A cubed now if B is equal to A cubed we just change A to its inverse which is A cubed so we can assume that B squared is equal to 1 A or A squared so here we've got three possibilities and here we've got two possibilities and finally of course we should remember we've got this equation A to the 4 equals 1 so here we've got three equations for A and B and there are all together six possibilities for what these three equations are so let's write them all out and see what we get so first of all we can have B to the minus 1 AB is equal to A or B to the minus 1 AB is equal to A to the minus 1 so I'm going to draw a big rectangle giving us all the possibilities and here we have B squared equals 1 here we have B squared equals A squared A and here we have B squared equals A squared so let's see what we get here well if B squared equals 1 this means that B actually generates a subgroup of order two so we get a semi direct product so if A and B commute we just get the semi the semi direct product is then a product so we get Z over 2 Z times Z over 4 Z as the only possibility so this is the group A and this is the group B if B AB to the minus 1 is A to the minus 1 we get the semi direct product Z over 4 Z semi direct product Z over 2 Z so the group has a normal subgroup of order 4 and it also has a group of order 2 acting non-trivially on this and it's pretty easy to see what we get we just get the group of all symmetries of a square so the element A is going to be just rotation so A does this so this is the element A with A to the 4 equals 1 and the element B well we can just take it to flip the square like this so B exchanges the two sides of the square with B squared equals 1 and you can check that B AB to the minus 1 is indeed A to the minus 1 so that gives the second possibility this case is really easy to deal with because it doesn't exist the point is that if B squared equals A this implies B actually commutes with A because A is just B squared so we can't B AB equals A to the minus 1 this case is quite easy because B commutes with A and B squared equals A so we get B to the 8 is equal to 1 so we just get the cyclic group of order 8 generated by B and we notice that A is the group generated by B squared so it consists of 1 B squared B to the 4 B to the 6 so that's again a group we've had before this case here turns out to be the case we've already got before because what we can do is if we put B a better not call it big B let's put C equals AB then we see that C squared is now equal to 1 and C to the minus 1 A C equals A and now we see that this case here is really the same as this case here so these are actually the same um we can in other words we've just picked it turns out that when we picked this element B we actually made a bad choice of element and we could have chosen a better element AB and would have got this presentation here so although this extension at first sight looked like a non-split extension that wasn't a semi-direct product we see that is in fact a disguised split extension so we say an extension is split if it's really a semi-direct product and this example shows it can be a bit tricky to tell whether an extension is split or not finally we get to this case here which is the most interesting one where we have two elements B to the four equals one because it's equal to A squared A to the four equals one and B to the minus one AB equals A to the minus one and the question the first question is is there any group of order eight um generated by elements with these properties you see it's not obvious because sometimes if we write down um properties of these elements there might be no group that satisfies them well this will in fact turn out to be the quaternion group denoted by Q of eight um this by the way I forgot to say was the dihedral group which we will be studying later and is called D8 so the first thing we've got to do is to show that that actually is a quaternion group so let's write it down explicitly well we can just take these elements we take A is equal to I minus I naught naught so this is a two by two matrix with I squared equals minus one and we take B to be the matrix naught one minus one naught and we can then check that A to the four equals one B to the four equals one and towards the relation B to the minus one AB equals A to the minus one so we found two matrices which satisfy these conditions we'd better check that these do actually generate a group of order eight because you see in this one we we could actually find a group satisfying these conditions but it would only turn out to a order of four not eight it kind of collapses a bit um well what we do is we look at the element C which is naught I naught and we look at the identity matrix which is one naught naught minus one and then G is going to be the eight elements plus or minus A plus or minus B plus or minus C and plus or minus one naught one and we can check that G is a group of order eight um so the quaternion group um really does exist um by the way the usual notation isn't to use AB and C for these elements but to use elements I J and K or sometimes big little i and little j and little k and then um and we denote um this element by one and minus one naught naught minus one by minus one and then we find I J and K satisfies these relations I squared equals J squared equals K squared equals I J K equals minus one and these are rather famous because they are there's they're the relations for the ring of quaternions that was discovered by Hamilton in the 19th century and he is rumoured to have been so pleased by this discovery that he carved these on the bridge somewhere um so um next lecture we're going to study the group of quaternions in more detail


Let's do this. Hello everyone and I'm so excited to have you back. As you know, I'm not in my usual studio. I wanted to do a different setup for episode 4 because today I will show you what's in my camera bag. If you're new to my channel, my name is Bennett and I'm a filmmaker here in Switzerland. This channel is all about filmmaking so if that's your thing, keep on watching. Today I will show you the gear I use when I'm on the go and explain to you why I use them. By the way, you will find all the products in the video description below so feel free to check them out. Okay, let's start. Let's get these things off the table. So first I want to start off with my camera bag. So I use the Pro-like Camera Bag Pack by Manfrotto. I have been using this backpack for a couple of years now and have been quite happy with it. What I like about it is that it has a top and side access so that I can access my camera body and lens quickly without unzipping the main compartments. I can fit in my 15-inch MacBook Pro in the main flap and also has a zipper barrier in between. It has a good size so that you can use it as a hand luggage when traveling. What's not so good about it is that it has no extra pockets or a water holder. But overall, it's an awesome backpack, very durable and secure. I would definitely recommend this one. Next, I want to present to you my full-frame mirrorless Sony a7 III camera. I own two of these cameras, one functioning as my main camera, which I'm recording right now and the other as my backup or B camera. So overall, I have been very happy with this camera. I love how it offers so much for its price. It can shoot 4K at 30 frames per second and 1080p in 120 frames per second. The low-light performance is very good on the Sony a7 III. It has also made some big leap with the autofocus and is quite amazing and reliable. I like how I can use the custom button to dial in my personal settings. As an example, I have dial one set to 4K 30 frames per second and dial two to 1080p 120 frames per second so I can easily switch between those two. It can record in log format, which increases the dynamic range and lets you recover blown out highlights to a certain degree. It has a 5-axis in-body image stabilization and can even record time-lapse with the new update. Essentially, the a7 III has everything I need except for the flip-out screen.  I can shoot almost one day with it, but it's always good to have some spare batteries with you in case you can't charge for a longer period of time. So next we have the Sony 24-105mm. This is my on-to-go lens. It has a great range with a constant f4 aperture. The image is very sharp on this lens and has a nice bokeh when using it the right situation. It is also weather-sealed and offers optical stabilization. It even has a custom button, which I use as a focus control for traveling. I think this is perhaps the best lens to get. So next we have the Sony 55mm lens from Zeiss. I have to say with this lens you really get some beautiful bokeh. I use this also in low-light situations because of its faster aperture of 1.8mm. I would definitely recommend this one. It's a great lens. Okay guys, this is very important. Always have a cleaning kit with you. You never know if your sensor has a dust particle covering your screen that could mess up the whole shot. Also, for lenses, I sometimes get dust and fingerprints on it. You can easily fix this by using a blower or a microfiber cloth. You can easily buy these and have these in your bag packs. So this is a must-have. I use the Variable ND filter from Tiffin. This is one of the most useful accessories you can get for video. So these ND filters work to reduce the amount of light entering the lens. For video, you can use to dial the correct shutter speed that will allow you to get the cinematic look. Make sure you have one of these in your bags. It's really, really useful and saves a lot of time. So I use the Peak Design Camera Strap. I highly recommend this one because of its quick anchor mount. Can easily clip the camera on and off the strap. So this is really convenient. It's a must-have. Another tool by Peak Design is the Capture Pro Camera Clip. Good for point and shoot. It has a quick release lock and easy access by just pressing the button here on the side and taking it off and putting it back in. So I use the DJI Ronin S to really capture those smooth shots. It's an awesome gimbal that can carry up to 3.6 kilos. It has a built-in feature which allows me to pull focus or start, stop recording. The pull focus doesn't work that well for the Sony A7 III but I hope that DJI will upgrade this soon. I use the GnarBox as my backup device. When I don't bring my laptop with me, this thing is really handy. With the app, it allows me to edit and share my content while I'm on the go. Other people can connect to the GnarBox as well and download the content that's on it. I also use it as a power bank, it's lightweight, durable and has a nice design to it. So yeah, there are many advantages of having one of these. It's definitely worth checking out. I use the DJI Mavic Pro 2 as my drone. The image quality you get is really nice. It has a great dynamic range and does also better in low light because of its bigger sensor. It can shoot 4K with its 10-bit code and has a lot of features when shooting a scene. It's almost impossible to destroy this drone since it's packed with sensors that provide obstacle avoidance. I love using this drone, it's a lot of fun and I always carry this with me. So for sound, I take the Rode Video Micro with me, record external sound with it. It's tiny, cheap and easy to use. It comes with a windshield and uses battery of the camera. The sound quality is quite good, I would definitely recommend this one. I also take my GoPro Hero 5 with me. I mostly use it whenever I get in contact with water or need to get special angles. I also use to use it for time lapses but since the A73 offers that option, I use the A73. So last but not least, I use the Aputure Amaran LED Mini Light. It's a pocket-sized LED light, incredibly compact and lightweight. It's great to use as a fill light or shooting at night. It has a great output and you can even adjust the brightness with it. So really great to have. So let's pack all the stuff in this camera bag. So I hope this was helpful for you guys. This is all the stuff I usually take with me when I'm on the go. If you liked this episode, please leave a comment and let me know what you would like to see next on this channel. Subscribe to see more and hope to see you the next time. Goodbye.


Who says you can't have it all? Not Appalachian Wireless, we know what you want. Appalachian Wireless offers the hottest smartphones and unlimited data plans, all on the region's number one network. West Virginia State Police, along with the United States Martial Service, conducted Operation Mingo Compliance. Troopers in Mingo County spent two days checking and verifying registered sex offenders throughout the county. Within those two days, troopers made an attempt to verify 69 of those offenders. Twenty offenders were not in compliance. Troopers have issued arrest warrants for those offenders. Three arrests were made throughout the process. The offenders who may have moved away from an address that we had registered here and failed to let us know about it, they were arrested. So that's where the three arrests come from. Through the Adam Walsh Child Protection and Safety Act, the U.S. Martial Service works with the West Virginia State Police to monitor the sex offender registry. We're able to offer them overtime money, which allows them to use their resources and our resources together to conduct these verifications across the state. They're done randomly. Sex offenders are required to check in once a year. Unless they've been deemed a violent offender, they're only required to come in here once a year to register and that's generally the month of their birth. If something changes, such as their cell phone number, then they're required to come and let us know that. There are 72 registered sex offenders in Mingo County. In Williamson, Shelby Porter, EKB News.


Recently, um, it has come to my attention that some of you are getting impatient regarding your boy Pizza. I shouldn't be showing you this, is this confidential stuff? I'm sorry, Pizza, I have to show them this. So I was getting a little antsy, I was waiting for the game to start, I was like, come on man, like we gotta play already, everyone wants it. And I get this text, I'm super scared to play you, can we please call it off Matt? Please. You're really the best YouTuber, way better than me. And while this may be facts, I had to let him know we're still playing.  He said, uh, okay, give me a week to train, I don't want to be embarrassed, sad face. So if any of you were confused, that's where we're at, it's out of my hands. Out of my hands. But okay, welcome back, we are three and O in this series of Will and Matt, last week to all these games have been bangers. Hopefully I can get a new corner. I need to get rid of Gene Baptist because that was so scary last game and we were this close to losing off of it. I actually really won off of a fluke play last game. All right, so hopefully after this episode we can be four and O, that means there's only like four games, four wins left and we're in the playoffs already. So that would be awesome. We are going to get the promo wheel spin again. Um, you guys got to give me some suggestions for the regular season wheel because I have a lot of good ideas for the really good spins, but I don't have so many ideas for the not so amazing spins. Right. All right. So 84 to 89 on the promo wheel. So any 84 to 89 player from Team Diamonds, oh my God, we were that close to it being Team Diamonds. We get ultimate kickoff. Ultimate kickoff is an old one, but they'll definitely have 84 to 89. Oh good. There's a punter and a kicker. Just what I wanted. Oh, a detackle or a right guard. Oh my God. I would totally take a right guard. I think I'm going to get Kevin Zeitler unless there's something insane here in 84 or we could get Jonathan Joseph. Oh my God. Wait, this is actually a tough decision now. I hope my next spin can give me a corner, but I do get an 86 overall right guard head to the team. So that's pretty good. All right. That leaves one more spin on the regular season wheel. There is always a chance that we get the jackpot and we definitely didn't get it on this one, but it is. We'll get the Team Diamonds anyway. Let's go. All right, boys, we get the Team Diamonds player from whatever team we're about to land on here and it's going to be the Browns. Is that Josh Gordon? What? I think it's Josh Gordon. What? That'll be kind of cool. Oh, it's Jarvis Landry. What? It's Josh Gordon. He's not even on the, he's not even in the league, right? He was on the Patriots.  But okay. Jarvis Landry. That is like mediocre. We got the juice. Boy, I got the juice. I got the juice. Boy, I got the juice. Boy, I got the juice. Boy, I got the juice. Boy, I got the juice. I got the juice. Boy, I got the juice. I got the juice. I got the juice. That's it. Look at how much juice we have on this lineup. Tyree killed Jarvis Landry to Shawn Jackson. We got the Little Guy squad at wide receiver and the Little Guy squad at backfield, bro. Russell Wilson is tiny and so is Barry Sanders.  Now all we need is me and my 6'5", 245 stature to even it out. We of course cannot go anywhere without the challenge wheel. So let's see what challenge we are granted today did not complete my last challenge. So let's get this one. Oh no. Oh no. Ow. All right, boys. We're in for a big one. Oh my God. He's testing Brian Dawks in the ball by ball. B Dawks got it. What kind of sack is that? What? There's no way you're catching Barry Sanders. I don't care who you are. You're not catching. Oh my God. Of course, dude. Of course. That's why I don't kick the ball.  You got a free kick return. Nice. Oh my God, I really just... This is like, this is so maddened for you. I was looking at my phone on both of those plays. I was looking at my phone and I got a kick return on me and I was looking at my phone and I blocked a kick. Oh my God. He's literally going to let me do it again. Are you insane? What is wrong with you?  That's not there. Oh my God. You're kidding me. I have a great time. What? And I didn't tackle him? That was whack. That one was whack. All right.  First and 10. We got to keep them out of the ends on somehow. I think he's just going to keep running the ball. Yeah. I don't know if he already knows how bad my...  I don't know what I can do about that, like, is that there? Sean Jackson found a window. Wow. Look at that. That's some sketchy stuff right there. That's sketchy business. A is wide open. Like so open. KJ Wright. I love KJ Wright. Like every single game he's having the mad yards. That was almost a pick. I would have cried. Go, go, go, go, go. Shit out. All right. That's going to make it 14 to 13. I like that. And I get the ball half. Counter. Because obviously I can't stop this onslaught. Oh, he's throwing right to me.  Let's go. Mike Vick is 0 for 2 with an interception. Oh, play action. Sack. Sacked him at the 19. Dude, I was so convinced that was a run that I just fully committed with B-Daw. Let's see if he does another run play. Yup. I'm screaming with thought. Oh, I was there. And tackle broken. But Gene Baptist. I don't know what he did, but he got him to pull back. Fourth and goal. He's taking the middle. Bro, that was 100% a touchdown. I don't know what happened. Oh, look at that. Look at that. That playmaker is sick. Oh, my goodness. Did Barry just catch it? He caught that. Yo, he caught that. He went out of bounds, obviously, but he caught that.   And I threw a pick. Oh, no. He might return that. Wait, what? Oh, my God. I can't believe that just happened. That's so bad. Did I just... Oh, my God. I can't believe that just happened. That's so bad. Oh, my God. I can't believe that just happened. That's so bad. Did I just... Orange? Oh, my God. Of course, big hitter fumble. Sweet. Fake screen wheel.  I just had everyone backed up as far as I could. Bro, literally maybe 50 seconds ago, this game was 13 to 14. Why are you showboating? It's like my dig. I'm just spreading lines all over the space. All right. So we got to remove the area slay, sadly. And we got to remove Zitler. And we got to spin the loser's wheel. Now, this might not be terrible because the team is already so bad that I'm pretty confident that the loser's wheel can't hurt us that bad. But we'll see. I just realized this.  My wheel spin was the Broncos team diamond, not the Browns. It doesn't matter because I lost them anyway. But oh, my God. So sorry. I misspoke. I lost Kevin Zitler and Jarvis Landry. But I wasn't even supposed to have. I'm so sorry. This whole episode is just an L. All right. One spin on the loser's wheel for our L. This whole episode is just a big L right now. That's all I got to say. It's going to... Oh, God. It's going to wipe our D-line. There goes our Aaron Donald. And there goes our Javon Kiers. Ah! I guess it could have been worse.  So I'll survive. That's too bad. But we just got to take this episode, erase it from my memory, and get a win in the next episode. All right. That's it, guys. Next episode's got to be better. I'll see you guys next one. Peace out.