fiery horse with the speed of light, a cloud of dust, and a hardy high old silver, the Lone Ranger. With his faithful Indian companion, Tonto, the masked writer of the plains led the fight for law and order in the early western United States. The stories of his strength and courage, his daring and resourcefulness have come down to us through the generations. And nowhere in the pages of history can one find a greater champion of justice. Return with us now to those thrilling days of yesteryear, from out of the past come the thundering hoofbeats of the great horse, Silver. The Lone Ranger rides again. Jacob Webster sat at his desk in the office of the Webster Trading Company at Mountain City. Across from him was Walter Driscoll, his local manager.  Well? It's better than last month, Jake. I'll bet that Great Western bought more forefors than we did. That can't be helped, not yet. This company got a bad name during the spring. We've got to live it down. That takes too long. I've decided to stop wasting time. What more can we do than we're doing? Buy out Great Western. You know that Mark Collins won't sell out to you? He tried to force you to do it once and it didn't work. Yeah, thanks to the Lone Ranger. He's still around here. Don't get rid of him so easily. It isn't necessary to use force when you have money. Jake, your money won't do you any good in this case. Why won't it? Because... Just answer me this. What's the highest valuation you'd put on Great Western? First, trading goods, cash and goodwill. Well, it's only local, of course. I'd say $50,000. Yes, so would I. We'll offer Mark Collins $100,000. $100,000? You going local? Or is there some trick to it? There's no trick. We offer $100,000 in cold cash. That's paying $50,000 for nothing. It eliminates our competition. Can't call that nothing. Might be high price for it. We'll make it back. After Great Western is bought out, then the Webster company is the only place where trappers can sell their furs. We'll pay them just half as much as they're getting now. Yeah. That's possible. Our profits double. We'll make back the extra $50,000 in no time. But the Collins are funny. Money doesn't mean as much to them as just to most people. We'll see. I make my offer tonight. $100,000, huh? What's up your sleeve this time, Webster? Nothing at all. You can't expect more of me to believe that. Hell, this is a confession of defeat. I've tried to get your company at my own price, and, well, I've failed. But I still want it. Great Western ain't worth $100,000. Well, if I only paid you what it was worth, you wouldn't sell. There must be a trick in it. I'll pay you by checker cash, whichever you want. You'll have the money in your hands before you sign the bill of sale. I declare. Don't seem to be any loophole at all. Be careful, ma'am. Oh, don't you worry. I'm not going to say yes or no right all. Think it over as long as you want to. You come back tomorrow morning. I'll have my answer then. That's fine, Mrs. Collins. Until tomorrow morning. Good night. Madge, where's Johnny tonight? At his office by the jail. Well, go and get him. Oh, no, wait. There's no sense in bringing him here. I was just going to say that Johnny can't help you make up your mind. It's the Lone Ranger I want to talk to, Madge, the only one who can find him. Well, Johnny used to know where his camp was, but maybe it's Mo. Well, tell him to keep looking. I'm not going to have any dealin' with Webster until I talk to the Lone Ranger first. Is that all, Mrs. Collins? That's all. Simple as A-B-C. He'll pay me the money in cold cash before I sign a bill of sale. Is Marshall a mountain city? I advise you against doing business with Webster. Well, you keep quiet, Johnny. I'm much obliged to you for bringing the mask man here, but it's his advice I want, not yours. You'd be foolish not to accept the offer, Mrs. Collins. Well, that's the way it looks to me, on the surface. But what's behind it? Nothing that can hurt you. The trappers won't like it very much. That's all. Why not? Well, you can't blame them. With no competition, Webster can pay them what he feels like for their furs. Hey, that's right. There'll be a lot of men coming in during the next few weeks, too. Well, the trappers are my friends. I'm not going to let anybody take advantage of them. My advice is to accept the offer. What? Well, they don't sound like you, mask man. It'd be more than selling out the business. It'd be selling out our friends. It depends on how the bill of sale is worded. Now, let me explain. You'll finish reading the bill of sale, Mrs. Collins? I guess so. Everything's in order, isn't it? Well, there's just one thing I don't like. What's that? This here. The party at the second party agrees to Oh, but I'm buying the Great Western name as well as the business. Well, I don't care anything about the name. It's the rest of it. According to what it says there, I promise I won't ever start another fur trading post. Yes, you do. Well, I won't promise that. It's the only business I know. I'm not just going to sit in a rocking chair for the rest of my days and saw a fine seam. Well, if that clause wasn't in there, you could start a new business in Mountain City tomorrow. And the goodwill of the Great Western company wouldn't mean a thing. Well, you've got to change it. I won't go into business here. I won't go into business anywhere within a hundred miles of here. But nothing's going to stop me from trading in fur someplace. You change it to read like that and I'll sign. A hundred miles, you said? That's right. Fair enough. That won't affect this market. We'll just add in Mountain City or within a radius of a hundred miles. Hand me those other copies, Walt, and we'll write it in. There you are. There's the full amount. Take care of it, Johnny. Yes, and I'll sign right here. Mm-hmm. Move the lamp over a little mage. There. There. Your turn, Webster. You can witness this, Walt. You too, Johnny. Sure. Just pass it over when you're ready. Oh, by the way, now that the Great Western company belongs to me, I've got a little announcement that you can pass along to the trappers as they come into town. What's that? I'll wait until you finish. I have. Well, then here's the announcement. Starting from this minute, the prices that we pay for furs are cut in half. In half. Now, what do you think of that? The trappers will be plenty made. They'll get over. Not if there's someplace else where they can take their furs. But there won't be. Don't be too sure. Well, Fort Hall's a long way. Over a hundred miles. They might not want to go that far. What's this about Fort Hall? That's where I'm going to start my new post. Yes, and unless I miss my guests, there'll be a big caravan starting from here as soon as you're open for business. The deal is off. Oh, you can't be talking about the sale. I got my money. You got the papers.  If Jake does too smart for himself, pay a decent price for furs and he'll keep his business. Try to cheat the trappers and he'll lose it. It's up to you, Mr. I'm starting that new post so you can't take advantage of my friends.  Why, just as well close up the store, Jake. There hasn't been a trapper come in since you cut the prices. It's three days now. Well, they haven't left town. Well, they're all camped out on the metters. About a hundred of them. But Mrs. Collins and her daughter are leaving for Fort Hall tomorrow morning. The trappers may follow them. We're going through with this, Walt. When they start leaving, you'll have to admit your beat.  What's that? Kurt Morgan's camped out near Circle Lake with all these men. I thought you were going to stay inside the lodge. I will. But Kurt doesn't mind breaking it. What are you going to have him do? Just get him to start operating between Mountain City and Fort Hall. Morgan can make that trail so unsafe the trappers won't dare take it. Yeah, he could at that. And he can start with the Collins stage. What's the old lady done with the cash I gave her? She put most of it in the bank. If she's starting a business, she'll have to take plenty of it with her. That ought to be enough inducement for Kurt. But say, if she never got to Fort Hall, we'd have nothing to worry about. You can pass that word along, too. If she doesn't get there, I'll pay a bonus of $5,000. Did you say me passed the word along? Do you think I'd trust anyone else? Yes, Walt. You're riding the Circle Lake tonight. Eddie Silver. How do you keep us happy? It's Tonneau. Nearly done, Tonneau. You've been gone a long time. Ah, me watch Driscoll, like you say. Him ride out of town when it get dark last night. Where'd he go? All the way to Circle Lake. Circle Lake? Ah, there are many men there. Hot laws? That's right. Come to see face of leader, him Kurt Morgan. Kurt Morgan? Ah. Morgan and Webster. That's a bad combination. Ah, plenty bad. What are they planning? Ah, mean not hear that. Webster may be trying to stop Mrs. Collins from getting to Fort Hall. Maybe so. We'll have to make sure that nothing happens to her. Yes, Silver. Are you sure we're on the trail of the outlaw's tunnel? Ah, and better we rain up now. Set it, Silver. Set it, boy. What's the matter? Uh, outlaw, right down slope here. Maybe we see him below. Pretty big boy. We certainly don't want to ride into them. Oh. Better you keep close to trees. Ah, this is far enough. What's your fee? Down there in the pass, all right. The stagecoach has to go through there to get to Fort Hall. Ah. We've got to hit the back trail and stop it. Ah, right. It'll be cool. Come on, Silver. Come on, Silver. Easy boy, easy.  There she comes. Ah. We're glad we couldn't have stopped it before it left Mountain City. And this is not far from town. They'll have to turn around and go back. Hold on. Oh, oh, oh. Oh, oh, oh. Oh, oh, oh. What is it? Road agents? No, ma'am. It's a lone ranger. There he is, Ma. There are loads waiting in the pass, Mrs. Collins. You'll have to turn back. Well, I've got to get to Fort Hall. But it won't be safe in the stage. Do you think you and your daughter could ride a horse back all the way? I can. I don't know about Ma. Well, don't you worry about me. Of course I can. And we'll get some horses in town and Paula will show you a safe trail through the mountains. Turn around, driver. You know. Get out of there. More of these outlaws. Kurt Morgan's gang. And there's a chance of catching them. Oh. Now, there's many men as you can into the stage. Then follow it with the rest of your deputies.  Hi, Sammy. Morgan and these men will close in on the stage. And you can close in on them. Sounds like it might work. Gather around, boys. They've got orders from the lone ranger. All right. Blow down, Johnny. Put your horse in. Loose inside of the stage. We're getting close to the pass. Blow them. Whoa, whoa, whoa. Easy, everybody. Easy. The gang is up on the slope. See, it's behind the stage. They'll make a break forth. They won't have any chance of catching them. We'd be hit by the dust from the stage. Up from up above. But look, the stage is almost around the bend. The pass is just beyond. And it does round the bend. And we can start riding again. All ready to go, boys. When the stage rounds the bend, lift those coyoses out of their tracks. I don't like to leave those boys on the stage alone too long. They won't be. They'll have plenty of cover. The driver is running up and getting under the boot at the first side of the gang. There she goes. I'm sure you're all ready. We're on silver. Come on there, boys. Come on. The curtain falls on the first act of our lone ranger story. Before the next exciting scenes, please permit us to pause for just a few moments. Now to continue our story. As the lone ranger, the marshal and his men raced around the bend, they saw the stage coach pulled up just ahead of them. The firing had stopped. There was no sign of the outlaw. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. I just got excited. I'm sorry. Well, this means our chance is gone. I'm afraid so because they're well-mounted. You wouldn't be able to catch them. What do we do then? There's nothing for you and your men to do, but ride back to town. I'm going to follow their trail and find out where they make camp. Come on, silver. It was late that evening before the lone ranger returned to Mountain City. He ran up in the back of the marshal's office, slipped from the sattlet and off to the back door. I wonder what's going on. Oh, dear, you got back all right. Yes, Johnny. Are you able to follow the trail? It wasn't hard. They still camped out at Circle Lake. Can't we ride out there and clean them out? I don't think so. Morgan only sent a few of his men to hold up the stage. A lot of them at the lake and they have a strong position. That's Driscoll out in front. What's he yelling about? Let's find out. We don't have to go outside. Just open the window. Keenum. You're first piled up in your tents out in the meadow. You know that Kurt Morgan's up in the mountains? What's to stop him from staging a raid and robbing of everything you've got? Just let him try. We'll sell him off. He's got too many men and he wouldn't give you any warning. If you want to save your first, you better sell him to us right now. No, that's your price.  Well, it's the only price you'll get. Make up your minds. They're going after him, Donnie. Men! Let him alone! In the name of the law! Go on home, Driscoll.  The only trouble is it's true. Morgan could raid the town. I don't think you will. It's a different thing, Marshall, attacking the town and defending his camp. Besides, you've taken my advice, haven't you? You have guards posted. Yeah, but the attack wouldn't come without warning. Maybe the furs are safe, but what good are they if they can't sell them? They can. They won't get Webster's price. Mrs. Cullings will reach Fort Hall tomorrow. She'll buy them. You don't expect the men to take a chance on the trail, do you? They'll have to sooner or later. Mr. What chance would two or three trappers have against Morgan's men? It can't be two or three. All of them must leave at once. And they'll have a hundred rifles to protect their furs. Sure, a hundred rifles. The only way to manage it. But even so, it's going to take at least three days with pack horses and mules. That means two camps in the mountains. I'm not saying there's no danger for Morgan. There is. Those men out there face danger every day of their lives. Well, they needed someone to organize them. You can leave it to me. I'll tell them just what you've said. The trappers welcomed the Lone Rangers' plan. They spent the next day in getting ready for the trail. And Johnny set the start for the following morning. But at midnight, three men met on the ridge above the Circle Lake. Webster, Driscoll, and Kurt Morgan. So you came yourself, Webster. You told Walt that I had to, didn't you? Yeah. I was so careful I didn't think you'd take a chance on talking with me. I need your help. Yeah, maybe you'll get it. Maybe you won't. I still haven't got over that stagecoach business, an old lady and her daughter. But what do we find instead?  Surely you don't think I tipped off the Marshal? Well, you might have. I know a lot about you. Maybe it's too much. I know just as much about you. We have to trust each other. Yeah. With one eye watching out for a double cross. There's no chance of a double cross on this deal. I'll decide that. I just want to make sure you don't let those furs get through the Fort Hall. What if I do? What if the furs don't interest me? They're worth a fortune. At the price is your pain. Now look, Kurt. You look. I don't want to be bothered with a lot of furs. You can't move fast when you got pack horses and mules trailing after you. Kurt, raid the party. Drive off the men and burn the furs. Nothing could be safer than that. 10,000 for the job. 10,000? You sure don't want Mrs. Collins to do any business? I sure don't. Just burn them up, huh? And that won't be much trouble. You know, Jake, I think you bought something. Hold on, hold on, hold on. Sorry you came with heavy. Welcome back, Tutto. Are Mrs. Collins and her daughter safe? You made good time from the Fort. Who's that by fire? That's Driscoll. You are above the law, mask man. I'll have you thrown in jail for this. You'll take him prisoner? Yes. I persuaded him to pay our camp a little visit. He's writing letters to Colonel Graham. Oh, count on that's heavy. Why you make him write to Colonel? It's a little complicated, Tutto. A lot's happened since you left. But the explanations will have to wait. Sign the letter, Driscoll. What if I refuse? You won't. Well, this can't hurt me. Now, hand it over. Can I go back to town now? Not just yet. I'm going to borrow your horse for an hour or two. But four, what's the matter with your own? Might be recognized, steady boy. Now, where you go, Kim, if I be your big fella? I'm going to deliver this letter. Colonel at Port, a hundred miles away. The rest of the Colonel, but it wasn't meant for him. Make sure that Driscoll doesn't get away.  Kurt makes us stand guard all night. Those fool trappers aren't going to come up here. Now, if they know what's good for them, who's that? Can't be any of the boys. They're all in camp. They're in a sorrow. It must be. They better not take any chances. Stop or I shoot! All right. Take it on our own trail. This one will be Morgan's camp. Right up here, we're going to take it. Right up here with your hands above your head. Stop! Some hombre took the wrong trail. Where is he? He wheeled his horse around there by the big tree in head of south. Didn't recognize him, huh? Guess not. He was riding the soil. I thought it was Driscoll's at first, but the man was bigger. Hey, look there. Didn't he drop something? Not that I noticed. There's something white on the ground by the tree. Just a piece of paper. Yeah, we'll take a look at it. That's all it is. What's a letter? Write a match. Sure. Colonel Graham Fort Hall. I am writing this letter from Mr. Webster. He's obtained definite information that Kurt Morgan and his gang intended. With a dirty double crosser. Let's see who wrote this. Who? I thought so. I thought I recognized the handwriting. What's up, boss? You were right. It was Driscoll's quarrel. Driscoll wasn't riding it? I know that. He'd take a chance on his horse, but he wouldn't take a chance on himself. He hired somebody to deliver this. You didn't read it all, boss. What's the rest of it say? Never mind. The plans are changed. You mean no raid tomorrow night? No raid. But there won't be many people in town after the trappers leave. The Marshal and all his deputies are going with him. I know. That's what you said. You and I are paying a call on Jake Webster. The following night, Jacob Webster sat alone in his office. He was worried by the unexplainable absence of his manager.  It's about time. Where's he been? Driscoll wasn't it? Oh, it's you. Yeah, Kurt Morgan. What are you doing here? There's nobody around. I want to talk with you. Come on in, Joe. But you're supposed to be at Rocky Hollow. What about the raid? There's plenty of time for that. We got a morning to get there. Where are your men? Waiting. I just got thinking things over, Webster. You'd better pay me ahead of time. Right now. I'll pay you when the job is finished. You wouldn't argue with a six-gun, would you? Oh. So this is a holdup? Don't matter what you call it. Just pick up all the money you find in that safe, Joe. Kino. It's all there, $10,000. It was waiting for you. That surprises me. Count it, Joe. It's all there. Now go on. You've got a long hard ride if you're going to make it to Rocky Hollow before dawn. Joe and I got just one more piece of business to take care of before we leave. What's that? We're going to fix it so you don't double-cross anybody again. What are you talking about? You picked the wrong man, Jake. Now wait a minute, Kurt. Put down that gun. You've got the wrong idea about something. Not about you. Let him have it. Let's get out of here, boss. You're making a mistake. You've got to listen to me. Goodbye, Webster. What the... Oh, a match, man. There's not the gun right out of his hand. The low-range shot. Up with your hand. Yeah, don't shoot. Get his gun, Marshal. Right. Everything's worked out fine, Mr. Webster. What are you talking about? We watched the boys close in on Kurt's camp before we started back here to make sure you were all right. You mean my men have been captured? I'm sure you didn't think the trappers were really heading south this morning, did you? Huh? They made camp less than five miles out of town. Then they headed back to surround your men. And you planned this, Webster? No, of course not. It wouldn't have worked out without your help. Look, this is all a trick, Kurt. That masked man is a lone ranger. He must have planned everything. I can't take the credit. I couldn't have done anything without your information. I never gave you information. You don't have to be afraid of Morgan now. He's under arrest and so are all his men. Hey, listen to that. They're bringing them into town. I'm certainly glad that we got here in time to save your life, Webster. Don't pay the attention to them, Kurt. First, you were going to have the soldiers capture us, but you were afraid that letter got into our hands when it was lost. I don't know what you're talking about. So you cooked up this game? No, Kurt. Why, sending me to the gallows won't send you to save you? You're under arrest. Anything you say will be used against you. It'll be used against him. Twenty years ago, his name was Ed Randall.  He's wanted for murder in New Orleans. What? That does it. Well, your hunch was right, masked man. I heard them talking up on the ridge. I knew that Kurt had something on him. You're heading for the gallows with Morgan, Webster. It's good riddance for the West. Another double crossing. I didn't do anything. What about that letter? I didn't want to write it. That don't cut any ice with me. You did. Arrest him, too, Marshal. He hired me to hold up the stage. And last year, he was mixed up in a bank robbery in Kansas City. That ought to be enough, Marshal. It sure is. The roundup's all finished. Come on, boys. Move along. Feet, Bill. Arrest him out there. Grab all of these hombres and march him along to jail. Hello. I'll be saying goodbye, Johnny. Will you leave him? You won't have any more trouble in Mountain City. I'm sure of it. Now that we're rid of these coyotes, that's it, boys. Move them along. So long, mister. Goodbye, and good luck. Thanks. Really big fella. Come on, Sylvie.   Well, no way! You have just heard, as a copyrighted feature, the Lone Ranger Incorporated.


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Good evening, friends. This is your host to welcome you through the creaking door into the inner sanctum. Come in, come in. I just came in from a bang-up fashion show.  See him, and you'll never forget him. You'll talk about him day and night, man. Oh, there are one, for instance, one bold fellow wore his head at a slant. And how they parked his face on the piano before modeling, said his face always stole the show. A third wild man, displaying the newest in zombie zilch suits, got into his trousers by pulling him over his head, which had strangled his head. Ha, ha, ha, ha, ha. There's nobody minded. No, they couldn't if they wanted to. In order to mind, you've got to have one. Ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha. Tonight's inner sanctum mystery, Wish to Kill, was written by John Robert and stars Carl Swenson, the role of John with Miss Leslie Woods as Celeste. OK, get your forks ready. Your pitch forks, that is. Have you ever wished for someone's death? Lacking the nerve to kill, you wished it with every ounce of you, and dreamed it too. A dream such as this, John Kellum's dream. For a yellow pallor in her cheeks, yellow greed on her face, within reach of my hands, I give up and stand over her. Celeste, the person I hate. I touch her. She's waiting there. I want her to wake up, to fear, to witness her own death. Celeste, wake up, Celeste. John? John? You look at me as if I'm a stranger. Well, your face, it's a. John, what are you up to? This. A knife. To cut the knot that bites. John, you're insane. You cut it, John. No! It was just a coward's improbable dream, the tortured wish of a helpless man. The wish for her death floods my mind. I wish it with every ounce of you. I can think of nothing else, nothing else. He motored the country, and hum of the car is a single word throbbing in my brain. Murder, murder, murder, murder, murder, murder. John, I had a dream last night.  After that, I couldn't sleep long night. What was your dream about? Well, someone was hovering over me.  Who was hovering over you? I don't know. I tried to identify him, but his features were blurred and kind of unclear, and I, now, who would want to murder me? Could someone wish my death? You could. I? I could want my own death? Yes. Well, now you're either teasing or you're being third. Neither. But why should I want my own death? Self-dislike.  My own rotten? And crimes, what crimes?  I'm a middle-aged man and you're young.  That was our understanding, but you cheated. You brought nothing to me.  You want only my money. Mr. Kill was pushing me relentlessly now, pushing me. Just where are we driving, John? Do you know that we lost the highway at least three miles back? Frog in my brain was a fever. Murder, murder, murder, murder, murder, murder. My hand found a car tool. It was there conveniently behind me as if I'd planned it to be there like that. Why was that thing? To settle something forever. Now get out. A tire wrench. Oh, John, John, you wouldn't get out. Walk into the pine grove in front of me. It's useless to run or scream. There's no place to run to and nobody to hear you scream. I didn't choose this spot accidentally. Obviously not. And I didn't just come along with you idly either, John. You didn't just come along. Well, look. See for yourself. Your arm. And I'm an expert shot. Shove my hand. You're not hurt.  You're not much of a killer this time either, are you, John? This time. That dream that awakened me last night. I woke up to find a knife on the bed hovering. A knife, John. As if a killer had lost his nerve at the last moment. You're going to expose me? And how I am. The minute we get back to town, I'm going to tell the world that you're criminally insane. And I will see to it that you'll put where you belong, in an asylum. I sprung my own trap, and then suddenly it happened. My wish that she died then, right before me, produced its agent hope. A man appeared. An armed bandit came out of the pine grove, as if I had wooed him. John. OK, lady, get those rocks off your fingers and climb out of that fur coat. You, Mr. Passmeo Wallock. He hadn't seen Celeste's gun, hidden in the folds of her coat as she removed it slowly. Not expecting that the robber hadn't seen it. I watched Celeste, hence, gathering of courage. My coat? Here. Why, you! Oh! John! John! Celeste. Her shot had gone wild. But not the bandit. Celeste was on the ground, a shadowed figure, still as death in the first gloom of twilight. Crazy dame pulling a gun on me like that.  So quiet, so dead. Yeah, bullseye for me. Now pull those rings off her fingers and give them to me.  I wished you. Then you came, agent to my wish. I murdered Celeste through you. OK, so you wished. Now grab a hold and help me dump our victim. When we carried her into the pine grove, the bandit led the way. Surely, he's just following a pre-arranged blueprint in his mind, and we stopped at a pond. We almost walked into it when he ordered a hold. Far enough. Forgive your misses, the whole lily pond, all that was so... Hell, there's so solemn, there's no instant. In that instant, I could feel the world tremble in the night. OK, here. Celeste. You're divorced now, mister. Like the lady enough to remarry her? Huh? I don't understand.  You're going to murder me?  No, I won't ever betray you. I swear I never will.  In the gloom, I couldn't see the gun level that way, but I could feel it like a live thing throbbing against me. Again, I could feel the world tremble into my feet like a rumbling earthquake erupting and hurling me through space. They ran. Ron, and you'll make giant a lot tougher for yourself. Two shots in this fire in the grove. I was untouched, whirling in the deepest space. I outbred the surge. The knife was my shield, my armor against death. My lay face down was in the pine bed while time stopped. Listening to the bandit firing random shots into the woods, and he slowly gave up the pursuit. Soon, for a long time, there were no sounds, no rustling in the thickets, no shots. My mind was an avid machine, totaling the column of numbers, five, five bullets. And the one that he killed, Celeste, six. He fired six bullets. And now there were no more. I'd won. I'd saved my life. I'd won. When the darkness emptied, silently into the ghostly cray of dawn, I saw her. Celeste, a vector of death in a wet dress that tripped like great beads of tears falling. She was standing over me, Celeste. You're safe, John. He's gone away. You don't have to hide anymore. We can go home now. We? You say we? We can go home now. No. No, not together. Never together anymore. Come, John. Never together. Never anymore. Come, John. Come home, John. I'll go alone. I'll go alone. You're dead. You're at the bottom of the pine. Dead. You hear that? I left the pine woods and went home alone. The imagination plays tricks. Celeste was dead forever in a watery grave. The imagination plays tricks. Enduring my house in a white glare of a new day, there were sounds in the living room, familiar morning sounds. Radio music from Celeste's favorite station, the station she tuned in while she had her breakfast. I'd been gone all night. Who? Who were tuned in that program? And then another thing. Swimming in my vision, catching it by throat. A coat flung carelessly over a chair. Celeste's coat, the mink she'd worn to her murder. And then in the kitchen, one more thing, a coffee pot on a lighted stove, hissing. The doorbell. The back door to the yard. Mrs. Argosby.  I may be the next door. Good morning, Mr. Callum. Mrs. Argosby. Come to give back the sugar I borrowed this morning. And thank Mrs. Callum for me. Yes, thank you. The sugar you borrowed this morning? Well, that's what I said. Borrowed from whom? Mrs. Callum, of course. Now, ain't that a peculiar question? You're certain you borrowed it this morning? I am. Are you trying to mix me up now?   You have no life, no sense of time. The day could be yesterday, and yesterday could be last week or last month. Now, get out of here with your old wife's tape. Well, I'm not.  She scurried off, and then staring after her into the yard, something suddenly held me, a clothesline of wash. And there, in the center of the lion's limp and dripping great beads of tears, as I'd seen it standing over me in the pine woods with the dress, red silk with gold brocade, the same dress the rest had been murdered in, and her body cast into the lily pond. I went back to the scene of the murder. At the scene, there was a sign that I hadn't noticed yesterday. A large construction sign fringing the neck of the pine grove, a sign that read Harris Town, now building, the Seymour Harris Construction Company. There was a fleet of trucks and cranes and men and stores of men. And I and Bulldozer, shearing through the pine trees, leveling them. And I called to a man holding an engineer's construction plan. You, over there, engineer, what's going on? Read the sign. I know, I know, those Bulldozers. You intend leveling the whole pine grove? Yeah. We do. Goes back less than a quarter mile. Just today, our show is worth for those Bulldozers. It's just funny, out of the way, place for a housing development. Well, land's cheaper for one thing. Well, it's spotted with stagnant pools, mosquito infested. Spotted? You don't know the pine grove, mister. There's just one pond, shallow lily pond in there. We'll get that drained and leveled off with fill and a jiffy. Hey, you sound like you hate to see those pine woods go. What, are you sentimental about them or something? Yes, I'm sentimental. Drained in a jiffy. Machines were going to dry up the lily pond and expose a corpse. At nightfall, when the Bulldozers sat quietly, like great-iron ghosts, and the men were gone, I stole into the pine grove to grapple. First or less, shallow the engineer said. But it was. The reeking pond left its filming weight just below my shoulder. I covered the bottom, inspring, and then over again, waiting for the numbing moment of horror when death and my bare feet would touch, inspring slowly, nightwise, and across, hour on hour. The numbing moment of horror never came. My feet didn't touch death. Celeste wasn't there. Celeste wasn't underfoot, standing over me on the bank with the moon lighting on half of her face. Specter of death in a wet dress that clung tightly. V-dress, red, silt, and gold vocades. The dress that hung lipply from the yard clothesline. You don't need to look any more young.  You don't need to look any more. We can go home now. Celeste, please, while I have a shred of sanity. We can go home now. Are you dead? Are you dead? Come, John. We can go home now. Come. I went home midnight. The lights are on, brilliant. I'd left the house in darkness and music, radio music. The radio tuned into Celeste's favorite eating space. And other things, old familiar things, nightly routines, my slippers and robes, and pipe waiting in a table of snacks, cheeses, crackers, red wine set before the fireplace. Our nightly ritual, a midnight snack with a fire going.  The fire wasn't going. Fire couldn't. The fireplace was bricked up, newly bricked with fresh cement. Fresh cement still moist to the touch. Cement's a little soft, huh? You, a killer himself. I looked up where you were. In your wallet, Mr. Kellam. See, there's a fireplace. Out of commission from now on. Unless you want to answer to a murder charge, partner. You willed me, remember? You murdered your Mrs. Trumie. Well, then Celeste is? Behind those bricks. But how? I got a look at that construction sign last night and went back for the body. We were a day late catching onto the danger we were in when they got around to draining off that lily pond. Not we. We. Your Mrs. is behind those bricks, so you'll always remember it's we down the line. You murdered Celeste. I wanted her dead, but you murdered her. I have nothing to fear from the police. Haven't you now? How do you think I happened to be up there at the pine drove at the right time? What? How you happened? Should I know? I'll remind you.  But come on, with all the jewelry she was going to wear, plus a grand I was going to find in your wallet. You don't remember? No. No, I don't remember. Tell that to the police. Celeste isn't dead. Now where'd you get that brainstorm? I saw her in the pine grove twice. She spoke to me.  She's been here in this house preparing breakfast, setting out my slippers, rolled this table of snacks. I did all that, Kellam. I was having fun with you. Softening you up in the head so you'd go to the bank for me regularly and often. You did all that? That's right. No. Celeste lives. I hired you, yes, that much, I believe. But you told Celeste. You joined with her.  That's a nice idea. Too bad the lady is dead. No, she lives.  You missed deliberately. We dropped her in a shallow pond less than five feet deep that she could get up and steal out of in the darkness. You're as barmy as a bedbug. But we're going to do business. Cash on the line from now on. I had but one course now. One course only. I could have no safety, no life ever. Sooner or later, he'd kill me. Police department. Kellam, you were listening to me. Yes. What, what, Sergeant? You were smart about one thing. Smarter, by what? Hurry up there, man. You're not pulling down the Chinese wall. It's only a fireplace. About that hood and your wife working together. You hired the gunman, all right? And then he made a quiet deal with your wife. But there's always a button. But what? Your wife got scared of her own scheme. With a gunman dominating the picture, it was getting out of control. Mrs. Kellam suddenly wanted to get out from under. Well, how can you know that she wanted to get out? I do know. You see, I was on my way here anyhow, just when you telephoned headquarters. You don't get it, eh? No. Your wife phoned in a complaint. She was on the phone with me personally not an hour ago. You tried to murder her. She swore twice. Then Celeste is alive? That's no surprise to you. From what you told me, she's practically been keeping house for you, same as always. Sure, she's alive. OK, there, fellas. OK, Sergeant, we got it open. Come on. Come take a look at nothing. At nothing, Sergeant? Celeste. Hey, what are you trying to? Well, knock me down. She is in there. A woman that phoned me only an hour ago was sealed up in a fireplace all that time. Wicked up in the fireplace. You know, that's really doing your all to keep the home fires burning. Celeste was simply crazy about housekeeping. Imagine getting her part of your grave to wash dishes. Let's sum up the domestic life of the Kellins and the limericks, shall we? There once was a cook named Celeste, whose cuisine met every test. She could toss up a dish that was simply delicious, but hubby's goose was the dish she cooked best. Ha, ha, ha, ha. Good night, pleasant dream. This was heard in the United States over CBS, the Columbia Broadcasting System, and has been rebroadcast for service men and women overseas. This is the United States Armed Forces Radio Service, the Voice of Information and Education.


Hi, my name is Giorgia Stasi and I'm a geologist at the Geological Survey of Belgium, at the Department of the Institute of Natural Science. I've attended several times. I started in 2020, so with a bit bizarre, EGU, General Assembly or Holy Online. As an upcoming president, my main job for next year will be to shadow the main president, Victor Buchmann, now. And it will be quite challenging because there is a lot to learn. So the ERV division has more than 70% of its members listed as early career scientists. And this somehow reflects probably the growing of the division with the topics and reflect as well all the amount of work that is getting into pushing the geoscience toward a more sustainable future and sustainable research. So to make people excited to study geology, we have to start normally when they are young. One of the things I'm doing so far is to speak to class, both at the primary or secondary school. For children, especially, geology is just a volcano or earthquakes and nothing else. So once you start to show them all the other discipline that they can study, they start to be to open their eyes and to ask a lot of questions. And one of the biggest questions they ask me is like, how many red minerals are there in the world? I have no idea. I'm sorry. I had to go check and ask them by even like more or less.  And if you just managed to inspire one or two of them to become geologists one day, it's already it's a really great success, I would say. So for the first time, we're going to have a pilot for the tour of the exhibition booth. So you can come with your CV and we will bring you around, especially for young researchers that just finished their study. If it is the first time looking for a job, you can join us in these two. The description will be available at the EGO booth at the purple level and in the X2 all. And as well, don't forget that on the Wednesday at lunchtime from 1 to 2 p.m. there's going to be the earliest scientists in the working lunch for the ERV division. So come join us and we can have a nice chat. And as well, if you want to know more and to meet people from the ERV team, you can join us on the Thursday at lunchtime at the EGO booth. We will be there and you can come and meet us. I'm looking forward to the scientific session or short course given by Lucia Perez Diaz, the resident artist of this year, the General Assembly. And as well, check out both resident artists. The job is going to be quite amazing. So if it is your first or second time attending the GA this year, check out the general program, attend networking events. You can find them under networking on the POPPA schedule as well. And as well, you can keep in touch with the early career scientists of your division and on the social media to see what they're up to for this year. And don't cram your program too much. Check out the poster. There is one of the best place to do networking as well and the event in the evening. You can have some session dinners or some networking events by the division. So check them out. That's the best place as well to keep in contact with the senior and younger researcher. Thank you and see you at the EGO 24 in a couple of weeks.


All right. It is 101 Eastern, and that means it is time for Vision, a live weekly show peering into the trends, ideas and disruptions affecting the future of our democracy. As always, we will be here at 1 o'clock Eastern on Thursdays, and this episode and every episode will be available at kf.org slash vision. Why do we do the show at 101? Well, that is actually the legally mandated time for you all to download Zoom security patches. We don't actually have a relationship with Zoom, although we would welcome that. We could debut their new tagline Zoom. We weren't built for this, but that is probably something to come. So welcome to the show. If this is your first time, we're glad to have you with us. If you were here last week, we're delighted to continue the conversation with you. What we're doing in this show is we're looking at the kind of huge topics that are potentially changing the way our democracy will look in the near future, in the distant future. Ideas that you might just be catching a glimpse of when you read the newspaper, when you look around your community or in your field, and we'll try to give you some depth. We'll try to give you insight that's harder to find in other places. So we've begun the show with sort of a multi-part series that's really focused on the infodemic. The infodemic is this now formally recognized, challenged, facing our world in association with the COVID-19 pandemic. And it's the idea that there is this overabundance, the World Health Organization calls it, this overabundance of information about what's going on, about how to stay safe. That's making it incredibly difficult for people to figure out what information they can trust, who they can trust, where they can go in order to stay safe. And we think that not only is this a critical challenge for our democracy today, it really points to potential vulnerabilities that our democracy will have to continue with for a long time to come. In just a few minutes, we're going to get started with today's guest, Joan Donovan, who's the director of the technology and social change research project at the Shorenstein Center. Joan is an incredible researcher focusing on how information and misinformation spreads through the internet, the way communities associate in the internet. And we're going to be talking about a kind of fun topic, turn chilling, which is the topic of memes. And let's see, for those of you who might be less familiar, let's see if we can bring up a picture of kind of a common meme. This is a new feature for us to try to bring this up on the screen. So memes are, you know, I come from sort of the dark ages of the internet when you still kind of had like wind your computer to go online. And memes are, you know, clever images or videos that can be deployed in a lot of, in a lot of contexts. And, you know, certain early days of memes, these were sort of fun things that people that people would do. And what we'll talk about with Joan is the ways that memes are being deployed to transmit other, other kinds of information. Before we do get into the show, there's just one, there's, there was a really big controversy from last week. And we could take the, take the meme. There was one, one controversy from last week that I really want to address, which is the microphone.  Others of you didn't like it. We think this is, this is Brecht. This is Verite. This is about revealing the means of production. We feel really passionately about the microphone. It's the, it's the safety blanket that tells you this is happening in someone's house. But this is a show about democracy. We want to rehearse that. So we actually want your votes on the microphone. There's a picture of the microphone on our Instagram account, vision.KF. Go to Instagram. Tell us what you think about the microphone. The microphone's not going to take it personally. You know, say, keep it clean. It's a, it's a family Instagram channel. But say what you want. If you love the microphone, we'll let you know. And if you hate the microphone, you'll never hear about it again, but the microphone will stay. So with that, I think we got to get into today's show, which is going to be an incredibly fascinating discussion. So it is, it's not my pleasure. I'd like to ask you all to welcome to the program, Joan Donovan. Welcome. I'm in. I made it past the gates. Yes. And I, I will say this is your first video conference. Okay. Yeah, just the first time getting first time call or long time listener. So yeah, it's a, you know, but I think you should, I think you should switch to a tin can, you know, if you really want that, that true effect. I think we're gonna, I like that. I thought that is, that's really revealing the means. That's the three penny opera. If I'm going to reference, yeah, yeah, that's the para social relationship of, you know, like when we were studying YouTube, one of the things that was interesting was there were these people who were like, obviously raking in million plus a year, but they insisted on having these like bedroom type sets or these sets that looked like, you know, the Wayne's world garage basements. So, but it's all adding to the authenticity of the, of the show and the, and the idea that, you know, there's nothing behind this broadcast. It's all, it's all easy. And I'll tell you, technology's really made it easy. It's come a long way. Well, let's get in it. Let's get into how easy technology has made it in some ways to communicate. So before we get into kind of means in COVID-19, you know, just help us understand like why study memes? Why are memes important on the internet? I think a lot of people have my initial reaction when you say, when you talk about a memes, which is I've seen Rick rolling someone, I've seen a cat with a funny caption one too many times, it does, but it doesn't feel like that's information transmission. So tell us about why memes are important to understanding what's happening on the internet. Yeah, it's, it's a good question. And it's sort of one that we get often because people are like, well, isn't that, you know, low culture isn't, you know, wouldn't it be more important to study how the New York Times is covering elections than these like amorphous clouds of folks online? But for us, culture really comes from and is driven from fringe communities who are often very creative. And so when we think about political communication and how it's going to evolve over the next decade, we've seen the steady intrusion, I guess, of memes in political worlds. And we really felt as a research team, you know, I work with Gabby Lim and Brian Friedberg and Rob Ferris, we really felt that memes at this point, in 2020, we're going to play a role in how people understood candidates. And we also knew that candidates were going to try to, you know, get tricky with the memes and, you know, and play into that in order to capture younger voters, sort of like the ways in which the rock the vote campaigns of your tried to, you know, get younger folks involved. But the other thing that I want to get into that, but I just I was sort of I kind of want to go back a step. I mean, I want to get into that. But why, why are memes an important form of cultural expression on the internet?  I said, so I think we've seen before forms of cultural transmission that have entertainment affects associated with them. But why what is it about the internet that makes the meme work? I think part of it is the the form itself, right? We've kind of we've stabilized into a meme world of images with what's called the impact font and they're short. They're quippy. If they're done really well, they're they're author lists in a sense, like you don't know where it came from. And you're not trying to push an ideology, but it resonates with you. And one other thing that's interesting about memes is you either get them or you don't. And so scrolling is actually an important part of how memes resonate. So people will scroll past a meme and it might not, you know, make you think ill of the account that has posted the meme. If you don't get it, you're just like, Oh, another piece of content moving along, moving along. But good memes tend to focus on in groups. There's only certain people that get the joke. And I think indie music has the same kind of feel to it where it's like I'm part of a community of people that only know about this ban. And then their author list, they can be really sticky. That is like, they have this quality to them, like a good jingle or, you know, a good piece of advertising that it's hard to forget. And then the last quality is that they promote participation or remix. And in remixing memes, you know, we have these meme templates that often come up. But in remixing them, you can participate in memetic cultures online. And it's a fun way to engage with people in your community, people outside of your community. And really, there's nothing more exciting, I think, for some people that get a meme to go viral. I mean, they get really excited about it. Right. So I'm hearing you say they really they trade on like what makes the internet a great experience. They're they're democratizing and that you get to participate. They're a kind of code or a language they trade on anonymity. They they were they give you the dopamine reward of virality. If you can pull it off. Or should we before we're going to get into some memes that I think are going to be concerning to some people are do our memes endemically harmful? Or is the question how these qualities are being used in your mind? It's definitely about, you know, what it is that's the content of the meme. And, you know, there are different means for all strata of society and all subsets and groups and genres of entertainment. And so I think it's, it's not something where the form is the problem. It's really when certain communities are using them to harass someone or to. We often see like gender trolling or LGBT trolling have a lot of memes in them. And so it's usually when they're used for harassment, there's a problem. So let's so I think let's get into COVID memes and start to make this concrete for people. Let's pull those up on the screen. You sent us some really interesting ones that you've been studying. But before as we bring those up on the screen, I do just want to remind people, you know, we're taking your questions live, use the Q&A panel in a button in your zoom panel. You could tweet hashtag night live. You can use Facebook live, you know, just send us in what you're thinking, what you're asking. We've got our producers are standing by to help to aggregate, aggregate some of the questions that are that are coming up and we'll be sure to answer some of them as we as we go along. So, so why don't you this is a, you know, provocative is kind of an understatement. But why don't you maybe walk us through some of these? What are these memes saying? I'm the scroller who's missing the intent half the time. So, you know, talk to me and on behalf of our audience. I think what the one with Joey from Friends, it says COVID-19 doesn't affect the youngs. And then there's the reaction meme is you're not young anymore.  Friends also has had a revival through Netflix. And I know a lot of younger generations have been watching it. But there's this idea that, you know, you're forever young for a lot of us, you know, but when you're in your 40s and your 50s, you got to worry about stuff. You got to worry about health stuff.  But lovable, nevertheless. The one below it, I thought was really funny. I'm no expert on COVID-19. But this is the cure. This one was something that I saw very early on. And I had a good laugh based on again, targeting people in my generation who love the cure, right? And also understand why this this might be funny. For other people who've never seen a picture of the cure, they'd see this and just think, I don't I don't even know what this is, right? They don't have any instruments with them. It's sort of not obvious that they're banned.  But yeah, but I just thought that was cute. And then what's interesting about cat memes, and Ethan Zuckerman's written about the sort of cute cat theory of the Internet, is that if your platform can can support lots and lots of cat pictures and people willing to share things that are intimate in their lives, then your platform can also support political organizing, because there's enough stuff on the platform to run cover for political organizing. So this one in the middle says we need to talk, Karen, why are you in my house so much lately? You know, and it's this cute meme. But then the subtext of this is actually kind of funny because of Karen is the new version of OK Boomer.  These other ones like, Hey, bro, can you keep it down? My brain cells are vibrating right now. It's this idea that you've been at home for so long.  There's been a lot of memes about people trying to eat differently in this time. So this one with the cat eating lettuce, actual footage of me trying to enjoy eating healthy and the cat like, don't make me do this. Yeah, there's just been a lot of people trying to figure out how to cook, how to be at home. There's like there's a whole genre of sourdough bread memes going around right now too. I don't know if you've tried, but everybody's growing sourdough. We've got starter. We've got starter in that. We got starter in that. We are not immune from that. And then the last one I just thought was kind of funny because it was very much a dad joke meme packed into a post apocalyptic TV show, you know, The Walking Dead where the dad says no one in there in article has COVID-19. And the kid goes, dad, don't. He goes, it's because they're isolated. You know, very funny dad joke. And then the kid reacts just like every kid reacts to dad jokes with dad. Please stop. Stop. So this is sort of the this is the Groner territory. So this is the fun territory. This is using the Internet to add levity to a moment of crisis. I don't know if we have if we could bring up some examples maybe of the of the more politically oriented means. Let's talk now about means as a vector of this information of destabilization of division.  And I don't necessarily mean that pejoratively, but people who are taking a different view of what we ought to do, how they're using using memes. And by the way, you can find the memes that that Joe is tracking. You can see them at medium.com slash meme or weekly. She's got an incredible weekly newsletter looking at this. So what are those? What are the what are the politically oriented memes that you're that you're really starting to see pop up? What are they? So we've we so we initially before the pandemic had started to dive into the meme wars between Bertie and Biden and Trump and, you know, all of these different groups that were vying for political position. And a lot of the means, like especially the Bloomberg ones, were what we call forced means, that is they're trying to make it happen. And it just wasn't working. You know, it reminds me of the meme from mean girls, which is like stop trying to make fetch happen. It's not going to happen, right? So forced meme is is usually usually the reason forced means don't work is because they're attached to an author and they're pushing a particular kind of campaign. But the stuff that we're seeing around the reopened protests is particularly alarming in the sense that we are seeing health misinformation pitted pitted against information about your liberty and your freedom and your right to be outside and gather, you know, your right to assemble essentially is is under duress from stay at home orders. And so we've been tracking and trying to get an understanding of what are the political rationales behind these reopened protests? What are the memes that are undergirding them? And then from there also try to understand where Fauci plays in because there's been a lot of memes about quote unquote fire Fauci and Fauci himself has become a meme in a lot of ways. And so we've been really trying to understand the confluence of how health misinformation is being communicated through these through these political memes. So what do you so here? So we've got an example here.  You know, what some of the ones I saw in your newsletter that had that kind of cleverness factor I noticed were there were a lot that were like, you know, here's my freedom of movement pass. And it was the Bill of Rights.  What kinds of communities are pushing are pushing these ideas through memes? So the first time I had witnessed in person the meme around the First Amendment is my permit was around the Occupy protests saw those back in 2011. But there is when we look when we scratch the surface and start looking at the groups, they're primarily organizing on Facebook using Facebook events, where they're advertising the Facebook events for the protests are primarily in gun rights groups. And so these are people who are, you know, avowed patriots who see their gun rights under threat. This started that the gun rights group started mobilizing back during, I would say, November, December, when Beto O'Rourke and other Democrat debate during the debates, we're talking about gun rights. We saw it really reach a peek in January with the gun rights protests in Virginia. And then those same people who were mobilized in Virginia and beyond are now shifting into pushing these reopen protests. Some of the reopen protests are completely in cars, right?  Other people, though, believe that there is some widespread diabolical conspiracy by the Democrats to crash the economy and usher in socialism. That is dangerous, because those people are not socially distancing, they're not wearing masks, and they're defying any kind of stay at home order. Are we seeing any COVID memes on the left? I mean, a lot of what you've described is sort of right, libertarian right. Is this a bipartisan affair? The means that we're seeing on the left related to COVID tend to be heroizing Fauci and talking about Fauci as the sort of, you know, the next great, shiny thing. They tend to be hyper critical of Trump's response to COVID. There's been some interesting ones around, you know, Trump. There's this one I'm thinking of in particular where it's one of those means that zooms in. And at first, the first mean looks like the coronavirus image, like of the virus itself with all the spores on it. But then when you zoom in, the spores are actually stacked maga hats. And so there are definitely memes on the left that are interesting. But there's also this lore that seems to still hang true about the left not being able to mean just just because of the, you know, the seriousness with which the left takes some social situations. So it sounds like a left advanced misperception. I mean, what's our memes misinformation? I mean, you know, there's certainly some of them are conveying misinformation. Certainly, some people are organizing around ideas that that public health authorities would say are dangerous. On the other hand, you know, Bob Dylan and Pete Seeger had, you know, really clever lyrics about anti-war lyrics that were creative, compelling, insightful, catchy, questionably accurate, you know, like the emotion was the thing with something like with certain forms of cultural transmission, we just it's about the emotion. It's not about the content. It sounds like there with memes that, you know, am I hearing you right that you're suggesting we should really treat this as as a kind of misinformation depending on the content. It definitely in some context, we do need to think about means as misinformation or perpetuating disinformation. Sometimes even means that are meant to be ironic if you take them literal do can trick people into believing something that they shouldn't. I would say that the means, especially around conspiracies related to Fauci and Bill Gates are disinformation through and through. We did look quite a bit at means related that were anti WHO, World Health Organization that really dragged in this idea that they were bought and paid for by China, for instance, as spreading misinformation or even what we might just call propaganda and sometimes means can be mistaken for propaganda or cartoon types, type propaganda. So it's it's really means are a vessel for information. And that information can take many different forms. And I would also say that from our perspective, we're looking at not just the content, but the when, when are these means becoming popular and circulated? And that sometimes has to do with the crisis. That's a foot like disease means by and large if there was no pandemic going on would not be resonating with people. And so that the when matters too. Yeah, right. And I think that's true for a lot of cultural transmission, maybe maybe amplified by digital media. I guess let's let's talk for a couple of minutes about solutions. You've you've talked a little bit about how we can start to think about you to extend the metaphor sort of inoculating ourselves against the harmful effects. And I really I'm thinking about the beginning of our conversation. And on the one hand, like I take your point that what met, you know, the content is what matters. The the fact that we can use the attributes of the internet anonymity, ease of transmission, participation for good or for evil is means that the ethical choices of ours.  It makes the pernicious use of this so easy. Or is this is this is the is this a neutral technology or is this the technology that's non neutral precisely because of its vulnerability to to to being to being used for for ill? How do you how do you think about what the internet's not going to go away? So how do you think about what we ought to do if we if we don't want to lose what makes the internet fun and participatory but also don't want to be more vulnerable in a time of crisis then then then we already are. Yeah, I think that what you're getting at is the heart of it, which is the design of social media itself. Social media has tried to make it easier and easier to spread redundant information, almost like a global copy machine, right, retweet button, share button, even on Facebook now, if you want to share a piece of content to multiple groups, it's like you can do it rapid fire, you can do it very quickly. What that does is it actually advantages those who have resources to employ people to be able to be super spreaders. It also advantages people who have large network following so celebrities, politicians, social people who have made a reputation for themselves as social media influencers. They call on their audiences to use those features to get their messages out there. So in this moment with COVID-19, you know, sometimes I hear people giving recommendations to doctors and public health advocates saying, well, you should just become a social media influencer as if it's easy and as if that's the best use of their time. And so I think it's true that manipulators and people with resources and people with large networks are advantaged by the design of social media as it stands. And in the midst of a public health crisis, these companies need to rethink the design around how to make sure people get medical knowledge and authoritative information that is timely, local, relevant and redundant. And if we don't, then we're going to experience all these information asymmetries. We're going to continue to get, people are going to continue to get infected that otherwise could have been protected. And we're going to suffer the consequences of that over the long term. Is the answer adding friction to the system so the global copy machine slows down? Or is the answer exercising editorial influence? Because I heard a bit of both.  Do you have a view on that? I think the solution lies not necessarily in a magic bullet, but the solution to me requires every platform company to study how they're being manipulated and then to do everything in their power to reduce those harms. And so we see a company like Pinterest, who has banned pretty much vaccine content, anti-vaxxer content in particular. And the people who primarily use Pinterest are not going to run into that information, but we don't live in a mono platform world. All of us use many platforms at once. And so we also need to advance these policies in unison. My recent piece in MIT Tech Review looks at how content deleted from medium is being reanimated through the web archive. And it's going viral, you know, in ways that it probably wouldn't have if there was a way in which medium could easily communicate to other platforms that this is dangerous content and they've removed it. So we've got a few more minutes. I just wanted to get to around 130, so we'll sign off soon. But first, there's an interesting question from the audience, which is how important is the quality of the design and other production aspects to mean by rallying? By the way, we're assuming you're going to use this knowledge for good, whoever is asking this question. OK, this is a scouts honor kind of moment here. So anyway, what's your answer to that? Other other questions in there, particularly about Corona Chan, which is a personification of this anonymous message forward, which has sort of been the bane of many people's existence for a long time. But also is the haven for mean creation has personified Corona virus in an anime character of a young woman who's holding a bottle of Corona beer and that aside, though, you know, the content doesn't need to be slick. This is this is also something that comes up with deepfakes, which is why we wrote the in Brit Paris wrote this paper on deepfakes and sheepfakes because quality is is doesn't always matter, especially when it comes to memes. If it looks really slick, it might trigger people to think that it's coming from some kind of well resourced an authenticity factor. It's you feel like there's a real human being behind this this clever thing. Yeah. And so we've even seen marketers really try to, you know, like when video editors have that fuzz and the VCR effect to try to make it seem like their content is older than it is, you know, for nostalgia purposes. We've even seen marketers try to age their means like taking multiple screenshots of them in order to degrade the quality. I think I mean, there's another discussion at some time about you know, Alex Bloomberg from give it media, I think said it right, which is there's one thing the Internet hates universally. It's in authenticity. And so I think I think there's something about what feels authentic to people. That is that is in some ways the distorting power of the Internet because because what in some ways is less authentic than anonymous content being facsimile, azillion times. OK, so last last question, and then we'll we'll we'll get out of here. What's the next meme more? What do you where do you think the next meme more is going to hit? Well, we've got a meme more weekly coming out today about the milk tea alliance, which is bubble tea, but it's about, you know, transnational meme wars against authoritarianism and the CCP in particular. But what I'm really placing my time and understanding is really how some of these more savvy meme creators that have made a name for themselves underneath memeing Trump into existence are really starting to generate some interesting pro Trump content for the 2020 election. And so there were a lot of groans when Bernie dropped out from, you know, meme communities where people are saying there's not going to be a meme more, you know, Biden's people don't mean they're not even on the Internet, like they don't even know where to find Biden's people. So but I do see that the meme factories around Trump are really starting to to get creative and get interesting. So we're going to be watching that and we're going to be watching closely for how they weaponize past content about Biden in particular, given the fact that Biden doesn't have a memetic army to to fight to fight back. And so we're going to medic army. Yes, yes. Well, this is this is a really you have taken us, I think, on a fascinating dive into an element that is so central to the Internet and how people communicate. And yet that I think so many of us think is peripheral. If you want to join Joan on the front lines of the meme wars and I recommend you do because it is fascinating. You can sign up for meme war weekly at medium.com slash meme more weekly. You can also tune into the Big If True webinar series that she hosts at Shorenstein and there's a special edition podcast from Big If True available on Google and Stitcher podcast. We'll send this all out after the show with links so you'll be able to to sign up and follow it. We're also not done with the infodemic. We've got some amazing shows on the way. Safia Noble from UCLA is going to join us next week. I think we'll offer great insight into some of what Joan's alluded to the way different communities organize and sometimes are organized against on the Internet. We'll hear from Renee DiResta who will talk about the different foreign actors that are sometimes trying to pass them off themselves off as your clever your clever friend on the Internet. You can always stay up to date at kf.org slash vision. That's where we'll have this episode and all past episodes as well as a preview of episodes to come the upcoming schedule. You can email us vision at kf.org and visit us at instagram at vision.kf. Joan, thank you a lot for being here. We really, really appreciate it. It's been fun. Let's chat again. We'll do everyone please. Please hang on for just 30 seconds after the show to fill out a two question survey. We really want your feedback. And by the way, the opening music today came from Miami singer songwriter Nick County. And we are going to get out of here on another Nick County song. Thanks so much for joining us.


This 2016 Lincoln MKZ hybrid is stock number 21T167A, we are here at Summit Automotive in Fond du Lac, Wisconsin, you're new and used car headquarters. This 2016 Lincoln MKZ has the 2-liter turbocharged 4-cylinder motor which combines with the hybrid technology. It pumps out 188 horsepower and this car has been fully-safetyed and inspected by our service shop. It has a fresh oil and filter change, all the fluids have been checked and topped off for the state of Wisconsin inspection process and this car is 100% ready to go. White Platinum Tri-coat Metallica is the color we shoot all of our videos in 1080p, 60 frames per second so if you have HD capabilities on your computer, tablet, smartphone or television turn them on right now because it is definitely your best way to check out the quality and condition of the vehicle before seeing it in person. And if you like the video and want to subscribe to our YouTube channel in the lower right hand part of the screen is a subscribe button, click that and then click the bell notifications to get updated. Every day we do videos here at Summit Auto of our amazing inventory. This one comes with the 19-inch painted black alloy rims and it has unorail Tiger Paw tires. These are 24540R19s and they have a good amount of tread left, I'd say probably 70-80% of the tread left on those tires and it looks like we did brand new brakes on the front of this car. Front fender looks great, has the, I believe they're HID headlamps, we'll check those out in a little bit, LED fog lamps, front bumper parking sensors, no major dense dings or cracks on that front bumper. The hood is in excellent condition as well and you do get that nice looking Lincoln front end. Headlight lenses are nice and clear, the passenger side fender is in excellent shape and the passenger side rim no major scuffs or scrapes. As you go down this side of the car take note of how clean the body is, how reflective and mirror like that paint is. We take these HD videos so if you are far away or even if you're close by and you just can't make the trip down but you're still interested in purchasing the car, you can see the car, hear the car, and have confidence in the vehicle that you're looking at before you even get here so when you do get here there's absolutely no surprises and you can make a smart buying decision from the comfort of your own home. Has the glass roof, once again down in this passenger side very very clean, didn't see any major dents or dings, back rim is in excellent shape, no scuffs or scrapes and the back tires have just as much tread as the front tires maybe even a little bit more. Coming around to the back of the vehicle rear bumper is in great shape, no dents, dings, cracks, or scuffs on there, it does have the backup parking sensors, you get the LED tail lamps across the back there. Trunk area is very clean and I believe that's where your batteries are and this one does come with the tire inflator kit. It's nicely as you go down the driver's side just as clean as that passenger side, no major dents or dings on the rear quarter and for full disclosure this back rim is in really nice condition as well. I believe those back brakes are brand new too, capitalist fuel fill and down the rest of the side of the car looks really good. You do get the blind spot monitoring directional signals on there, inside you get the black leather interior, there are no rips or tears on those seats, they look really good and I believe these are the massaging seats, really a nice feature on these cars, auto headlamps, power tilt and telescopic steering wheel, you can see that goes in like so and it tilts down and up, power windows, power locks, power mirrors and you do get memory driver's seat. We'll hop inside, turn the ignition on, actually we can start it up. So we'll dim it down a little bit, 115,416 miles on this car, so very nice condition for the miles on it, instrument cluster is very nice and clean, you get the leather wrapped steering wheel, this is a heated steering wheel, Bluetooth and audio controls on the right as well as information center controls, more information center controls and adaptive cruise controls and regular cruise controls on the left. This one comes with the My Ford Touch radio, AM FM and Sirius XM radio capabilities, it also has the factory navigation system on it, you can do your climate controls here as well including your heated and cooled seat buttons and you have your AM FM and Sirius right there too and then you can get to your massaging seat by pressing the button on the side of the seat and it'll actually, you can massage the front passenger and driver's seat, which is a pretty neat system. You do get a CD player, you get keyless entry with remote start, dash is nice and clean comes with the THX certified premium sound system, passenger side format and seat are in pretty nice shape, no major rips or tears and it does come with that glass roof with the panoramic sunroof, so that's a shade so you can actually close that. Map lights up there, sunshade controls and then you can also check out your backup camera right there and this is a push button transmission, sync for your Bluetooth cell phone and we'll take a quick look at the back seats and then we'll check out under the hood but very nice and clean up front, back seats just as clean as the front seats, no rips or tears back here, it does have the latch child safety system for any child car seats you may want to put back here, you do get the factory formats back here as well and these seats do fold down and almost completely flat for extra storage which is really nice if you get a haul a bunch of extra stuff, back doors look really good and you do get child safety locks on the back doors. We'll take a quick look under the hood and I would personally like to thank you for checking out the video today and hopefully from this HD video you'll be able to tell just how clean this car is all the way around inside and out, there's the latch, didn't want to point out it does have those HID headlamps and the LED fog lamps down there. Under the hood we have the two liter turbocharged four cylinder motor engine bay is very clean, runs very smooth of course it's paired up with the hybrid system, shock is doing a nice job holding that hood up and once again this car has been fully safe and inspected by our service shop as a fresh oil and filter change, all the fluids have been checked and topped off and this car is 100% ready to go. Brand new brakes, really nice condition for 115,000 miles and to see more pictures of this car, one of our other 450 new and used cars, trucks, SUVs, minivans, Wranglers, half tons, recorded tons, one tons, you name it we got it go to that website right there www.SummitAuto.com full pictures and descriptions of every single vehicle from two locations all at SummitAuto.com and if you'd like to check out more HD videos you can go to YouTube.com slash Summit Auto remember to like subscribe and share on this video and all the videos that you see there in fact in a second you will see link to subscribe to our YouTube channel in the upper left, link to more link in MKZ videos like this one in the upper right a link to this vehicle on our website in the lower left and a link to one of our latest YouTube videos in the lower right click those check us out and we're super excited to help you with this super clean 2016 Lincoln MKZ hybrid and white platinum tri-coat metallic thanks again for checking out the video


Ramaphosa's suede on extension of cigarette ban at heated NCC meeting President Cyril Ramaphosa was suede at a heated meeting of the National Command Council, NCC, on COVID-19 to support the reversal of an earlier decision to allow tobacco products to be sold at level 4 of the national lockdown. Ramaphosa chaired a virtual meeting of the NCC on April 28, a day after public consultations into draft level 4 regulations were received. An intense argument ensued at that meeting over the sale of tobacco products and possibly alcohol, albeit under strict rules, at level 4. While the president did not initially oppose the idea of tobacco products being sold at level 4, it was the vociferous protests from Police Minister Vicky Seal, Home Affairs Minister Aaron Mosorladi and health ministers willing guys that eventually won the day. Finance Minister Tito Mbawini, who told MPs he did not support the decision to ban tobacco and alcohol sales, was defeated during the arguments. I didn't like the continuous ban on tobacco and alcohol, but I lost the debate, therefore I have to toe the line, he told MPs. Contacted for comment on Friday, Mosorladi said that, unlike Mbawini, he would not comment on what is discussed at the NCC. That would be ill-discipline. I'm not a spokesperson of the Committee on Regulations. That committee is chaired by Minister Nkoseshan Adlamini Zuma. I believe what Tito is doing is ill-discipline. I cannot be like him. If all of us come out and say I said this, then all of us look silly. Mosorladi said, however, that his views on tobacco are well known as in his previous portfolio as Minister of Health he strongly pushed for legislation that would extend the ban on where people can smoke, classify e-cigarettes as harmful products and would ban vending machines that sell cigarettes. Ceil could not be reached for comment. Ramaphosa addressed the nation on April 20 at the Union Buildings, where he announced that instead of reopening the country on May 1, the government had opted for a risk-adjusted approach that necessitated a slow phasing out of restrictions. Epidemiologists and other health experts who sit on the Ministerial Advisory Committee on COVID-19 had advised the government against a total reopening the country, preferring a phased-in approach to easing restrictions on movements and sale of goods. The NCC had been told that a rushed reopening could lead to an uncontrolled spread in infections, and the government instead opted for a risk-adjusted approach that would ease restrictions based on five levels. In his televised address to the country, Ramaphosa explained the rationale for a risk-adjusted approach rather than ending the lockdown altogether. But he also made an announcement that would come back to haunt him. The sale of cigarettes will be permitted, he boldly declared to the nation. What followed was a chain of events that left smokers and those sympathetic to their cause frustrated, and threats of court action from tobacco industry groups, as well as the country's largest tobacco products maker, British American tobacco. The company has since decided to put court action on ICE. On April 25, cooperative governance minister Dlamini Zuma, as custodian of lockdown regulations, announced draft regulations that included the decision to allow cigarettes to be sold. But a few days later, that decision was controversially reversed. Those with intimate knowledge of what happened at the meeting that reversed tobacco sales at level 4, chaired by Ramaphosa, said ministers were deeply divided over the issue. However, those in favor of the tobacco ban eventually won the day. Since decisions of the NCC have to be ratified by the cabinet, Ramaphosa asked Deputy President David Mabusa to chair the cabinet as he had to attend a virtual meeting of a structure of the O shortly after the NCC meeting. The cabinet endorsed all decisions taken at the previous meeting. Dlamini Zuma, who publicly announced the reversal of the decision at a press conference on April 29, was blamed by smokers, their sympathizers, commentators, and others of having bulldozed Ramaphosa into reversing the decision of the NCC. Others accused her of reversing the decision to the benefit of illicit traders such as the controversial Adriano Mazzotti, who is alleged to have bankrolled her campaign to become a NCC president in 2017. Ramaphosa, however, later came to her defense in a weekly online letter, saying the decision to reinstate the ban on tobacco products had been a collective one. A decision like this is bound to be controversial, but it is wrong to suggest that there are ministers or a president doing and saying whatever they want on this matter. This was a collective decision and the public statements by both myself and the ministered Dlamini Zuma were done on behalf of, and mandated by, the collective I lead, Ramaphosa said. Presidential spokesperson Kozladiko refused to comment, saying decisions taken by the NCC are communicated by the president and ministers.


Let's try solving a numerical. The decomposition of N2O5 in CCl4 at 318 Kelvin has been studied by monitoring the concentration of N2O5 in the solution. Okay. Initially, the concentration of N2O5 is 2.33 moles per liter. Moles per liter as we know is molarity. So initially, the concentration of N2O5 is given to be 2.33 molar. And after 184 minutes, it is reduced to 2.08 molar. Right? So after 184 minutes, it's 2.08 molar. The reaction takes place according to the equation. So this is an equation that's given. And we are asked to calculate the rate of production of N2O5 during this period and the average rate of this reaction in terms of hours. Okay. So how do we solve this problem? Let's see. So what we have out here is N2O5 that decomposes into NO2 and O2 according to this balanced chemical reaction. Right? Now, initially at time t equal to 0, the concentration of N2O5 is given to be 2.33 molar. So the concentration of N2O5 initially is 2.33 molar. Let's assume that no NO2 and O2 is formed as of yet. So the concentration of NO2 and O2 is 0 molar. Now after 184 minutes, after 184 minutes, the concentration of N2O5 drops down to 2.08 molar. Right? So the concentration of N2O5 drops down to 2.08 molar after 184 minutes. Now this is all the information that's given to us in the equation. And we are asked to calculate the rate of production of NO2 during this time period. So how do we do that? Let's start by first asking ourselves, what do we mean by rate of production of NO2? Now rate as we know is the change in concentration that happens per unit time. So if we can figure out the change in concentration of NO2 that's happening in this time period, we can easily figure out the rate of production of NO2, right? So how do we do that? How do we figure out the change in concentration of NO2 that's happening out here? You can pause the video and see if you can come up with the answer. Well, we can think of the amount of NO2 that has formed by first thinking about the amount of N2O5 that has reacted out here, right? So in 184 minutes, the concentration of N2O5 dropped down from 233 to 2.08 molar. So the amount of N2O5 that has reacted out here is 2.33 minus of 2.08. So this will come out to be 0.25 molar. So in 184 minutes, the amount of N2O5 that has reacted is 0.25 molar. Now if you look into this equation, we can see that 2 molar of N2O5 will give me 4 molar of NO2. So the amount of NO2 formed will be twice the amount of N2O5 that has reacted. So in 184 minutes, since 0.25 molar of N2O5 has reacted, so the amount of NO2 that will be formed is 0.5 molar, right? Now looking at this information, we can say that the rate of formation of NO2 is the change in concentration of NO2 and changes final minus of initial. So this is 0.5 minus of 0 by the change in time which is 184 minus of 0. So this is 0.5 molar in 184 minutes. And if you do the math, 0.5 divided by 184, this will come out to be 0.00271. So it's 2.7 into 10 to the power minus of 3. So this is equal to 2.7 into 10 to the power minus of 3 molar per minute. So the rate of production of NO2 is 2.7 into 10 to the power minus of 3 molar per minute. Now one thing that I'd like to add out here is that initially we had considered the concentration of NO2 and O2 to be 0 molar. However, it's not a necessary condition. If you look into this question, there is no information that is given regarding NO2 and O2. So maybe there was some NO2 and O2 in the container. Initially, maybe I don't know. So let's see what happens if we had say x molar of NO2 and y molar of O2 initially present in the container. In fact, I don't need O2 because I don't need to calculate anything about O2 in this question. So let's forget about O2. What if we had x molar of NO2 initially present in the container? What do you think would be the rate of production of NO2 in this scenario? Do you think it will change or will it remain the same? You can pause the video if you want some time to make up your mind. So in 184 minutes, 0.25 molar of N2O5 reacted. So this 0.25 molar will give rise to 0.5 molar of NO2. But because x molar of NO2 was present from before, so the concentration of NO2 at 184 minutes should be x plus 0.5 molar. Right? Now even out here, if we try to calculate the change in concentration of NO2, change again is final minus of initial. The final concentration this time will be x plus 0.5 molar minus the initial concentration which is x molar. So the change in concentration will still be 0.5 molar and the rate of production of NO2 will still be 2.7 into 10 to the power of minus of 3 molar per minute. So when it comes to calculating the rate of disappearance of the reactants or the rate of appearance of the products, what we are really concerned with is the change in concentration that's happening rather than the exact values of the initial and final concentration. So to summarize, if we look into this chemical equation, 2 molar of N2O5 on complete reaction will give rise to 4 molar of NO2. So 0.25 molar of N2O5 on complete reaction in 184 minutes is bound to increase the concentration of NO2 by 0.5 molar. So the rate of formation of NO2 in this time interval has to be 2.7 into 10 to the power of minus of 3 molar per minute. So now keeping all these things in mind, instead of solving this question in this way, we can also use a more direct approach. So once again these are all the information that's given to us in the question and we need to figure out the rate of production of NO2 during this time interval. So now if you look at this question closely, we will realize that we are given the change in concentration of N2O5 that's happening over this time interval. In other words, we know the rate of disappearance of N2O5, we can calculate it using this data and we are asked to calculate the rate of production of NO2. Now because rate is the change in concentration that's happening per unit time, so we can always relate these rates of appearances and disappearances just by looking at our balanced chemical reaction. We should be able to find out a relationship between the rate of production of NO2 and the rate of disappearance of N2O5 using this balanced chemical reaction. You can pause the video and take some time and see if we can find out any such relationship. Now looking at this equation, we can say that 2 molar of N2O5 on complete reaction gives rise to 4 molar of NO2. So if the concentration of N2O5 decreases by 2 molar, then the concentration of NO2 in the same time interval is bound to increase by 4 molar. So if the concentration of N2O5 decreases by 1 molar, the concentration of NO2 is bound to increase by 2 molar in the same time. So the rate of formation of NO2 will always be 2 times the rate of disappearance of N2O5. So the rate of production of NO2 will always be 2 times the rate of disappearance of N2O5. So all we now need to calculate is the rate of disappearance of N2O5 and the rate of disappearance of N2O5, the rate of disappearance of N2O5 will be the change in concentration of N2O5 that's happening over the change in time. And change in concentration of N2O5 change is always final minus of initial. So it will be 2.08 minus of 2.33 molar which will come out to be minus of 0.25 molar and the change in time is 184 minutes. So this value will come out to be a negative quantity. But because we report the rate of disappearances as a positive value, so we put a minus sign out here. So this will come out to be plus of 0.25 divided by 184 minutes. So now the rate of production of NO2 will be 2 times this value. So this is going to be 2 times of 0.25 divided by 184. So this is going to be 0.5 divided by 184 molar per minute. So like before, this will come out to be equal to 2.7 into 10 to the minus of 3 molar per minute. So to summarize, we can always relate the rate of disappearance of the reactants and the rate of appearance of the products from the balanced chemical reaction. And we can always figure them out if one or the other is given to us in the question. Let us now try to solve the second part of the question. We need to calculate the average rate of this reaction. So we need to calculate the average rate of this reaction in terms of hours. So what is the rate of a reaction? Well out here for this reaction, we had calculated that the rate of production of NO2 in 184 minutes was 2.7 into 10 to the minus of 3 molar per minute. Now what we had actually calculated was the average rate in 184 minutes because as we have seen in our videos, chemical reactions generally do not happen at a constant speed. But instead, the rate of conversion of the reactants into the products continuously keeps changing throughout the course of the reaction. So what we have out here is actually the average rate of production of NO2 in 184 minutes. Now we had also seen that we could relate the rate of production of NO2 as 2 times the rate of disappearance of N2O5. So the rate of disappearance of N2O5 will be half times the rate of production of NO2. So I can write the average rate of disappearance of N2O5 as half of this value which will come out to be 1.35 into 10 to the minus of 3 molar per minute. So the rate of production of NO2 is 2.7 into 10 to the minus of 3 molar per minute. The rate of disappearance of N2O5 is 1.35 into 10 to the minus of 3 molar per minute. But what exactly is the rate of the reaction? Well, as we have seen from our videos, for any balanced chemical reaction, the rate of disappearance of the reactant divided by the stoichiometric coefficient and the rate of appearances of the products divided by their stoichiometric coefficient, these values are always going to come out to be equal. And this value by definition is called the overall rate of the reaction. For example, in this reaction, if you look at N2O5 and O2, by the time 2 molar N2O5 disappears, 1 molar of O2 would have formed. So by the time 1 molar of O2 forms, 2 molar of N2O5 disappears. So the rate of disappearance of N2O5 will be 2 times the rate of appearance of O2. So I can write this as rate of N2O5 by 2 will be equal to rate of O2 by 1. So from this, we come up with this relationship. And similarly, if we compare N2O5 and NO2. So by the time 2 molar of N2O5 disappears, 4 molar of NO2 would have formed. So by the time 2 molar of N2O5 disappears, 4 molar of NO2 would have formed. So by the time 1 molar of N2O5 disappears, 4 by 2 molar of NO2 would have formed. So the rate of appearance of NO2 is 4 by 2 times the rate of disappearance of N2O5. And this is nothing but 2 times the rate of N2O5. But just to build up this relationship, let us just keep it this way. So if I like rearrange, then rate of NO2 by 4 will be equal to rate of N2O5 by 2. So this time, I'll come up with this relationship, right? So for any chemical reaction, the rate of disappearances of the reactants and the products divided by their respective stoichiometric coefficients will always be equal. And chemists all over the world have agreed to call this value as the rate of the reaction. So the rate of reaction can be written as rate of N2O5 by 2 or rate of NO2 by 4 or rate of O2 by 1. All of this will have the same value. So let me write the rate of reaction as rate of NO2 by 4. So let me write it as rate of NO2 by 4. Now rate of NO2 is 2.7 into 10 to the power minus of 3 molar per minute. So the answer is going to be 2.73 into 10 to the power minus of 3 molar per minute divided by 4, right? However, if we look into the question, we need to find out the rate of this reaction in terms of hours and not in terms of minutes. So we first need to figure out the rate of production of NO2 in terms of hours and not minutes. Now in 1 hour there are 60 minutes and so if in 1 minute, if in 1 minute 2.7 into 10 to the power minus of 3 molar of NO2 is produced, then in 60 minutes the amount of NO2 that is going to be produced will be 2.7 into 10 to the power minus of 3 multiplied by 60. So this will come out to be equal to 2.7 into 60. So this will be 162 into 10 to the power minus of 3 molar. So I can write it as 1.62 into 10 to the power minus of 1 molar, right? So the rate of production of NO2 in terms of hours can be written as 1.62 into 10 to the power minus of 1 molar per hour divided by 4, right? So the rate of the reaction in this case will be 1.62 divided by 4. So this will be equal to 0.405 into 10 to the power minus of 1 molar per hour. So I can write this as 4.05 into 10 to the power minus of 2 molar per hour.


Learning is changing. New technology allows us to think about learning and teaching in entirely new ways. I taught psychology in a lecture theatre like this for many years, helping students to assimilate a textbook like this one, chapter by chapter. My research at the Open University is about how technology affects learning behaviour. I'm interested in not just observing those behaviours, but in creating genuinely new ones. So let's take this book out of this dull place. Welcome to the Open University Distribution Centre in deepest Northamptonshire. Each box here represents an individual and highly interactive learning journey for an Open University student. This is a rich media mix if you're an entry-level design student. This is the entry-level mix for computing. This leads to much more powerful and effective learning. All of this fantastic resource is designed, planned and executed brilliantly by the Open University now. What I'm looking at is how we're going to revolutionise that for learning in the future. As an OU student, a lot that's in the box is now available on a tablet. But more, the interactions in the print page of the book that would have sent you off to somewhere else can now keep you here on this page. The figures in the book can be interactive experiments. The measurements and challenges can be right there on the page. Anything you do here is yours. It's on your personal shelf for you to keep. How about if the data in the book was fed from an online service with a unique sample from a real live experiment running right now? How about the book knowing that lots of others are there on the page with you? My research at the Open University is leading to significant new technological devices that will change the way learners think about learning.