OK. Good evening, everybody. Welcome to this week's Development Studies Seminar Series, and thank you in advance again for your patience. So we're delighted to have joining us tonight Dr Tariq Jazeel, who's a reader in human geography at UCL, prior to which he worked at Royal Holloway University, the Open University, and the University of Sheffield. His research interests lie in the crossroads between critical geography, post-colonial theory, and South Asian studies, and his work focuses on aesthetic and cultural constitutions of space and the political, as well as the post-colonial politics of geographical knowledge production. He's editor of the journal Antipode on the editorial collective of social text and co-founded and co-directs UCL's Centre for the Study of South Asia and the Indian Ocean World. He's co-authored, or authored, over 30 journal articles, the most recent of which include the paper that he's presenting this evening, as well as urban theory with an outside and mainstreaming geographies decolonial imperative. Also joining us, we're delighted to have Raoul Rao, who is a senior lecturer in the Department of Politics and International Studies here at SOAS. Prior to this, he was a fellow and Rhodes Scholar at the University of Oxford. His research interests lie in international relations theory, the international relations of South Asia, comparative political thought and gender and sexuality. He's currently working on a book on queer post-colonial temporality and his first book, Third World Protest, Between Home and the World, which was published by Oxford University Press in 2010, explored the relationship between cosmopolitanism and nationalism in a post-colonial protest movement. If you wish to tweet this evening during the seminar, we encourage you to do so, and the hashtags are SOAS, Dev Studies and ESRC. So with that, preamble out of the way. I'll hand over to Tariq, who'll begin by introducing his talk. Thanks very much. Can you hear me? Thank you for the invitation. It's great to get a round of applause before doing anything. It's fantastic. Thank you so much for the invitation to come and present here. It's real thrilled for me to be here. So thank you, Faisie. Thank you, Raoul, for the advance and thank you, Joe. So, I want to start with a brief moment from the Sudanese author, Tayyb Saleh's 1969 novel, Season of Migration to the North. Excuse me, and I confess that this reading isn't my own. I'm leaning quite heavily here on Amir Mufti's rather brilliant 2005 article on what he refers to as global comparativism. For those who haven't read it, Season of Migration to the North is a kind of inversion of Conrad's Heart of Darkness. The novel's Kurtz figure is Mustafa Said, a Sudanese man who finds himself in London in the 1950s and sets about seducing then driving to suicide a series of English women who harbor Orientalist fantasies about him. Narratively speaking, Said's actions are the colonial counterpoint to Kurtz's decline into madness in Heart of Darkness and his obsession to exterminate all the brutes. In Season of Migration to the North, after a prison term in England, our Sudanese protagonist, Said, returns to Sudan and settles in a village on the banks of the River Nile where he meets and tells his story to the novel's narrator who himself has just returned from England with a PhD in English poetry. And it's a moment towards the end of the novel that Amir Mufti focuses on in his reading that I want to draw out here. It's a moment when the narrator enters a room in Said's house that's always been kept locked, a room that's always been kept locked. And in an image as cultural as I think it is political economic, it turns out that the room is a replica of an English study with Victorian chairs covered in silk around table with notebooks on it, a fireplace, oil portraits on the wall and photographs of Said arranged on a shelf but most of all books, books which line the walls everywhere, books that sit on chairs, books on tables, books on the floor and A to Z of books covering topics from astronomy through zoology, philosophers from more through Wittgenstein, four volumes by Mustafa Said himself, even the Quran and Bible in English. I'm not going to read through this extensive quote but the point I want to make is there wasn't a single Arabic book in that library. So for the narrator, the room is at once a prison, a huge joke, a treasure chamber. Now my paper this evening set against this backdrop, against the backdrop of Mustafa Said's Anglophonic and Allegorical Library and it's a paper that attempts to push at that kind of jocular ambiguity that makes it difficult I think for us to decide whether this is a library that's bountiful with the promise of intellectual treasure or in fact a prison. And in doing so I want to respond quite directly to the challenge of decolonising knowledge, specifically coming from my own discipline decolonising geographical knowledge I guess and specifically by thinking about what that task of opening geography to the world might entail or opening social science to the world might entail. I want to do this by suggesting that as a discipline a methodological disposition towards singularity might well facilitate the decolonisation of geographical knowledge and its production. So instead of trusting that we can build an adequate critical imagination for our reading publics for our students and for ourselves with the resources that Said's library offers us I want to argue that the particular, the singular offers us compelling ways of moving our critical imaginations towards alterity. I want to propose the singular as an ethical imperative if you like poise to mitigate the possibility of research on southern subalton or indigenous context becoming a kind of kind of empirical conscript to a theoretical modernity that remains firmly located in the Euro-American Academy. So the singular in this sense I think offers us a direction of travel that can puncture the conceit of Said's library. And it's bountiful but intensely Eurocentric promise of utopian worldiness in the light of the fact that as Amir Mufti extrapolates from his reading of Mustafa Said's library, we're all Eurocentric now. I've used the word manifesto to describe the task of making this argument and I'm aware that it's a rather bombastic and imperfect trope really for what I want to do principally because it's central to my argument today that there is no and there can be no formulaic access to the singular. Instead by using the word manifesto I think what I mean to do is mark out a few methodological resources and watch words germane to that task of decolonising geographical knowledge via an orientation, its orientation toward the singular. But let me stress that the idea of a manifesto for incomparable geographies intentionally gestures to the work in urban studies that's emerged in recent years particularly around comparativeism, comparative urbanism. Urban geographers, people working in urban studies have over the last 10, 15 years or so been acutely aware of the values and the pitfalls of comparative methods for urban research. So the field has seen a proliferation of work that first critically points to the implicit comparisons when global south cities are framed by an archive of urban theory and largely emerged from research conducted on a few key cities that become paradigmatic or superlative. So Chicago, Los Angeles, New York, London, Paris for example, these are the examples of the cities from which urban theory tends to be generated. And comparative urbanists recently have been drawing attention to that kind of Eurocentrism or Euro Americanism I should say of urban studies knowledge production historically speaking. And second, urban studies has steadily since this kind of critique it's steadily built a new repertoire of urban knowledge by comparing diverse cities across and between global north and south rejecting the integrationist modes of comparison that consciously or unconsciously pull all cities into urban studies in a history of categorisation and developmentalism. And my subtitle should make it clear that singularity speaks in relation to that work. In other words, even though this isn't an urban paper per se it's in the context of urban studies turned towards comparison and comparativism that it makes sense I think to emphasise singularity as an ethical imperative for decolonising geographical knowledge production. Sorry, I think I'm slightly behind myself on my slide set but never mind. But let me be clear that a manifesto for incomparable geographies isn't a manifesto against comparison. Indeed some of the work on urban comparison some of the best work on urban comparison I think is aimed precisely to bring us face to face with the incomparable. So Colin McFarlane for example has been quite clear that the integration of comparison in urban studies moves towards quoting him one possible route through which alternative theories of the urban might emerge. And likewise my colleague over in the geography department at UCL, Jenny Robinson has been consistent and insistent that comparative urbanism at its most useful should lead urban studies towards conceptual revision and experimentation. And some of Jenny's most recent work has mobilised delusional notions of singularity precisely as a way of interrogating how urban case studies might productively generate a revisable and ultimately more global urban studies. But I remain deeply surprised that these debates and these questions haven't had a wider impact in my discipline more generally, in geography that is beyond its urban domains. Because part of what I'm arguing today is that I think we should cultivate a certain kind of ambivalence a disciplinary ambivalence to our extant ideas. And in fact an openness towards singularity I think demands this kind of ambivalence. To this extent then I think we might push the implications of urban comparativism much further actually particularly in terms of that very notion of revisability because it seems to me that heuristically at least interrogate the way that those commitments to revisable urban theory in the service of a more global urban studies tend to first prescribe that new theorisation or concept work will inevitably reconstillate around the urban as a universal taken as given knowledge object. And secondly I also want to query how the very notion of a more global urban studies unwittingly actually leaves untended the conceptualisation of the global or worldly and comparative thought which is what I want to turn to now. So if part of my aim is to interrogate global claims or the worldly aspirations contained within Mustafa Said's Anglophonic Library then it's worth ascertaining that as much as the world is a material thingly biophysical entity one that we can see, right? It's also a figure, it's a concept that has deep historical roots in the European metaphysical tradition from Kant's engagement with the Copernican Revolution onwards. Sean Gaston's book, 2013 book The Concepts of World from Kant to Derrida is I think a wonderful exposition of this tradition and what I want to emphasise is simply that it's this philosophical and hermeneutic tradition that tethers the concept of world and by implication the ever more worldly that decolonisation moves towards to what Gaston refers to as the all too ready acceptance of a seemingly unavoidable logic of containment that has its roots in the classical tradition. Now in a move that seems to build on this critique of this containment Amir Mufti's most recent book which is a critique of the category of world literature has drawn our attention to the ways that the adjectival prefix of world in world literature functions as a plane of equivalence a set of categorical grids and networks that seek first of all to render legible as literature a vast range of writing practices from across the world and across millennia so as to be able second to make them available for comparison, classification and evaluation quoting Mufti there. So what he stresses is how the premise of a particular worldly or cosmopolitan imagination actually flattens difference turning it into the comfortable coordinates of diversity because of the sticky particularity of that universal vision. Now interrogating this problematic notion of global diversity is of course very relevant for thinking through a geography of difference in the comparative imagination. Indeed this is the kind of algorithmic and computational geographical imagination that Gadri Spivak critiques through her methodological trope of planetarity which she proposes to overwrite the globe. So the globe and globalisation for Spivak imply the imposition of the same system of exchange everywhere. There an extension of that containing sense of world in the classical tradition. The globe and globalisation for Spivak present us with an abstract ball covered in the lines of longitude, latitude and other computed lines of measurement and classification through which we can easily compare. So the globe is that which GIS and the graticule present to us for immediate comprehensibility. But Spivak's point is that immediate comprehensibility is antithetical to actually existing singularity. For Spivak it's the planet that offers us a way around these reductive comparisons and into the ethico-consectual space of singularity. The planet is that which slips from the grip of algorithmic or computational logic. It's that which can't be fixed by the messianic gaze of one system of measurement with universal pretensions. The planet, as she puts it, is in the species of alterity. It means such different things to different groups located discontinuously across its surface that it continually flings us away. Because alterity, as opposed to mere diversity, is underrived from us. It's that for which we do not yet have the language. I think the key thing to draw out here is that if there will always be the kind of planetary difference that resists being known and therefore contained theoretically and conceptually, then planetary difference is a methodological challenge actually. It's an imperative woven into decolonisation that should steer us toward the effort required to grasp differences on terms true to the singularity of those differences. So planetary is thus a disposition to knowledge. And as Spivak writes, we must persistently educate ourselves into this particular mindset. Another point that I want to make with regards to planetary is simply that it implicates geography as Earth writing. It asserts the always already multitudinous textualisations of multiple worlds. Educating ourselves into the mindset of planetarity, therefore, means developing literacies. Literacies that enable us to read the planet's many and discontinuous textual fabrics. In other words, and unsurprisingly given that Spivak and Mufti are literary theorists, the world or planet for them is textual. It's written. However, and this is a point I think that's sometimes been lost in recent debates in my discipline at least, that is those concerning geography's materialist terms, the planet isn't always written in English. So what I'm concerned with is how to be able to read to discern the outlines of the other story. How methodologically as researchers can we make that move into the text of the other. So in this sense, I think it's important to stress that the singularities I'm evoking in this paper are spatial and historical, not temporal as such. In other words, they're positioned in geographically relational ways to the cutting edge of social science knowledge production. So the conferences in which we present our work are top peer review journals, seminar spaces like this for example, so on and so forth. Now these singularities that I'm referring to are of course historical insofar as they have their own relational histories, but they're simultaneous with us in the here and now. And this is an important point to make because I want to be careful to position the kind of singularity that I'm mobilising in relation to delusional patterns of repetition and difference, which reduces a singularity that delus opposes to representation, which is a move that I don't want to make. So when delus writes of repetition as a singularity opposed to the general and when it explicitly states that the theatre of repetition is opposed to the theatre of representation just as movement is opposed to the concept and to representation. It's important to recognise the temporalising movement forward that he seems to be evoking and furthermore the espaciality of that temporal movement. So delusional singularity seems to me to be not the natural movement into quite other spatial contexts where our literacy fails us. Delusional singularity isn't the movement out of the quite particular anglophonic epistemic space of Mestaphysaides library and into the space that surrounds, so to speak. It's a temporalising movement forward that pushes beyond our extant representational capacity. My point, however, is that singularities are simultaneous with one another. They're relational too, but they're discontinuous with our conceptual systems. That's what makes them singular and incomparable in the concept worlds we inhabit. That said, I think delus is central to the aesthetic regarding the essence of repetition is a useful one insofar as, in his words, the problem is a question of knowing why repetition can't be explained by the form of identity in concepts or representations. And as Jenny Robinson has written in her far more astute reading of delusional singularity than my own, she writes how delusional singularity draws us into a proliferation of revisable ideas and infinite learning, already intimately connected with many other concepts and experiences, but amongst which there is no original model, original or copy. For my purposes, this is incredibly useful, but only I think insofar as we can think that revisability across space, across space that's contiguous with us, but at the same time epistemically discontinuous. So it's the necessary temporal toniaty and spatial contiguity of this notion of the revisable idea that should prevent what, in research between global north and south, would, I think, be the easy option of reaching for the non-representational, where we simply do not yet understand. Now, to this extent, I think it's worth thinking with the imperative of decolonialism a little more concertedly, and I want to do this in relation to the decolonial literature that's been emerging out of Latin American studies over the last couple of decades. So the modernity, coloniality, decoloniality research programme emerging from scholars like Annabelle Kehanau, Maria Lugones, Walter Minyola and others who point to the European conquest of Latin America as that which precipitated the constitution of a new world order that half a century later has resulted in a form of power covering more or less the whole globe. What they refer to, of course, is coloniality. So in this analysis, academic knowledge production, even in its critical leftist incarnations, results in what Minyola refers to as a geopolitics of knowledge, wherein even critical leftist knowledge production is inseparable from the kind of coloniality that they diagnose. So in Minyola's words, the planetary expansion of the social sciences implies that intellectual colonisation remains in place, even if such colonisation is well intended comes from the left and supports decolonisation. And what this puts to us is the very tricky double bind of paraphrasing Audrey Lord dismantling the master's house with the master's tools. So what decolonial scholarship proposes then is a project of delinking knowledge production from the academy rather than the scholarly transformation within sorry, rather than scholarly transformation within the academy. So it looks to indigenous southern thinkers for epistemic perspectives who here too for obscured by the Eurocentric rationality of Mustafa Said's library. Just as it urges us to interrogate the coloniality of the ways that terms like indigenous southern and subaltern we might have to say fix and contain those subjects and spatialities. So it suggests the very impossibility of decolonising the academy from within when the academy itself is the harbing of coloniality. So in other words for decolonialists are attempts as academicians to decolonise social science knowledge are akin to tinkering while Rome burns. As necessary as this position is there are I think some serious problems with it. So first as Kiran Asher has pointed out Minolo and others seem to persistently fall into the trap of equating their political aims with theory. That is to say a kind of theoretical orthodoxy has emerged around the modernity, decoloniality, coloniality programme such that we end up with the intellectual object of so-called decolonial practice as theory. In other words the argument about delinking decolonial knowledge production from the academy can't itself be delinked from the academy and thus has problems resisting the kind of commodification complicit with coloniality that they diagnose in the first place. Second and more over in my opinion if the modernity, decoloniality, coloniality programmes insistence on delinking is to be successful we end up mitigating against the entry of subalton indigenous or southern thinkers into the formation of disciplinary thought or indeed public life. In fact as the literary critic Jean Franco has observed the eventual disintegration of the Latin American subalton studies collective in part due to that very tension between the Latin American subalton's potentially generative public role and disagreements amongst the collective about that obstinate position of not representing the subalton within the US academy. So what this raises I think is the problem not of displacing the academy as such but how to transform it. How to transform the shape of the knowledge produced within the academy. How to bring the singularity of indigenous, southern or subalton narratives into our imagination in ways that first pluralise the very we in here and second do so in order to reproduce the academy as a more open heterogeneous epistemic community. What Richard Nagar refers to as an anti-definitional analytical space. A space wherein those other voices aren't translated out into any form of recognition such that they conform to our disciplinary theoretical and conceptual protocols. This I think is the challenge that singularity poses and in the last half of the paper what I want to do I want to turn to singularity a little more directly evoking a few methodological strategies and their potentials if you like that might routinely move us as researchers towards singularity and its potential. So I want to talk through five brief strategies or tactics if you will for moving towards singularity that we might think about. These aren't meant as a kind of step by step guide in any sense rather I guess in talking through them I hope to be able to suggest something of what singularity itself offers in relation to the task of bringing difference and different kinds of knowledge into representation in the Anglophone social sciences so they are in turn theory and reading friction and fragments translatability and untranslatability abiding by and poetic so I'll talk through these and I hope it's clear by now that the work I want the singular to do is ostensibly to pull us back from an intellectual culture of subsumption reduces examples and cases to exchangeable instances or conceptual givens for the benefits of a disciplinary theory culture located here so to speak which brings me to my first point on theory and reading. The very question of theory actually in geography but more generally in the social sciences I would say which have well debated use and locatedness of theory indeed in my own field feminist geographers in particular have over the years sought to interrogate the masculinity and hegemony of theory culture within the academy which has precipitated an ongoing and healthy suspicion amongst geographers of what Saïd referred to as theory's bad infinity. At the same time however I think we can tend to take the theoretical for granted and what I want to stress certainly in geography we rarely stop to consider what exactly constitutes a theoretical text. In other words to what do we refer when we talk about theory? What is it that distinguishes theory from data or narrative? In fact I think our unthinking tendency to separate and intuitively no theory from method is something that I think we've inherited from the positivist scientific method. Now the Brazilian philosopher Marilena Chawi regards this unthinking approach to theoretical knowledge objects as a form of authoritarian thought where she says frees itself from the disturbing need to confront that which has not yet been thought. Now this kind of authoritarian thought she stresses is incapable of thinking difference and my point here is not an anti theoretical one but I do want to suggest that we might retreat a little bit a little bit from simple bifocations of the theoretical from the empirical. From truth claims made in the absence of particular fields and contexts the more important question when we're building more global theoretical repertoire is what exactly is theory for of what use is it and how can it be mobilised for political intellectual ends? Not how can we theorise better but why theorise better? The so what of theory as it were and in so far as I think these are important I think these questions are important I think these are questions that need to be directed to problem spaces located in our field context so in this respect singularities demand a relatively undisciplined kind of disciplinary knowledge production in the sense of work per se but in the sense of a careful and active work that quoting Richard Nagar again places question marks on the utility and logic of neat positions and categories given that those very positions and categories reflect the epistemic hierarchies the logic and investments of our own locations as Euro-American geographers or social scientists so singularities demand to be read in their specificity and that requires attention to historical difference the imperative here is to think what we can learn from literary, testimonial or ethnographic narratives in and of themselves and how that learning may in fact precipitate a useful kind of unlearning actually an unlearning of the theoretical orthodoxies with which we're familiar and through which we transact in the academy and I use that word transact deliberately because I think it signifies nicely the accrule of value that accompanies correct theoretical practice or innovative theoretical practice so further how might we contextualize those narratives historically, socially and culturally such that we can read from them what Raymond Williams referred to as the structures of feeling to which they point and this I think is the work of close reading that's both radically empirical and its attention to particular and singular narratives but at once also theoretical insofar as it enables a kind of correct and contextualized vision so for example in my own work on Buddhism and the aesthetic production of ethnicizing space and political geography in Sri Lanka this isn't held a conscious decision if you like to stand at something of a remove from the literature in my field in my discipline on the geographies of religion and post or infrasecularism which I would argue ends up holding the enlightenment concept of religion and the sacred secular binary woven into it intact and in the Sri Lankan context notwithstanding the colonial history of world religion scholarship and a late 19th century history of Protestant Buddhism that produced and institutionalized the presence of Buddhism and its ethnicizing singular power today fragments from my field work revealed how Buddhist metaphysics also exist aesthetically in ways that aren't reducible to the concept of religion that is to say Buddhism exists as an environmental structure of feeling consolidated in and through certain kinds of spatialities and told to me in terms idioms and allegories incomparable with categorical understandings of religion of the sacred secular binary around which disciplinary debates in geography tend to circulate what that briefest of examples reveals I hope is not singularities that exist in some kind of pristinae impossible vacuum I don't want to essentialize the singular instead I guess what I want to point to is what Anna Sing refers to as the grip of global encounter or friction which for Sing is the traction of universals as they're lived so in my context it's been useful to think about how Buddhism thought as an institutional presence a discourse and colonially contrived world religion in other words a category how it's negated as it's lived from its inside out aesthetically intuitively people who were at the same time claimed to be secular and thus modern so looking for those points of friction entails in Sing's words turning away from formal abstractions to see how universals are used she points for example to Celia Lowe's work on the species collection activities of a conservation organisation in the indonesian Toghian islands where she found that English-speaking volunteers refused to learn the indonesian names for the species that they found so they believed their task to instead be one of directly matching organisms found with their internationally recorded Latin species names and their indonesian hosts tended to juggle local national and Latin species names but in their reports only the Latin names tended to count it was only the Latin names that had value and what Sing is interested in here is this moment of friction where biological material biological material is purified of its own spatial contextual and singular histories so friction allows her a way into following the articulative process dipping into the cultural resources and clues she finds increasing their meanings closer to the ground than to their global resonances so to this extent Sing's friction reveals itself in what I think we can refer to as fragments empirical shards that reveal themselves in fields and archives excuse me be they material or textual and the fragment is just as useful trope to think with I think in the context of singularity we can influence here by some of Colin McFarlane's recent work in which he's been trying to think about what fragments reveal about urbanism and in doing so he methodologically mobilises a longer history of subaltern studies writings on the fragment I think are really useful with respect to singularity so fragments he reminds us have been fundamental to the subaltern studies project because they present tantalising clues to their histories and to new forms of conceptualisation and methodology often hinted at in archival research but speaking to a different way of conceiving some of the basic categories of historical investigation so far as fragments attest to empirical variation they evidence new vantage points and in our own work as social scientists we might think about fragments as those traces found in field or archival worker a scrap of speech a tract of text a narrative a material thing found or alluded to by a research participant perhaps so fragments don't quite make sense to our well-trained ethnographic eyes or historical gazes fragment is thus an evidence of some other whole thing but evidence of what we're not yet quite sure and drawing on Dipesh Chakrabarti the fragment McFarlane writes is a provocation that demands recognition that the world is so plural as to be impossible of description in any one system of representation so the fragment in this analysis is a lure an invitation to pause and stay with difference or as McFarlane has put it elsewhere drawing on the anthropologist Brian Larkin's work it leads us towards a language to be learned so if the fragment leads us towards a language to be learned it necessitates translational work there's a lot to say of course about translation and decolonisation but what I want to touch on here is how singularity might usher us into linguistic and ethnographic spaces of translation and importantly also spaces of untranslatability so for Walter Benjamin the task of the translator is always to find an echo of the original in the language into which something is being translated but for Benjamin the implication of this is that technically possible even technically perfect linguistic translation is never enough it's the incomprehensible the secret, the poetic that good translation must fear towards in this respect I think it can be useful to think of ethnographic and historical workers itself an act of translation insofar as it always involves learning the poetics of another form of life and as much as I I guess as much as I want to hold on to this it's important to remember that translation is also about the hard work of language it's about textuality it's about idiom translation is what Spivak refers to as the most intimate act of reading a literal act of surrendering to the text of the other I mentioned Spivak because she's not just a literary critic of course but a translator, it's one of the most famously perhaps of Deridars of Gramatology but she's also translated the Indian Bengali fiction writer Mahaswata Davy whose fiction helped to bring the exploitation and neglect of Indian tribals of its Adavasi communities into representation and though Davy published over 100 novels and 20 collections of short stories in Bengali her renown in the English speaking world has arguably been very much due to Spivak's translation of three of her books in the one publication and it's Davy's story Teridactyl Purinsahaean Pyrta in the that book Imaginary Maps that I want to focus on here and the main protagonist of that story is I'm sure many people in this room might have come across it already the main protagonist is a journalist and cast Hindu Purinsahae who travels to the fictional Pyrta block in Madhya Pradesh home to an Adavasi community of some 80,000 people whose land has been destroyed devastated by the fallout from the Bhopal gas disaster in the mid 1980s now on the map Pyrta block is shaped like some extinct forgotten animal the Teridactyl no less and the community are suffering drought compounded by a contaminated water table coupled with neglect as well as ill-informed and piecemeal development initiatives that prove no practical use in the face of the hunger and the local epidemic of enteric fever that's decimating the community in Pyrta block Purinsahae's guide is an old friend a block development officer called Harish Haran who introduces him to representatives from the tribal community including a man called Shankar and a boy called Bikya and Bikya communicates with a Teridactyl like creature that in the story embodies the soul of the community's ancestors which has come back to mourn the destruction and disfiguration of their land and indeed of the tribal community now I'll come back to the poetics of the Teridactyl in a short while but for now I want to dwell on one passage in the story where Shankar the tribal representative is explaining to Purinsahae and Harish Haran the plight of his community he says Shankar goes on talking with his eyes closed alas he speaks Hindi Purin and Harish Haran also speak Hindi but how can one touch the other Shankar says his say in Hindi but the experience is a million moons old when they didn't speak Hindi Purin thinks he doesn't know what language Shankar's people spoke what they speak there are no words in their language to explain the daily experience of the tribal in today's India Pashupati Johnco with the Ho tribe in Singbham a native Ho speaker had said with humble amazement translating Bersamunda's life into the whole language there are no words for exploitation or deprivation in the whole language there's an explosion in Purin's head that day Bersamunda was a freedom fighter and tribal folk hero in the late 19th century now as a story and documentarian of Adavasi experience what are clearly important to Davi are moments of untranslatability so it's not just that this short passage reveals exploitation and deprivation to be not endemic to tribal society in those terms it's also that Shankar's narrative his testimonial is incomprehensible to Purin and Harisharan even as Shankar speaks in Hindi which is Purin and Harisharan's language because there are no words in their language Hindi to explain the daily experience of the tribal in today's India in other words in Hindi the ordinary contours of tribal life are unfathomable yet for Purin it's precisely in that unfathomability in his inability to grasp the tribal experience that he sees something of the difference that he feels something of the difference it's in that fragment in other words it's in that fragment of uncommunication that an experience is actually communicated later in the story the pterodactyl comes to stand for this difference for the poetics of this incommunicable experience as Purin says to his friend Harisharan the block development officer after himself having come face to face with the pterodactyl there's no communication point between us and the pterodactyl we belong to two worlds and there's no communication point there was a message in the pterodactyl whether it was fact or not and we couldn't grasp it, we missed it we suffered a great loss yet we couldn't know it so Davy shows I think how moments of untranslatability can in fact be immensely productive encounters where incommensurable differences encounter one another and the literary theorist Emily Acta has recently pointed to the political potential of as she writes, activating untranslatability as a theoretical ffocrum for work across the social sciences and humanities that can ethically and practically stand in opposition to what she refers to as the gargantuan scale of the anglophonic globalisation of social sciences and knowledge production singularities I would suggest can reveal themselves in moments of translation failure that we need to hold on to as Davy skillfully does and Spivax I would also add that Spivax translation of pterodactyl does this because it retains in italicised text all words that appear in English in the original text so in other words all those words that Davy can't translate can't translate from English to Bengali are retained as material traces of colonialism and it's also a brief postscript to pterodactyl in which Davy writes I'd merely tried to express my estimation born of experience of Indian tribal society through the myth of the pterodactyl and what I want to tease out from this briefest of statements is simply the time the effort, the patience that Davy's spent on the tribal issue through her literary career a singularity I think demands this kind of sticking with of attending to and thus making oneself part of a particular problem space located in one's field so this is about cultivating an orientation and responsibility to the demands of a field site or area studies community and also of treating that space fully formed intellectual community not simply a data reservoir and in his work on Sri Lankan literary fiction and civil conflict the literary critic Khadri Ismar refers to this as a process of abiding by abiding by the places on which we work which entails the injunction to quoting him to wait, stay pause, delay, tarry over remain after others have gone continue, sojourn, dwell stand firm by hold to remain true to endure and counten with stand or sustain and finally to suffer even and my point here is is not that as researchers we don't already try our hardest to do this but it's to query how compatible that kind of patient attention to the singular is where not much may change over long stretches of time how compatible that is with the temporality and scale of large grant funded research projects that promotion and reputation are increasingly dependent upon in the corporate university today and also wonder how comparative research might negotiate this kind of dilemma my final point is in fact something that I guess I've been gesturing towards throughout this paper and that is poetics really as a vehicle for moving us towards the singular towards the unverifiable the statistically insignificant I've already indicated how Walter Benjamin emphasised that the task of the translator is to move readers to what he refers to as the poetic and it's in this notion of the poetic image that the singular I think reveals itself as something but of course the thing about poetry is that the social sciences too often pathologises it literally if we take pathologise to mean treating something as abnormal so the poetic is in many senses the opposite of the statistical sorry of the statistical the conceptual or indeed the democratic majority in other words poetics comprise the manifold narratives of the minority the otherwise excluded or the forgotten which are precisely what I want to activate by inviting the singular into our disciplinary domain but also precisely what the social sciences so often legislates against in its enumerative mode throughout the paper I've drawn extensively on literature and literary theory for some good reasons I think literature tells stories I think we need to remember that part of our tasks as geographers certainly is to listen effectively to stories not just to listen actually but to learn how to read stories and to be sure our task is also to tell the stories that our work yields in non-reductive ways as Richard Nagar has written stories are a medium through which fragmented truth claims emerge gets interwoven and reworked to eventually lead us to forms of epistemic wholeness in this sense and following Edward Glison in his book The Poetics of Relation poetic thought and safeguards the particular it affords us the power to experience the shock of the elsewhere and I think this kind of cerebral electric shock is exactly what decoloniality requires for Audrey Lord another writer I mentioned earlier who celebrates the potential of the poetic image in intellectual work poetry is the way we help give name to the nameless so it can be thought of so my point in relation to the literary is that the poetic image the figure that the singular offers us before any theoretical disfiguration the pterodactyl in Mahaswetha Davies pterodactyl Puransahe is exactly such a figure it's the ungaspable other the nameless that emerges into thought from the Davies poetic image a Spivak writes in her afterwards to the collection for the modern Indian the pterodactyl is an empirical impossibility for the modern tribal Indian the pterodactyl is the soul of the ancestors a fiction doesn't judge between the registers of truth and exactitude it simply stages them in separate spaces this is not science fiction and the pterodactyl is not a symbol so what I think as I read pterodactyl Puransahe and pterodactyl is that there's probably no better text with which to teach underdevelopment and tribal issues in northern India and it's very singularity the text can become a valuable theoretical results okay so the paper has been a beginning of a manifesto for sorts there are no doubt more many more methodological strategies that one might want to discuss is in the service of singularity but I hope that by discussing just a few I've demonstrated something of the potential for the task of something of its potential for the task of intellectual and disciplinary decolonisation in a social science context I don't really have a conclusion to the paper but rather something like a last point to make and that is that singularity is in many ways opposed to the corporate university and para university context today it's opposed to the gargantuan scale and global ambition of many of our institutions thus it is difficult in this sense I think it necessitates what Stefano Harnie and Fred Moten refer to as a fugitive relationship to the university it might even necessitate what they refer to as a certain kind of abuse of the university's hospitality as a way of bringing an uncanny meaning an unholy quality to the university of defamiliarising it and if our university institutions are indeed serious about decolonisation I think they'll tolerate this kind of fugitivity and embrace the imminent prospect of their own defamiliarisation but it's important also that we persist in our fugitivity as well Thanks for that fascinating talk Terry so I'll hand over to you Raoul for some comments that would be fantastic Thank you This is not a word I use for academic papers often so I really encourage you to actually read the text of the paper It's I have three questions and I'm just going to ask them one after the other in the interest of getting the discussion going The word manifesto is an interesting one to use for this paper Of course manifesto is usually conjured up the same image of a list of things to be done a programme, a path to move forward and what this really is is I read this paper the kind of portfolio of sensibilities an inventory of orientations of ways to be towards the world if you were interested in the project of decolonising knowledge production so it's not so much a toolkit as a set of orientations and sensibilities When I'm giving advice to graduate students I often struggle with what form that should take so while I share almost in its entirety the aspiration towards this kind of sensibility I think there's always the struggle of let me put it quite bluntly a graduate student who follows the advice in this paper will have great difficulty in timing a job Think about what you say under the heading of biding, take your time over projects This is really very difficult to do It's much easier for those of us with some degree of security to advocate these kinds of orientations but I find it quite difficult to do it with a straight face when I'm confronting a PhD student or somebody who hasn't yet got that security I want to make a world in which it is possible to give this kind of advice but in the interim before we get there it feels quite difficult to have this kind of conversation so I'd be interested in how you think about that and my last question also relates to that My second question is about singularity which is in some ways the most interesting word in the whole paper and it's one you keep returning to and I'd like to prove a little bit what singularity means and what it commits us to In particular I'm wondering why we must think of alterity or why we must orient ourselves towards alterity as singularity when very often things that look singular to us may conceive of themselves as universals and this is knowledge that is to say I think to insist on calling the other singular runs the risk of provincialising the already provincialised and perhaps denying its aspiration to a universalising No doubt some alterities do want to remain minor and explicitly do not want to become major because they know what it is to be major they've been at the receiving end of it and do not wish to perpetrate it or perpetuate it but on the other hand I think a lot of things that might look singular to us do have an aspiration to universality so that what we might be confronting is not a distinction between a universal and a particular but a distinction between a triumphant universal and a defeated universal and I'd be interested in whether and how that might enter into the sensibility that you're urging us to think about I also think that so related to that point the whole orientation of the paper is making singular as intelligible to us where this us is a sort of imperial centre that you call disciplinary geography so I understand that that's that's what you're trying to do in the paper and I think that's an entirely legitimate objective but I think if that's the only question on the table then we might be missing the ways in which singulars are actually relatable to commensurable with translatable to other singulars which is to say that while who may not be translatable into Hindi it might be much more easily translatable into Naga or Mizo or Santallio or some other language that comes out of the life world that has had similar experiences and can therefore understand the kinds of concepts that are being gestured towards one book that's made me think about this is Ravi Shalim's Black Pacific which is the story of the encounter between Rastafari and Maori it's a complicated story of how that encounter happens in New Zealand but one of the things that becomes evident in that story is that when these singularities encounter each other they actually do find a language in which to articulate what is a universal experience for them so Pakeha supremacy and Babylon which is the opponent in their respective world views become equated to one another in a way that becomes possible because both have been at the receiving end of white supremacy so all of that to speak to the question of singularity and how singularities might actually be universals that we just don't get but to insist on seeing them as singulars I think continues to possibly miss that and the final question is about fugitivity which you hinted at at the end and this is really interesting particularly for us up through us so I'm going to very quickly read our two sentences from the end of the paper where you say referencing Carney and Morton and the advocacy of fugitivity in relation to the university they advocate a fugitive relationship to the university might even necessitate what they refer to as a certain kind of abuse of the university's hospitality as a way of bringing an uncanny quality to the university or de-familiarising it and then you say if our university institutions are indeed serious about decolonisation they will tolerate the fugitivity and embrace the imminent prospect of their own de-familiarisation in some ways this is happening at SWAT the administration has embraced the decolonisation agenda made it its own champion that tried to think about ways in which to mainstream it and this has led to suspicion among some of us that we might be co-opted in this moment but it's very difficult to know whether we are being co-opted or whether an argument has been won and I'm curious about that distinction and how one knows which side of that line one is on and I think you're very attentive to that because you talk about persisting in our fugitivity even if that's happened but what is that saying are you saying that the frontier must constantly be pushed no matter where it falls or are you saying that we should always be suspicious even of success especially of success in this context fantastic thought provoking questions there so I'll give you a chance to respond and then we can open up to the floor for a broader discussion thank you yeah should be all right now fantastic thank you certainly not going to do justice to those fantastically provocative and productive comments and questions I guess one of the things that might be useful to say and I should have said this when I started really is that this paper was written for a geography conference originally it's written for the RGS IBG conference the Royal Geographical Society with the Institute of British Geography's conference in late 2017 the theme of which was geographical knowledge so there was a particular and quite specific provocation to which it was responding and it was responding to that provocation really by way of taking on a quite particular I'm not going to say orthodoxy but a set of writings that had emerged in the discipline that have emerged in the discipline mentioned which is the comparative urban scholarship or the urban comparativism scholarship which has emerged and gained a lot of traction and it always I think it sort of left me feeling a little bit I've written elsewhere about this but it always much as I take from that work it always leaves me a little bit dissatisfied in so far as to find the urban studies and urban geography and community to not want to go that one step further and undo what that particular concept of the city or the urban or urbanization and that's something of where to contextualize this paper I guess I mean yeah I'm trying to think about where to start actually that you're first in your last points about fugitivity what that looks like and how one can how one can actually actualize that in the context of a university context that demands so much from us still and still continues to kind of take from us in many ways I'm glad you pointed out the last line gone back to the title slide now last line which is we must persist in our fugitivity because I think that's really important but you're absolutely right to point out to what extent so when do we say well that battle's been won whatever but I think that maybe I don't really have any answers in a I don't think there really are any answers in the register of the general to that question because I think these are about political battles they're about knowing what political battles one needs to fight in one's institution or within the context of the university as a whole and a lot of this stuff that we're pushing back against as academics is is so embedded that it becomes difficult to think about how conditions can change I've been thinking about this a lot recently in the context of my own editorial work as you mentioned I edit a journal called Antipode which is a journal a radical journal of geography but we're still published by a commercial academic publisher whose bottom line is financial bottom line so you know how does one negotiate radicality or inverted commons with market and these are very kind of pressing questions how does one negotiate then how does one negotiate how that impinges upon one's editorial sensibilities how one reads actually and that's a real question that I ask myself because I think a lot of what I'm talking about is a reflection on a particular kind of governmentalisation of us and the way that we as academics go about our jobs and the relationship between the politics of what we do and the kind of passion as well the way that we derive a certain kind of enjoyment actually a kind of fulfilment in the work we do and that we progress in terms of taking that step from graduate student to first academic post or getting promoted within the academy etc I don't know that I necessarily share all of your pessimism I think that certainly on kind of panel selection interview panels I've been on in the past that one of the things that without exception actually that we've been looking for in those panels panels are the intellectual trajectories of scholars what questions people are working on the so what of those questions so I do think there are then of course you get all the other things that kick in about kind of refability and is this person likely to pull in grant income and all those kinds of horrible considerations but I do think that at the same time most of the people that I've kind of communicated with about those kinds of decisions want to know about a person's intellectual and political trajectory how what they're working on matters and where it takes a department or a collective in terms of what they do so I think there are kind of seeds of hope in that respect but I absolutely understand that I feel that as well that kind of advising of graduate students about the necessity of doing this, that and the other playing the game etc so I don't that's a kind of fluff really in terms of an answer to that question your second point around what singularity means and what it commits us to I think you're absolutely right and one of the things that it probably should commit us to is solidarities actually and that maybe connects your second and your third question actually but I think this sort of sense of clearing space giving giving, not giving but working hard to create space for communities of practice communities of thought communities to bring themselves into representation on their own terms is also about the potential for building solidarities and I think that's a really important thing to emphasise so I don't want to this is not the work of this paper the orientation that I'm suggesting through the course of this paper is not about preserving essentialising the singular it is about building solidarities I would say actually I was at a conference in the weekend at the weekend where the relationship to the testimony environment were on the table for discussion and I think testimony is a really important kind of word to mention in this context right so that there is a sort of in some senses this paper is about the politics of representation it's about a kind of set of orientations that might clear space for difference in the academy there's a lot more that you mentioned which I kind of will no doubt sort of think about at three in the morning and they're oh I wish I'd said something but I mean that's the point of responding is that you've given me such a lot to think about opening it up why don't we open it up to the floor then we'd like to ask a question have we got some mics that might be floating around to aid you with your audibility do you want to hello, thank you very much for that talk I found it particularly exciting as someone who is actually located in the geography department of Ritburg Beck and I think the kinds of discussions which are going on very belatedly around ecolonizing geography are absolutely essential and need to draw on the kinds of things you've raised I was very struck when you started with that metaphor from seasons of migration which I must admit I haven't read so I'm going by your account of it I was very struck by the fact that the room the library was a closed secret room and then you said that then there was the rest of Sudan and in contrast to that in a way the outside and I mean I wondered how we then addressed the whole questions of the porousness in fact of those boundaries and I suppose that sort of led me on to the question which I'm sure you've thought about because it's not in any way a new question which is how then when we use notions like singularity we avoid and we recommend our research students and so on to adopt them how we then avoid the whole it becoming a kind of a search for authenticity and kind of untainted which of course then reinscribes power in the centres of academia and so on and the other thing I was wondering about really was how within this framework we address what happens when subltern and oppressed groups in fact embrace and kind of reorient certain ideas around modernity and I'm thinking for example of Dalit groups in India at the moment Ambedkar I'm thinking and so on which is very much counterposed to the kind of the hit the right and their kind of ideas about all of this and even in fact when we think of the left because we tend to think of the left as something you know located at the global north but in for example where I work in Bihar the left is so very embedded in the local and in those particular spaces that you know telling those activists in those places that they're in fact you know using western discourses and so on is clearly a pitfall but I'm sure it's something you've thought about so I just wanted to get your thoughts on that Okay great we've got another question just behind you and then one at the front Thank you for your talk it's really interesting and thank you for your responses I was actually wanting to pick up just quickly on something you said about the decolonising process and so on actually and I'm definitely from my perspective a lot of people in groups like decolonising our minds there would be sort of no hesitation to say that it's been very superficially co-opted by the institution in a way that we have a very much re-orient decolonisation decolonial theory around knowledge production and attaches it from the material inequalities and conditions that exist within the university so I thought maybe if you could pick up on some of those issues of like the material implications of decoloniality and how singularity plays into that and the other thing that I kind of would like to hear a bit more from just to clarify the concept in my own mind is that when I've been trying to engage in some decolonial theory I've come across plurality and plurality in quite a lot of people's works and I was wondering what how singularity is in dialogue with those concepts as well Great, more and more here Thanks a lot for the talk I've tried to put down a question but I guess I'm still in the process of taking in some of the concepts some of the pups engage with the geography that instead is materialist and might reproduce some of the sort of narratives that indeed we need to challenge I wonder though how through the concept of singularity we can capture issues of injustice and inequality because when we talk about geographies that's only part of the story if we don't put power in the context, these are geographies of inequality, these are geographies of oppression, so I wonder how does the notion that you use actually speak to these concepts that re-inbett power in the type of sort of tropes but also in the maps we aim to draw across the world I guess it speaks a little bit about Raúl's second question so I understand you saying that it's a matter of creating space but it's not just about representation it's also about fighting oppression so how do we actually do that in practice through the concept you're proposing Thanks Sure Not sure I can adequately respond to the excellent questions but maybe that last question connects a bit to the first part of the first question insofar as there's a question I guess that arises with this notion of the singular or singularity around essentialism and you know there's certainly not my intention to mention in response to Raúl's questions certainly not my intention to suggest that the singular should exist as a singular in some kind of pristine vacuum or something like that I want to pose it as a methodological disposition I think one of the words the phrases that you use Raúl's there's a sort of the paper's about cultivating an orientation and I think that's kind of what I would that's a great way of putting it I think it's certainly what I think it's a really good description for this paper perhaps a better one than I could have come up with so I would like to see this as a way of cultivating perhaps an orientation not about somehow you know trying to grab hold of or claim to authentically be able to represent singular narratives right but it's about I do think it is about clearing the space for people to feel able to represent themselves on their own terms on terms true to the singularity of those differences it's one of the phrases used in the paper absolutely one must part of what we do in the academy must be about speaking truth to power so it must be about confronting injustice and absolutely so I think you know there's a kind of there's an old debate here about where a deconstructive or a post structural mode of analysis opens a door to a certain kind of relativism right and I don't want to sort of fall into that so I think that kind of solidarity building is really important in this work again as I mentioned in response to Raoul so you know if we're able to listen if we're able to to provide a space where narratives can emerge in ways that aren't that aren't disfigured by the hegemony of a theory culture that is part of the material conditions of the existence of the university coming to the second question right then maybe we have the chance to build solidarities so I would say that a political strategy is hugely important I mean postcolonial theory for me has always been about intervening about providing ways of intervening so I think that's a hugely important part of of thinking about what it is that we do as academics so I guess that would be something like a kind of an answer to the first part of the first question and the last question as well the first question also made me think about you know I think I've thought about this a lot when you refer to the relationship between the closed library and the Sudanese space that surrounds you know one of the fixes that geography has one of the fixes that geography has and other social sciences has sought to kind of remedy that for the last 200 years or so is field work so I've thought about that a lot after writing this paper actually that you know don't geographers always just say that that's what we do anyway we go out into the field anthropologists as well and any number of others we go out into the field and use that knowledge in the field to update what's in the library you know the library motif is a motif it's imperfect in many ways but I think it kind of provides a nice way into that relationship between theory and narrative really or theory and data which is a really complicated relationship and I wouldn't necessarily claim to have nailed that at all I think it's something that really kind of necessitates that we think hard about it that we think hard about what is it that we think we're mobilising when we talk about theory what is it that distinguishes a theoretical text from an empirical text and I think when we teach as well certainly in geography we tend to replicate that kind of intuitive distinction by teaching for example theoretical issues in the discipline and then data collection as if the two don't sort of well as if the two can easily be separated like that and that's always really puzzled me actually so I think a lot of this is about sort of the orientation that the paper is cultivating is turning those kinds of critical lenses back onto ourselves and that maybe is a way of playing into the second question which is this is all part of the material conditions of the production of knowledge in the university and the para university context again I think Riles comments hinted or pushed towards this it's bigger than the university itself it's the market for the kinds of knowledge that are produced in the university it's impact, why is teaching not impact surely one of the most impactful things that I can hope to do as an academic is teach encouraging students to maybe think critically or think differently the mechanisms the tools with which we measure impact for example so I think it's all of these questions and again I don't the danger I guess we write in one of these kinds of papers I think you're right to say it's about cultivating orientation it's really not about solving anything great are there any more questions that anybody had because if not we've got a drinks reception that's about to start in the senior common room so we could go and continue the discussion there but I just want to see if there's any more burning questions we've got one at the back oh sorry so I would have to say that my knowledge of the of that literature Escobar and so forth is is not what it should be but I think that I mean the idea of the polar reversal seems to me to be hinged around this notion that there are many different universals right so it's the point you raised actually and yeah absolutely I mean we absolutely and it's a really it's thank you for reminding me because it's a really important point because it also encourages us to provincialise ourselves it also reminds us to provincialise the decolonial postcolonial as a perspective as one approach, as one strategy as one methodology and it's really important to remember I go back to Gatryspivak's writings quite a lot and it's really important for me at least to remember that one of the I guess her most important books was which is sort of often thought about as one of the sort of handbooks postcolonial studies is titled a critique of postcolonial reason right so it's an attempt to Eurasia it's an attempt at least to kind of provincialising the professionalisation of a particular disciplinary formation and I think that is a kind of ongoing task right I think you know knowledge production is like a a conversation for me in the sense that and a conversation is always involves three processes right it's speaking, listening but also being moved so it's iterative it always seeks out new positions so yeah I guess can I just I think some of those questions about the material circumstances and the university might have been also directed to all those comments as well so I don't know you'd probably have far more coherent things to say about it than me a drink is necessary okay excellent well please join me in thanking both our speaker and discussant this evening


Alright, so it's a disgusting day in New Hope, but we're doing some great hair still. I hope you guys enjoyed yesterday's video about curly hair and the structure of curly hair. I put a lot of time into that, and I think I got my point across, but I'm not sure, but the comments seem to be pretty positive, so thank you guys for that. Today what we're going to focus on, we're going to go over layering long hair. Here is the end result of the mannequin that we cut today. Like I said, it's a lot of movement and a lot of layers. So I think you guys are going to get a lot out of that. It's not as long as I would have liked it to be, but it wasn't because I took length off. It was just because mannequins don't have that long of hair. So this can be transferred into a longer haircut, so don't be worried about that. But it does have a ton of movement. You can see all the layers through the back, through the side. So this could be a face frame haircut. In this style, we styled it back. We used a round brush, so a lot of cool steps in this haircut. I think you guys are going to like it. So let's get started with our step-by-step. Here we go. Oh, and before we start the step-by-step, I want to make sure that in the comments below, the comments are my favorite part of these videos. So post in the comments what you think of the video. Also what you want to see next, and hit that like button and share this video with your friends. Thanks. All right, guys, so we're going to start off. This is the carving comb, which I've used in previous haircuts. I love this tool, so I'm going to show you guys another haircut with that. This is going to be a long-layered haircut. It's very simple, and that's what I like about it, because it's so salon-friendly. So I think you guys are going to enjoy this cut. We're going to start off our sectioning by taking out a U-section below parietal ridge. So right below the ridge of the hair, you can see that sectioning. We're going to start by creating a face frame. This is what I love about the carving comb, figuring out how much weight I want to leave in this face frame, and then I'm basing my elevation on that. So my elevation is kind of medium. I could raise it up if she had thicker hair, or I could lower it if she had skinnier hair, just to keep some of that density. But we're coming straight out from the head. That's going to create our face frame. Now I'm going to go in. Same thing on the other side. I'm using the carving comb wide. I like the wider teeth on this just for freedom of quickly working through the hair. If I was working on a tighter shape, I would definitely go with the carving comb fine. And you can see I'm using it pretty much like a pencil and just drawing in those lines. So that's the quick face frame right there.  The cool part about this cut is I'm going to literally comb the entire top of the head forward. You can see that whole U shape. Putting it into my hand, and I'm going to start, figure out where I want that guideline to start for the fringe area, and I'm just going to carve through this entire section. What that's going to do is layer the entire haircut for me, put a pop of volume in the top of the head, and pretty much finish the haircut. I'm going to go through with the 50% carve side and take out a little bit of weight on the ends just to add a little bit of texture. And that is the haircut. You can see how quick that comes together, and then I'll go through and clean up my baseline just by using the 100% carve side of the carving comb. So such a simple haircut, but you can do this haircut all day long in the salon, and we all know time is money. So this is definitely a quick technique to get a long layered haircut and get something kind of new and fun. So I'm going to go through. Now I'm going to do a round brush blow-dry. I want to bring out my Ergo brushes and show you guys a quick round brush technique with this. Now, I wish the mannequin, like I said in the beginning of the video, I wish the mannequin had longer hair to really work with. This haircut would be great on even longer hair, but this is what we have to work with with the mannequin. I'm going to use two round brushes at a time. A lot of you guys have probably tried this before, but if you haven't, it works really well because I leave one round brush into cool while I blow-dry my next section, then I take it out as I work through. That just allows, because you want the heat to set in, the hair cool off, and then your cuticle layer will be set where you want it. So I'm working on diagonal sections, going through, using my Ergo dryer and Ergo brush, which I really enjoy the power of the blow-dryer, and then these brushes are just second to none. Any of you guys out there that have used Ergo brushes, they're really, really awesome. The handle is super long. The barrel is super long, so you can work big sections at a time and get a lot more work done. All right, so you'll notice that I'm working on a diagonal forward, which is going to push the weight of this blow-dryer off of the face. That's really what my goal was. I'm pretty much coming straight out from the head. I do like to work back and forth a little bit, just to add a little flexibility to the base of the hair. But for the most part, just diagonal forward straight up out of the head, creating as much volume as I possibly can in the haircut. Same thing on the opposite side, working diagonal forward again, keeping that nozzle on the blow-dryer. If you guys have taken the nozzle off your blow-dryer but still have it, I would try, when you're working with a round brush, definitely put the nozzle back on the dryer because that's going to help with the airflow. It's going to help the airflow move over the cuticle. And it's just going to help with your blow-dryer and keeping the cuticle smooth on the hair. All right, now we're going to work the fringe area. What you're going to notice is I go one way and then I work it back the other way. What I'm doing there, you can't really see it that well. This is what happens when you film yourself. But I go back and forth because I'm keeping flexibility in the fringe.  So I wanted that flexibility and that movement in the haircut. So we'll add a little bit of hairspray using our brocato hairspray. And I'm just going to go through with my hands, brush the hair back and then work it forward. What that's going to do is kind of pop that volume up and you can see how those layers just come to life. It's a nice rounded shape for the haircut. So I hope this inspires you guys and gives you something to do today. Thank you so much for watching and we will see you guys on the next video. Did I mention I love when you leave comments and like the video? Make sure you do that before you stop watching. Thanks.


Stand by for crime Chuck Morgan KOP newscaster speaking The other day while shooting a round of golf with my friend Lieutenant Mill Megs of police headquarters I learned something that surprised me and I'm sure will surprise you as well That is that the mafia or black hand is still actively operating in this and other countries You know the mafia originated in Sicily several hundred years ago It was originally designed to protect the common people against the tyranny of landowners and royalty But today members of the mafia are a bunch of gangsters thugs murderers and lesser criminals who use it to further their own ends The most effective weapon they have is fear instilling fear in the hearts of their victims Well the story I'd like to tell you about tonight is a good example of how the mafia works Carol Curtis my blonde secretary and I were having dinner at Nick Adele's following my 7 o'clock broadcast And we're wondering what kind of a feature you are and I could use on the 11 o'clock show How about those two jokers who think they're going to race their hot rods up the Mount Wilson? Maybe you could build that into something They're both war veterans and Chuck Hmm? Oh, what were you saying Grandma Puss? What was I saying Grandma Puss? For heaven's sakes.  What in the world are you staring at? That man talking to Nick. I think he wants to see me Yeah, yeah. Nick just pointed this way and he's coming over You look scared to death. Do you know him? No, total stranger. There's something wrong with him. That's for sure You Mr. Chuck Morgan? Yeah, that's right. Hi Morgan Can I talk to you a minute? Sure, sure. Sit down Alone Oh, pardon me Sit still, Grandma Puss. This is my secretary, Carol Curtis. She's harmless Thanks, Pam I'm sorry, Miss Curtis. I didn't mean to be rude Sit down, sit down. Tell us what's on your mind Oh, yes, well thank you My name's Frank Dawson. You've never heard of me I'm just an ordinary person. Clothing store clerk What's on your mind, Frank? Well, I... Well, it's taken me a long time to work up enough courage to tell somebody this You see, I'm a very frightened man That's easy to see Is it as obvious as that? I try to cover it up, but it's no use You sound like a man whose conscience has been bothering you and you can't take it any longer Yes, I guess that's it exactly You see, four nights ago I witnessed a murder I saw Elmer Hatfield shot to death Elmer Hatfield? Well, he's the councilman who was murdered for cracking down on rackets around town Yeah, and the police have been on a sweat trying to find out who did it Did you recognize the man who fired the shots, Frank? No, but I recognized the man who was driving the getaway car Who was that? Jack Stone Well, now we've got a real fine situation Jack Stone out of the gambling syndicate, huh?  It means plenty, Clamapris Haven't you ever heard of the mafia? No, have you? Certainly When? Last week Oh, last week? Yeah Well, how about that? Acting as though you'd known about it all your life Well, my goodness That's enough, Clamapris So that's why you haven't gone to the police, eh, Mr. Dawson? You're afraid of what will happen to you if you do Telephone call for Scrappy Lambert Well, not what will happen to me I think I could take it But I have a wife and two kids And I'd do anything to protect them Even if it's refusing to do your duty as a citizen? My first duty is to my family, Mr. Morgan Yeah, same old story Same old runaround, it always works Well, what do you expect Chuck to do, Mr. Dawson? And if he does it, won't you be endangering your family as much as though you told the police? Well, I... I hope that... Well, it... That I wouldn't let it be known you'd told me, huh? That somehow I'd have Jack Stone arrested and charged with Hatfield's murder Without bringing your name into it Just how do you expect me to do that?  The man who gave me the card I didn't know that they'd even seen me When I heard the shots and saw what was happening, I ducked into a doorway Then the man who had done the shooting came running out of an alley And jumped into the car that Jack Stone was driving They roared away, and then the other people in the cars appeared And all I could think of was to get out of there and go home And so I started running most of the way I was almost there when a car came up behind me Calling me? Yeah, I was calling you What's your name? Well, I don't know why I have to answer that What's your name? Frank Dawson Where do you live?  From work I'm a clothing store clerk The store stays open Friday nights Yeah? Where is this store located? It's on the corner of Melrose and Catherine Melrose and Catherine, eh? Then you must have walked there in Catherine to get here, that right? Yes, that's right You're the guy all right What'd you see in that alley? I didn't see anything What'd you see? Nothing, I didn't see a thing What'd you see? Nothing, I didn't see anything What'd you see? Don't, don't hit me again And talk I saw the shooting That's better You got any kids, Dawson? Yes Two Well, kiddin' Kind of make it feel bad if anything happened to them, wouldn't it? Oh, no, no, you can't, you mustn't My kids didn't do anything You can do what you want to me, but don't touch my kids I thought so, you and your old lady would be kind of put out If one of those kids should disappear And you never saw them again, wouldn't you? Why you... Not so fast Just take it easy, I'll break you in two You want some more? My kids!  I saw the shooting You saw what? Nothing, I didn't see anything That's better Just remember, you didn't see nothing Not a thing, you didn't even come home that way You walked down another street, did it? All right, I walked down another street And don't forget it You walked down another street, and you didn't see nothing Remember it, and nothing will happen to your kids Forget it, and one of them will be dead You get that straight? Yes, I understand Good, and just so you won't have a lapse of memory Here's something to keep it... What did this character look like? He was a big man, with sandy hair And kind of a flat nose He must have weighed well over 200 And it'd be Doc Zerbe, Jack Stone's first lieutenant Was Stone in the car? No, Zerbe must have dropped Stone And then cruised around until he saw a lone man hurrying home In another two minutes, I would have been safe Oh, how about the car with the black hand on it? Wanted to give you that I found it in my jacket pocket after I got home I don't know how long I lay there on the sidewalk And when I came to, the man in the car was gone Somehow, I reached the house and I got inside Without Sue and the kids seeing me I went up to the bathroom I wanted to clean up as best I could I found the card when I took off my jacket Did you tell your wife what it happened? No, I was afraid she might call the police But how did you explain the bruises on your face? Oh, I told her I got into a fight at the store And she believed you? No, but Sue's pretty understanding She knows something is wrong, she's just waiting for me to tell her Telephone call for Mr. Frank Dawson, yield side number That telephone calls for you, Mr. Dawson For me? Why, nobody knows I'm here Somebody does, you better answer it Oh, yes I'd better Excuse me a moment, please So Dawson went off to answer the telephone And I had an uneasy feeling that the message he was about to receive Wasn't going to be good He thought that no one knew he was here So what did that mean? It meant that he'd been watched ever since the night of the murder Just in case he was foolish enough to think he could get away With telling a story to the police Or someone else So Carol and I waited And both of us were thinking the same thing We knew the minute Frank Dawson returned to the table The worst had happened Dawson was wild-eyed and his mouth was trembling They've taken a little soothe They've kidnapped her They told me that unless you promised to forget everything I told you That I'd never see her again Sit down Dawson, you're tracking attention But they've taken soothe Don't you understand what that means?   That isn't going to get Mr. Dawson's little girl back And when Mrs. Dawson finds out that Sue is missing She isn't going to keep quiet I know, you're right, Clamapus Whatever we do, we'll have to work fast Frank, do you think you can keep your wife From reporting Sue's disappearance for 24 hours? Well, I don't know I'll have to make up some story About taking Sue to see her grandmother Or some... I don't know You'd better think up a story and sell it to your wife If you ever want to see your youngster again But Chuck, 24 hours is so short of time You can't possibly do anything Maybe no, maybe yes Every man has a weakness No matter how tough or cold-blooded he is If my memory serves me right Jack Stone's weakness is a nightclub singer Named Bubbles Deering Do you mean that redhead at the silver slipper? Yeah, that's the one She's Jack's girl and he's nuts about her I wonder how he'd feel if she were kidnapped Chuck, for heaven's sakes You're not thinking of kidnapping a full-grown woman Yeah, not kidnapping I have something else in mind Glamour purse By the way, you wouldn't mind If I made a couple of passes at Bubbles Wood? I made a couple of... You wouldn't dare Chuck Morgan, if you ever dream of making... All right, Glamour purse, okay, take it easy This is strictly business Strictly business You're just using it as an excuse That dizzy redhead If she ever got her clothes on, you should...   All right, I'm sorry But Chuck Yeah? You won't... You won't... You wouldn't Only if it's absolutely necessary Will I ask Bubbles for her... Autograph, Glamour Puss I haven't any illusions about my personal charm But as a news reporter, it's my business to know all I can about what goes on in the underworld The story about Jack Stone and his girl Bubbles Deering was common gossip He'd imported her from New York about a year ago And she hadn't been working at the Silver Slipper a month before he let it become known that Bubbles was his private property A couple of guys had argued the point But now they're in no position to argue or do anything else So Jack Stone's chain of armor developed a weak link, huh? Well, if it was weak as I hoped, I might be able to cash in on it So I sent Carol back to KOP with instructions to have a sub do my 11 o'clock broadcast if I didn't show up And then drove out to the strip where the Silver Slipper was located I got the tail end of the first floor show which featured Bubbles doing her song and dance routine And sitting alone on the edge of the dance floor, I did my best to let her know her act was being appreciated I had the feeling she was aware of my presence Afterward, I went backstage and found a door with a star on it Hey, what are you doing here? I just thought I'd drop her arm and tell you how much I enjoyed your act Yeah, well now you told me to get out Wait a minute, I've got a proposition to make I ain't interested in no proposition Hey, does Jack know you're here? Jack? Who? Jack Stone, the guy who owns this place Ain't you never heard of him? Well, now that you mention his name, I guess I have You better had You came prancing and here's dead Yeah, it's like that, huh? Yeah, yeah, it's like that Not if you're smart, you'll beat it Well, I appreciate the warning, but first I've got to state my proposition How about coming to work up in San Francisco for me and twice your present salary? Say, who are you? My name's Jones, Bill Jones I own the high tide club in San Francisco Never heard of it Ever been to San Francisco? No Yeah, that explains it Okay, so Arata ain't been around I ain't interested in getting around What's the matter, Bubbles? Scared? Scared me? What? Jack Stone Jack Stone?  Are you in love with him, Bubbles?    Ah, you're crazy You're talking yourself right into a dose of lead poisoning Pretty dull routine for a girl as young and pretty as yourself What you need is freedom to move around without the knowledge that you're being spied on Without being afraid all the time Yeah, you think I'll get that freedom in San Francisco? Jack's got connections up there, too Not as good as mine Stone may be a big shot down here, but up there he's small fry Yeah You mean I wouldn't have to go around looking over my shoulder all the time? You mean I'd have protection? Plenty He'd be as free as a breezes Oh, I don't know That guy's got me pegged He'd follow me no matter where I went, he'd kill me, he said so Ah, no, I ain't taking the risk Well, you better think it over, Bubbles It's probably the only chance you'll have to get out of this trap Trap? Yeah, that's it I'm trapped in this thinking club till Jack Stone gets tired of me and throws me aside I can't go no place, I can't talk to nobody, but Jack Stone and a couple of old bitties who weighed on me I hate it Of course you do, Bubbles, any normal girl would Now, up in San Francisco you'd be... How am I going to get up there? How am I going to get out of here? Look, he's got guys watching me all the time Yeah? Well, then they're pretty lax No one saw me coming in here Now look, there's a plane for the north leaving Burbank in an hour That'll give you time to go home and pack and get over to Lockheed I'll meet you in the St. Francis Hotel tomorrow afternoon at three o'clock Yeah, well, suppose one of Jack's boys asked me where I'm going Jack's out of town in San Diego, I checked that before coming in here If anyone asked you questions, tell him you had a phone call from him He wants you to join him in San Diego Yeah Hey, yeah, you know what my work at that Well, it just might Hey, Jonesy, you made yourself a deal Well, see you at the St. Francis tomorrow Maybe this would work, and maybe it wouldn't Anyway, it was the best I could think of at the moment I went outside, crossed Sunset, and got into my jalapé Which was parked on the other side After a while, Bubbles came out of the alley That led to the stage door of the Silver Slipper And got into a cab The cab started west A sedan pulled away from the curb and followed I made a U-turn and followed the sedan Both cab and sedan turned left and doheny Then made a right turn The cab stopped in front of an apartment house And Bubbles went inside The sedan parked about a half a block up the street I parked about 50 yards this side A light came on in the upstairs apartment window I caught a glimpse of Bubbles as she came over to draw the shade 15 minutes later, the light went out I got out and strove up toward the sedan Reaching it, just as Bubbles came from the apartment house And headed for the cab The guy in the sedan started to get out Hello there, you got a match? Hmm? Oh, yes, sir Yeah Wait a minute Oh, yeah? These won't work, they're wet They probably got that way from the clam who's been holding them Hey, what is this? Let go of my arm Sure, man There you are Now here's something else So far so good Bubbles was on her way up north and no one knew where she was going but me I went back to KLP and found Frank Dawson in the waiting room of my office with Carol Any luck, Chuck? Yeah, I'm doing all right, I think Did Bubbles fall for that winning smile of yours? Don't ever mind that Go find Pappy and tell him to put on a sub for my 11 o'clock show Well, where are you going to be at 11 o'clock? At the Silver Slipper, picking up Sue I get going And remember both of you, not a word to anyone, not even Pappy It would ruin everything So I went into my private office and called Lockheed Airport and Burbank And asked if Flight 183 had gotten off all right They said it was just leaving the ground So that was that The gorgeous Bubbles was out of reach for at least an hour and three quarters So then I began dialing the Silver Slipper I want to talk to Doc Zerbe This is Zerbe in this column Chuck Morgan, KLP Newscaster Oh yeah, deeper change Yeah, that's exactly what I have in mind, Doc I don't suppose you have a guest over there named Sue Dawson The important? Yeah, yeah, she is You know, we've a guest over here named Bubbles Deering Thought you might like to know Just what you think, Doc Shall we make a deal? Just so We suppose you take a look and see Loud voices at the other end of the wire Then Doc was back on the phone again Morgan, match that babe, you'll get a bullet through your head, you know that, don't you? And if Bubbles isn't at the Silver Slipper When Stone gets back from Dago, you'll get a bullet through your head You know that, don't you, Doc? Bring the kid to that office where you are right now I'll be over and pick her up in 15 minutes What about Bubbles? As soon as Sue's safe at home, I'll give you a ring and tell you where Bubbles is How do I know it won't be a double crush? You don't But the way I look at it, you haven't got much choice in the matter, have you, Doc? He was thinking he'd snatch one of Dawson's kids anytime But he couldn't get Bubbles back anytime And he wasn't hankering for a hole in the head So I took Carol and Frank Dawson to sit tight and I drove off to the Silver Slipper again The second show of the evening was over and the handkerchief size dance floor was mobbed I wandered around until I found a door that looked as though it might lead to an office It did Inside, Doc Zerbe and a couple of his strong-arm boys were sprawled out in chairs It wasn't any youngster in evidence And I didn't like the sneering expression on Doc Zerbe's face I started to say something And just then, a door across the room opened And Bubbles' Deering walked in A plan of action. One thing I was dogged on sure of Bubbles wasn't on that plane to San Francisco And that meant I was a dead duck Doc Zerbe started to speak and one of his boys reached toward his gun I put my hand behind me, jerked open the door and jumped backwards, banging it shut But instead of trying to lose myself in the crowded room I flattened against the wall behind the door The door banged open and Zerbe, his two boys and Bubbles came pouring out I jumped inside the office again, slammed the door and locked it Then I spent it for the door through which Bubbles had entered Found myself in another room And also found myself staring down at the tear-stained face of Susie Dawson There was a window that opened onto an alley I threw a chair at her, picked up Susie and dropped into the alley Just as the rear door of the club opened and Zerbe and his boys came out They started for me and I started for Sunset Boulevard holding Susie A couple of bullets passed too close to comfort then someone was yelling Shark, shark, this way She was getting out of a squad car that had just pulled up to the curb Bill Megs and a bunch of cops and Frank Dawson were all on the sidewalk I was within ten feet of them when, of course, I had to stumble I went down and cracked my head on the pavement trying to keep Susie from getting hurt That was the last I knew for quite a while When I came to, I was in the back seat of the squad car And my head on Carol's lap, a cop was driving Oh, what, what the? Hi, Chucky Boy I thought I told you to stay back at the office Aren't you glad I didn't? No I, I mean, yes How'd you know where I was? Well, you told me, remember? Besides that, I listened in on the extension phone to your conversation with Doc Zerbe Oh, you did? Yeah, and that's how I knew Susie would be at the Silver Slipper And it would be alright to tell the police I wonder why I didn't think of that Because you're honest, Chucky Boy You made a deal with Doc and you intended to keep it You're honest and good and fine Shut up, where's Susie? She went home with her father Where's Doc and his boys? In jail Where's Bill Megs? He went to the airport to meet Jack Stone Where's Bubbles? Oh, she's gone somewhere to make reservations on a plane for San Francisco tomorrow She said every seat was taken on Flight 183 And she says she has to be at the St. Francis Hotel tomorrow to meet a man named Jones Oh, no Mm-hmm, that's what she said Uh, that reminds me What? I have to be in San Francisco tomorrow myself A very important date at the St. Francis Hotel


Why am I giving away a million dollars? I've been asked that a lot lately. There's a couple reasons Number one and the primary reason is I want to give back to the industry that has given me so much The second reason is I believe when you're marketing and the insurance industry and sales in on planet earth It doesn't matter in 2018 you have to focus on getting attention This giveaway does two things It gives back to the industry that has given me so much It helps people succeed Numero uno and number two it gets attention It got your attention if continue to get other agents attention and it'll allow me to give back Simultaneously, which is why I'm excited to give away a million dollars of free leads in 2018


training our students 21st century skills, coaching them, let them work together using all kind of visual information. But how should we do that? Tilburg University now has the perfect facility. Step into the future with our new collaboration room in the cube. Here are four reasons why the collaboration room is the perfect way for you and your students to work and present in teams. There are multiple screens in the room. Every group has their own screen that they use to show a presentation, a draft or any other information they want to share with other members of their group. Instead of moving laptops around or showing each other the tiny screen of a cell phone students now have a large screen at their disposal. For both students and teachers it's easy to access the screen. After downloading the suitable software just once they can link their device to the classroom system which is called B Connect. Whatever is shown on the device can then be transferred to the screen. Perhaps students want to compare information or share the findings simultaneously in order to do that the big screen can be divided into multiple smaller screens. This creates a dynamic working environment with a lot of interaction. The teacher retains control at all times. He or she operates the control panel deciding what the students see on the screen. If one of the screens shows interesting information for example the teacher can easily transfer its content to all the screens in the classroom. And if the teacher wants the attention of the students then all screens are simply locked with one click. And the best part is this classroom is available for all teachers. There are instructions in the class which you can also get personal support from the AV team. And if you're really serious about using all options you can also participate in a workshop. It's that easy.


18-FFDG Peru Time-slash-Central Time-scanners with a long axial field of view, Lafave, can provide increased sensitivity by reducing injected activity or shortening acquisition time. This study evaluated the limitations of reduced 18-FFDG activity doses on image quality, lesion detectability, and quantification of lesion uptake in the Biograph Vision Quadra, as well as assessed the benefits of the ultra-high sensitivity mode in a clinical setting. The results showed that reducing the activity to 0.5 MBQ-slash-KG-HS-slash-UHS in a Lafave Peru Time-slash-Central Time provides diagnostic image quality without statistically significant changes in uptake parameters, and the UHS mode improves image quality, noise, and lesion detectability compared to the HS mode. This article was authored by Eduardo Calderon, Fabian P. Schmidt, Wenholm-Lahn, and others.