to the wide world of eSports, a show devoted to all things eSports. I'm your host, Catherine Noor. Today, my guest is Jacob Johnson, the owner of Lager Gaming. Our topic is eSports branding, design, and content creation. And much more today since Jacob knows quite a bit about this industry. So welcome, Jacob. Hey, happy to be here. All right. So you know, I know you have been in the business for a long time. Tell us about how your career in eSports began. Yeah. So basically, I would say back when like Call of Duty Ghost first came out, we had clan wars and little online things we do with our friends. And that's really where I started playing games. Like most people, I play games all the time. I still do play games all the time. So definitely about middle school-ish towards the beginning of high school. I used to play a lot of games with my school friends. We made teams online, started doing little tournaments here and there. Back then, obviously, eSports was still like even newer than it is now. And then we just slowly grew from there, obviously, meeting other gamers. I learned that like, hey, there's eSports or there's gaming for every game, not just Call of Duty at that point. And that's where I met a lot more of my friends and even the people who I hang out with and run my team with now, I met them through early days like that. Certainly after that, I started hosting events myself here in Nashville at the score. Sadly, they're closed down now, but they were event center that catered to pretty much all the middle Tennessee. Through there, I met a lot of the Smash TOs, a lot of the other fighting game TOs and QMI in Tennessee. The people who do a lot of the majors here and not only Tennessee, but also the Southeast. And slowly from there, just been growing, my network meeting new people and going up from there. So tell us about what you were doing for Vanderbilt. Yeah, so Vanderbilt, they do a lot of events, whether it's eSports or other events. I usually loan them my equipment since I have a lot of equipment compared to some of the other organizers in our city and state. Especially when it comes to collegiate eSports, a lot of those guys don't necessarily have the funding from the schools to do programs. So if I come and say, hey, I have six playstations or four Nintendo switches that you can use for a tournament, they're happy to take those. And of course, I'll help out. I'll usually play in the events too. I'm obviously not the best, but I'll usually play hang out for the day and everything and just help grow stuff, whether it's at a local level, collegiate level or even higher. So what is Lager gaming? Yeah, so basically my organization, I have literally ran with that name forever. Even before I really created the team, I was always like my personal name. People always like to ask me where that ain't come from. And I think the best and silly explanation I can give that really is, my internet, you should suck.  And I would always lag a lot. So people would always call me a Lager. And then I just made the name Lookhole and been running with it for over 10 years at this point. So is that your game tag? More or less, yes. Obviously, I try to like differ from it, especially when I'm talking about the organization as a whole. But yeah, deep down, it was more or less my first like in-game name, you could say. It's definitely still like my staple. Okay. And so what is your company been doing?  Since COVID started shutting things down, we did see a lot of shift in like sports as a whole, especially with like football, basketball, all of this stuff in cancer because COVID, the only thing that was really going on in the clinic space was eSports, thankfully. And at that point, I was already helping a lot of our local colleges by deciding to help our non-local colleges, so to say. So I started getting connections like GeoSport. They worked with the Indiana Sports Corporation, one of the few states departments that properly support eSports, they should. Hopefully more will in the future. Going from there, just getting more connection with colleges, doing everything from there. And since we do partner with those colleges, I have started working on those and getting my players more access to education. For example, we have a Latin America Street Fighter 5 player currently in Panama, and he's looking to come to the United States for education. And through those connections, everything, I'm helping get his visa so he's able to come here and pursue his education. And thankfully, since you already have a big array of schools through that connection, I can help him like pinpoint which schools have what he wants, and we'll let him win the championships basically. So definitely using those connections to pair my players with education if they want to pursue it. Most of my players are that age, some younger, some older, but normally between like college age. So I understand you do content creation as well. Yeah, so my organization, it's kind of, where it comes in like the branding. So I brand it a little different than like mainstream, I would say. So one way we do this is we have multiple partnerships, both through CardiMax, Sector Six, and Control Freak. Those three companies all give us partnerships, obviously more or less than the commission deals that we normally see in these sports. When we work with the partners, we get our players individual affiliate dashboards, individual partnership dashboards, and more or less, I take control of their name, like this image, and basically use that to make them a effective brand image. So like a lot of my players, when they come to me, like, yes, they're good at playing and everything, but they don't necessarily have a brand or something built off of that. So I work with them getting them stuff as, let's say like personal logos, or getting them just a brand image, whether that is a logo, just a face to look at more or less when they make content. I then use that to basically work with through our Sector Six partnership, get them a store up and running, so they have merchandise provided to them through us. And then we do the same with our rest of our partners. So in terms of them just being under organization, they now have three additional sources of revenue on top of physical merch they can sell, and that image and or logo tied to them. And basically by doing this, I am me as organization and branding them through those outlets rather than having them promote and make the organization money through those outlets. So it's a lot of trick or down, more or less me giving more money back to the players in return growing them. And then of course, they're tied to us. So it grows us both in the end. I think that model is more efficient for the players, maybe not the organization, but it's definitely gives back more to the players, which I'm sure they love. Why is branding important for players? Yeah, so I think branding is very important when it comes to players. A lot of players, both new school, old school, they think that they can just play games and that's about it. When it comes to like succeeding me for sure, see almost every single one of the top players, top content creators, anything, they don't just play games.  And a lot of these newer players think that like, all you need to do to make it big is be good at video games. It takes a lot more than that. Like, you can be great at video games, you can be winning all of these tournaments, but if you don't have somewhere they can watch you somewhere where they connect with you, it can only go so far. And that definitely holds a lot of people back, whether they know it or not. And hopefully they see it center rather than later, so it doesn't limit them so much. So content creation for you or your players, is that on Twitch or what and what other platforms do you use? So definitely like, I let the players use whatever they prefer. Some of my players obviously love Twitch, been with Twitch since day one. I have other players have decided to lead Twitch for other platforms, whether it's YouTube Gaming, Trovo, just any of these other platforms. A few of my players were also partnered on Mixer before they shut down, unfortunately. So definitely I let the players advertise and promote and basically be on whatever platform they want. I helped them utilize that. So is the content creation that is being done by them and by Lagger, is it only video content creation or are you doing content creation for other platforms like Twitter, Facebook, Instagram and LinkedIn? We definitely do things on those other platforms. When it comes to social media, a lot of what we focus on is generating that image so to say. So for example, through our partners, our partners will be like, hey, we're releasing a new product and then we'll make a social media campaign for a month about that new product. And then each player, or each member that's involved in that collaboration will know like, hey, I'm responsible for this many social media posts, whether it's whichever platform they're on. Hey, I'm responsible to post this so that you're talking about this company or I'm responsible for making a post about something. And it's basically my players have full, they're able to participate as much or as little as they want, mostly because they know the more they participate, the more they would make. So definitely I don't hold any of my players who like strict requirements when it comes to that kind of stuff. I like to let them do what they want, do what they're capable of, without ever making them for a rush or ever making them feel like I'm like being strict, so to say. Do you ever have to go in and direct them in a different way, like to tell them that they need to do certain things to improve their brand? I like, obviously, I'll give suggestions, but just coming in saying, hey, change this 100%, no. I don't like doing that, especially every player has their own personality, their own way of doing things. And I think if we're making content, we're doing this stuff as ourselves rather than doing it like by a script, it's definitely a lot better, a lot more personal, and it usually performs better because the people watching it even know themselves like, hey, they mean this, they're not just reading off of a script or something. So it definitely helps. How do you measure success with their brands? So definitely the way I see it is a lot of people in East Forest, they think when you succeed, you have a million followers, you have 10 million on YouTube, something like that. The way I see success is basically, if you achieve what you want to achieve, like for me, like obviously my organization at the biggest, I believe with everything we've done, we have truly succeeded. I feel happy with what I accomplished. So as long as the players reach the goals they set out, I consider that good. I consider that a win. I think that's a lot of people hold themselves down when it comes to that.  I think beating any milestone, breaking any achievement is still a win. I think that's what separates a lot of people, whether it's East Forest or not. It's just succeeding and being that number one person doesn't always mean you have all these followers. Sometimes it just means you're committing and achieving the goals you set out for, big or small. Do you think number of followers is more important or do you think engagement or a combination of those? I think it can be a healthy combination, especially like for me. Some of my bigger players in terms of following our viewers are not always the ones that can make the most when it comes to like our partnerships, so to say. Like for me, one of my best players in terms of like selling volume and pushing through paid promotions, he's barely a Twitch affiliate where I have members or partners on Twitch who can't perform as well as him. I think that's where like the the RNG aspect comes into it, where it's like sometimes you just have that following that can help push you back to step. Sometimes you haven't earned that following yet. So it does vary, but I think a healthy combination of both work, especially once one does good, the other one would do good most of the time, and they kind of teeter-totter, but still improve themselves both equally. So what games are your players playing? Yeah, so we're primarily right now in the fighting game community, whether it's Street Fighter 5, Tekken, Smash Brothers, that's where we're at right now, mostly. We do work with the Rogue Company team. We also work with the Pug G team. I definitely try to be as like, as like involved the most people as possible without like clouding up a lot, especially when it comes to fighting games. Usually you have like the pro circuit season and then off season for about four or five months, and that's where those other games come in and really like keep us active while we're waiting for the next competition to start or the next season to again kind of think.  Do you have any advice to those who are newer to the industry? Definitely like, like I was talking about with the success, like don't think you're a fairer until you have all these followers. Don't think you're not going to make it anywhere unless if you become like a Twitch partner. Just let yourself know that success comes in all shapes and sizes. I thankfully, I learned that earlier in my career than most, especially like for me right now. I'm barely 23. I have not only hosted events. I have not only won events. I'm not only won collegiate events. Not only even now, I teach esports management on humidity and other platforms. Like I have dipped my toes necessarily in every field of this, and I feel like I have succeeded everywhere I have tried, solely because esports and like other sports, you don't necessarily need tons of money to even try it. You can more or less do anything in esports free, whether it's playing in tournaments, whether it's using amateur graphic design of software, whether you're casting or broadcasting events. You don't even need a webcam for that kind of stuff. More or less all you need is a mic and everyone has a mic if they're playing games already. So people don't realize that esports is essentially the cheapest thing to try out, meaning you have nothing to lose in everything to gain. So I'm curious about your teaching endeavors. I've been teaching an introduction to esports class on the OLLI program for University of Hawaii and show a lot of videos in my in my class and talk about just things about the metaverse, about NFTs, about each game and about what esports is in the business of esports. Tell us what what you're teaching and how you teach it. Yeah, so right now I'm working on six total courses. I only have one out currently. My focus on these obviously like the first one's gonna be more or less overview. The first topic I want to really dive in is just hosting events. A lot of people don't realize a lot of like the niche and little things that go into organizing events, whether it's online tournament or in-person tournament. There's just a lot of little things that go into it and like for me I hosted my first in-person event at the age of 14. By all means if the land center people didn't give me a chance I wouldn't have been able to do it. For more of my time I haven't been able to sign leases myself. I couldn't even rent the equipment from Renton Center by myself just because I was too young to sign anything and a lot of people don't realize that when it comes to signing for these things it's not always just being 18 it's just being 21. I mean especially if you're renting a venue or renting a car or anything like that a lot of those places even require you to be 25 so 21 just so you're you're off of like state-funded stuff so they can trust you whether it's supered or anything. So like I'm talking about like how I got over those challenges like hey I wasn't old enough to rent a venue so this is what I did or I wasn't old enough to rent from Renton Center so this is what I did and basically overcame a lot of those challenges that someone younger wanting to do it would face and basically going from there I want my other courses to just be like branding and one big thing is like there's so many curves and esports outside of just playing games a lot of people would just think oh you're a gamer you play games like no I'm a gamer I own a team I make graphics I edit videos like there's a lot more two than just playing games and a lot of people both in and out of esports don't realize that. Sure you know the eco the esports ecosystem is huge and it's impressive to hear about you starting at such a young age now let me ask you was it even called esports when you started. Definitely not back then there wasn't really like teams and organizations everyone was just called like plans that's definitely where like people like phase plans started or like even a team caliber a lot of teams back then weren't necessarily organization they were more or less teams whether it's they were like sniping teams that call the duty or just plans on other team-based games like there's war halo that kind of thing. Esports is definitely a newer term or at least a more used properly term I would say but back then yeah that it was still very young at that point. Sure one of my early guests was fatality and I don't know if you're familiar with him but he was doing winning a lot in the early days and you know I'm sure you've seen a lot of change what are some of the changes that you've seen as in the past I mean 10 plus years since you've been in the business. Definitely like the the tolerance of esports has definitely changed especially when I host events especially with me being younger if I'm at event hosting event or just being there and I see a parent dropping off their kid who was either my age or younger any kid I always make it a point to go to that parent and like ask them like hey what's your opinion of this like do you have any questions I can answer and a lot of times they're asking me like questions like is this a real thing is gaming even real that kind of thing like like the questions that someone who has no idea would ask of course and I always make sure to go up to them say hey this is a real thing there's plenty of people even like me who had education paid through esports someone like me being a team owner and I even tell them like hey like back then I was 16 hosting tournament you're bringing your 16 old son to I'm here he's there you can do anything basically and I feel I have helped many parents either understand or accept that esports is a real thing especially when I bring education in it I think anytime I say hey you can get a scholarship for esports and the parents go like whoa that's a real thing and then I can basically use as a selling point to let them either like approve of their child playing in esports or at least like be tolerant of it so to say depending on the parent of course. Sure how do you think the pandemic has changed esports if it has or how has it impacted it? I think it has definitely helped it yeah it has definitely helped esports I think the biggest boost especially when it shut down all traditional sports and the only thing being played was games just because you have the ability to do it online so definitely that kickstarted it and I feel without the pandemic shutting everything down collegiate esports would not have gotten the big boost it did colleges wouldn't have thrown money into it wouldn't have got staff for it wouldn't have open clubs and programs for it so I believe that it helped the collegiate esports scene greatly and definitely impacted everything attached to it so I think it did help a lot sadly the pandemic sucks anyways but there are some bright sides to it like helping esports both at collegiate and non-collegiate. Terrific it so what is what are your next steps in your career? Yeah so my next steps personally is definitely I want to get into a college as a esports director or a head coach depending on college they name those positions very differently I do have a few offers still considering a lot of those just because of time distance that sort of thing but definitely I personally want to get into a position where I can be like hey I have helped my organization now I can also help a college whether it's a college or even another organization I want to be able to basically use that as my next steps like hey I ran my organization now I'm gonna run a college program and help them both succeed whether they're tied in together I run them both separately I want to be able to make them both succeed as for the team definitely I'm working on getting one or two more partners for the next year just so we can compete more we can get more people under the team a lot of my fighting game players have been with us four plus years so definitely getting some of their friends getting some of the other players they know underneath the team or help everyone in the end and just basically grow from there and then use all of my connections to just grow I'm I think for the next while it's just primarily growing I'm eventually once things are more safe I do want to go back to hosting events um whether it's in Nashville whether it's in Tennessee or even outside of Tennessee I definitely want to be able to host events which I can it's definitely the funnest time sure well that's fantastic so how can people find you if they want to contact you especially if they want to contact you about one of your hopes and dreams for your future yeah so definitely you can follow the organization on all the major platforms just lag or gaming me personally you can follow me lag or underscore vx3x on all platforms I am also on both ethues and geo which are more collegiate based platforms I am also on discord basically follow me anywhere since I am the owner of the team I'm on any of the social media accounts so I'm pretty easy to reach out to if you need to about anything well big of it has been such a pleasure to have you on the show you are such an inspiration to so many people having started doing this at such a young age and having progressed your company um and still growing and and moving into the future yeah thank you it was definitely fun drawing you talked about this all right so anyway thank you to our viewers for joining us today and next week my guest will be Carl Gammez Gomez excuse me head coach and team manager of an eSports team in the Philippines see you then


Welcome to our humble home tonight we get the great privilege to host the Cooper Hewitt National Design Awards West Coast Celebration and Discussion you know we we believe in the Cooper Hewitt so much they love design they love to teach and they love to learn and if I can in teach my own people anything will be to to believe in those things among all others we are aligned in our beliefs and what we try to do every single day you are lucky tonight to have Caroline Bowman here to welcome our guests and be your real host tonight I'm just kind of the stand-in so with that I give you the Caroline Bowman so wonderful to see all of you good evening and John and I actually have a tradition which is I put him on the spot every year and say we're doing this again next year right John okay that's how we gain sponsors at Cooper Hewitt so I wanted to open by telling you a little bit about the last six weeks at Cooper Hewitt Smithsonian Design Museum as you know we are part of the magnificent family of Smithsonian museums and in mid December I think it was December 15th we opened a show on the third floor of the museum entitled the Road Ahead really emphasizing the role of design in our future cities and moving people services goods days later the government shuts down so I am not going to go down the negative road tonight and tell you about all the ramifications of the shutdown but rather focus on the positive which lies in the Cooper Hewitt dream team we are a medium-sized museum of 90 people and boy is it ever a family so the government shuts down and the staff that could work that was teleworking met in living rooms in my living room at Panquotidia even at a church that's next door to Cooper Hewitt that is dedication to design as I look at rookie Robert tomorrow so I would really like to acknowledge the team members that are here tonight can you all raise your hands please Cooper Hewitt staff so here we were shut down but what were they were do they were planning this week on the West Coast so they've already been in LA they're now in San Francisco obviously and we go to Seattle tomorrow so thank you all of you for your dedicate dedication and very hard work I would also like to acknowledge two Cooper Hewitt board members that are with us tonight Margaret Stewart and she'll begin the Cooper Hewitt board is 34 people that are incredibly involved with everything that we do and the direction that we're going so I really want to thank both of you and obviously they're very involved since Margaret is our moderator the other thing that we were doing during the shutdown believe it or not was landing the first design exhibition at the World Economic Forum in Davos so a few of us were in Switzerland with a selection of projects from our access plus ability exhibition and I cannot tell you how proud I am that leaders of countries would come out of these sessions and see the powerful design objects designed by and for people with disabilities and one of the 20 projects is in your backyard in Palo Alto the wonderful imagination playground and we actually brought the piece that is a chandelier harp with 24 lasers and as people walk underneath it music is produced and it's been shown and proven that kids with autism are developing much faster when they have this musical experience and this community experience so know that Palo Alto was part of our show design of course is Cooper Hewitt and we're really thrilled to be taking the National Design Awards on the road this is the third year in San Francisco and the crowd grows every year as does our itinerary so this year we're going to Detroit we have been in Boston and LA as I mentioned and Seattle so it continues to grow and grow and grow thank you to many of our winners who spent considerable time in the San Francisco school system over the last few days I was particularly moved in the Prescott School in Oakland two days ago which was just incredible where we worked with the kids on protest posters and learning about a career in graphic design and that they too can be graphic designers and so really really powerful programming believe it or not the National Design Awards will be 20 years old this October so I hope many of you can join us for the Gala celebration on October 70th 17th new calendar at Cooper Hewitt and the exciting element of this year's National Design Awards is we will have an emerging designer award category that will have a cash prize and it's the very first year so I see many potential emerging designers in the crowd please remember for next year to draw attention to your projects and let us know so with that I want to pass the mic to Margaret Stewart who has been on the board for two years and she is the youngest of nine children so really knows how to handle a conversation or conflict or anything else the other thing I love well I love a lot of things about Margaret but every Halloween she dresses up as Ruth Bader herself Ginsburg so she is one of a kind so we're really really happy to honor the National Design Award winners and have Margaret leading us tonight so thank you so much for being here thanks so much Caroline it's such a pleasure to be here and to be with this wonderful group of designers and design leaders and National Design Award winners we have so many interesting things to talk about but I think what would be great is to start by having everyone introduce themselves talk about the you know high level the work that they do and then maybe a little bit of the journey that got you into design in the first place I think it's always really interesting to hear how people end up in this really diverse and interesting you know kind of thing that we call design okay my name is Gail Anderson and I came in New York for this and I went to the School of Visual Arts based on a poster that I saw in my art room at Cardinal Spelman High School in the Bronx Paul Davis SBA poster to be good is not enough when you dream of being great and I was like I'm going there and I like they get me and I picked my college based on a poster which I don't recommend in general but but it worked so I am a graduate I taught there for almost probably 30 years one class at a time over the years and I'm the creative director at the school at Visual Arts Press and before that was at a company called Spotco designing theater posters and campaigns and there's it Rolling Stone for many years before that but but my my journey was all about wanting to make Park to Family magazines and Jackson 5 magazines and I had my scrapbook and is like how do you get to do that for a living and through SBA and a book that was in our classroom about careers in commercial art which was what was called then I thought this is what I want to do and ended up getting to do well I got to meet David Cassidy I've been very fortunate to have gotten to do a lot of fun things over the years so go into design you can meet David Cassidy anymore too soon may rest in peace Michael tell us more all right hello everyone I'm Michael Ellsworth I got my start because I like to go to parties and I like to throw parties so I would throw parties and parties needed posters and flyers and that's how I got into it and it was like come see my terrible band play and people came because the posters are good so so music good no no no we sing a little something for Michael I was just like a really bad guitar player but but I kept going with that and promoting things and after a couple failed design studios and now have a design practice in Seattle Washington called civilization and we're a team of nine people and we throw a lot of events along with the studio that we run and I still get to make posters and invite people to come to parties beautiful thank you my name is Liz Gerber and about 20 years ago I was working right down the street off of Market Street and I was doing I was hanging out with some kids in the tenderloin we were doing some research and it was like research meets education I was working at toy company and we're trying to understand what kids like to play with and but the way we were doing it was actually by teaching them about product design and hearing their ideas and hearing what they like to do and I was hanging out with eight you know eight to ten year olds and hearing about their visions for what was fun and anything was possible for them eight to ten and I was so excited that anything was possible for them and their imagination I also was so intrigued by the fact that we could both be doing research and understanding these kids and also be teaching them at the same time so the organization that my students and I started was called is called design for America and it's a national network of students working throughout the country working on projects that they're passionate and that they care about and so it was a real commentary on wanting a national design core wanting to teach all students and kids design and wanting to people to work in their local community in a way was that was impactful so the tenderloin starting off with the kids in the tenderloin is is where I got my start so I'm gonna try to facilitate this conversation we'll try to make it flow pretty organically and if you all also want to ask each other questions that's cool too I think that how many students do we have in the audience today we have decent number of students okay cool welcome it's wonderful that you're here I'm curious because I think that it's always interesting whether you know you're a designer or an aspiring designer or somebody who loves design I but like almost everyone here at least falls in one of those categories what is your day-to-day like how do you you know what's it what's a what's a typical day for you so I wake up with an eight-year-old jumping on my head and a dog that needs to be walked I'm a mother of two children after I do hours of getting them ready which feels it feels like ours it's actually not ours I show up at my my paid job and which is and maybe which is oh so I'm I I work with an incredible team that runs Design for America our executive director is right up here Rebecca Brewer she does the day-to-day of Design for America and I am a design instructor faculty at Northwestern University so I run a research lab I usually meet up with my students we talk about our research actually is around how to organize large groups of people so it's very related to Design for America which is a large group of people and how to empower large groups of people so I meet with them and Rebecca and I will have a meeting about everything brilliant that she's cooked up and I try and say yes as much as possible or let's try it and then and then I usually give a lecture or two that's significantly boring I'm behind a podium and then I go home and then the eight-year-old jumps on me again it's like a very and the dog yeah how do you carve out the thinking time so I hate commuting so I don't drive so I schedule it it's so embarrassing I literally have like think time on my calendar how much time I try and get an hour a day I do I usually get one second but I try a special place for the thinking you know it thank you gail I'm really struggling right now with digital versus with versus analog and I feel like I get on my computer and get way I get late like distracted so I'm working on getting back to analog and you it's all about the notebook about the right notebook yeah the right pen right pen totally really picky about their notebooks and pens all of us yeah this is like Nerdville right here yes exactly what pen do you use because that's really why people came to this what is it oh she has it in her pocket oh I love it you're the well and fig pen I have several colors and several different leather sleeves for them I know it's it's yeah you let me test drive I let him test drive it and when he was like what you think it must be really good friends actually during this panel you said it drives nicely yeah drive nice yeah good hello hail may I just during the panel so yeah thanks yeah I'll tell you what it's like so in the meantime like you want to talk a little bit about your day today we could go deep on pens but I also wake up to a child on my face a four-year-old no I get I get to the studio I try to get there early for my think time I try to beat everybody there and I have this little ritual where I turn all the lights on and do the things like the housekeeping but I think while I'm doing that like figure out my day and then I usually write tons of lists and then what you do what bullet journaling now bullet journaling chicken scratch bullet journal just like get it all down what do I need to do today and then I just I'm in meetings like most of the day and I try not to be on my phone or try not to email all the time I like trying to just be like in the moment with their team or with clients or and then I'll take an hour to like email and work on all that stuff when do you do your creative work it's all I feel it's always I feel like the best creativity comes when you're like in the moment with their brains on the client like how do we solve this problem or what is this problem what are the opportunities so I try to just be kind of clear headed and a state of flow yeah and I've noticed like not having my phone around totally yeah just disconnect so are we allowed to say that in the Bay Area I'm from Chicago very important New York and Seattle okay oh I'm giving the pen this is like watching it in her pocket nobody's noticing no it's very nice very nice so I wanted to talk a little bit about because I think in in different ways each of you has had you know a big part of your practice as design is service whether it's in teaching or in the work that you do in education and social change again teaching but your entire organization is about empowering people to engage in design and so I'm curious how you feel the role of design and designers maybe changing and evolving if at all it's always been that way or if there's real change in response to you know this really interesting turbulent times that we're living in and the sense that people you know want to see change happen and what role can and should designers play that responsive the professional responsibility that they need to bring to their craft I mean designers starting out students here are so lucky because there's so much you can do there's so many jobs there's so many opportunities to to do good to just to do and where people know what we do now in a way that they didn't I mean really but better than they did when I was your age so we have a seat at the table you know and that's so it's just an amazing time to be starting out in this profession okay aside so I love that answer and this is when I feel a little uncomfortable because I have a very broad view of design I want designers in Congress I want them in hospitals I want them in everywhere I'm so proud can we just have a can I do this can I get a round of applause for the number of women we have in Congress right now I'm so excited about that so I you know I 20 years from now I want to be saying we have the most number of designers we've ever had in Congress because I think design and the design of the approach we take to design and thinking about problem-solving is so incredibly important and I'm pretty sure the world would be better off if many people understood and embraced design so everyone maybe is my answer the world yeah I think that it's a group oh sorry ice cream cone thank you I think that it's an interesting time in general the stymoflux in this time of uncertainty but I think as designers we're basically making decisions everything we do is a series of decisions so how we work in the studio and how I like to think about design is that those decisions can be informed by empathy sustainability and meaning so it's when you're thinking about these things through those lenses like thinking about inequality thinking about marginalized voices thinking about how to fight against tyranny think about all of the things that your actions and the consequences of those actions will lead to and sustainability doesn't necessarily have to be environmental sustainability think about something making it to last for as long as it can even if it's a piece of print ephemera think of something that people want to hold on to and put in their cubicle or hang on their wall and meaning it's just being honest and trying to tell the real story and be as truthful as possible in this kind of post-truth era we're living in that's where I see design yeah I mean I didn't think about any of that starting out I just you know wanted to make my part of family magazines and so so the opportunity to have such an impact as a designer is incredible you touched a little bit on this with some kind of like specific examples of what that social impact can look like what are some other examples or you know people or particular you know work that you are admiring right now or even historical work because it's not like this idea of you know design as a positive you know agent for social change is completely new we may be more aware of it but just curious what what designers or particular works inspire you in that space we're like design history is so fundamental to our practice and we do a lot of curation around that and a lot of programming around that but we have our heroes throughout history and it's like grand fury whose silence equals death campaign that really made a difference it literally saved lives people like T-Board Coleman and colors magazine people like Ken Garland and the first things first manifesto like these aren't new things but these principles can be applied they're still as relevant today as they were black panther newspaper T-Board stuff was the aha moment for me when I was younger what why was that just it was so smart and it it was more than just something cool you know but it still was something cool the anti-fashion fashion magazine there you go it was amazing yeah it was incredible and taking like this brand and using that resource and that that distribution channel to like impact people on a real real way real connectively I'm gonna I'm gonna call out to designers who are very different kind of designers one is Eve Ewing who's a I don't even know she'd call herself a designer she's in Chicago and she is writing the first Marvel comic about an African-American female lead character and the I was speaking with her last weekend about how she's thinking about this character and developing this character and writing the story about her and what she does and her powers and I was blown away by a story she said she said she said you know I I don't mean to sound this say this lightly but she said before I started writing this comic she's she's a writer she does quite a bit of work she said I never received death threats I only started receiving death threats once I started writing this comic and she said and she said that was uncomfortable and her and her colleagues said well that's because you're a threat and and she said she really thought about what it meant what that meant and she said yeah you know what she's right I'm a threat because I am defining who the new superhero is for the next generation and I'm defining in my in my understanding of of this and I just I was I was so inspired by the care and the thought in which she is giving to designing this character so that's Eve Ewing can I throw out another one please do okay Susie wise is over in Oakland and she is reconceiving schools public schools in Oakland using a design approach and she's not just doing elementary school she's doing high schools she's rethinking out the community works together and I think as a community designer and a service designer she gets the big picture which I think is the real is so needed right now is somebody who thinks systemically and thinks about how the neighborhood interact and how the politics politicians interact and I'm blown away by the work she's doing she started a school called urban Montessori over there that if you get a chance to check it out it it's phenomenal very phenomenal versus over in Oakland urban Montessori is what it's called and I'm blown away by the work she's doing yeah so I'm I would love because you know we spent a little bit of time up front talking about the work that you do but I'm really interested to hear you know ideally from each of you what are the things that you're working on right now that you are most excited about and you know you know in the space of you know social impact or not just really curious to hear what's energizing right you right now it's inspiring you in terms of the work you're doing I'm working on I've worked on a bunch of books over the years with Steve Heller and we started one and I kept sort of making false starts and now I'm obsessed with a book called type speaks about just another type book that it'll for me another type of but it's about expressive type and we spent the day yesterday at the letter form archive OMG who has who right I want to show of hands who has not been I'm gonna embarrass you okay go really like Ron leave the session go okay go now I I'm sorry Carol it's the shame portion of the panel I am I am a professor so and that just you know that just got me so jazzed about working on the book again I'm really digging in now and the books take a lot of time and you know I'm getting money and it's just you're like why am I doing this and and then you come up somebody's using it at a school somebody remembers the book a young person and that's why you do it and I'm still learning and I feel like I'm doing some good with that as with teaching so you just kind of keep going back for more so yeah that field trip yesterday was incredible so we're working on a project through the Bill and Melinda Gates Foundation and that their Discovery Center the Cooper Hewitt brought one of their shows designed with the 90 percent so the Gates Foundation heard we were winners of this award and were like hey maybe you should do something for the show so their idea was oh we should have like a digital component where guests come in and do something and then it can live on after the exhibit it's like okay real real specific create a brief but that was really great because we got to come up with an idea and the idea was to create this web platform that is essentially walks you through the design process in a really simple way so it could be targeted to high school students maybe even elementary school students and you pick a topic a social topic and it shows you how to use design process and kind of design thinking on how to solve these and you sketch things and upload things and share things and then it also pairs with case studies that are really powerful examples in the exhibition so that's been a really fun project because we get to call all the designers that have made this amazing work and have interviews with them and talk about their process and and then we got to make this like really fun interface for it because it was like playful fun how do we get access to this it's gonna be out soon in the next two weeks two or three weeks i'm looking at our interactive director yeah is it one of those projects where like huh how can i find an excuse to like talk to all these amazing designers that's a lot of our work justification for what we do my most exciting project is sitting right in front of me she didn't expect me to call out her name this is Connie Connie can you just turn and wave hi this is Connie Connie didn't expect me to say this but what Connie represents is she designed for america's national network of students working extracurricularly so no grades no pay this is their choice to work on projects in their local community with a social impact and we have 40 different universities across the campus to have studios that number keeps on growing up um and increasingly we have more and more alumni of the program and so Connie walked up to me when i was handling my daughter in the back um i was going to say dealing with but that didn't sound very parental um anyway i love you baby anyway and Connie walked up and she said i just want to i want to introduce myself again we met a couple years ago but i want to tell you i'm living in san francisco and i started the studio at mit and um i just wanted to say hi and to to feel like we are empowering just people throughout not just the united states throughout the globe and have them come up and connect not just with me but with each other so they have a community that is so powerful and so i think the growth the exponential growth of the the the family and the participants of design for america blows my mind and makes me hopeful that we can reach that number of people we want in congress and the number of people we want in the medical scene in schools etc because they're going everywhere they're going they're not just going into design they're going into all sorts of fields and that just i get goosebumps thank you thanks for being here i think yeah way to go round of applause for Connie yeah and i think that's so important what you all do with that to just design thinking and design process and just thinking about the decisions you make even if they don't become designers it's that it's that thought and that workshop we did on monday at prescott it was amazing to see his kids like fourth and fifth graders like thinking about that thinking about the decisions they're making we tell them about the sign about the clean water sign the girl made yes her her approach was climate change or in pollution it was like what was it was let's have a clean planet a very clean planet it's so great really cute it was really good i mean yeah i was i was thinking about this because um a lot of what the work that i'm passionate about a lot of the things that the museum does but i really love the outreach and we do to schools and because i think it's so important for people very early in their lives to understand that they have agency as well i mean society owes them a lot and we need to do better by you know kids all around the world but actually the outcomes will only be great if they are participating in the process and in a sense like citizenship is the original participatory design absolutely right it is you know voting being an engaged citizen and you know local and and you know in our case you know federal politics and i and i think even if they don't become designers because statistically in most of them along at least they'll something will click around oh i actually have a role to play in this and i can be um a part of the solution which i think is really exciting there was a young man in the fourth grade class that i was with named che who had a yellow me sketch pad that he showed me and i was just blown away and like i you know like i i want to keep in touch with this kid i can't obviously but but this was amazing and and what he was documenting in his sketchbook and that's so exciting and you know like you should do this for a living and uh so just spending the day in the meeting a kid like that was just so wonderful i think it speaks to and i'm curious your thoughts on this the opportunities as a design community to encourage more diversity in uh in the design practice and kind of what that contributes to opportunities for social impact because i think it is one of the big challenges certainly in technology but i think more broadly in design um if we believe that participation by designers is going to create social change how can we encourage a much more diverse community of designers so we host a lecture series every year and it's through the fall to the spring and um we kind of market it like a rock show you see one designer the tickets are free it's at the beautifully designed remcool house library in seattle and make really good posters now like really good posters and you get really large tote bags with tons of free stuff in them in design within reach is one of our long-term sponsors thank you uh give a plug um but um we have secret themes every year and the last two years our secret theme wait what secret explain who knows like who are curating oh okay our secret theme has been no white men for the last two years um even though we're white men it was um yeah so we're trying to champion these voices and show students and young designers and all designers that hey like they don't have to look like um a certain anything to be a designer and right now i'm really proud to say knock him is at our gallery having an opening tonight she's a south korean designer who's amazing and she's giving a lecture tomorrow and um then ellen lepton of the kubernetes it'll wrap up the season she's great and i think gail's gonna come next year um margaret no offense to your outfit but when yes i'm gonna make a fashion fashion statement is this going well you're the youngest of nine you can handle this when i started off in design you had to wear like the designer wore black turtleneck and black glasses which i was about to tell that story and then i'm looking at margaret and realizing that's what she's wearing you're the wrong gender but otherwise you look like you're well it was it was men black black i believe i'm the right gender loose that was beautiful um you are right gender um and i thought oh that's what designers are and it was really hard getting a start a very very hard getting a start and one of the things that i've found that we found in the the founding team of design for america and the the people it continues to attract is the large number of um in particular women we get and um it's it's in it's shown i'm a researcher it's empirically shown that um if you focus on the the like the cause what you're going for what you're trying to work for um you tend to attract more you tend to attract equal numbers of men and women versus versus more men and i and i just am so immensely proud and again the more we have the more role models we have and the more stories like connie gonna keep going back to connie um and and i just think that's so incredibly important to have diverse role models and if you don't have diverse role models it's it's really hard when you're starting out to be inspire inspired and feel like you can be a part i i um get people reaching out emailing um saying that i am a diverse role model because person of color woman and when that happened earlier on i was like well i'm young so i can't be a role model and then as i've gotten older i'm like okay i can embrace this now and i i don't know where we are i don't know where it's really hard to find people of color women of color so you have to make the extra effort to um to to find us uh but it's worth it so i'm really glad that the jury found you acknowledged all of your amazing work at this stage and this year that it's still really hard it's ridiculous i i i yeah it's wild yeah can we get can we just get a group boo on that can we do that group boo yeah one two three boo thank you okay so in just a second we're gonna open up to questions from no we're gonna have to questions from all of you there's going to be some mics around so start queuing up uh your questions for this illustrious panel um i'm curious in terms of whether it's design education or the design industry in general what what are the things that you think we just talked about diversity and i think we would probably all categorize that as something that's holding us back in terms of social impact and the opportunity that design has what else do you think is holding us back that we should be focused on in your statement yeah so i think diversity is like a good example if we had more diversity in design i think that we would be taking on different kinds of problems we could be impacting society in in new and different potentially meaningful ways i'm just curious if in like design education or in the way that designers traditionally approaches approach their work are there other things that we should be encouraging people in terms of the responsibility of of how they work i think values i think the value system of design um is a big one we talk about it all the time at our studio it's it's we see what um some of the students we teach and just people coming through the gallery it's it's like they'll see something like a grand ferry or they'll see a protest post and and they'll see our work and they're like how do you make money doing that and it's like well there's money but there's value and and i think that's different and i think that is holding us back in in some ways is our perspective of this and then from a other lens on the other side of the table it's just like devaluing creativity in some ways they're like oh you love what you do you love to be a designer that sounds like fun that's great do it five more times for free you know and it's it's that it's that type of thing and it's like you know if i hired a plumber let's say to come to my residence and wouldn't be like oh you're having a great time why don't you why don't you fix the sink while you're at it um you know so i think it's value and i want my students to be more well-rounded i want them to read the paper they can flip through the paper on the table if they want but i i i want them to be aware of the world and not just yeah what's right in front of them and what's on instagram so i so i have a so gail i was gonna say tech again i'm gonna bring up technology and it's like i'm tempted just in this in this area to say that i think technology is both advancing and holding us back i think it's advancing us because the accessibility of tools and connections to mentors and inspirations and portfolios and you name it is online um and then i think it's holding us back because it supports a kind of toxic social comparison that to experience that at any age especially when starting off is too much it's overwhelming if you think you have to be like um everybody else that you see then it doesn't i think it's i think it's destructive to young to young designers and i think you know tying to something that you said before i think in particular working in high tech i think um designers can uh get over the uh the mythology that any design is neutral yeah that is holding us back like that is always there is no such thing as neutrality in design no there's a absolutely there's an amazing book that just came out called the politics of design and the author just escaped me but it maybe the author's in the room is are you in the room no anybody know the author no they're from the oh she knows the name oh see you gotta one ruben yes thank you can you repeat it out that ruben painter thank you i might have butchered that pronunciation oh my gosh she's my student yeah i didn't realize former former student Florence each chapter is like one or two pages and it and it basically is just all all design is political and it shows about how design and visual communication shapes the narrative in the reality of our world and it tries to help unlearn some of these learned things like the map yeah oh my gosh maps man they're troublesome get us started on maps yeah do we already did go down we could go deep um so i do want to open up questions from all of you uh and microphones if you have a question just raise your hand and we'll bring a microphone to you got one in the back there and we'll kill you call him professor kates dr. kates professor kates is about to ask a question excellent everyone pay attention i'd like to know if um liz is planning to run for congress and if so do you need a campaign manager berry if it's you i'll do it if it's you i'll do it um yes i feel like she'd have the best campaign posters ever just from this crew here who's on your side well i did run for vice president of my seventh grade class and it was something like now i realize is totally inappropriate but it was something like lizzy she'll get busy yeah i know it's bad but at the time it made a lot of sense and i won so there branding works i mean branding right what other questions you have this is such an amazing opportunity to tap into this wisdom yeah hi um i'm camila i work at lighthouse for the blind um in san francisco and i'm not a designer per se but we have a design team who does a lot of like media and accessible design and so we see this word inclusivity and accessibility and diversity thrown around a lot in design specifically and i guess my question is like just for me as someone who is an advocate for the disability community like do you think that that is a trend or do you think that designers have truly taken to heart this sense of like wanting to include people who don't who might experience experience spaces in different ways or visual media in different ways or etc that's a great question i hope it's not a trend i don't think it's a trend but it feels really trendy i agree like like it does and um but i hope it does it it sticks around maybe it's an awakening maybe it's enlightened and um maybe it's a movement i think it is yeah yeah it does i agree we're sticking with it gail but i think it's a better design trend than illegible type i think here's why i think here's what i think we've got going for us i think the reason it's going to stick around is because it's a numbers game and the population that is growing older and has is experiencing some of these disabilities are different they're differently abled um i think they're demanding more and i think i so i do hope that it's i sure hope it's not a trend and i hope that the market is going to increasingly call for it well and i think that we've learned that when you create accessible design the halo effect is incredible right incredible i think we've learned it's good business to create a good business right i'm i'm hoping one i think it does come back to like decision making so if you are going to make this decision why not include as many people as you can in that decision um so hopefully that just sticks and hopefully it is more i i also think we're gonna i think we're gonna realize new things i mean i i'm not naive i think we're blind to many things right now just like people used to smoke cigarettes in their car and drive with their babies in baskets i think we're gonna look back at this time and say how in the world did we miss that differently abled person um so i think we're always going to be asking this question got tim back here yeah and please introduce yourself hi my name's tim hi tim hi uh so there's been a lot of talk about design education and design for people sort of just learning about design and and based on the show of hands in the room i would say maybe like 10 were students and so i'm more curious about your advice for people more so in this room that are more versed in design what do they need to be thinking about for the future to make it better ooh i've got one move over it's that simple um figure out who's coming behind you and and who you can elevate who's not being noticed and who you can elevate and how you can give them space so that they can have a space at the table um because i think the greatest legacy that um that mentors can can offer is creating and supporting new young people especially people who don't look exactly like you who didn't go to your exact school etc um i i think it's a that's the name of the game is move over and elevate someone else i think you have to do things to keep yourself stoked about this and again to bring up that letter from archive yesterday that was just like i forgot how much i love type and just you have to have those little moments every now and then that you're you're just absorbing you know and i having those couple of hours there to poke around just what and working on the books with steve you know even though there's no money or any of that it's just it keeps me fresh it keeps me aware of what's going on in other countries and so gail how did you find out about letter form press i'm just curious like how do you find places to be inspired that's my question um i don't even know how i knew about that but instagram i probably instagram yeah probably answer but you're welcome to add to like i think it's never stop learning and just be a child like we were like kids in a candy store like all week we went to the asap moment like we went to we just went around and we always just try to learn and dig in as much as you can in about stuff outside the design you are like it's like as much as you can like who knows anything that could spark inspiration at any time you know and i feel like so many people just kind of like look at like other designers or all these things like oh look at flowers i don't know and something i think i learned way too late was take a vacation oh yeah oh my gosh like oh i'm just i've got to work i've got to work i've got to take a break every now and then um and even even coming here uh for the couple days is just just to be somewhere else and sleep somewhere else and for me to go up to the country on the weekend sometimes it's it's so energizing so you know whatever it is just carve out a little time to do something fun one last question got it right here they're bringing the mic to you yep it's like the opera moment go go go are you gonna give out a free car can you stand up and introduce yourself please hi my name is Helen Maria i am at california college of the art surround the corner i guess there's a lot of design awards um but this is the only national design award and i would love to hear from you guys and what does it mean to have this platform personally and what are you gonna do with it that's a good one okay i actually started a notebook about that at the beginning of the year and a special notebook that i put a leather cover on and uh and i i have a goal of one good thing every month that i'm gonna do in this year so um yeah so i sort of am trying to come up with a plan and and try and execute that plan of taking advantage of this opportunity and paying it forward so we were completely shocked when i got the call it was like really is this am i being pranked like and um but it was such an honor and a validation to what we do because we've really chose to work with specific things and not do specific things and it's always a challenge and it's always a hustle and this was just like keep going it was like that like validation to keep going and keep doing what you're doing and especially to family and friends that have to deal with the fallout of that but it and going forward what we want to do is just keep expanding and building on what we're doing i mean we want design education and build on our curation and we're actually like want to explore different mediums like television we have something in the works to about trying to connect design with the larger public the broader public and it's just like i feel like we're saying this it all sounds so corny but but it's all really true it's you hit a point where it's about paying it forward and and trying to do some good and it just it feels really good when you do it and and when you see your students here which which i see some tonight and see how well they're doing it's it's so rewarding so i do it for the free food i mean that's why i'm here the cheese the cheese the cheese sticks did you try those they're great um uh no i would say the way we've used the platform is really to uh we're a national network and it's really to connect raise awareness of what we're doing and connect our students with um talented mentors and government agencies and industries in their local community so it's been incredible platform for raising awareness and bringing legitimacy to what we are doing um there are many years in our process with people thought we were crazy why are you doing this i literally had somebody look at me and said like your apps why why in the hell are you starting a non-profit that was the some of the first advice i you're questioning i don't know what it was um that i got and so it was real validation i think that we're on to something i think the other thing is that we're starting to hear about designed for china and designed for turkey and so that is really to me um that's just so so i you know let's go beyond congress let's go to the model you at like let's get you and like united nations let's go for 50 designers there um i think that would be amazing so um as an outro because it's one of my favorite words an outro yes um i would love to as a way to kind of reflect on the wisdom that you all have collected over the years and developing these amazing careers um what's advice that you would give your 16 year old self and uh i'll start by saying um i would tell my 16 year old self you are not nearly as flaky as your family thinks you are and that it's all gonna work out stumper stop overthinking everything that's all yeah what does it give stop overthinking everything stop moping around that's what i would say it's gonna be fine i would have told myself to get a travel broad exchange student situation and see more of the world at a younger age yeah absolutely yeah that would have been more fun well how do you think that would have i mean is it basically just kind of the obvious like broadening your perspective or what i think in my specific case i grew up in a town of 3 000 people in a cornfield in the middle of america so if i would have went from that straight to hong kong i think it would have just reconfigured my brain completely i went from there to chicago which was you know a little bit yeah i think mine is similar to michael's which is get out of dodge um dodge refers to the place that you're living that is the same old same old um when i was 16 i finally remember going to my history teacher and really apologetically asking if it was okay if i missed two weeks of school because my family was going to be had the real rare privilege of going to our sister city in russia at the time to deliver medical equipment and um i remember i was very apologetic like i know i'm going to miss this this part in this part and he looked at me and he's like are you kid you are going to russia just opened right like you could nobody had been there before um from outside and he said you're going to experience history when you're there do not worry about the two weeks um you will miss in class and i think i have found that um even as my work gets more and more intense uh and i have more and more responsibilities um saying yes to opportunities that blow my mind and make me and help me think differently is always invaluable so get out of dodge is my advice to a 16 year old well it's a great note to end on is to remind ourselves to shake things up like take some scary things on we don't quite know if we know how to do it and uh i think when we get further in our career as tim was saying it's like it's to challenge yourself never stop learning and it's really inspiring to hear the ways in which you all are doing that and that you've inspired so many other designers in the work that you do so thanks so much congratulations on this huge award and uh thanks everybody for being here and the wonderful engagement thank you so much thank you thank you


If you major in computer science, almost certainly in your first year you'll take a course called something like Intro to Data Structures and Algorithms, which is a course covering the basic collection types, most commonly used in code, and the various algorithms associated with those collections, primarily searching and sorting algorithms. The course also tends to serve as a student's introduction to the formal analysis of algorithms, that is the student's real introduction to proper computer science. In this unit, we're going to cover at least the essential highlights of such a course, and we'll even take a brief look at formal analysis when we discuss time complexity and what's called big O notation. Our treatment, though, of these topics are going to be kept quite informal. We're not going to get into any real math, not just because I'm not qualified to teach that sort of thing, but because we're just trying here to hit the broad conceptual highlights. Now we're going to look at algorithms, particularly those associated with arrays and lists, namely algorithms for searching through arrays and lists, and also for sorting them. The simplest of these is surely a linear search, a search through a list or array for a particular matching value. In a linear search, we simply start at the beginning, and we iterate through every value, comparing those values against what we're looking for until we find a match. So here, for example, is a function in Python, which performs a linear search on a list. The first parameter takes in the list itself, and the second parameter is the value which we're searching for. What we want returned is the index, the location of the value in the list. So it should be an integer value from 0 up to but not including the length of the list. And understand that we search from the start of the list. So if matching values are located at multiple places in the list, what we get back is the index of the first occurrence. In the case where the list contains no such value, when there is no match, we simply return negative 1 as a special value indicating not found. This is a common convention with search functions, negative 1 indicates that there is no such match. So, looking at the body of our function, our foreign loop iterates over sequence, which is the range from 0 up to but not including the length of the list. So say if the length of the list is 5, then our loop will go from 0 to 1 to 2 to 3 to 4, and 4 will be the last iteration. In the loop, we simply test whether the value at that index in the list matches the value we're searching for, and if so, we return the index. If our loop is exhausted with no matches found, then we return negative 1. Now, you'll note that there's nothing really clever at all about the linear search algorithm. It performs a search for a particular value in really the most obvious way possible. For this particular problem though, there really isn't a better solution. There are plenty of more sophisticated search algorithms, but those algorithms don't apply to the general case of having just a big dump of stuff in no particular order. For example, what's called a binary search is a much more efficient kind of search, but you can only use it on lists or arrays where the items are sorted. The gist of the binary search is that we start our search not at the beginning, but actually in the middle. If the value in the middle happens by luck to match what we're searching for, then our search is done. Otherwise, if the value there is greater than what we're searching for, then we know we need to look to its left. Otherwise, if it is less than the value we're searching for, then we need to search to the right. And so, with our first comparison, we have effectively eliminated a whole half of the list from consideration. We know the value can't be found there. In the remaining range of the list where the value still might be found, we continue with the same strategy. We look in the middle of that range and we can make a comparison. And if it happens to match the value we're searching for, then we're done, we've found the value. Otherwise, we know to either look to its left or its right, depending upon whether the value there is greater than or less than the value we are searching for. So here, for example, we have a sorted list where the first item is negative 7 and the last value is 1881. And notice that all the values are in ascending order. And if we wish to find the value 340 in the list to retrieve the index at which it is located, assuming that it is located at all in the list, we start in the middle and we see that the value there, 178, it's not equal to 340. It's in fact less than 340. So we know that the value we're searching for is somewhere to the right of that index. So we know now that the value isn't in the range from the first index, index 0, up to and including the index we just compared. In the subrange that remains, we jump to the middle there and we compare that value against 340 and we see that it is greater than 340. So the value we're looking for, 340, must occur earlier than this index, if in fact it is present at all in the list. So one last time we jump to the middle of the remaining range, though in this case the range left has an even number of elements, so there's no precise middle. We either have to have our algorithm round down or round up in such cases. In this case, we're rounding up and it turns out that, oh, we've actually landed on the value we're searching for. And having found the value we're searching for, the algorithm returns the index, which in this case is 7. So one way to think about this algorithm is that we are effectively shrinking the range in which we are searching. It is contracting as we search. So in our binary search function implementing this algorithm, again we take into parameters the list itself and the value we're searching for and we're going to return the index of the found value or negative 1 if it's not found at all. And we're going to use two local variables, start index and end index, which denotes the range within the list which we are searching. And of course at the start we're searching the entire list, so we initialize start index to 0 and end index to the last index of the list, which is of course 1 less than the length of the list. As long as we have a sub-range left to search, the start index will be less than or equal to the end index. In each iteration we find the middle index, mid IDX, retrieve the value at that index and compare it against the value. And if it's equal to the value then we found the index, mid index is the index we are searching for. Otherwise, if it is less than the value we're searching for then we know that that index and everything to its left is no longer part of the valid search range. So we need to adjust the start index to be actually 1 greater than the middle index. And conversely, if the middle value is actually greater than the value we're searching for, then we know that the value will not be found off to the right. So we adjust the end index, we bring it in to be 1 less than the middle index. What will then happen in a case where we're searching for a value not found in the list is that in the last iteration, the start index or end index will be adjusted such that the end index and start index cross over. The end index ends up less than the start index. And so our loop condition tests false and we return negative 1. Notice at the line at the top of the loop where we get the mid index value that we use the int function to round off whatever gets returned from the division by 2. If it happens to be something .5 then we want that to be rounded because of course indexes to a list are always integers not floating point numbers.


Welcome to CBS 2018 here in Santa Domingo in the Dominican Republic. I'm very pleased to be joining the studio today by Sonia Gill, who is the Secretary General of the Caribbean Broadcasting Union, the CBU, and based in Barbados, but obviously you covered the whole area. So I just really wanted to talk to you a little bit. Well, thank you very much for joining us in the studio today. My pleasure. I really am happy to be here at CBS. Capacity is a big issue for us in the Caribbean and this linking of digital economy and capacity is right time, right thing. Now, I want to talk to you a little bit about some of the challenges that are being faced at the moment by small line developing states in building a digital economy and society. Perhaps you could give us your position on that. Well, as you can imagine, the capacity challenges that we experience in the Caribbean are broad. They are multi-sectoral and they affect many levels. In particular, in building a digital economy, a digital sector, we have to think about how are we building the infrastructure for that. Not just the technical infrastructure, which has been the focus for so long, which is an area in which we already have gaps, but also the human infrastructure. We do have skill gaps at many levels and in many areas. And I think those are really the challenges, creating the policies that we need in order to direct the different stakeholders in the sectors and then ensuring we have the capacity to implement those policies. And of course, consultation. That is a big need ensuring that all stakeholders are at the table and able to engage on the processes. We don't have a common language about what does it really mean for a digital economy. I know it's a contested term, but for ourselves in the Caribbean, we kind of need to come together and have some clear ideas on what is a path that we are trying to carve out for ourselves. Each sector is deciding and what's happening is that we have uneven progress in many areas, particularly for us in the media. A digital transition has been a major point in our agenda, but again, we're not regionally integrated on this and even nationally, we're seeing different movement in progress. So apart from this variation, what do you think are the major challenges facing the region in terms of trying to get connected in terms of the obviously capacity building, which is very much what we're focusing on here? Well, I think we are still working with colonial pathways to one another. Just to get here, to Sunday Domingo from Barbados, I traveled to Trinidad, to Miami, and then here it took me all day. We still don't have those direct pathways and even though we do have regional groupings, political and economic, we still have not been able to create those networks in a way that allow us to think together and act together. That's a significant part of our challenge. We do have some backbone, we do have underwater cables, that sort of thing, but the last mile on a national basis is still somewhere we have to build out. And then, as I said before, we have different actors with different understanding. So academic, definitely, understanding and taking a leading role. Some policy sectors, understanding, but others not yet joined in. And how can capacity building programs help, do you think? Oh, well, as I said, creating that common language, that common understanding, so we can have a consensual plan. Roadmaps are really important for us because at least we can define what do we need to do and where do we have the resources to do it. We're clearly not working with the amount of resources as OECD countries would be bringing to bear on a sectoral basis, but definitely with an integrated effort. So capacity building in those kinds of tools, those instruments, to guide us and to guide the vision. We do have a fairly clear idea of the end goal, but the road to get there is something that we're still creating. We have started on that work through the Kara-Combin Secretariat and one of our major partners, the Caribbean Telecommunications Union. We now actually have an ICT vision and a roadmap. How does it include all the stakeholders? Well, we're starting the first step, so we'll see how everyone gets involved.  What's the importance of being at a symposium like this? Well, the engagement with colleagues, Caribbean colleagues and extra-regional colleagues is the most critical part. The knowledge gained from the various illustrations of experiences as well as the opportunity to see, for example, the launch of the new publication that we saw today and have access to those kinds of resources and also to engage with different regions of the world to see what are the lessons learned that would allow us to leapfrog over some of the obstacles. So it's been a very rich experience in the day and a half I've been here and I'm staying to the end. Great. Well, thank you very much for taking the time to join us in the studio today and we look forward to catching up with you some stage in the future. Thank you.


Hey guys Matt Beck from free salon education comm and I'm here to share with you a quick way to neutralize hair color If you went to the same school that I went to which you probably didn't but you may have learned the same way We have our Minnesota Vikings. We have Christmas and we have Chicago Bears That was the way that they were taught to remember Well, that doesn't tell us why it works and if you don't understand why it works Then you're not going to understand how to do it. So right here. We have yellow hair. We neutralize it with violet Well, why does that work? We all know that we use violet. We go right across the wheel But why is it working the way that it's working? Well, if you have yellow hair So let's say we use a lightener and we lift them up to yellow Well, all we need to do is find the missing primary colors So if we have yellow, we know that missing two primaries are red and blue. So if we add in red and blue Then we would have a neutral now We're not going to go to our color selection and pick out a red color and a blue color The easiest way to do that is to grab violet red and blue together make violet Violet is our missing primary colors put together. So that's going to neutralize yellow Don't just go across the map understand why you're doing what you're doing You're going to be more successful in the salon with hair color This works for toning anything that you're doing So hopefully this little tip will help you guys when you're mixing hair color Think about where the hair is going where it's lifting to and how you're going to neutralize it Find the missing primary colors and you'll be set Thank you guys so much. I hope this tip helped freesaloneducation.com Follow us on facebook at freesaloneducation.com


When the narcissist wants you to return it may seem like the narcissist is done with you They may have discarded you and moved on to another situation They may have met someone else But then some time goes by and they contact you They tell you they want you to return because once the narcissist has had some time away from you It begins to feel fresh and new again It's similar to the narcissist taking a drug again and again Until it no longer has the same effect, but when they take some time away from the drug They can then experience its true potency This is what happens when the narcissist spends some time away from you when they come back Everything feels new again But this only lasts for a short amount of time because when a narcissist is around their supply They demand all of their time and attention They milk it for all its worth Until it no longer has the same effect on them until they get bored But once the narcissist has spent some time away from you They will want you to return They will be waiting for an opportunity to lure you in again They will want you to return if you were a good supply Or if they want to get revenge on you for some perceived injury Because these are the only reasons why the narcissist would want you to return It's not because they miss you. It's not because they love you or care for you It's all about them. It's all about how you can benefit them or make their lives more convenient When the narcissist discards you with you leave them It may seem like they're not interested in you and for a moment They may be preoccupied with other sources of supply It may take some time until they finally Hoover you but when they get bored They will want you to return Even if they're just bringing you in to punish you but they're not going to reveal their true intentions to you Unless they know that you are no longer susceptible to their manipulation If they know that you're not going to buy into the illusion Their mask will be off They will show you exactly who they are and they will use it to coerce you into returning to them They will try to induce fear or shame within you They will try to make you feel guilty Because they're expecting that to make you give in if the narcissist doesn't think that you're going to return to them They will try to enmesh themselves into every aspect of your life They will contact your family and friends And they will try to gain their trust and use them to do their bidding They will start a smear campaign Your family and friends may become the narcissist fly monkeys And anything you say to them may go back to the narcissist It may be difficult But you may find that you have to cut off certain friends and family members Because once the narcissist has infected them They're going to be no good to you They're just going to keep you connected to the narcissist and the narcissist will use any information They give them to monitor you to track your movements And to plan what they're going to do next When the narcissist wants you to return They may play the victim They may act like you or someone else did something to them and now they're in an unfortunate situation They may act like you abandoned them without help or support They will make it seem as though you were the only one who can save them as though there is nothing that anyone else can do for them They will give you fake apologies and fake epiphanies They will use future faking They will do anything to get you to return and because they know that you're an empath They will assume that certain things will work on you They will guilt-trip you they will give you sob stories.   I hope this video resonated with you Please like comment share and subscribe If you would like to donate My paper link is in the video description Coaching inquiries you can email me at coaching at narkseviver.co.uk Thank you for watching and I'll talk to you soon