My name is Kate Orr from the Director of the Columbia University Urban Design Program and welcome to this next installment of our urban design in practice lecture series. So we have students from Columbia University and from around the world and faculty as well. We're so glad to be able to convene in this online forum to think about, discuss and hear from some of the most prominent and interesting practitioners of architecture urban design today. We have a special special event today we have a professor in manual at Masu with us, who's joining us from Columbia, and I'm just very excited in particular to welcome Emmanuel because he's also joining the full time faculty of Columbia and we could not be more excited. He brings just an incredible dynamism and kind of a sensibility that brings together art, architecture, social justice and spatial practices that is completely compelling. By may way of a very brief bio and Emmanuel I hope you can expand on this in your remarks. He is a founding partner of the dynamic and emerging firm at well with his partner Jen would and when I say emerging it's sort of silly to say that an emerging is not a major exhibit in the Museum of Modern Art I suppose that moniker no longer applies Emmanuel, and congratulations. His ad war was part of this seminal exhibit called reconstructions architecture and blackness in America at the Museum of Modern Art curated jointly with what with our very own maple maple Wilson here. So, he is also a practicing architect and urban designer with built projects in Addis Ababa and in the US. And today's focus, his lectures titled after property. So the focus of his lecture today will likely be very targeted on his urban design and urban research, and on kind of a new framing So this is my special message to Columbia architecture students, particularly in their first semester, you will have the pleasure of having Emmanuel as your coordinated coordinating faculty member for your fall semester so I believe, you know, many of the concepts that he addresses will likely be explored within the space of the studio. So, again, welcome, Emmanuel, and in terms of the structure and flow of today's lecture, Professor David smiley, who's here will be moderating the question and answer period and a quick thank you to Tal first for her organizational assistance and David Cohen with this lecture series. So, with that, I will turn it over to you Emmanuel with a very warm welcome, both for this lecture and to Columbia I believe this might be your first event. And thanks for joining us for this lecture series. Okay. Thank you for having me. And for the wonderful introduction Kate, can you guys see my screen. Okay, and you can hear me fine. Yes. Okay. So, I, what I would, I want to start off by saying, you know, exactly 10 years ago I was sitting in every hall as a student. And so this lecture has great symbolic value for me now returning as an educator in the same institution. So I'll be presenting two projects as provocations or strategies to operate against the vision of property.  And I believe that 2020 should not be understood as an anomaly, but but a turning point to reframe our relationship with each other, and also our relationship to the planet. So in fall 2020 I taught a studio at the PSP called after property. The studio was very direct. How can we disentangle architecture from property. And how can we use this moment of global lockdown and uprising to disassemble the exploitative regimes of speculation and displacement that anchor the built environment. The studio challenge participants to identify temple slippages and spatial practices that carve out moments of liberation from them. The studio participants developed kind of collective intelligence that experimented with ways of seeing beyond the privatizing closer, building a world that was not tethered. This work was of course done by recognizing drawing and modeling ordinary spatial practices that operate against the hegemony of real estate speculation systems that value people over profit. In order to develop a dynamic archives spatial temporal basically construct and sample through reinterpretations of historical and contemporary interventions where every day struggles, begin to approach the surreal or even the sublime. The aim was to liberate urban design and architecture from their parent commitments to border. We modeled undervalued spatial practices that actively dismantle the Cartesian frame of great capitalism as a gathering of performances committed to imagine a different world, because the status quo is untenable. In spring 2021 I taught a version of this video at Winston. And this fall, for those of you going to be to, I look forward to continuing these experiments, much larger. In 2020 we were also completing work for the exhibition reconstructions architecture and blackness in America. And our installation was called immeasurability. Well, sorry to interrupt. Can you just check you're not covering your. My mic. Yeah, I think it's better. Can you hear me better now. Yes. Okay. Thank you. All right. So this is us kind of installing the exhibition for reconstructions. You know, basically, I think part of the challenge here is that these interventions both academic and my practice are really attempts to deal with the with the ethical dimensions of urban design and architecture, both in the discursive realm and in the spatial realm. I will say that this lecture will not provide any solutions for these questions, but basically would provide a series of fragmentary provocations that hopefully will expand our collective imagination. And this this friction between, you know, the, our politics and our discipline is also very much evident in my practice at well in collaboration with Jen would. The project on the right is slated to start construction later this year. So we do a series of commission projects for clients and most of these projects have been multifamily residential projects. And most of them have been designed for the city where I was born and raised which is at Selma, Ethiopia. But if one half of our practices interested in urban designer architecture. The other half is more broadly engaged in art production. It has been extremely generative for us to maintain the project of potential of a design practice, along with the explicit cultural and political critique of an art practice simultaneously building and on building. I'm talking a lot about this image. This is an etching of Savannah Georgia by Peter Gordon establishing the colony of Georgia and America. It is in a way an explicit diagram for the spatial practices of settler colonialism. It simultaneously illustrates the erasure of indigenous communities and cosmologies, but also transforms this communal land into individuated private property. But we also all know that histories and in most cases, empires are constructed through specific tools of visual representation, who gets to represent whom and under what circumstances. What value system is being communicated and visualize through that image. We have been examining the colonial obsession with measurability, a specific worldview that understands land as something that can be measured, owned and exploited. These images also work to make human and more than human life quantifiable. And this is how the continent of Africa was partitioned at the infamous Berlin conference in 1884 facilitating the extraction of resources and labor from the continent to Europe and the Americas. The map on the right measures the density of enslaved people in each county in the state of Georgia in 1861 measuring both land and people as property. Another example of this proclivity across the Atlantic Ocean is the nine by nine meter grid of the coconut Shamba or farm established by Sultan Majid bin Said of Zanzibar and 1862 that initiated a regime of measurability on Dar es Salaam. The land, its people and resources have since been allotted to quantifiable units. Under the German colonial regime the coconut Shamba transmitted into plots for segregated single family homes, again grafting speculation on communal land. And more recently the asymmetrical allocation of capital and land rights has transformed these plots into mid rise residential condominiums. What is more interesting to us are the forms of resistance and transmutation that work against these colonial interventions. For example, the colonial fragmentation of Dar es Salaam is registered at the scale of city block Kariko, as you can see here, composed of multiple plots that are forced individually owned. And it demonstrates how those single family homes have been incrementally converted into these residential condominiums. These towers are currently being repurposed into storage facilities for the shops on the ground floor. And like most other cities storage spaces are used as placeholders for future real estate speculation. The interstitial spaces resulting from the unitization of Kariko by the coconut grid and the Swahili plot are now being reinscribed by the former president. John Magafuli's decision to basically legitimize street trading. And this has completely transformed the pedestrian experience in the city and more specifically in Kariko. This market is a drawing project exhibiting 16 large format drawings, along with images commissioned from photographers in both cities. And I would say that, you know, in lieu of the aerial photographs that are typically employed to represent African cities as homogenous, corrugated roofscapes. The drawings identify specific moments of political intensification. Moments where a political project materializes into urban form. And this preoccupation with marketplaces in Africa comes from an acknowledgement of their role as testing sites for the future of the cities and nation states. They offered dynamic models to trace the ongoing cultural, political and economic shifts in these nation states and also the continent at large. Kariko and Mercato are not only sites of local trade, but they're also sites where global economic and political regimes are being negotiated from the Chinese Belt and Road Initiative to the ever present resonances of the colonial project. They are made up of spatial practices that unfold at the scale of the body, the city and the planet. And these everyday spaces can also be understood as sites of collective agency from radically different forms of sharing space to spatial tactics that work against surveillance and precarity. One of the earliest experiments and representation came in the form of a stop motion animation. We produced in collaboration with Ezra Hubei. The seven minute stop motion animation basically compresses 80 years of spatial history in Mercato. As Ezra translated our drawings and diagrams of the market into these immersive worlds, made up of found images and his own sketches photographs and sound recordings. And this is followed by a large 2.7 by 4.2 meter tapestry for the African Mobilities exhibition in Munich, curated by Empomatsipa. And this tapestry reassembles the market into an array of 126 scenes as a response to how Mercato's merchants devised material temporality as a strategy to anchor themselves to the marketplace. Coming from Charles Gaines' numbers and trees on the right, these market scenes were transcribed into elevations and codified into woven notations by the degree of material permanence. But part of the challenge for us is the inherent bias embedded in architectural representation. It was invented to do the work of appropriation and privatization. The two markets aims to implement a framework of animus materialism, working against a Darwinian evolution towards Western modernity. The drawings aimed to be in conversation with works being produced by contemporary artists like Otto von Kanga. Ida Molina, as Elias Simé just to name a few. And these works really provide pertinent references for reconsidering how we could represent the material and immaterial aspects of the city. Animism is a refusal to establish any separation between our bodies and our planet as a recognition of shared agency. For several centuries, Tanzania has been experiencing extended colonial invasion from Portugal, Oman, Germany and England, while Ethiopia has remained relatively cloistered until a brief Italian occupation from 1936 to 1941. We chose to research these two cities and relative proximity and sub-Saharan Africa to articulate difference within a context that is typically flattened and homogenized. The name of the Kariko neighborhood is a Swahili-ized derivation of Kerakorps depot, a building that was used by German and British troops during the First World War that you can see on the far right of this photograph. Conversely, the Kariko Market Hall of today, which is the anchor of the neighborhood in Dar es Salaam, is an open-air structure shaded by 24 concrete funnels, each spanning 15 meters. That harbors rain and facilitate passive cooling for the trading spaces below. The Kariko Hall is an animus enactment of the Arusha Declaration, which introduced President Julius Nerere's political philosophy of Ujama, or familyhood, promoting egalitarianism, socialism, and self-reliance. Designed by Tanganican architect Beta Amuli, the Market Hall canopy recalls the coconut trees under which markets were held in the past. A building designed as the first multi-story mall during the final stages of Emperor Eilis Lasset's feudalist regime ended up being built as a distribution center by the succeeding socialist military, the DERG. Again demonstrating the instability of monuments and architectural symbols. The relative proximity to water plays a big role in determining the texture and ambiance of the two marketplaces. Mikato being positioned at the center of a landlocked country versus Kariko being 15 minutes from, or let's say a 15-minute walk from the Indian Ocean. The Dar es Salaam's proximity to the Indian Ocean has rendered it valuable and therefore vulnerable. Multiple types of boats, ships, and tankers are employed in a choreographed process of extraction, taking resources and labor from the hinterlands of East Africa across the ocean. In Addis, it's not water but topography that has significantly determined the urban form of the city. Settled as a temporary military camp for the Ethiopian Empire, a nodal network of houses for army generals and tenants radiate out from the rural compound on adjacent hilltops. In a way militarizing the topography to defend the territory from colonial invasion. And these rivers and residential compounds on hilltops continue to anchor the main neighborhoods of the city. To the west of the largest hill is where the original market was located. Similarly, echoes of this perimeter logic and temporary occupation can be found in present day Mercato, where the construction sites are fortified at their base with rings of merchant stalls. These stalls are abbreviations of what you know that the future market will be, but they're also in a way echoes of the previous market. And they allow merchants to maintain relationships with their customers during the three to five year construction period required to build a new mosque. I would argue that our work grapples with the overlaps between identity and geography, both as non static and highly contested realms of investigation. It has been productive to think of these marketplaces as sites where people are engaged in practices of liberation that are working against various forms of enclosure and containment. It's safe to say that the Chinese Belt and Road Initiative is one of the most important and influential factors really shaping the future of these cities. The median age of the Ethiopian and Tanzanian population is approximately 18 years of age today 45% of Ethiopia's population is under 15 and 71% is under 30. So these heavily subsidized large scale infrastructural investments by foreign nations are hoping to gain access to these future customers and laborers. On the right here is the light rail system that recently got completed in August. Similarly, the recent, the recently built PRT or a bus rapid transit system in Dar Salaam is serviced by Chinese Golden Dragon buses, radiating tentacles of Kariko to the periphery. In Mercato, green and yellow fence is interrupted by signage for the CG COC group. A Belt and Road Initiative contractor and one of the largest contractors in the world, whose revenues primarily derived from building roads throughout the continent of Africa. So this pale concrete frame foreshadows a future bus terminal within a network of transportation infrastructure that is almost exclusively constructed by the Chinese government. The overwhelming forces of global capital are also apparent on Missin Bazi Street, while papered in itel red and techno mobile blue, demarcating the western border of the Kariko neighborhood, and physicalizing the mobile banking networks of Dar Salaam. It materializes the battle for control of next generation 5G networks between Chinese Indian and British multinational corporations. Only 2% of Tanzanians rely on conventional banks, leading to a massive popularity of these M-Pesa apps. So, M refers to mobile and Pesa means money in Swahili. And these M-Pesa apps are not being used by about 65% of urban Tanzanians, allowing them to store, transfer, send and receive money via their cell phones. We're also interested in local forms of refusal that work against this global regime. When a Malaysian developer was negotiating with the Ethiopian government to buy out the marketplace with hopes of building a central business district, the merchants started forming cooperatives and started developing the market through different forms of collective ownership. Now, single malls occupy almost every block within the marketplace, owned and maintained by up to 40 merchants and their families, consolidating individual stalls into these stacked mega blocks. But in addition to these ownership models, the rhythm of these marketplaces is also determined by rituals and ordinary practices associated with space to worship. Two large blocks at the northeast of Mercato deviate from the orthogonal grid of the Italian master plan, the Anwar Mosque and the Silver Dome of St. Robwell Church. Their deliberate co-location by the Italian regime was intended to incite animosity. However, these two religious institutions have managed to peacefully share these walls with each other for the past 80 years. Hopefully, the most important and maybe long lasting legacy of the show that was on view at the Museum of Modern Art this past spring is the formation of the Black Reconstruction Collective. The 10 of us who were commissioned for the show decided to form a nonprofit in order to continue the work of reconstruction or the incomplete project of emancipation, well after the passing events of the exhibition. The aim is to provide funding and intellectual support for liberatory practices within art and design. And this is our manifesting statement covering the name of the gallery. Adwo's contribution to the exhibition is called immeasurability, and our installation was really born out of a fundamental question. If architecture is a discipline that encloses space, making it measurable and exploitable, then how can we think of an architecture without measure, an architecture that refuses enclosure and borderization. Our installation is primarily made up of two disks, a vertical disk and a horizontal disk. And it was important for us to really think of blackness at the planetary scale. Therefore, one disk, the one you're looking at right now operates at the scale of the city. And the other disk operates the scale of the planet, and depicting the Mid-Atlantic Ridge, which is a planetary scar, a massive shift and rift on the ocean floor of the Atlantic. But it's also a site for an incalculable loss of black life during the middle passage as enslaved Africans were moving across this line to the Americas. And this is the detail of the tapestry that we have produced for the exhibition. For me, as someone who grew up on the continent of Africa, it was also important to consider the process of racialization that one experiences upon crossing the Atlantic. That line has always been the space for the formation of blackness.  To the east you are Yoruba, Amhara, etc. And I would say that mostly this happens because the construction of race relies on the homogenization of blackness, but also the formation of value and relation to whiteness. So, the Mid-Atlantic Ridge really establishes this echo and link with the continent of Africa. When I went to the Cotton Gin in Savannah, Georgia, the city of Atlanta was established as a terminus for federally funded train lines that were linking the port of Savannah to the hinterlands and back extension to enslaved people in West Africa. And for the movement of goods and enslaved labor across the Atlantic and from the port is what generated the city of Atlanta. And Atlanta has always been really the space of movement, much like the Mid-Atlantic Ridge. So we kept meditating on the Mid-Atlantic Ridge and really gathering a set of maps that were generated for slave traders who were attempting to navigate the winds of the Atlantic. And we also have maps of wind patterns on the coast of West Africa, depicted by Matthew Fontaine Mori, who was nicknamed Pathfinder of the Seas. Again, measuring not only land but also wind patterns to facilitate the larger project of extraction. Mori eventually resigned his commission as a US Navy commander and joined the Confederacy during the Civil War. But even these seemingly abstract notations are tied to certain ideas of racialization. Our work on the Mid-Atlantic Ridge has also been deeply influenced by a long list of contemporary artists who have been thinking about the Atlantic Ocean, both as site and subject. For example, Matidio, Suisse film, Atlantics. In addition to that, we're also interested in the refusal of legibility by contemporary artists like Chris O'Feeley, especially his Blue Devil series. As you can sense from these photographs, it's almost impossible to read these paintings head on. O'Feeley uses silver paints mixed with dark blues so that light catches the different forms within the painting in unexpected ways. So the tapestry to not only depict the history of the diaspora, but to think about contemporary forms of surveillance and policing that limit the mobility of black people. So we started working with and transforming these cartographic and oceanographic notations. It's also important for us to maintain an explicit material relationship between the urban and the planetary. More specifically the Mid-Atlantic Ridge and the city of Atlanta. As we did more research we uncovered that a magnetic black sand called magnetite is present along the length of the Mid-Atlantic Ridge. So we started doing a series of experiments testing magnetite as a material to essentially represent the immeasurability of black spatial practices in Atlanta and the Atlantic. So the city of Atlanta is a horizontal environment that is primarily defined by its highway infrastructure, its single family homes and strip malls. They appear as clearings within the forest. And these relatively generic everyday environments gain meaning based on who occupies them and the types of ephemeral events they facilitate. So it's not a city built on exceptional and monumental piece of architecture but really ordinary spaces that facilitate extraordinary events. We've also been thinking about, you know, really banal kind of everyday spaces like the bedrooms and closets where young musicians are producing some of the most important albums in popular culture. The strip malls and fast food restaurants that provide spaces for different forms of commonality. Basically, we were very much interested in the history of these ephemeral spatial practices, and we started looking at Freak Nick as a form of cultural production that has direct spatial implications. Freak Nick, for those of you who don't know, who was a yearly event where students from historically black colleges and universities flew to Atlanta from all over the country for a picnic during their spring break. And each year became more and more popular until it's peak in the mid 90s. And what's what's really fascinating is that the influx of college students would create a lot of traffic jams throughout the city, and those traffic jams ended up becoming dance parties. And so it became this way of reinterpreting the highway from a space that typically cuts black people off from the city or the suburb into a space for an extended outdoor partner. And I would say these are the types of immeasurable spatial practice practices that are extremely inspiring for our practice. We're doing a series of these experiments with the glass department at RISD, trying to test various ways of slowly transforming black sand into black glass. And these are a few studies from those experiments. And, you know, in other words the immeasurability of black spatial practices is always in a way tied to both containment and liberation.  We're also interested in blurring between, you know, the lush and seemingly endless forests surrounding Atlanta, and the signs that you would see in the landscape from the highway, etc. And so we're creating these generic spaces with specific groups of people. When I lived in Atlanta for 10 years, Waffle House was our destination after the nightclub. It's basically the place you go to at 4am for your last meal before bed. So we produced a series of these collages of Waffle House. Subtle and somewhat surreal interpretations of the woods in Atlanta keep appearing in popular culture. For example, most recently and Donald Glover's TV show Atlanta. The Woods episode where Paperboy gets lost. In the woods. And the Young Thug's video for Chanel, and even further back to outcast video for elevators. So we're interested in spaces that are both mythical and ordinary. And we worked with Bednar and Brooklyn to fabricate the cone. And the cone is topped with black glass and the magnetite is basically shifting on top of that black glass. And the glass where these 160 unique cleats that allow the bricks to lock in. And below the glass are two shelves, the top shelf has these magnetic robots that are shifting back and forth, and also moving the sand. And below that is another shelf housing the speakers projecting the soundscape of Atlanta. So it was really based on a day in the life of a person in Atlanta. Now so basically one minute for every hour of the day. And the soundscape lines up with the fragments of the city on the disk. And this is us frantically assembling the horizontal disc right before the opening of the show and you can see the cleats and the templates that were used to put bricks down. So that's, that's it for the slide presentation about quickly show a video of the sand being activated. It's very subtle, but hopefully you can see it. But thank you. That's it. Thank you so much, Manuel. That was offer us many things to think about. I'm writing down notes frantically. Everyone. Please put questions in the chat. Are you able to hear me okay. I realize my notes were covering this mic. Okay. Questions of zoom. I'm really taken with the kind of detail and the breadth of your work and I just want to come and ask my own questions but I do want to ask everyone to please some questions into the chat. I've got one. And so it's really important. As you know, students and friends to make inquiries, even challenge. Nicely, of course. So anyway, I'm really taken with the kind of decision that you against terms like the Enlightenment or the colonial project, you know, versus your idea of animism that animism is somehow unregulated. And just that's a great framework for positing another form of social life that isn't codified and grid bound if I can use that term like Savannah. And I don't know anything about animism. I mean, I took anthropology one on one, but I think that was in the pre Enlightenment days. So I'm wondering if you could kind of comment on that binary or that opposition, how it's fruitful for you and how it's fruitful for kind of setting up an alternative practice. Yeah, I mean, that's that's a that's a great question. But I almost feel like that question alone could be a full lecture. So I'll try to give a fragment of the way we've been thinking about it. I mean, more specifically, our definition or at least our interest in animism comes from the work of the theorist, Eric Gruber, the late Eric Gruber just passed away recently. And I think the most fundamental critique that he provides for the colonial project is the linear conception of time. So a lot of his ideas around animism are really based on nonlinear understandings of time that force us to collapse histories together in order to begin operating on them. So I would say that that is probably the first step. The second is, you know, the tendency, you know, but within Western epistemology to create separation between the human and nature. So in a sense, a lot of the writing on animals materials and embeds the human within nature. And there's always this understanding of shared agency that the planet has other living beings have just as much as us. And, and I think those two approaches alone give us a lot of tools to begin operating on and carving away the kind of, you know, the mentality of the disciplines and knowledge systems that we all been trained in. But I think that that is that is the operation that you've identified one is almost oppositional, which has been really generative like by basically, for example, with the studios from the beginning by positioning ourselves against real estate speculation, which forced us to imagine a different type of city. Right. So I think similarly, for saying we're anti colonial from the beginning, then that creates a completely different way of engaging with one another, but also engaging with, you know, our ideas of progress or modernity. So, yeah. That is indeed a full lecture required, but you'll be around we'll do that. One person asks, What is the difference or what is the impact, or what is the kind of status of being both an artist and an architect. Does that affect your commissioned work. Is there any overlap or their different relationships when you have when you have developers. I mean, it sounds, it feels like there could be attention in there. Can you. Sorry, I don't know if I did that to the recording, but I was trying to unmute myself. Okay. To be quite honest, this is precisely the question that we're dealing with on an everyday basis within our practice, you know, we love designing buildings. We love engaging with kind of the projective potential of architecture and urban design. But we keep getting frustrated by the simple fact that we're making these beautiful things that eventually lead to certain forms of dispossession and displacement. So, for us the art practice became in a way. A hack to maybe destabilize that the design practice, you know, and I think there are limits both ways, you know there are obviously major major limits to any type of critique presented through an art practice. And you can say similar things about a design practice so for us. The these two avenues forced us to engage with ideas. More broadly but also when we see the limits of one type of practice we can change gears and say actually this is this is no longer architecture this is art. And it's been really intellectually enriching and it's also been liberating to be somewhat undisciplined. And to say there are set of questions we're interested in investigating and grappling with, and it doesn't matter if they produce end up producing buildings or if they end up producing tapestries. We want to continue doing both. Thank you. Really. It's another key distinction or opposition that it's kind of a good problem to have, but at the same time it's a problem. Another student is asking about the two markets that you presented and the representation of those markets. There's projections. And she says I wonder what you expect other viewers to get from seeing urban elements through this lens. Well, I will say, you know, we have. I'm merely a drawing practice. So a lot of the work has been about engaging with the history of image production and what what those images entail and how they can hopefully be demonstrations of a certain political agenda. And for us when we started engaging with animals materialism became very important to say the center of the building and really engage with other more ephemeral interventions in the city. So I think the first challenge for those for those images was to equalize. At least, you know, the relationship between merchandise and build. And then in addition to that it was also about, you know, this nonlinear depiction of a particular narrative. So each one of those panels have a have a story that goes along with it. And those stories are, are in some ways cyclical and in some ways kind of fold back on themselves. So, I would say this is our first attempt at it. Looking at them now. I have certain critiques that we would definitely change moving forward. But it was our first attempt to really grapple with the limits of architectural representation, how we can engage with certain ideas that are being presented by a contemporary artists and how we can bring those ideas into the spatial realm. I hope people can at least think twice about the value of these marketplaces while looking at these images. And, you know, there's there's so much weight in the kind of the gaze of the photograph, and we wanted to slightly move it away from that. One thing I noticed about some of those market drawings is that there's a kind of a clear distinction between the architecture and the social life around it. The architecture seems somewhat monumental, but definitely solid and orthogonal. And then you have these amazing kind of plans of buses and people and all sorts of things and they're completely. They're kind of clearly implicating movement and, you know, kind of interaction. And it's a really strong, it comes across really strongly and so I just, it's funny, I think that we're all taken with the drawings and trying to read into them a little bit but I do think that I think the kind of incredible complexity of the actions of fuel that you're portraying and those representations is very strong. I think brings out the idea of the nonlinear and the kind of what some might see as chaotic is in fact a normal way of life. So I wanted to ask about these drawings. What is the, I mean, this is pushing a little bit further on this idea of communications through the drawings, the representations. How does this strong visual and and color coded and kind of stunning use of visual tools. Do you have a particular audience or do you do I mean what kind of and I'm kind of taking off from the students, the person's comment. How does that add to the storytelling you're trying to do how in particular does that method of your representation. Move things along share information how do you see, I think I'm dragging out the question further than it needs to be. Go ahead. Yeah, I'll say two things. I mean, you know, there's a whole other version of this presentation that's really about the collaborations that produced the two markets project. And in both cases, we have been working with with architects and artists and Dar es Salaam and Atis. So it's been, I would say almost eight years of going back and forth exchanging images and notes, and really trying to produce these images that hopefully will challenge people who are intervening on those cities, but also become archives of you in particular, forms of resistance that that we've identified in the marketplace. So it is for karaoke and is it is for Mercato. And, and I think it was very important for us to work with photographers in those two cities and to work with artists and architects in those two cities, and to make sure that we're producing knowledge that is valuable for them. I mean, of course, we are based here in the West. So an undercurrent of the work is always challenging the ways in which African cities are represented in Western urban discourse. And I would say not even just African cities, but really cities in the global south, you know, there's the tendency to pursue to particular avenues one is the binary of formal versus informal. And the other is kind of looking for mid century interventions, which are usually monumental modernist projects and we want to really look at these spaces as contemporary environments that are that are changing rapidly. I mean, the population of Ethiopia has pretty much doubled in my lifetime. So, when you're dealing with that kind of context, you have to begin to think about density different. And, and that has a very different value system than going over there to sanitize the environment or, you know, present some sort of quote unquote solution. So, I mean, I don't know, a lot of the work is also us working on ourselves, you know, it's challenging our own value systems to a certain extent and our own training. And I hope at least these conversations will, you know, challenge students to do similar things. Another question that's come in on a different, well, not that different actually, the belt and road initiative. Can you kind of give us a little bit of an expanded view on the impact on the just how foreign funding for infrastructure is just seems like an amazing, like an incredible project both in the the classic terms of colonial infrastructures but also, but it's hard to envision it today, especially with the population demographics that you also mentioned. So, tell us more about your take on belt and road. I think it's really complicated, you know, and I would say, at least speaking specifically from an Ethiopian standpoint, Ethiopia's relationship to China is really complicated and simple fact that China provides a clear model. You know, a model that feels accessible. There's always this narrative. At least promoted within the African context that China was a radically transform itself within 50 years. So I think for African politicians that is a very convincing narrative, you know, but when it comes to actual structural changes, you know, addressing lack of access to education. You know, addressing, or at least building infrastructure that can be maintained by Ethiopians instead of Chinese contractors. Those things are not happening. So, now, a lot of it is leading to an extended relationship that is highly dependent. The light rail system in Adi is to a certain extent falling apart, mostly because there were there weren't that many people trained in Ethiopia to maintain. So the Ethiopian government constantly has to, you know, bring contractors and engineers from China to maintain the light rail system. So, I think maybe 10 years down the line will get a clear picture, but but a lot of it, you know, yeah, a lot of it makes me hesitate, let's say. But it does also provide a certain alternative away from Europe and North America. And I think that part of it is probably good. But but yeah, I think it's something we're all thinking about. I'm also a repeat of the European project. And yet, obviously not the same, but it is quite shocking that how, as you say, there's so much Chinese presence in the infrastructure business. It's amazing. Okay, this is a question about how when you present this, this kind of work. How do you kind of portray different layers such as scale, society, history movements. How does that find its way into the layers of representation and quote unquote, do you have to put one layer in priority to tell a counter narrative question mark. Yeah, I mean, I think this to a certain extent comes back to your initial question, David, where I think the counter narrative is as always there, you know, we know how these cities have been historically represented so we're working with those models. But when it comes to priorities, I would say, you know, it's a form of storytelling, and I think there are specific stories that we think are important to consider when when thinking about the future of these places. And that determines, you know, the ways in which we compose the images. But yeah, there isn't a formula. Dilip, to Kuna is asking that the continental rift in the Atlantic has become an important was and continues to be an oppressive difference between the Americas and Africa. And without he asks Europe and Africa or India and Africa, they to have perpetuated oppressive differences in no less measure. Do you have thoughts on representing continental relations. And yeah, that's it. Yeah, I mean that's that's an excellent question, I would say, you know, that's definitely the next project. And because of the simple fact that I am from Africa, I'm fascinated with the Indian Ocean. And we have started doing some work. And that realm, but but I think it's an incredibly rich and complicated history. And when you begin to understand the relationship that East Africa has had with, you know, Southwest slash South Asia. And I think we do need to think about those relationships because those relationships are becoming extremely important again. But yeah, I think Dilip you're outlining the next project. Excellent. So I was fascinated how the, the, the rift in the Atlantic was a marker. You know, in the East side you were from one particular group and on the West side you became black. And that's a really powerful framing that kind of takes the middle passage into a kind of sociological definition or sociological construct that is again another powerful image of understanding blackness as not just blackness but in blackness as full of threads and stories and differences, which I really appreciate. There's another theme that works related to that which is especially as you, you mentioned it both in Atlanta but also in the African context which is what you call immeasurable spatial practices. And that's hard to imagine in an American city.   So in terms of theory, you know, that's kind of anti disciplinary. You know, we don't do immeasurable. You know, that's just like, you know, that is a challenge to so many, so much of our language so much of our assumptions so much of our methods, and yet so many urban design groups, small firms, big firm, well mostly the smaller experimental firms in South America as well as other places, some in the US are really looking to bring these so called immeasurable spatial and social practices into a larger challenge to urban design practices from the kind of planning and discipline of the traditional tradition of rules and conventions. So, could you kind of give us an idea about how you see that working in your Atlanta work a little bit further. Yeah, I mean, I would say that really comes from a certain intuition that I feel, at least within our practice we've been discussing and architecture team seems to measure in order to take. And the first question was maybe, can we measure in order to share. And that became increasingly difficult to imagine. So then we said, what if we give up on the whole idea of measuring and really actually try to understand a more non static way of understanding spaces. So I mean, full disclosure I think it's a way which we are trying to compromise maybe some of the, the over determination of form. So we're trying to, we're wondering if there are other conversations that we can begin to engage with as designers that could help us reimagine cities. In the Atlanta context, it was really honestly, taking the brief very literally, you know, it's the show is called reconstructions architecture black in America. We decided from the beginning because of the simple fact that I moved from odd these two Atlanta, we decided to investigate Atlanta, and we started looking at zip codes in Atlanta that are majority black. And, you know, it became very clear very quickly that these spaces are made up of strip malls fast food restaurants. And, and these kind of single family homes so we started really drawing those spaces and the more we drew them the more we understood that they would never be considered, quote unquote architecture with a capital A. So they always fall outside of the value system of architecture and urban design. And that's really what led to to that consideration. But I think immeasurability is a super generative concept that will keep coming back to and I have a feeling six months down the line I might have a better answer for this question. It's, it's kind of, again, not not relying on property lines, not relying on form, but really other ways of relating to one another. And that's what led to that concept. Just a teeny little footnote. Because I'm thinking about this right now in Broderick or city by Frank Lloyd right. It's a gridded plan, just like from Jefferson to whomever I mean it's that tradition of American gridding. And yet he proposes that the there's no private land ownership that it's more of a cooperative. So, I don't really quite buy it from him because I don't really. On the other hand, he did, you know, he has he spoke to many economists and social theorists and created an interesting position but I think more to the point is that when you bring up this idea that you don't want to. At first you went you wanted to measure in order to share, which was a first step away from measuring in order to take. But then you say the measurement is itself the problem. So, I guess you say measuring to share would be reformist and measuring, not at all, would be a kind of radical, a radical challenge to that. I think that's a great. For me that's a great way to think about how measurement can be both involved in some way but also needs to be kind of challenged at the larger scale. Okay, one more question, perhaps a bit of a challenge of one student is really interested in the, the, the rift, the Atlantic rift. And, and asks, How do you make that rift question. How do you take it to other audiences. And the second part of the question is that the student is would I think wants a little bit fuller explanation of that, the role of the rift and creating this two categories, and one more piece. Yes, so just take that. Sorry. Sorry, I think I got lost halfway through so the, yeah, me too. Sorry. Essentially the, I think the students saying that maybe the rift is too easy. Maybe the rift is. I would say that it's a kind of heuristic, as well as a kind of content device but I think the student is just asking for clarification about that. And from that, how do how does the representation of that, you know, show the complexity, not just the simplicity of a rift. Yeah, I mean, look, I'm going to address global blackness and in one tapestry.  Right. So I think this is this is the issue with the representation, kind of have to choose. One way of talking about a particular issue that hopefully will open up millions of other perspectives. Because the more we kept thinking about racialization caused through, you know, a particular form of forced migration. The more we struggled to represent it. And, and then we said okay let's just look at the Atlantic Ocean the actual space it's kind of similar to what I was saying with Atlanta, right and when we zoomed in, we found this painting. And I believe a lot of the research on the middle Atlantic Ridge was done at Columbia. And once we found that we were just like man, this is really the space for the formation of blackness and the kind of invention of race. And we, we started basically kind of meditating on that looking at other artists who are who are thinking about the Atlantic Ocean in different ways. And that's what led to the tapestry. Sure, it looks easy now. Definitely two years of work that led to one seven foot by seven foot tapestry. I think, sorry. Oh, one thing I would say quickly is, I think we've been trained in urban design and architecture to produce drawings that demonstrate labor. And there's always kind of these super dense diagrams and drawings that are supposed to demonstrate how much work was put into it. But when you go into the fine arts, there's kind of a certain reduction and directness, even though the ideas are incredibly layered. And, and I think that was our ambition, you know the tapestry with the first tapestry and this this one as well. It might not be successful but that's what we're going. So follow up from this same student. And I'm going to frame it slightly differently. You have the model, and then you have the tapestry. How might you describe those as different forms of research or, or thinking. So the task at hand with the exhibition was to look at Atlanta, right. But as I was saying earlier for for me as as someone who migrated to this country was important to link Atlanta directly to the continent. So, as I said in the lecture there was always this interest in looking at the planetary scale and the urban scale simultaneously. So, the moment we identified the Mid Atlantic Ridge, we also clearly identified this diagonal line that currently exists in the city of Atlanta between predominantly white North Atlanta and predominantly black South Atlanta. That line was constructed. It was initially a set of train tracks that now have become combinations of train tracks and highways. So, in one case it's almost an ontological condition that is represented through geography. And on the other, and you basically have an urban intervention that that really tries to solidify certain ideas of race. So it was productive for us to go back and forth as we were drawing the city to also be drawing the ocean. That's what produced the two pieces. And the relationships are not always direct, you know, sometimes they contradict each other. Well, I think I've exhausted you. And I really enjoy. I've enjoyed kind of learning through your work, just as you presented here as well as your writing. And I think that the students are. They, they, your next class, our next class in the fall, got a kind of peak in introduction. And so I think that was very useful as long as well as interesting. Thank you very much for a really great lecture and a great series of propositions and problems for us to think about. So, goodbye, everyone, and we'll see you next week. Have a good day. Thank you.


Hello everyone. The COVID-19 epidemic has continued to evolve over this weekend. I know there remains a lot of worry and some confusion in our community. So I want to keep you up to date with our thinking here at ANU. As we have seen, COVID-19 infections exponentially increase if left unchecked. But Singapore and other countries show that with strong public health measures, including social distancing, attention to personal hygiene, and contact tracing, it is possible to continue with some form of business as usual while containing the spread of the virus. We also know that if the disease does break out, it can be controlled by large-scale shutdown of activity as demonstrated in China and Korea. But the spread will happen again unless subsequent measures are sufficient to stop its spread. So let's all remember, society cannot just shut down until a vaccine comes along, more than a year from now. We really will run out of toilet paper by then and everything else. So we want to find a balance. A balance where we can do most of our activities but where COVID-19 spread is strongly limited so that we can avoid the exponential breakout of the disease that will require us to cease most of our activity. So much of our future actually is in our own hands. The better we do at containing the disease by our actions, the less draconian measures we will need to take in the future and the safer our community will be. Here at ANU, we are among the largest concentration of people in the ACT and we are already putting into effect measures that will limit the spread of the disease when it does come into our community. Last week, we talked about hygiene and social distancing measures each of us can take. Please don't stop. We have seen at other universities the need for many people to self-isolate when a COVID-19 case occurs in a large class. We're working to ensure even if a case does occur in our community, others are unlikely to be infected. This week, we're going to start to push for fully online delivery of many of our large classes and look at those smaller classes and tutorials where social distancing is hard. That way, we can find appropriate solutions. But we may have to move fully online in the not too distant future, I'm afraid. Our residential halls are where many of our students congregate. So we are working with our public health experts to implement protocols that make them resilient against COVID-19 spread. While we haven't yet had our first COVID-19 infection on campus, it is bound to happen soon. So we have set up an incident response team who are in place to manage any cases that emerge. Please look on our web page for their contact details in case you need them. We are looking at ways we will make contact tracing easier in the future as well. Each of us needs to be part of this response. While most of us will experience a relatively mild reaction to the disease, some of us will not. And it is for these vulnerable members of our community, each of us owes our diligence. So please be part of the community response, if not for yourself, for those around you. And don't come to work if you're sick.  Thank you very much.


Hello everybody and welcome back to another episode of Retro Tech and today We're jumping back into another restoration Slash repair video this time with yet another Sony PVM 2030 now This one is on the video screen right behind me and it was Quite a mess. It was definitely bad. It showed up to me. It did not start at all So let's just go ahead now and start rolling this footage And I'll start to talk to you a little bit more about this sir this PVM as we get into this repair And then I will get in and have some other things to show you about it Especially this direct repair because it was pretty intense First thing first like I said I tested this one. I first got it and it does not start whatsoever so No power response really at all so we're gonna go and take it apart now and so that's what you'll see me doing now on the screen and as I take it apart just remember that there are five screws in the back of this monitor and Four on this two on each side and they're pretty easy to get to But just remember there are four on the sides And then there's one in the back just below this control panel You saw me pull out here and then all you've got to do is slip that shell right off there Avoid your power cable and this is a really cool feature that I mentioned last time on these monitors We went through real quickly there But that are these little special feet right here that you could put down to help you service this monitor Rather than just let it lean over and tip onto its backside. So it's again a real nice feature on this But the first thing I'm going to be looking at on this monitor is the power supply So you saw another video where I went in and recapped the power supply as well as the other board on the last 2030 repair from last month this monitor was from that same load so it was traded to me for the repair services on the one you saw in the video and So I wanted to get this one, you know working again But what I try to tell people when it comes to this 2030 is sometimes you're gonna need two monitors to get one good one Especially if one of them doesn't already start like the case is with this one So it seemed like we were able to get two monitors put together and just make one good one out of it Again, I need to get in here on this monitor and get the old power supply out and to do that You're gonna have to take nearly all these boards off Open the monitor up give yourself some breathing room and then this is our power supply unit So I'll try to make myself a little bit less In the picture right during this part But this is our power supply unit right in here that we're gonna be pulling now this Power supply board is actually split in two so the first one that we're actually just swapping out is this board right here inside this large heat sink and The other board is right next to it and it's got some other large capacitors as well some other Electronics and that's where a lot of the other boards are going into with connectors to get powered So this is the board we're taking out Let me roll that again. So it's just got to be taken out by removing all the connectors There's one and just about every board except for the neck board here and then the input board, which is out of the way Okay, so this is after I swapped out that Initial power supply that you just saw I just swapped in one right here. This one has been rebuilt and hoping that just this single board will be what's causing the issue on this monitor but To get this back in its place. I'll move myself again out of the picture and To get my power supply back in I just wanted you to see this one side This this is the center of the monitor frame right here And you have to slip it into these little inlets right here to there's one on the front And then the backside towards the tube and that slips in and then you've got a couple of spots in here to Put some screws in and then a little ground tray and then you could go in and just put everything back together especially this video input board now there are a ton of Connectors and I've gone over this path. There are tons of connectors that are Going to be connected to not only this video input board, but all the boards inside there So just make sure that you remember where each one came out of and each one goes back into a lot of these Especially on this board will only fit in one specific spot but the other the real problem is when you get into the other boards and you got to make sure that You have all those connectors in the right spot now. I've gone through in the past and I've Basically take it to Sharpie and written down, you know There's a there's a point on the boards that tells you what the connection goes to so now as I've talked my way through this repair We're going to be power testing it with the new power supplies So that's all we've done so far is we take it in apart and we swapped out that one power supply with the rebuilt power supply And then we'll go in here and that's what we're going to do next is power test it so I Powered it on initially there and then I plug it in but nothing same response So the issue is has got to be with that secondary power supply I want to zoom in real quickly and show you the only thing I'm getting is When I push the power button You'll notice quickly it'll the standby light comes on really quickly and then it immediately goes out so now I Changed the second power board. That's the smaller one. I mentioned to you earlier I changed that out from a PVM that I had that was another 2030 that was in my as a parts model, so it had a good tube. It had a good Power supply board, but the deflection board was completely ruined on it it was cracked in many places and this was one that I've had for like four or five years just sitting around Doing nothing. So we're going to take the power supply board from it. All right guys Put it into this other monitor With this 2030 I've actually gotten it powered on and the way I did that was I swapped out the entire power supply from another 2030 that was not working and it actually fired up on this one So there's something that's failing in those power supplies, which maybe we'll talk about later The colors are extremely washed Out and it's not really sharp at all now Just as a video, but it should be a little sharper and the colors should look better I've tried to adjust them and the blue seems to be like weaker and so What I'm gonna do is I'm gonna try to swap it over to that other television tube or I'm sorry CRT tube I'm afraid that even like a recap which this board desperately needs Especially the geometry board. I'm afraid that even after a recap this tube is not gonna look as good Now the other thing is is when you started it up originally it won't do it now most likely but if you start the tube up Initially it'll turn red and throbby and look really funky for a little while So that's pretty much a sign that it's it's really like dying and I'd hate to go to all that effort and not have the good tube so we're gonna try to swap to again switch the Good boards from this one into this one and see if the tube looks better. This is a backside view of these monitors This is the one. This is the one that is working, but the screen is just Washed out and really ugly and then I've got my other set up here To add The important boards which are gonna be the two power supply boards in the bottom and then the main Deflection board because that was the one that was really messed up on this one was the main deflection board But the tube looks good and it did work at one point And I don't remember the tube being that ugly is not nearly as ugly as this one So we're gonna try to get that over here and then See how it looks All right guys, so I hope that that's not too confusing But basically what I need to do is take all the good boards from our good Monitor and it's gonna be easier for me to take the boards that are good from this monitor and put them into The other CRT as opposed to me taking the tube and swapping it out into this frame Because to do that I'd have to take the whole monitor apart so again, I'm going to move the Main chassis which is right here in the picture and then I'm also gonna move Those two power supply boards on the bottom back into the other monitor and we'll see how it comes out now what I've done here is I've opened up this board and You'll notice there are the flyback is actually up here on the right-hand side of the picture and There's a little cable going from the flyback a little black cable that goes first off the red cable Sorry goes over to this box and that's one of the things we need to move out of the way So the red cable let's go. Let's talk about this again The red cable on the black at the back of this flyback goes over here into this Little device here, and I can never remember what it's called But it's secured by a screw which I'm about to point out right here And then a smaller screw over here under it that you cannot see But those are the two screws that are holding it into place. They're just phillips head screws So I need to remove those so I could safely get this little contraption out of here because it's tied in again to the flyback and It won't you know, it won't move without it So now I need to discharge the crt, of course, so you can just watch me do this and remember Uh to take your time if you've done if you're doing this, you know This is something that you have to do when nearly every one of these repairs Not all of them, but if you do it safely Then you'll be okay, but I did have to discharge this one again I've got my discharge tool here and I don't recommend using two hands What I'm trying to do is show you, you know a little bit closer view in here Of what I'm trying to do so this is my Discharge tool, which is nothing more than a high quality screwdriver flathead Really large and then it's got a plastic handle and I've taped a piece of an extension cord that has large gauge Copper wire in it. So one end is taped with electrical tape to This metal and twisted around it and then taped with the electrical tape And then the other end of that cable goes down to my chassis, which I've shown you Uh a couple seconds ago the actual frame on there that metal part And so that if there's any electricity in there, it'll go through my Little tool here and it trickle down to the frame and then ground out throughout the monitor And I get this question a lot. I don't know understand why but You do not want to have your monitor plugged in When you discharge it, okay, never do that And if you're concerned about this make sure that you give your monitor a lot of time or your television a lot of time To self discharge a lot of times they will self discharge But again, you're taking that tool you're moving this anode rubber cap out of the way because it's non-conductive And it should be sealed there with some jelly, which we'll talk about later But then you want to take that little end of that screwdriver and just tap the metal and then After you tap it you kind of push it a little bit and it's it compresses It's like a little compression tool that you push it and it'll compress and then release off the anode cap the release from the back of the tube and you can go in and do what i'm doing here and Discharge both the cap as well as The tube itself again, so now that's all discharged and we're going to take care of this other cable going into our flyback And that goes from the flyback over To the neck board and you really can just be a little forceful and pull that right out of there It's meant to come off And then we'll take the rest of this board out now Obviously, I've already disconnected all the connection points on the board with the little molex connectors and such The only thing holding it in at this point are the two hinges that are plastic that you can compress With a pair of pliers Just squeeze them together and that'll come right out of there And the next thing that I did not mention is you want to make sure that you take the two screws out of this Plate up here just so you can get it out of the way It is the stereo audio amp for the monitor and it has two screws holding it in the board onto the top You can literally pull it and move it completely out of the way And just so it doesn't interfere with any of that that's what I did before all this So I did not show you that I'm sorry So just got to get that out of the way and then we'll want to get of course the rest of the flyback contraption Out and there is one cable that goes from that flyback contraption Into uh one of the circuit boards and it travels all the way across the monitor to do that And so you really do have to Get in there and and get that you know safely out Don't just try to rip that thing out now, but I you can't read this completely, but I moved both the power boards and the Other board now into the donor monitor. Well actually just the power board. So we're just at the power board section right now And that's what they look like in there But that's the secondary board right here and then there's the main power supply again inside that So those now are good tested from prior usage on this monitor. That's what you originally came from and then the Next step is going to be to add the main chassis with the flyback board on it and that We'll just go back into the slots And then you'll want to just reinsert everything the way that you took it out to begin with So it's just I mean a lot of this stuff can be tearing things down putting them back together And hopefully by piecing all these things together, we'll get one really good monitor out of these two Now that's again like another big risk when you buy or go after A crt that does not Want to start up and just in case you're wondering. I'm sorry to not mention I'm just going back here and reconnecting everything all the little connections so we can get a good test run But if you can't see if a crt works then you really don't know If it doesn't power on you can't tell the tube condition and You know, that'd be one of the worst things is to actually run into a Um and buy a crt and pay really any kind of quality money for it If you don't know what condition the tube actually is and don't know that it doesn't have either one color out Or like the tube that was in the other frame for this one. It was extremely blurry not sharp at all and Very robby like you know had the constant Waviness through the screen so That uh, hope this will hopefully clear that up now everything's put back together The last thing's going to be the color board. We're going to add the dielectric grease to the adode area This is the grease that I said we'd talk about From earlier it's going to go on the back here of the tube itself around the anode cap And then we'll also put some extra on the anode cap itself on the inside And that will Really limit any kind of You know Little fuzzy burning noise That you might get or crackling That where dust could get into the back of this anode cap over time or sneak sneak in there And then as the electricity goes in there, it you know burns that zaps those dust particles and makes a Sound Then the last thing we're going to do after we get the anode cap in is we're going to reapply the board here That's the stereo audio amp. I was telling you about that's where it goes right back on top and then We're going to be pretty much ready for our test run. So let's Roll that beautiful CRT footage and see if we could get some life out of CRT now You could tell I've already got all my lights are coming on now, which did not happen earlier So that's good. Uh, just means everything moved over here correctly and Here's a tube that has not been energized in three four or five years That's what it looked like to begin with and it kind of freaked me out and I started to worry I was like, whoa, man. What did I do? I forgot about something And then I realized and remembered There's a button on here that is very helpful for that. That's our lovely degauss button. Just go back here push it Once should make a big bang And then maybe another time or two after that wait a couple minutes And that literally cleared up all that purity at the corners. You saw it went from the ugly red Hue and pinkish hue in the corners to cleared up now I just wanted to show a little bit of play footage here to end this out Show this how Much better this tube looked. It was definitely the right call to switch over into this frame but The chassis has All bad caps on it. I mean, there's all kinds of bad caps because the I can watch The monitor go out of calibration as I sit and look at it the pin cushion The corners start to pin cushion and other things happen So that's what I'm going to have to do next. I'm going to have to go in and of course replace all the capacitors on that main board and then Recalibrate after that probably have to do some yoke adjustment after that as well as the convergence rings So this is a very archaic. I try to I try to bring this up. This is a very archaic monitor And there are still apparently a lot of these are showing up because I get questions about them all the time just remember They're not worth much if they're not tested and in good condition and the reason being again is like you saw on this one A lot of times there's some kind of issue going on in those power supplies It's causing them to fail. So even if you get the power supply rebuilt and somehow get it started You could have a tube that's just completely gone and worthless So you've invested so much time and money into a monitor that's for all accounts Just an old ugly consumer t crt looking Screen with a really washed out murky ugly look So don't overpay for one of these if it's not working But if it is working just realize how much time it could have taken to restore one of these these Take a whole lot of time effort and parts to restore So you could end up with You know one of these that has had so much work done to it And you're paid four or five times as much to have it restored as you did invest originally into the crt Again, I don't recommend this one for anybody that is not an experienced kind of Uh Tinkerer or someone who understands crt's a bit and wants to work inside of them because eventually you most likely have to I would recommend it if it's one that you know, if you do like it make sure that you get it serviced prior to picking it up if you Don't have any intention of ever servicing it yourself Make sure that you do have it serviced before you really go get it because again, it could just be a full on can of worms More or less to say On the repair. Hey guys, thanks again for watching today I'm going to try and have a second quick upload this week and talk to you a little bit more about a terrible Shipping experience I had we're also at the two-year point coming up in june For retro tech the channel I did want to reiterate that I have been restoring crt's obviously for years before that before I started the channel But the actual channel is coming up in june to be two years old So, uh, hopefully I'll be able to come up with a really cool clip video for that Thanks everybody for watching and I'll see you guys next time with some more retro content


From Santa Clara, California in the heart of Silicon Valley, it's theCUBE, covering Technovation's World Pitch 2018. Now, here's Sonya Tagare. Hi, welcome back. I'm Sonya Tagare here with theCUBE in Santa Clara, California, covering Technovation's World Pitch Summit 2018, a pitch competition in which girls develop apps in order to create positive change in the world. This week, 12 finalists teams are competing for their chance to win the coveted gold or silver scholarships. With us today from Mexico, we have Edutek, and they're consisted of Miriam and Helica Luna Medina. We have then Luzi Huerta, and Sitalali Ruiz Puga, Ivana Michelle Orozco Lopez, Cesar Valdes, Consuela Serraji Checa Navarro, and Vanessa Dinora Perez-Bramirez. Congratulations, and welcome to theCUBE. Thank you, thank you. So, your app, Care for Me, tell us more about that. Well, this application, Care for Me, is an app that is focused on the caregiver of a patient with Alzheimer's that normally turns one person in the family. So, during the process of the Alzheimer's disease, it's a very difficult situation for all the family, but when they develop the application, they start to think in on the caregiver, because sometimes they lost in all the disease. So, they develop the application so the caregiver has more support and tools in order to provide a very good care for the patient, and as well for themselves. And what was the inspiration to create this app? Somebody wants to answer that, what is the inspiration? My teammate, Tibana, had a grandma who suffered this disease. So, we inspired in this case. Well, that's wonderful that you're doing that, and I'm sure it's gonna help a lot of people. So, what made you join Technovation? Well, when we arrived at Technovation, it was through the school, through the University of Guadalajara, they told us that they were imparting common courses to create an application in which we solved a social problem. Can we translate it? Let me just translate it. Sure. They knew about Technovation because of an invitation from the university that we all belong. That is, Universidad de Guadalajara. And they mentioned that there were some courses about technology, especially for design, mobile applications, mobile applications. So, they told us that we would create an application that would solve a social problem. So, it was like... We were going to teach ourselves how to do something new and help more people. So, that's how we arrived. And little by little, we all joined together. Then they mentioned the courses starting. They informed what is Technovation about. And they know that they have to develop an application with a social impact. So, they have to attack on some problematic. They see in their communities. And then, they get very excited to help people, to help another. And that's why, at that time, that's where they knew each other because they didn't previously know each other before the competition.  So, the courses offered by the University of Guadalajara, we offer up-inventor and marketing. We brought some experts. And after some courses, roughly December, the girls all got together. They didn't know each other. And, they got to know each other. And, they got to know each other. And, they got to know each other. They didn't know each other. And, well, they decided to form a team. And, I don't know, we're here now, right? And what's the most exciting, what are you most excited about for this competition? She's saying that the most exciting about all this and working together is about the opportunity to help other people and have an impact. And that's why they enjoy working together. Oh, that's so inspiring. So, how do you think Technovation is helping the larger girls in tech conversation?  She's saying that the most impact that they have about these kind of programs is about getting all the fears that you think you have that may be stopping for doing something. So, you have to believe that you can and dissolve all these fears. That's awesome. So, who do you think is the team to be? Who's the competition? I think the focus of Technovation is to not pit girls against each other, but to work on themselves and on their project and hope for the best, I guess. That's a wonderful perspective to have on this. Moa, thank you all so much for being on the Cube and congratulations on becoming a finalist. And good luck on your pitch tomorrow. Thank you. We're here at Technovation's World Pitch Summit 2018 here in Santa Clara, California. Stay tuned for more.


We've all long wondered what it will take before Spotify finally increases musicians pay. And since we just crossed the 10th anniversary of Spotify being available to consumers in the US, there's never been a raise for musicians while they pay out millions to Joe Rogan that talk about taking horse drugs on air and Amy Schumer to dish out cringe advice, it's hard to not wonder why that money shouldn't go to the musicians who built their platform and got them a user base. We all know it hasn't seemed fair for a long time, but the question is, when will that change? I think Spotify has finally crossed the line that really is going to set musicians off and will finally be time for their exploitation of musicians to make some concessions. So in this video, I'm going to show you the line I think they crossed recently that will damn them and cause a backlash that will make them finally have to start paying musicians a higher rate per stream. Hi, I'm Jesse Cannon, a music marketing nerd who's teaching musicians how to grow their fan base from zero to 10,000 fans, and this is Muse Formation. Okay, so quick internet history lesson for context. Remember when Facebook was literally the only game in town for musicians and trading a Facebook like for a song stream was the most savvy music marketing move of its day? Okay, if you don't remember that, let's think back less than a decade ago to when anyone who's smart in the music business would try to estimate how big a fan base an artist had, it would be judged by how many Facebook likes the artist had. Oftentimes, that would be a greater indicator even over record sales. But that came to an end once every musician realized what Facebook had done is they had used the allure of musicians, giving access to their innermost thoughts and unprecedented direct contact with fans to build up Facebook's platform numbers. And once Facebook felt like that was solidified, they became what we all know today, a place where if you want to talk to the very fans, you got to like you there, you need to pay Facebook to reach them. Because of this, musicians have largely abandoned Facebook. Aside from updating their fans on their biggest moves and really talking about the big budget events that can maybe make them some money back, they're probably not going to pay to talk to their fans.   And if you still think that, boy, do I highly recommend you watch my video on why Facebook ads don't build your fan base which is linked on the screen now or in the description below. Anyway, what happened here is Facebook got greedy.   Anyway, so we all know anyone hip and smart with an ounce of youth in their body is no longer keeping up with musicians on Facebook instead uses any of the many other more pleasing social media alternatives. This was caused by Facebook deciding that they would now charge people to talk to their audience. This angered many musicians and sadly Facebook saw this as the only way they could be profitable. So they kept going down this path and instead saw massive amounts of people abandon their platform or at least draw down their usage to minimal check-ins on people they haven't checked in with except for seeing when they get married, divorced or they start causing some massive ecological disaster by setting a fire with their gender reveal parties. They squander their addictive platform and relevance for big cash grabs. They could have probably engineered much more strategically if they had just put some more thought into it. So I'm sure you're wondering why Grandpa Cannon is leading you down this weaving path of an internet story of ancient internet times. But let me connect it to modern day Spotify. For most of 2021, Spotify has been promoting a new tool for promoting a musician's new release called Marquis. And as you can see here, it really is great. You may have even seen it in your app already. Here's how Spotify themselves describe it. Marquis is a full screen sponsored recommendation of your new release to Spotify free and premium listeners who've shown interest in your music and have the potential to listen more. When a listener clicks on a Marquis, they are guided to your new release in your release alone. This means they can focus solely on your music and discover more of you. Basically when an artist's new release comes out, it prompts you when you open the app to listen to it. Marquis target people who have listened to the artist before and really can you think of a more effective marketing tool? I mean, this is the type of thing I've dreamed of all my life.  Since you've listened to him a bunch before, they have a new dose of that music you seem to like. What could be better? So you might wonder, what's my problem with all this? I mean, if they were doing this for free and targeting the biggest fans of each artist, you'd think and drive an app engagement and make people stick to their platform more and explore it and get more deep bonds with music and grow more bonds to the app and you'd think they would be happy with that. But no, this is Spotify, an exploitive force beholden to a corporate board so it must always lust after bigger profits each quarter even if it will probably end in a rake face. Now, according to a digital music news article, which I will link below, Spotify is unfortunately charging up to 50 cents per click in order to drive these streams and it's entirely possible that this isn't even the highest rate. And if you don't know about per click rates, that's pretty high. Now, let's do some math here. Spotify pays artists anywhere between .003 to .005 per stream with .005 typically being on the higher end. In that payout range, it would take artists anywhere from 100 to 167 clicks to break even on just one sponsored link. So the way I see this is only in my top, let's say, five to 10 songs listened to each year get that many listens from me. And for this, this makes it a pretty money losing endeavor if you embark on this since most fans are never gonna click on a song that many times and listen to it. And much like when Facebook started doing similar, it's really hard to see how artists make back these payments when click-through rates are this high. This also lends a hint to why everyone has wondered for so long why Spotify doesn't have more easy, concise release radar type playlists of just artists you engage with heavily and their newest releases you haven't listened to yet. Seems like the easiest feature to make in the world. And yet, it's always been absent. It's almost like this planned obsolescence style product efficiency will enable them to exploit musicians even more. I mean, they're basically now trying to charge a fee for a feature that anyone who has used the app more than a dozen times wonders why they haven't already implemented it. It's their basic job to alert you about this stuff and they are derelict in it in order to charge musicians for it, but also not surprising when it comes to this company. Now, if you think I'm being hard on Spotify, trust me when I say if you've followed my writing over the decade and a half I've been writing about them, many people say I've been too charitable to them. But one thing I can say, my predictions for what happens with their actions have been pretty dead on over the years. Time will tell, but I think as this tool gets more adopted and the major label money that can afford it allows even further tilting to the playing field advantage towards big pocket labels, it will enrage musicians more and more that they are having to pay to talk to fans, they bring the Spotify themselves, and the platform is going to get a ton of backlash. Every day Spotify walks a tightrope to keep getting away with their exploitive practices towards musicians, but now deciding to directly profit from musicians to have access to their own fans seems like a step too far to me. Especially as they are about to see competition from blockchain competitors like Audius who will take a while to become any sort of threat to Spotify, but as we've seen plenty of times in the past when those platforms grow, it's when the bigger company has a weakness. Having any alternative for their users to utilize, this could be the pressure point that makes Spotify finally have to give concessions to musicians. So my money is on that this is what you're going to see is that Spotify eventually is going to see so much backlash they're going to have to start making a little bit more of concessions towards pay, since the labels and the musician advocate companies will see weakness, and that's when corporations always go for blood. Anyway, thanks for watching. If you think I'm wrong or missed something, let me know in the comments. If you enjoy this video, we discussed the music business and growing musicians fan base from zero to 10,000 fans here. And if you're interested in that, click on one of the playlists above. Thanks for watching.


Now I know the holidays are coming around you're maybe going home seeing your parents seeing your family and your siblings and There's this overwhelming sense of I should probably get something done But doing anything is way too much effort now in this video I know that you want to relax you want to have fun you want to be productive all in one But I'm going to share my ritual for still staying productive and not being super lazy during the holidays Or if you're still in college during your summer break What's up guys Alex Hine author of the book master the day now I've also included some journaling exercises that will help you if you have a lot of free time like if you're on a break It's the first link in the description box. It'll bring you to a page where you sign up You'll learn more about some strategies I use for journaling that I use to improve my life and figure out what to do So that's the first link in the description box there below So the way I personally juggle trying to relax and recover and also do something and be productive While also being able to take it easy and see my family is I just tell myself I have to only have one productive hour per day. So if you're struggling tell yourself Hey, if I do one hour of something productive that I'm off guilt-free for the day And what I find is most often when I spend one hour being productive It often will catapult into two or three hours and I didn't even notice it because if I'm getting up And I've got to do some work I go to the cafe or the library or a friend's place It ends up being more than an hour most of the time, but when you tell yourself just one hour It's easy to psychologically get over that hump. The second thing is and I think this is the most important Change your physical location to change your state In my opinion if you think you're gonna be home with family and pets and relatives And you're gonna do your one hour at your parents home or at your own place or wherever you are your relatives I think you're fooling yourself because to me the most important aspect of productivity is Changing your state and you can do that internally or you can do it externally I would recommend both but what I do is I always leave for example when I visit my parents I leave the house and go somewhere else when I want to do that one hour. That's productive So maybe you pack up your stuff you have your list and you go to your favorite coffee shop in town You go to a local deli you go to your local library Change your location to change your state and I guarantee you'll be so much more productive The third thing here is that it always starts with the master the day game plan So when I say the master the day game plan This is a productivity ritual that I've shared in quite a lot of my videos It involves the three sheet box productivity method and it's so simple this three-part ritual But it's so incredibly effective that I do it with every single coaching client If you just have your piece of paper and you say this is my one hour or this is my three hours You break it into three boxes each box you list the core Action or a goal or whatever you're working on and then you leave where you are you go to a new place to change your state There's a change in your location and then you get started on the first thing You're gonna have an incredibly productive day almost without fail Guarantee your productivity will 2x or 5x or 10x that in one hour You'll get more done than you might some days in three hours So personally, that's how I cope with seeing family and friends and being on a break and still being productive and for you It's a matter of thinking about what are you most value? Maybe you really need this break and you need to do nothing or maybe you know yourself And you know you still need to be doing something at least an hour a day or you're studying going to the gym or whatever it is So that's how I would get started again. I've included those free journaling prompts right there in the description box It's the first link. It's a beginner's guide to journaling some sample journaling exercises And how I personally use journaling to improve my life So click that first link and check it out and otherwise check out my last two videos right there and right there


This lesson is on how do we measure distance traveled. We are going to use velocity versus time in order to determine distance. To do that, I have an example for you. How far did I travel? My trip to North Carolina School of Science and Math takes about 40 minutes each day, each way. I wrote down the velocity I was traveling at every five minutes, and this is what I got. Time was in minutes, and velocity is in miles per hour. When I started off, of course, I was going zero miles per hour. Five minutes later, I was going about 25. Ten minutes later, about 60 miles an hour. Fifteen minutes later, I was still going 60 miles an hour. Twenty minutes later, I was at a light, and that was stopped, of course, red, zero. At 25, I was going 50 miles an hour. 30 minutes, 60 miles an hour. At 35 minutes, I was going 35 miles an hour. At 40 minutes, I wasn't quite at school, but I was almost here, and I had been slowing down to about 15 miles an hour. How far did I travel? Well, in calculus, we have several ways of figuring this out, and one of the ways we are going to work on today is called rectangular approximation method. And you realize that time, times velocity, equals distance. So we're going to use that idea when we create our rectangles and approximate how far I traveled. The first type we are going to use is called left rectangular approximation method. And in order to show you how to do this, I have plotted out all the points of my velocity as I was traveling along to school. So this is a time, which was in minutes, and velocity graph, which is miles per hour. And of course, when I actually compute, I have to convert. So if we create rectangles from these different points, and I create the left point to be the height of my rectangle, the first velocity I had when the time was zero was the velocity was zero. So that actually has no height for that rectangle. The second one, I was going about 25 miles an hour. So that height is around 25. The third time I measured, I was going 60 miles an hour. So I have a height of 60 on this rectangle. The next time I measured, I was going 60 miles an hour. So I have that height. And then I slowed down to zero miles per hour. So that's a zero back up to 50. So that one has a height of 50. The next one has a height of 60 miles per hour. The next one is 35 miles per hour. And that creates our last rectangle. So this point here is not used at all when we are doing L-RAMs. So in order to find the distance, I know each increment is five minutes, or five out of 60, because my distance is in miles per hour, and I have to create hour here. So it's five minutes out of 60 minutes, which is one-twelfth of an hour. And then each of the heights can be added together because every increment along the time is the same. So I can do five over 60 there and just multiply by the heights. So this one was zero. The next one is 25. The next one is 60. Another 60, a zero, a 50, a 60, and a 35. And if I add all of those together and multiply it by one-twelfth, I should get 24.167 miles. So during my 40 minutes, I traveled approximately 24 miles, doing it left rectangular approximation method. Now if we do the same thing with the right rectangular approximation, instead of using a left point as the height of my rectangle, I'm going to use right points. And this is how this one looks. So when I make each rectangle, instead of using the zero, I'm using the 25. And this one, I'm using the 60. So that height is 60. Again, using a 60. Then to the zero, for that right hand, and then up to 50, for that right hand. And then 60. Of course, most of the numbers are being used except for the two end ones. They change depending on whether you're using right or left rectangular approximation method. So this one is 35. And the last one is 15. So on this one, we're doing r-gram. If again, I try to find the distance, I do the 5 over 60. And instead of starting with zero, I start with 25. And then add the two 60s in. Add the zero, the 50, 60, 35. And the last one has to be put in, which is 15. And this one should be higher because if you remember, when I did left rectangular approximation method, I started off with a zero. Well, that zero is gone and said I have a 15 sort of in its place. So this number should be higher, which it is. It's approximately 25.417 miles. So we have our left rectangular approximation method, our right rectangular approximation method. And of course, one gives a lower estimate, as you can see. One gives a higher estimate. We have one that is a little bit more accurate. And that's called M or mid-rectangular approximation method. And the way we do that one is to take the average between the two points on either side of the interval in question of that rectangle we're creating. So if you remember the first point is zero, zero. The next one is five, 25. So halfway between zero and 25 is 12 and a half. So we create a rectangle at 12.5. And then we go from 25 to 60. And the height of that rectangle is halfway between this point and this point, which is about here, which is 42.5. Then we have our two sixties. And of course, if you average that out, it becomes still 60. And then we go from 60 to zero in our velocity. So the height of that rectangle is halfway between, which is at 30. Then we go from zero to 50. So halfway between is 25. And then we go from 50 to 60, which is at 55. We take that average. And then we go from 60 to 35 miles per hour. So halfway between is 47.5. And the last one we go from 35 to 15 halfway between is 25. And those are the heights we are going to use for our rectangular approximation method.  And that gives us approximately 24.797 miles. Now, if you remember, our L-RAM was 24.167 miles. The R-RAM was 25.417 miles. And this one is in between at 24.7917 miles. Well, what happens if I decide to take my readings every 2.5 minutes instead of every 5 minutes? Well, you'll see my rectangles get closer and closer together. Would I get a better estimate of my distance? One would think so. And I actually wrote those down and did them. And you may try them if you want to practice this. But you will see that the closer those rectangles are together or the closer I take my times, the more accurate my answer should be. Well, let's look at the theory behind all this. We have the left-hand sums and the right-hand sums we want to look at here. If I were to take this as my beginning point on a graph, and this is my end point on the graph A to B, and let's say this is a time velocity graph, which we're going to measure distance. This is our T sub 0, which means the height is V sub 0. And the next point is T sub 1. And then the next one will be T sub 2. And we'll continue on until we get to B. And there will be many of these drawn in between. And we say B is the T sub n, which makes that height V sub n. Well, what will the sum look like? Well, our new distance will be whatever increment we use, which is the delta T. And delta T is found by determining B minus A over the number of subdivisions that we make. And then we will multiply this by each of the heights that we have. So if we were doing left RAM, we would start out at A or T sub 0, which would give us a height of V sub 0. And then we would add V sub 1 plus V sub 2 all the way up to not V sub n. Because remember, we don't use the last one, we use the one before V sub n minus 1. And that will give us the distance if we use L RAM. If we want our RAM, again, we would have the delta T. And instead of starting at V sub 0, we will now start where T sub 1 meets V sub 1. So we would start at the V sub 1, add the V sub 2, add the V sub 3, all the way to the end, including the last one, V sub n. That is the theory behind this. And we will be developing this theory more as we go into the next lesson. This concludes our lesson on how do I measure distance traveled.


Stroke causes motor impairments due to damage to the neural networks that control movement. Corticomuscular coherence, CMC, is a valid way to measure the functional connectivity between the brain and muscle fibers. Studies have shown that CMC is reduced in stroke patients compared to healthy individuals. This reduction in CMC is associated with decreased mobility and functioning. Furthermore, CMC can be used as a rehabilitation assessment biomarker in stroke patients. This article was authored by Rui Su, Hai Chao Zhang, Shan Lixue, and others.