Capitalists of the world are descending to Davos, Switzerland as a spectre is haunting them, the spectre of people's resistance. The annual World Economic Forum Summit is a gathering of the world's richest and most powerful elites at a Swiss Alpine resort with the aim to further the tentacles of global capital and protect the interests of the rich.  But the failure of capitalism is evidently visible across the world. Inequality is rising across the globe, the world's richest 1% have more than twice the wealth than that of 6.9 billion people combined. Billions continue to live under extreme poverty. These two affordable education and health are a distant dream for people in most countries as the governments working the path of neoliberalism continue to cut down public and welfare funding. Every day, 10,000 people die due to the lack of affordable healthcare and every year 100 million people are forced into poverty due to high healthcare costs. While the riches continue to enjoy their booming fortunes, they are also being provided some of the lowest taxation levels in decades as with the corporations they own.  The rich supported by governments are increasingly scrapping social benefits and promoting the contractualization of workers. Planet Earth is witnessing the catastrophic effects of plunder of its resources by global corporations, bushfires, floods, droughts of unprecedented intensity. Costs for resources are being waged across the world by the imperialist capitalist nexus. People are forced to kill each other by governments so that capitalists can continue to fill their coffers. But from America to Europe, Africa to Asia and Oceania, people are rising with one voice, smash capitalism. It is so bad that even the Swiss, people with highest nominal wealth per adult among all countries are out on the streets in resistance.


The equitable life assurance society presents this is your FBI This is your FBI the official broadcast from the files of the Federal Bureau of Investigation presented as a public service by the equitable life assurance society of the United States and the equitable society is representative in your community For the past three weeks the equitable life assurance society has been offering members of this radio audience the famous fact-finding chart for fathers and mothers and each week as soon as the program ended listeners began phoning their equitable society Representative asking to bring around copies of this chart tonight I'm going to suggest that you put off your phone call till next week this Christmas Eve Equitable society representatives like yourselves are busy trimming trees laying out presents and putting up Christmas holly reeds and mistletoe But next week be sure to call an equitable representative about the fact-finding chart for fathers and mothers I'll tell you more about it in about 14 minutes Tonight's FBI file the return of st. Nick United States is a young country in the family of nations But already it has its share of national holidays Holidays that belong to these 48 states Those holidays are spaced from February to November and of every one of those days It can be said that they belong to the people of the United States exclusively But there is one legal holiday observed in this country that does not belong to us Exclusively any more than it belongs to any nation It too celebrates a birthday a Birthday which has come to mean much in the hearts of millions of people a birthday we call Christmas Opens in an FBI field office located in a large eastern city It is two days before Christmas and special agent Jim Taylor has just entered the office of agent in charge Sheridan Morning Jim morning, sir. I've got my report here on the Henderson case fine. Just leave it on my desk Now you're officially on leave aren't you Jim? Yes, sir as of this morning But I wanted to hand this in before I left going out of town for the holiday. That's right, sir I'm flying home this afternoon. How long since you've been home on Christmas? Oh, not since before the war Well have a nice trip Jim. Thank you, sir and the very merry Christmas and the same to you, sir Yes, what is it son? Where's the FBI right down there at the end of the hall? Thank you. Oh, wait a minute What do you want with the FBI son? Well, we've got some trouble and I thought they could help us Well, I'm a special agent you think I could help are you a g-man? That's right. What kind of trouble have you got? Santa Claus is missing Well now that is trouble his name is mr. Norton We've got to find them. We looked all over who looked all over all of us older fellas at the settlement house We went every place all of you older fellas, huh? Yeah, how old are you son? I'll be ten next month I see can you help us, mr? Well, I don't know but I'll tell you what we'll do first Let's go downstairs and get an ice cream soda and you can tell me the whole story This is the settlement house mr. Taylor. It's a nice-looking building here. We go in this door Go ahead, sir. Mr. Williams office isn't there. Gee. He's a nice man. I'm sure he is This door here. Yeah. Oh, but first we must knock. Oh, I I didn't know that come in Hello, mr. Williams. Hello Eddie. This is mr. Taylor. How do you do a mr. Taylor? I'll meet you sir. Mr. Taylor's a g-man. He is yeah, I got him to help us find mr. Norton I see well, I've got a run now choir practice starts in ten minutes. All right, and you go ahead I'll explain everything to mr. Taylor. See you later Eddie I'm sorry you were bothered by Eddie mr. Taylor and no bother at all mr. Williams Eddie made me feel genuinely concerned I'm sure he did we're all very concerned about mr. Norton Well, if there's anything at all I can do unofficially of course, I'd be very happy to that's very nice of you What happened to this mr. Norton? Who is he? Well pop Norton has worked here at the settlement house longer than anyone can remember I see how old would you say he is I guess around 60 or 65 and his job here nothing in particular He did odd jobs around the house and returned for his room and board in a few dollars a month The biggest job he had was being Santa Claus every year at the Christmas party Every child in the house was crazy about him and he loved every one of them in return Eddie said he was missing is that true? Yes, I have no idea where he could have gone or what made him leave. That's the odd part of it No one seems to know Yesterday he sent one of the boys in with a note to me saying he was leaving immediately. I see I went to his room and he was gone I'm afraid it's not going to be much of a Christmas for the children without pop Mr. Williams, do you mind if I take a look around his room not at all? Maybe I can find something there that will lead us to where Santa Claus is hiding Boys Did you find anything in mr. Norton's room mr. Taylor not a thing mr. Williams room was cleaned up Tell me what do you know about mr. Norton? What did he do on his day off? Who are his friends? He never took a day off that I could remember The only pleasure he got out of life besides serving the kids was reading He always had three or four books from the library down the street I have a hunch mr. Norton isn't going to be too difficult to find why do you say that well from what? You told me he's a man of about 60 with no outside interests Only things he likes or reading in children that kind of a man doesn't usually run very far Pardon me, certainly. All right boys. You can rest a while Sorry, mr. Taylor, please go on. Well, I was about to say that I think he's probably still here in the neighborhood Mr. Taylor, mr. Taylor. Oh Eddie. Oh, excuse me, sir. All right Eddie. Mr. Taylor I've been working on the case good for you son. What did you find well? I spoke to a boy who saw pop just before he left. That's fine. What did he say? He told me that he was playing with pop yesterday when two ladies came into the gym two ladies Yeah, pop saw them and he went and hid in the closet until they went away. When was this Eddie just before milk Just before milk, but that's at four o'clock. They all get milk and cookies. I see Well, thanks Eddie. You've been a big help. You're welcome mr. Taylor. Now you stay here a minute Eddie I've got another job for you. Gee thanks. Mr. Williams. Do you know the two women who came here yesterday? One of them was a mrs. Chester. She's on the board of governors She brought a wealthy friend of hers to try to interest her and contributing to the house I see. Do you know the friend's name? No, I don't but I can find it out for mrs. Chester. I'd appreciate you doing that Now Eddie you ready for your assignment? Yes, sir anything. All right I want you to go to the library down the street and see if mr. Norton is there Yes, sir, and if he's not there wait around for him. I think he might come in for some new books Mr. Sheridan, can I see you for a minute? Certainly Jim come on in. Thank you I thought you'd be on your way home by now. Yes, so did I. What happened? Well when I left your office this morning a young boy stopped me in the hall and asked for some help What kind of help? Only belongs to the Murray Street settlement house. It seems that their Santa Claus has disappeared What? He wanted us to find him. I went back with him and talked to the head of the house What's the story? Well, this mr. Norton has worked at the settlement house for about 30 years Yesterday he suddenly quit. Why? Nobody seems to know except that he saw two women come in and hid in a closet until they left Then he packed all his belongings and disappeared. I see. I know this isn't our case, sir But well, I'd like to ask a favor. What is it? We have no picture of this man sir And I'd like to have an artist go over to the settlement house talk to the kids and make up a composite picture of mr. Norton what do you want that for? Well, I have a hunch mr. Norton is still in the neighborhood I'd like to circulate the picture and see if we can't get him back to the settlement house and time to Be Santa Claus again this year. What about your trip home Jim? Oh, it can wait a day. I don't mind Now you go ahead and we'll find an artist and more than that you can use any facilities we've got now. Thanks very much Sheridan speaking is mr. Taylor there. Yes, just a moment. It's for you Jim. Oh, thanks. Hello Mr. Taylor, I've got that information for you. Oh fine. The woman with Mrs. Chester yesterday was a Mrs. Norman Montgomery She lives at 310 North Jackson Avenue Mrs. Norman Montgomery 310 North Jackson Avenue. Well, thank you very much mr. Williams. She must have been the one Pop was afraid of. Oh, why do you say that? Mrs. Chester has been unfriendly terms with Pop for 15 years. Oh, I see. Oh, mr. Williams I'm sending an artist over I'd appreciate you're letting him talk to all of the children so that he can make up a Composite picture of mr. Norton for us. We'll do anything we can to help mr. Taylor. Fine He should be there in about oh a half an hour. Wait a minute. Eddie wants to talk to you. Okay. Here he is Hello Eddie, what did you find out? Nothing. Well, you go back there Eddie and keep watching don't give up so easily And you tell all of your friends up there that if it's at all possible for the FBI to find Santa Claus We'll have him there tomorrow night for that party Just a moment, please Mrs. Montgomery. Yes, my name is Taylor. I'm from the FBI Here are my credentials ma'am What can I do for you mr. Taylor?  I'm checking up on something and I'd like to ask you a few questions What sort of questions? Well, the first one would be were you at the Murray Street settlement house yesterday? My yes, I was with the Mrs. Chester What is that to do with you? Oh, it has nothing to do with me, Mrs. Montgomery But it might have something to do with a man who disappeared What are you talking about? Well, this man who disappeared seemed to be afraid of being seen by you According to what I can gather. Well, that's merely a theory, Mrs. Montgomery. Oh, why would he be afraid of me? Well, that's what we don't know Who is this man? Oh, I have a composite picture made by one of the artists in our office Yeah What do you recognize him? Yes, I do I haven't seen or talked with him in 30 years, but I know him. Who is he? He's my brother Kenneth Why would your own brother try to avoid you? He had a good reason. What's that Mrs. Montgomery? Kenneth is a common thief We will return in just a moment due to tonight's unofficial case from the files of your FBI Now a Christmas message to parents from the Equitable Life Assurance Society of the United States Fathers and mothers on this night before Christmas when the children are nestled all snug in their beds When the stockings hang by the chimney with care Most of us realize perhaps more strongly than at any other moment in the year how much our children mean to us At such a time therefore it is perhaps not unsuitable to discuss One of the most unselfish gifts a father can give to his family the gift of life insurance Life insurance is the loving father's way of making sure that his love will continue to watch over his family No matter what may happen to him Through life insurance He makes certain that they will have an adequate income to live in comfort and security if he should be taken from them To help you to determine what that income should be the Equitable Life Assurance Society has published a special chart It is called the fact-finding chart for fathers and mothers Its purpose is to help you make an accurate estimate of how much money your wife and children would require To carry them through the critical years until the youngest child finishes high school You will be able to fill in this chart in five minutes Because you are guided every step of the way by simple easy to understand pictures It is offered to all parents as a public service by the Equitable Life Assurance Society without charge or obligation simply phone your nearby Equitable Society representative and ask him to bring you the fact-finding chart for fathers and mothers or Send a postcard addressed to the Equitable Society Care of this ABC station your request will be forwarded to the nearest representative of the Equitable Society That's EQ UI TA BLE the Equitable Life Assurance Society of the United States And now back to the FBI file the return of st. Nick Emotion which feeds upon itself and becomes greater as time goes on It utterly destroys every person it possesses because It ruins their judgment by robbing them of their ability to see both sides of any question Ultimately it must warp the mind to such a degree that only a paramount shock can restore any degree of mental balance As you can see from tonight's case from the files of your FBI Hate can make two members of the same family stop talking for 30 years For a period of time that is almost half the allotted time of man on earth That kind of hatred can consume a person an industry or a nation For when a nation hates that way the lone possible outlet is war No one person can prevent a war between nations But every one of you can make this a much merrier holiday season for yourself by Resolving to live your life with full dignity as a human being and full respect for the rights of every other human being On the face of the earth while continues in the apartment of mrs. Montgomery Mrs. Montgomery, would you mind telling me why you accuse your brother of being a common thief? It's It's a family matter mr. Taylor, and I'd rather not discuss it. I see I Assume that your business with me is concluded. Yes, I'm afraid it is Mrs. Montgomery, and I'm sorry because you're the one person. I hope could help us find your brother What do you want to find him for? To arrest him. Oh, no No, until his disappearance. He worked at the Murray Street settlement house The children there love him. It's very important to them that he be found so he can play Santa Claus at their Christmas party I haven't seen him for 30 years. I have no idea where he might be and frankly. I don't care Mr. Montgomery, may I ask you again? Why you believe your brother is a thief? Well, I might as well tell you the whole story If you'll promise to keep it confidential. I naturally want no publicity. Oh, I assure you your story will not be publicized very well More than 30 years ago shortly after my father's death Kenneth forged my name to a check for ten thousand dollars How did you find out that he did it? It was perfectly obvious He was an irresponsible young man Shortly after the forgery. He suddenly had a lot of money. Did anyone ask him where he got it? Yes Yes, he said he made it as a result of an investment Patently that was a lie. Did you discover the forgery yourself, Mrs. Montgomery? No, I didn't The Mr. Bryant who was the executor of my father's estate and an old friend of the family is found out about it and came and told me And you never prosecuted the matter? No, Mr. Bryant convinced me that I shouldn't risk ruining our family's name Mrs. Montgomery did it ever occur to you that your brother might have been telling you the truth? He couldn't have Well, if you don't mind my saying so I think that anyone who has his record with children deserves more of a chance than that Do you by any chance still have the forged check? Yes, I have it. Would you have any samples of your brother's handwriting of that period? Yes, I Kept all of the papers in the case in a special file. And do you have that file handy? Yes, I wonder if I might borrow it for what purpose I'd like to see if a hunch I have about your brother's innocence is correct Mr. Taylor hello Eddie have a chair thanks Eddie. What are you doing wearing a mustache? I put a disguise kit mr. Taylor so I could see the library and watch out for mr. Norton without him recognizing me It's a good idea. Eddie. Well, did you see mr. Norton? Yes, I did. Oh, when well, he didn't show up at all last night I stayed into the library clothes But you told me to stay on it So I went back this morning and he came to the library about 10 o'clock. Did you talk to him? I tried to talk to him, but he said he didn't know me he did yeah So I took off the red wig I was wearing, but he still said he didn't know me I didn't think he'd do that then he turned around and walked out of the library I trailed him just like I saw detective doing the movies where did he go Eddie? I wrote down the address mr. Taylor here. It is 71 Vernon Avenue That's not far from the settlement house is it? No, it's only about two blocks. Well good work partner Here's that report from handwriting Jim. Oh, thanks Carl. Thanks very much. What's that mr. Taylor? I had some papers analyzed by our handwriting expert Eddie. Are you gonna see pop now? In a little while at first I've got another call to make you go back over to the settlement house. I'll see you there later on Good morning, Mrs. Montgomery. Good morning. May I come in surely? Thank you Well, I have some news about your brother what kind of news I took your file of papers down to the handwriting analysis department at our office Why did you do that? Because I wanted them to study the signature on that forged check and then compare it with samples of your brother's handwriting I don't understand why you had them do all that work Oh, Mrs. Montgomery when this crime was committed modern scientific handwriting analysis was not used in cases of this kind so So today it is possible for experts to examine handwriting and make sound judgment based on their studies Those experts have just written a report stating that your brother did not forge that check. I Can't believe it. Nevertheless, it's true. I Know it isn't very polite to speak ill of the dead But according to our studies the executor of the estate mr. Bryant is the man who forged that check Mr. Brian, that's right I don't know what to say. Oh, I think that whatever you do have to say ought to be said to your brother But he's disappeared. Oh, he was found this afternoon in a rooming house over on Vernon Avenue Mr. Taylor I'm not a young woman anymore About all I have left is my pride Will you ask Kenneth to come to see me tonight? Well, I'm sorry, Mr. Montgomery. I think your brother has some pride himself After all he ran away when he was innocent No, I'd suggest that if you want to see him you meet us where well if everything goes well We'll be at the settlement house at eight o'clock tonight. Mr. Norton That's right. I'd like to talk to you sir. Come in. Thank you. Mr. Norton. I'm from the FBI Here are my credentials What do you want here? I came up here to ask you to come back to the settlement house I'm sorry, but I don't think that's any of your business. You're quite right, sir It isn't but may I ask you a question? What is it? Why did you leave? Oh? I got tired of listening to all those kids yelling and screaming in my ears I find it pretty difficult to believe sir that Anyone who spent 30 years with children as you have would suddenly get to dislike them that much well Maybe that's not the reason maybe I've got reasons of my own that I don't want to talk about Could it possibly be because of your sister? Who told you that no, I'm sorry if I seem to have pried into your affairs mr.. Norton But I've been to see your sister what for I went there because I was trying to find you She told me about that check for ten thousand dollars She did yes, and with the aid of the FBI laboratory We showed your sister that you didn't forge her name mr. Bryant was the guilty one What did you say I said mr. Bryant was the one who forged that check how do you know that a handwriting analysis proved it You told this to my sister. Yes. Did she believe you? Yes. Yes. She did and she'd like to see you She'd like to try to make amends. I asked her to come to the settlement house tonight. I don't want to see her now mr. Norton Look, it's Christmas Eve. This is no time to feel that way if she's coming to the settlement house I won't go back now look mr. Norton. You're not going to let all of those kids down Now come on put on your coat if we hurry we can get there for the beginning of the party Hey started the snow just in time. They kids will be happy makes it seem more like Christmas when it's no sure does Yeah, here we are Right mr. Norton Little late I suppose the party is already starting this I think so I better hurry upstairs and get into my Santa Claus suit Oh, it's in mr. Williams office. He told me to bring you right in. Oh, fine Go ahead in sir. I'll wait for you out here. Thank you Grace mr. Taylor was kind enough to invite me to the party. I know you Haven't changed much can Let's forget it grace it's all in the past This is no time for crying grace Here's a hanky dry your eyes And now help me on with this costume This is my annual job round here I got the really hurry to Party's already started Will you hand me that weekend beard surely? Here you are the boys are starting to see Yes, I better be getting out there. Well Will you join me at the party grace? Come along Merry Christmas mr. Taylor and bring us happiness prosperity and a rich full life But those goals cannot be attained without work without hard work and long concentration There are a few bits of advice that are applicable to everyone, but there can be no doubt that for each of us Life will be richer and fuller if we follow one set rule If we live every day during the coming year with the love and kindness in our heart That we have on Christmas Eve for in that way lies peace on earth Goodwill towards man you that the equitable life insurance society is offering its famous fact-finding chart for fathers and mothers This helpful chart which may make such a vast difference in the future happiness and security of your children is yours for the asking Phone your equitable society representative soon or send a postcard to the equitable society care of this ABC station Your request will be forwarded to the nearest representative of the equitable life insurance society of the United States Meanwhile your equitable representative wishes you a merry merry Christmas The incidents used in tonight's equitable life insurance society's broadcast are adapted from the files of the Federal Bureau of Investigation However, all names used are fictitious and any similarity thereof to the names of persons living or dead is accidental Tonight the music was composed and conducted by Frederick Steiner the author was Jerry D. Lewis Your narrator was William Woodson and special agent Taylor was played by Stacy Harris This is your FBI is a Jerry divine production This is Larry Keating again wishing you a merry merry Christmas from the equitable life insurance society of the United States and The equitable society is representative in your community and inviting you to tune in again next week at the same time to this is your FBI This is ABC the American Broadcasting Company


My name is Nathan Stonich and I am a freshman in first-year engineering. My name is Shantanu Sinha and I am a first-year engineering student. So for this project I am part of the thermal transfer team. We're creating a test stand to kind of see if we're able to achieve a uniform temperature distribution on a copper panel. And the goal of that panel is to essentially build the structure that's behind me. And with that we can create essentially a lunar environment that we can then simulate lunar conditions with and then we can later on use to test out different habitat structures. And so part of the job that we are doing is what kind of scenarios can we foresee. Once we have done that step NASA will take it to the next level and perhaps thinking about how can we implement this one on the moon. I've been working on the experimental setup connecting the wires together making sure we're able to get the data from the panel. So I've been reaching out to companies to try to find a pressure transfer that meets our needs because our needs are very unique as we need to go to negative 50 degrees Celsius. My role specifically within that is to work out a way to make sure we can get reliable parameters to ensure that we achieve that uniform distribution of temperature. I like to work with undergraduate students and get them exposed to this type of experiences that either lead to industry right but could lead also to grad school or even beyond that. So we try to come out to projects that could spark the interest we designed this experiment to have them engaged early on even though they may be not familiar with everything but they could catch up with things. You need to have some passion some curiosity independently on your topic right but you need to have at least some curiosity. Coming into Purdue I knew I wanted to do something in the space industry. Anything related to like getting astronauts to live in other environments that was just my my entire like passion. You know what kind of project that's focused on that and especially like with the undergraduate research conference being able to present about lunar habitation was just insane. It was so cool to be able to give a presentation. I myself find super interesting and would watch that presentation if it wasn't me giving it. So the first time I heard about the Wraith Institute was actually before I got to Purdue and it's actually part of what I wrote my application to Purdue about. So then last semester I attended some undergraduate research seminar. I saw that Wraith Institute had some positions and then that's that's how I found out and got the research opportunity. Coming into Purdue I definitely wanted to get my hands on with some type of project. Something that most senior students have told me is that you just shoot an email and see what happens. The office of undergraduate research came out with like emails talking about different opportunities you could apply through like their online website. There they have group chats and other ways for you to be able to interact with those who are already doing research. There's definitely ways that you can just get advice from other people about any aspect of the research, whether it be like applying for it, writing the abstract for it, all of that. Just having that support structure has been really helpful and motivating as well. The biggest hurdle to get over and like deciding to do it was am I qualified for this? It's about your interest in the project and the dedication you're willing to put in. Talk to the faculty, talk to the students, get the feeling of how isn't doing research for the first time. If there is something that you are curious about or want to explore more, don't worry about like the major really, just worry about like the project and like being able to get involved with that and there is almost definitely going to be one that lines up with that passion of yours that you have. You might not know much about the topic but it's just that interest and being able to do something with that is a really unique experience you're not going to get through like just your regular coursework. Los Chantano and Nathan were great and they pick up a lot of things and they will continue doing research with me in the fall so. So you're going to keep on doing it? I will, yes. I'm not going to send it to the moon or somewhere, not yet maybe.


Most people still have critical information about COVID-19 in South Sudan. That is why it is still difficult for most communities to take up responsibilities and adhere to the preventive measures. Our intervention as Advanced South Sudan and Advanced Youth Radio is based on behavioural change communication through dialogue with different groups such as citizens' task force, check task force, youth and community leaders. We are using Advanced Youth Radio as a platform to strengthen preparedness and carry-wide awareness and information to our communities in Cuba. Applying the knowledge I gained from the USIP's Generation Change Fellows Program as a peace-builder, I am using social media platforms to create positive impact across our communities. I have been carrying the I Start With Refugees social media campaign to raise awareness about the South Sudanese refugees and their rights. And also using media to send messages of hope. I believe hope is the one thing that sometimes keeps us moving on.


Hello. Welcome to in print and on view designing for E. McKnight Calfer at Cooper Hewitt, the latest in Cooper Hewitt's behind the design series. This program is a discussion series for curators conservators educators and designers to offer behind the scenes glimpse of what we do at Cooper Hewitt. My name is Caitlin Cundell, and I'm the associate curator and head of drawings prints and graphic design at Cooper Hewitt Smithsonian Design Museum. I am joined by my colleague Emily Orr, assistant curator of modern contemporary American design, to host this program today that will explore the process of designing our book and exhibition about the work of commercial art pioneer, E. McKnight Calfer. Renowned in his lifetime as the poster king, Calfer's career encompassed all media as he relentlessly pursued innovation in the commercial art. At the height of his career in the 1920s and 1930s, Calfer an American was among the most influential artists in England. In 1940, he moved to New York, joining the influx of European designers who brought dynamism to American advertising. His remarkable output includes eye catching posters for the London Underground, illustrations for celebrated works of literature, and iconic graphics for major corporations such as shell mechs and American Airlines. Cooper Hewitt holds one of the most extensive collections of Calfer's designs in the world. We are honored to welcome our recent collaborators, Lucinda Hitchcock and Lucy Roberts. I am a book designer, a typographer, a full time professor, and until recently, the graphic design department head at Rhode Island School of Design. Lucinda designed the publication E. McKnight Calfer, the artist in advertising, which was co published by Rizzoli Electa and Cooper Hewitt in fall 2022. Lucy is founder of design studio Lucy and Roberts plus and co founder of the advocacy initiative graphic design and a research and practice characterized by her abiding interest in the definitions of ethical design. Lucy oversaw the 2D design for the exhibition underground modernist E. McKnight Calfer currently on view with the museum through April 10, 2022. We are grateful to both of them for sharing their insights with us today. Our program will begin with Lucinda and Lucy each sharing a presentation. Then we will open it up for questions from the audience. We encourage you all to post your questions in the Q&A box at any point during the course of the session. Before we start, we would like to take a moment to say a special thank you to our supporters. Underground modernist E. McKnight Calfer is made possible with support from the Barbara and Morton Mandela Design Gallery Endowment Fund, and the Esme Eusten exhibition Endowment Fund. And E. McKnight Calfer, the artist in advertising is made possible in part by furthermore, a program of the J. M. Kaplan fund. We would also like to thank our colleague Phoebe Moore for her assistance in the planning of today's program. Today's program is just one of the many wonderful upcoming events hosted by Cooper Hewitt, and we encourage you to visit the museum's website to find out more about our virtual programs coming up in October for National Design Month. I'll now turn it over to Lucinda Hitchcock to start us off. Hi everybody, thank you so much for coming. It's just delightful to have you here. I will quickly share my screen. And we can get started. Let me know in the chat if anybody has trouble hearing or if there's any issues. Although I don't know if I can see the chat at this point. Okay, so this is the story of very quickly of me designing this book. E. McKnight Calfer the artist in advertising. And when this book. When this book arrived on my on my desk as a possibility through the grace of Pamela Horn who also works at the Cooper Hewitt in production and sort of upper level connectivity. I wasn't sure I wanted to take this book on. We were very embroiled at the time in our department at RISD in activities around accessibility around community around social equity. And I wasn't thinking that it made a lot of sense in that moment to do a book of such complexity about somebody who existed so long ago. I was completely wrong. I was so delighted to dive into this work and discover Calfer I knew of him but I didn't know anything near like what I know now from having read the incredible words of many of the writers. So one of the things I really wanted to do when I got this book was to make it big and floppy and paperback and sort of think about the abdominal nature of the work that he did posters and advertisements and things that didn't necessarily last. And so the book needed to be sturdy or solely was a partner they care about the durability and the longevity of these books so it is a hardback book but what one thing that lasted was this ability to wrap a poster around the book as a jacket. It was so fun to be able to work on this advertisement for motorcycles that Calfer designed and be able to apply my own typography and have it serve as a cover. It's a fantastic glimpse of the book thanks to Lucienne Roberts for this big quick video but it shows you the variety of the work very quickly I hope it doesn't make you too dizzy and shows you a bit of how much color was involved in the design of that book. Another very special thing that happened in the design of this book was the generosity of the curators to let me make detailed crops of some of the work as we enter the book. You can even get to the title page you see these sort of glimpses of the work to sort of act as enticement to draw you in. The book starts out looking relatively conventional and then you might notice something a little strange when you get to the first essay, the typography is designed to deliberately be somewhat ill fitting in the box of the sort of opening language of the first essay. So those these two typefaces circular and sang blow designed by Swiss typefaces on the right sang blow and circular was designed by line to because of their their well with circular the sort of geometric nature of the typeface nods to Winston and to Gill and to some of those early fonts of the early 20th century. Sang blow nods to badoni and ddo but has this fantastic sort of crisp thin and thick strokes, which really lends itself to the kind of elegance of his work.  As much as possible and the fact that I forced it like this and really made it seem ill fitting was sort of a nod to the misfit character that I sort of started to understand how for to be not in a negative way but in the sense that he did so much work that was outside of, you know, one particular purview you know he was a he was a set designer and a costume designer and a book designer and a letterer. Obviously a poster designer. So throughout the book I sort of have type and footnotes and images playing together in a dynamic way but also kind of uncomfortable and I wanted that sense to come through elegantly but sort of metaphorically as part of the narrative. And so these are just some examples to show you the interior I don't know how many of you have actually held the book in your hands, but I wanted you to see how we arrayed the typography and how we read the images and how we use the colors. This was the very first spread that I designed even when we were in sketching stage I completely fell in love with this Fortnum and Mason image. I noticed that the typography is stretched out and that the spaces between the words are are quite large, and this was the sort of moment that I was truly inspired to do the typography this way. Again just showing you some of my favorite openings, even the chronology the back matter and some of the other incidental typography I've treated in this way to sort of fit with the spirit of the book. So I think you can even tell from these pictures this paper is not coded. It's an uncoated stock which is pretty unconventional and most museum books there's usually a lot of varnish a lot of glare, but it was absolutely essential to me to that we nod to the time period in which I was working, and that the paper had the sort of spirit of urgency it was made immediately it didn't have time to be fancy. How for you know he was he was living through this unbelievable time where art and design were affected by by Cubism by the avant garde very much so you know the tail end of art deco. And the stuff that really drew me in was this almost futuristic way that he worked with typography and form. Which is why I think this is sort of timeless you know and students who are experimenting with typography in my classes today are looking at pure form and abstraction and the way that letters and marks can work together to make a surface dynamic. So these are some of my favorites. The best part of this, the beginning of this project was coming to the Cooper Hewitt, where I was allowed to go into the drew Heinz study center. And thank you to Carolina Connell and Christina Parsons for incredible amount of work they did on this book and on curing a lot of the, the artwork that you see in there. But what was so great about going here was also getting a chance to see some of his writing and some of the sort of ephemeral elements of cow for he was just so alive. And everything in the collection shows this kind of in process liveliness in some cases you can see a sketch of the original. A bunch of us were really obsessed with his hands he had all kinds of motifs that he carried throughout his work and for a little while we thought maybe there was some way we could pull this into the book design. And here you see the sort of whimsical way that he plays clouds and stars and trees and he's honestly very funny like these crazy darts coming out of the statues eyes heading up to that star for this ad for evening classes of course for the underground. But this is the object that I love the most of all of the strange things I was on the train going down to Cooper Hewitt sort of quickly researching this guy before I had a meeting with these curious at that time. I didn't know it all and now I can actually call friends I think. And this F just blew my mind and that's this was the moment I knew I absolutely had to do this book I really hope they would hire me I think at this point they were still debating between me and some other people, but the sort of nature of this cover. I can't remember the exact date of this one was just so experimental and so funny that I absolutely fell in the look out for that moment and you'll see here to any of you who study typography or look at it. Can see how really experimental this is all these different faces coming together in this kind of clustered form on the right hand side with the guy and his strange his strange legs what a fantastic, fantastic image and I'm going quickly now because I'm supposed to keep it short. Again some favorites that just show the breadth and depth of his approach to lettering to typography to color. You can also see the colors that I had to work with. At first I thought I had to be restrained and sensible and only use a few colors like most people do in a book design. And then I realized actually know I needed to use a lot of colors and I needed to be careful about them but every time another image required a color behind it to highlight it. I wanted to have that freedom to choose the appropriate color so it's a very, very colorful book preliminary sketches just for a quick glimpse there's some it's kind of hilarious whenever you go back and see what you thought you might do. These were early ideas for the cover this was another possible poster design that we could do on the left that could have folded around the book. Here I was again starting to think about what colors to use to highlight the works and some of them had a white background you needed to really highlight them. I was always interested in this constellation of images sort of cluster and I wanted to create this kind of structure that could float and they could sort of have integrity, no matter where they landed on the page. We thought for a while about having these large chronological part title dividing pages but decided that was unnecessary. So in the end you see here now on the left. The one of the title walls that Lucy and Roberts designed for the exhibition and on the right my book and I was really happy once I saw the show that our both of us were channeling copper in such an incredible way that I think that the two projects really ended up aligning very nicely and that if he were here today he'd be sitting down and raising his glass to us and very pleased. My last favorite shot and then I just wanted to thank you very much. I hope that wasn't too fast or too slow. Now I will turn it back to Lucy and Roberts. Hi. So that was fantastic. Thank you very much. Okay, so I'm going to talk about the 2D 3D of the show. Hope everyone can see that. So just before I start I have to say I didn't do all this on my own. I have to thank John McGill most particularly my colleague and studio and also of course Sorry. And also Dave and Universal Design Studio we were with on the show. So just starting off now. This is a very personal show really in that it's very much relates to my dad who you see on the left there. And who was very influenced by Kalfa himself my dad was a diviner and so I was sort of brought up knowing who Kalfa was. And it's also very much about place for us our studio was near to Russell Square which is the tube station you see on the right hand side. And we are so we're based in London. So clearly London place. People, Kalfa and my dad play a large part in this story for us. And so when this landed on our desk as a possibility to tender for it we really wanted to do it. So, um, sorry, I think you're having a bit of a problem here. I am going to start again. Sorry, just one second. Sorry. This is also very much about I think this project about connections and events and chance and serendipity and all the sort of randomness and peculiarities of life really. And on the left hand side is a map of London that I found in my dad's collection of maps which I thought was very pertinent because there's a large white area here that says approximate approximate area destroyed by any action 1940 to 41. This is the area of London where I'm sitting in now. This is the Barbican. But of course it's also 1940 the date when Kalfa left. And it struck me right from the beginning when we learned more about Kalfa actually and his, his love of London and the circumstances in which he left that we were very, you know, we're all very formed by experiences beyond our control and this was something that we thought was a very powerful part of his story really in all our stories. And so it was kind of in our mind that we wanted to foreground this in some way in terms of our design. In terms of serendipity, I also have to say that we were incredibly fortunate, but Caitlin and Emily heard about us fire other museum colleagues at the BNA. And they heard of us partly because we've done show also about graphic science or graphic design save your life which is shown on the right hand side. And so what makes this project unusual as an exhibition project is that we were commissioned first not the 3D so it was a very 2D led project in all respects. So in terms of our tender, as I say, there were two things that really struck us one was about place and time and the other was about connections. And when we found out more about Kalfa as we put our tender together, we thought about the period in which he lived that he witnessed the first and second World War that he was an emigrate, therefore a displaced person in some to some degree. And that journey, this journey from the US to Europe, and Europe and then to the UK and then back to the States were hugely significant in his life and work. And we were also very impressed and say by how he was connected so to so many other aspects of the arts and more broadly really. And every, every time we read the brief you know more names pop top Virginia Wolf TS Eliot all these people that we thought it was hugely important and he knew this seat this was a very exciting thing to us. So in terms of our initial proposal we wanted to foreground this idea of time place journeys and connections. And so we proposed a design that was really built around the idea of viewers and viewing distances and apertures and journeys passing through space. And how we could foreground that you might see one thing as you move into a different area and then glimpse something else. And we were also very struck by his use of color and abstract form. So that was what our tender proposal was mainly about. And we got the job really, really excited. It really made our day and year and you know it was a really wonderful thing. So our research in earnest starts with the DNA. We went to look at many examples of campus work, just a photograph something to see here. The things that I suppose stayed with us were his use of perspective is use of abstract form to emphasize certain elements. His use of graduated color and strong color. The physical aspects of the work how to have the teams of textile and paint and texture rather than paint and so on. All of these things we wanted to convey in some way in our design and we refer back to them a lot. So I came to keep you to present three concepts at the beginning of last year. And the one that was selected was concept three and we called it time frame. And it was loosely taking Kalfa's idea of what he called a space frame, which is the form that you see in the middle as a device to emphasize different elements. We were very interested by the nature of the shapes, the abstract nature of them, but also the use of angles to imply distance and bring dynamism.  And here's the axo, so the axonometric so you can see again more clearly this I did the journey through what is quite a long, thin gallery space. And of course when you're working on designs, especially with architects as we were, that you're always thinking about the flow through space and we as 2D designers are there partly to help the visitor find their way through the space. So this was what the idea that was chosen. And this, interestingly, are some shots of how it is how it's ended up so you can see that many of our initial ideas were being retained. You see these apertures for example shown here. Caitlin and Emily did present us with a bit of a problem, which was the number of objects. And here's our, here's a picture of the plan of the gallery surrounded by all the objects. And we were rather overwhelmed by these initially, I have to say, and went through gradual processes of editing to get to where we are now. The 3D elements that came were sort of in our initial designs really and have stayed were these display walls which are sort of folded forms and often are used employing apertures of also different angles, the space frame, and then quite brightly coloured showcases. And here's the access sort of pretty near to the build, actually, so how the design ended up and you can see again strong use of colour folded walls, and these space frames which I'll talk about a bit more in a moment, which were three dimensional space frame so taking the 2D idea and turning into something three dimensional to give emphasis to certain parts of the story. And here are some of the space frames. Again, looking the other direction. And here are some of the angled walls. So you can see that there's a sort of play on the perspective, very similar to the way Calphor did himself, but again we've turned it back into a three dimensional form. And here's one of our visuals. And here's how it ended up so fairly close really, and another view. So something here from a 2D perspective is on the left hand side is this wall. We really wanted to do something to reinforce and play with this idea of connections around Calphor. And we presented this visual to Caitlin and Emily and said could we do all a bit like this so we have no idea what the content might be at this point but we said can we do something where he is at the centre and there are all sorts of things coming extending out from him. So we have all connections between people and we show who knew who and how they influenced each other and so on. It seemed like a really exciting idea and they were very positive about this. Curators because they themselves had already developed their own version of the network map, which was this and this what we had this was what we were presented with to work from quite a dense piece as you can see. So we looked at how we could pull that apart and what stories we might tell these are some of our experiments. And this is how the wall ended up and you can see a series of clusters built around different subjects like literature and theatre and publishing and so on. Now on to just how we made the exhibition really. I'm really, really keen having been at the V&A that we employed some methods that were akin to methods of Calphor's time really that would really make the most of colour, use pure colour that we would avoid plastic or things that would do shiny as Lucinda's already mentioned in relation to her piece to work. And of course in terms of colour we wanted to use a colour palette that referenced Calphor's work here's our initial palette. It was reduced down to these core colours in the end because we had gone a bit overboard initially I think. But we were also interested in materials that had texture to them, these are experiments with staining wood, for example, and you can see all these tests that we did in the studio lined up there against the wall. In terms of texture and how things were made, and you can probably just about see that the all our labels for example are on stiff cardboard and that has a texture to it. We were also interested in seeing some of our experiments on the left hand side in relation to that, and we were again interested in how we made the larger graphics and we're really, really keen that it was paint directly onto the wall wherever possible. And of course in terms of typography, we debated between two typefaces but in the end we went with Johnson's fans which is typeface on the left, designed for the London Underground Network, and still used to this day. And we developed quite some extensive label system, these are things labels of course from a visitor perspective we don't want people to notice them in a way we want them to read them. But from our point of view it's quite a complicated system to ensure that we develop a scheme that has unity and clarity, but signals the right things in the right order. And then of course our title, which is on the left hand side and which Lucinda has already shown, which of course plays most most clearly with some of the ideas in capital's work around perspective, really dynamic use of angles. And of course with him right at the centre. And then the main introductory panel is shown on the right hand side, which again echoes some of the devices that Calfer used in his own work. So this is what it's like when you arrive, you're greeted by the title on the left, and then as you enter the first section, you can see the main introductory panel on the left hand side. And you get a visitor, you get a view all the way down the gallery. So you see the network wall right at the back. So thank you very much for listening. Me in the archives, I have to say I had a wonderful time with curators going through all sorts of material and still feel will always feel very proud to be nice to work on this project. Thank you. Thank you both so much for these marvelous presentation there's quite a lot of love and appreciation happening in the chat. Can't see it. We're going to open it up for discussion and Emily and I are going to share questions from the audience. Please feel free to type your questions into the Q&A box now. And Lucinda, I want to kick it off with a question. You are both graphic designers commissioned by a design museum to work on a project about a graphic designer. Has that ever happened to you before, and what was unique about working with Cooper Hewitt on this project? I'll answer quickly that no there's never been a lineup of so many sort of marvelous connections to my own field before. I designed a lot of books for museums that are very often collections, you know I did a book for the Met not too long ago called Delirious Art at the Limits of Reason 1950 to 1980 and you know that's a typical sort of book I might do that will span many, many, many different artists to be a monograph of one person whose work you know kind of blossomed as I learned more, read more and worked with you guys more was really such a privilege and such a surprising joy. And I was laughing when Lucienne was talking about trying to put so many objects in the collection because we also tried to put a whole lot of objects in the book but I want to take the second to just shout out to to Caitlin and Emily especially. And to Pam Horn whose title I got wrong she's the director of cross platform publishing and strategic partnerships. And I know so many others who helped pull it together but but to be able to work with people who really respected the design, the design process. And thought of us as experts it's bizarre how often I work with clients who sort of come to the problem having already decided for themselves how it's going to go. I'm not really sure, you know why they've hired somebody like me who comes with an opinion, and to have you guys actually want my opinion was such a joy. And I know that sounds kind of cynical but it is, it is true that it's tricky sometimes with clients. So really, you know, yay curators. Thank you. Well, we've, we had worked on two other shows that are about graphic design, as you know, but not about a graphic designer. And one of them was at the Design Museum in London. But I think what was interesting is actually it's interesting comparison the Design Museum in London on the whole doesn't exhibit graphics like a lot of, you know, product design and architecture and so on. Whereas I think I think you really came with with the sensibility about graphics, which made us very, you know, really excited because because it's quite unusual from our experience. And it's very unusual to have exhibitions that are 2D led. As I was saying at the beginning that we were the ones who chose Universal rather than the other way around normally architects choose the graphic designers and that's a very clear hierarchy, whereas it was the other way around. So that was probably the one. So yeah, great. Thank you so much Lucy and Lucinda. It was a pleasure working with you as well, of course. You both touched on this in your presentations but we wanted to ask if you had to identify kind of one aspect of Cal FERS work and career that resonated with you. What would it be and I might add to that. What were the challenges and opportunities of working on a monographic project. I think. Oh, sorry. You should go first. That's the order isn't it going. Well, I mean just I can I can answer relatively simply although it's, it is tricky to answer I think the typography was what struck me. And the lettering. I am a complete fanatic for for strange and wonderful typographic moments you know a truck drove past my window today that was a demolition truck and the typography on the side almost maybe run outside with my camera. When I saw how weird Cal FERS was that was when I knew I wanted in. There and let this answer the other part. Well, I think we did speak quite a lot even at the beginning about Cal FERS personally, and I have to say I was very kind of quite disturbed actually by his process of leaving the UK for example, and what that might must have done to him. I mean that you know he he hadn't become a British citizen. So he had to leave really, and there was something very tragic about it. And then having come to the archive and read some of the letters that he wrote when he was on the ship coming back, you know, it's hard not to feel very moved by that. I suppose I was drawn partly to him, it not initially initially it was definitely because of what I need from my dad and my college and so on. But, but then talking to you, I became more and more interested in his psychology really. You know, and the, and the ups and downs that I, I felt, you know graphic design is kind of harder than what people think, you know, and that seemed to be played out through him. So, I found that really captivating and sad in some ways to, but positive also. As curators, it was important for Emily and I that the publication the exhibition be designed independently. We saw it as an opportunity to engage multiple perspectives on Cal FERS work for contemporary audience. And we're curious what was the experience like for each of you working concurrently, but separately on Cal FERS. Well, I remember the I mean, this is crazy to admit but when you're working on a book. It's, I mean this is probably true for when you're working on anything it's all consuming you know you completely get sort of myopic and and very close to the thing. But I remember the moment that I was talking to Pamela Horn and she said oh we saw some sketches from Lucy and Roberts and her studio, and I suddenly realized I was dying to know what it looked like and I you know had to sort of sit on my hands to prevent myself from just emailing them and saying like shouldn't we be working together and I, and I really followed your, I think some one of you guided me to just kind of let that be for a minute and let the book come out of its own, my own head and its own head. It's very often the case that they're separate but every now and then I have had to design a book so far in advance of the show that sometimes the typography will become the lock up for the wall text or something like that. So I was, I was very happy that that pressure was not on me and really eager to see what somebody as talented as the Lucy and Robert studio was going to do with this material so I just couldn't have been happy with how it all ended up. Yeah, I mean we were, it was, it's interesting because we're always a bit greedy so obviously we'd be like, we want to do the book. Why are we doing the book? But it's an amazing thing. I mean I was just thinking through it just now again. Wow, you know that the richness of that book is fantastic. And it foregrounds this work. I've never seen it foregrounded like that before. It's extraordinary. It's so lush, you know, and it's fantastic. So, so I think, clearly, it came about the right way. Thanks so much. So the COVID-19 pandemic hit at different moments over the course of the book and exhibition development. And we felt really lucky to be able to work with you both through that experience. It was a challenging but a special time for sure. And looking back we wanted to ask what challenges stick out in particular in your memories about the process of designing during the pandemic time. I was so lucky and I know that Lucy, you probably feel the same way that we really got there before everything shut down, you know, that we actually got to be there and to see the work. But the thing that I will never forget is trying to do a press check with Lauren at Rizzoli and Pam at Cooper Hewitt with our FaceTime on our phones. I'm literally like holding colors up against the window to see if they had gotten a yellow right with just our telephones, you know, so we couldn't meet to go over the stuff. That was the primary thing. There was also some back and forth about where the book was finally printed and that was also very much affected by by the pandemic. But mostly it was this strange thing of having to do it all something as tactile and sort of analog as Calphor is to do all of that via a glossy screen was pretty challenging. I was kind of surprised when we saw the book, you know, hey, that's actually the yellow we wanted, you know. I spoke well I suppose it was difficult because it was a momentum to an exhibition and, you know, we were building up to one date and then that changes and then you're not you don't know where to kind of just stop for a bit or do you know so that was tricky. And I think the other thing of course, I've never ever worked on a show that I haven't been there when the install has been happening before so you know we still haven't seen it. And that's very sad, you know, and and frustrating as well because you can't photographs it's interesting really that I think exhibitions are quite often quite hard to photograph actually because they are immersive experiences and you cannot you can't convey that beyond a certain point. You know photographs so although they look great. I still know it's not going to be the same as walking through that space, you know, so I think that's a that's a sadness and a frustration at the moment. But that might change this time to come. We certainly hope it will change and you'll get here eventually. I have two questions for each of you individually so I'll ask the first one, which is for Lucinda Hitchcock. The question says Hitchcock was captivated by Kalfa as a misfit and a wanderer designing the publication even make Kalfa the artist and advertising to reflect the contradiction and movement and the artist career. How did you use this approach in the past, a inspiration from lifestyle and life events. And is this approach different than an approach based on visual stimuli, and in what way. Well, the challenge of that question is I haven't done a monograph about one person and his life in quite this way. So I will say that that this was a pretty unique situation. I remember designing a book for the Decorate of a Museum about a show called Walden revisited and it was, you know, 10 or 15 artists making work about the role about Walden pond about that relationship in New England between the sort of fiction and the reality. And in that case I did use the sort of motif of the cabin and the compass points on all of the maps that show us where Walden pond is in the 19th century. To sort of build a kind of a story that didn't exist because we just had the contemporary artwork, and that was it and so putting it together in a book that sort of brought the row himself into the story was something kind of interesting and challenging to answer sort of in a general way to say, it's always the job of the designer graphic designer to read all of the text that you get to try to immerse yourself into the time period, and its histories but also, you know, reflect on how it sits in the contemporary moment. And so yes, I think most graphic designers would do that, you know, they would try to figure out who what the core is of this narrative and see if there's some way that you can reflect, but also contain and present it not sort of overwhelm the work with your design but to really honor the content. Great, so I have a question that's come in directed at Lucy Roberts. Lucy, can you speak to one challenge that makes it especially difficult to display graphic design. That's interesting. I suppose, I suppose one of the things is that most graphic design on actually this isn't so true, but generally, you handle it, you hold it. And so clearly, obviously, Calvert did lots of posters a raw so they were, they are meant to be displayed on the wall. There's lots of books and so on that sort of it's always a bit tricky because you really want to pick it up and flip the pages because that's, that's a lot of what you think about when you design a book. And so, I think that's always difficult there's always a sense of, as you lost isn't there I'm sure you, you felt that really which is what they're like if I can't if I can only show one spread which ones are we not showing you know that kind of thing. And it is how to convey the tactile nature of a lot of graphic design I think that's hard because particularly when things have to be in cases and so on. So that's that I guess that's one of the one of the things I would say is quite tricky. This is a question for both of you, picking up on Lucy's mention regarding Calvert's letters, which the attendee says are truly heartbreaking, and his status as an American expat in the UK. So the question is, did his transatlantic influences and the very transatlantic nature and the creation of the exhibition itself affect the way you both approach the design of the exhibition and the book. Lucy and you should definitely take this one. And then I'll think about it. I mean it did. I mean it was hugely fast that was one of the most significant things really. And even the fact that we've been chosen when we were in London, and the curators were in New York was it was the embodiment of the whole thing I mean it was really. So for us it was absolutely core this idea of journeys and, and what you, you know, looking forwards and backwards really the passing of time, you know, so that was a lot of the idea behind those apertures and so on that you can show you can see what's ahead of you but you also turn around and look at what way you've been and that's not, that's not dissimilar to the life experience really. And that's very much what we wanted to convey, I think, was it's as much to do what you leave behind as, as where you're, where you're going. So I think that was, that was hugely significant for us. You know, it was, it was absolutely basic to the design. I think from my perspective I was constantly thinking about this fella who was spending all this time in England who was born in Wyoming I that that collision just was always so strange to me, and kind of mournful. And I think that exactly what you've said before Lucy about him having to sort of end up and in fact die in the US where he probably didn't really want to be. I'm not an expert so I'll leave that to you guys to say whether that was true or not. It's sort of hovered and as a book designer these things kind of hover and they don't necessarily scream in your ear it's more like you're you're working under this sort of umbrella of an idea of a person. I mean it's also interesting that he was, he went to mainland Europe and then came to the UK because he brought with him a lot of the creative ideas from mainland Europe and introduced them into commercial art, which made them much more accessible to the to the general public, you know, he took fine art and turned it into something that the average person would be seeing on the tube. I mean that's an extraordinary thing but again it's about the journeys. And of course he worked for the transport network so that too is about journey, you know it was, it's a wonderful story really. I can't believe it because the time has gone so fast, but we've reached the end of our program. I know there are a few questions that have been left unanswered in the chat we'll try to get back to them when we can. But I want to thank everyone who joined us today for the program and we'll watch it as the recording. And I particularly want to thank Lucinda Hitchcock and Lucy and Roberts, who did the most extraordinary design, I think how for would be honored to have both of you designing around his work and enhancing his legacy. Thank you to all of our partners at Cooper Hewitt you are too many to name, but we are incredibly grateful for you. And thank you to the many people who joined this talk who have helped us along in this process.


Hi everybody, this is Vadim from Laptop Media and we'd like to demonstrate a quick solution to the common slow-boot problem in latest Alienware notebooks. It seemed pretty arduous that the notebook we have boots in about 90 seconds, given the fact that it has a Samsung P951 non-volatile memory SSD. Sequential read transfer speeds in that go up to 1.6 GB per second. Turns out that the issue is caused by the KONX Free Fall Sensor, or to be more precise by its drivers. All you need to do is update from the Device Manager panel and the slow-boot problem won't be bothering you anymore. Just follow the steps you see here. Check us out at laptopmedia.com for more information and more in-depth reviews. And as per usual, don't forget to subscribe to our YouTube channel. See you soon!


Have you ever heard someone say that most real estate agents fail because the top producers get all the business, they do all the deals, they get all the listings, and there's nothing left for all the other agents, right? Have you ever heard that it's so far from the truth, it's not even funny? And to take it a step further, I want you to think about this, is that number one agents in your market, are they working more hours than you? Are they working harder than you?  You're working harder in the grind category and probably more than likely, there's a 99% chance you're putting in more hours than the number one agent in your market. And so this is something to really dig into. I'm gonna dig into all this in this video and I'm gonna help reprogram you because we're taught our entire lives subliminally, subconsciously. We are taught that when something is taken, there's not, that's taking something away from everyone else. Mainstream, most people think this way. It's called scarcity. It's called scarcity. And it's just so far out in left field, it's not even close to reality. Now, when you think about reality and you think about these two scenarios of scarcity, somebody takes a listing, then that's one less listing for me. And you think about abundance. Somebody takes a listing, but it opens up so many doors and so much opportunity for me. That's the same scenario with two completely different perspectives. And what I want you to realize when I say this is that there's always two perspectives, a positive, a negative perspective and a positive perspective to every single situation. I don't care what it is. And if you think about two sides, nothing is not. Everything has two sides, right? There's two sides to a door. There's two sides to a car. There's two sides to a penny. There's two sides to everything. Why? Because it cannot exist without two sides. The same thing with perspectives. And when you think about something negative, it makes you feel sad. If you think about something positive, it makes you feel energized. It makes you feel happy. And this is where we want to be. We want to look at the positive perspective of every situation, but not only that. It's not just for, oh, we just want to feel good and whatever. No, we want to take it to continue to expand. We want to turn every situation into an even bigger situation. Whether we win that situation or not, we want to turn it into a better opportunity to expand our influence in the market. We want to use that as an opportunity because it is a massive opportunity. We're looking at it wrong. We're looking at it from the wrong angle. And when we look at things from the wrong angle, we tend to go down this path where we continue to lie to ourselves on the next situation, on the next situation, next situation. And we get into this downward spiral and we start to feel like this just isn't for us or it's not going to work or we're just failing. We're not going to succeed. When in fact, if you would have looked at it from the right, this is why a lot of agents fail. They look at the wrong perspective of it because they were never taught this because this is what we're taught. You know, this is the way that we're brought up to think scarcity. And when you think abundance, then it opens up so many doors for you and you can just keep going and you realize how unlimited it is. There was actually, there's actually a big tech company owner, real estate tech company. I wouldn't call him an influencer, but I commented on one of his posts and I was like, basically it's this tech company that sells areas, like Zillow does. They sell zip codes, right? And he mentioned something about an area being open or something like this is years and years and years and years ago. He mentioned something about an area being open but it stuck with me, an area being open and acting like, oh, you got to hurry up and get this before it's gone or whatever. I was like, business is unlimited for every agent forever, all day long. You can't get to every single deal in every scenario, right? You're, the way you should look at this is not result driven, it should be input driven, right? How many seeds can I sow? How many people can I talk to and build relationships and see what I could do to help them now and later? How many deals can I stack into my 20, 30 year career, right? Every prospect I talk to is worth what? 10, 20, 30, 40, even 100 deals over the next 20 years through repeats referrals and referrals, over referrals, over referrals, over referrals. Like it's a huge spiderweb and you have no idea the size of the ripples. If you get out there and get moving and really build this thing up, the problem is you're building it too slow and sure you're not getting the results fast enough because you don't think it's working so you don't do it as fast because you don't want to commit because it's not working that great and you can't see the results so you do it slower because you don't want to fully commit because why are we going to waste our time with something that's not working when the whole time it's working if you'll just go all in? See, this is the problem right here. It's just this cycle that we just put ourselves in over and over and over again when we lied to ourselves. We lied to ourselves and it's just continued to be a down spiral until we're out of the business. And I told this tech company owner, I commented in my theory here about business being unlimited. This is a long time ago. And he's like, oh yeah, sounds great. Sounds good for a T-shirt to put on a T-shirt but far from reality, Ricky. And woo, I was just, I didn't say anything. I didn't respond back. I didn't get into this back and forth but I was thinking, wow, this person is not, either he doesn't understand how this world actually works or he's just so engulfed in his own agenda to sell areas of his tech company.  It's insane. But the fact is that this is the facts. And these are the principles that will never change in the business.  You shouldn't be worried about NAR, Zillow, your brokerage, what other agents are doing. None of that even affects your business at all. Matter of fact, I wanna do a video on this. Like the whole NAR and brokerage is selling out and all this stuff, that should be private information. They shouldn't even have that on headlines. They should just have that behind closed doors where nobody can see what's going on. That way we can focus. See, it's distracting you from doing things that actually move the needle for you. Anything that takes away from actions that move the needle in your life is a huge distraction and you need to eliminate it. Eliminate it. You know, I don't pay attention to it. I watch the market trends and prices and stuff like that. And I can't help, but to see the headlines that pop up and I'm like, okay, well, NAR settled and real settled and this is happening and that is happening. I can't help but to see it because why?  Why? Because they're making money on clicks. It's wild. Ricky, you're making money on clicks. I'm not doing this for clicks. Just for your information. I'm not creating this video for clicks. If I did, I would create an entertainment video that gets millions of views. This little video about how to build a real estate business for real estate agents is gonna get a couple thousand views and ain't nothing compared to what some of these channels get. I'm not doing this for clicks. I don't make much on YouTube ad revenue. I'm doing this to serve people. And that's the way you need to look at your business and you need to understand the principles of the business so that you can progress in your business and that's why I'm doing this video for you to help you understand the abundancy, the abundancy of real estate for real estate agents and anybody in real estate or any business, period, the abundancy. Now, let's take a scenario. I had an agent call me and he didn't call. He texted. He texted and he said basically in so many words, I don't have the word for it. It was a long text. This guy was really upset. He was really down about this. In essence, he lost the listing. It was a four million dollar listing. It was in a subdivision. He sold a lot of homes in. His wife even put the name of the subdivision on his birthday cake because he sold so many there, blah, blah, blah. These are big high-end homes, four million, whatever. And he lost the listing there. He'd been talking to the owner for two years. He'd been talking to the little husband for two years. The wife for a year. He thought he was a shoe in for this listing and he lost it. So he's like, I don't have any advice for me but I'm just down. I just need some energy. I need some advice. So I called him and I said, hey, what's up, man? Like you've been following me for a while. You understand my principles and concepts around losing listings and all this stuff. Like what's the deal? He's really down about it. And I went through all the just regular stuff.  I went through the, you know, you learn something, right? And you're slowly molding yourself to get better and better and better. I don't do listing appointments to get listings. I do them to get better at listing appointments. If I get the listing, great. But my objective is, is to get better communicating with property owners. What do you do? How do you communicate to property owners, right? Sales 101 for me, right? A lot of people say, ask the right questions. You'll get the right answer. Ask better questions. I like that. I like that. What Ricky Caruth says is ask enough of the right questions. Enough of the problem is you guys aren't asking enough questions. You're stopping like two questions in. And I'm like going six, seven, eight, nine, 10 questions deep. I'm really understanding what's going on. And when I ask the question, I'm at that point waiting for an answer. I don't get nervous if they don't start talking right away and start trying to fill up the conversation with nonsense talk. I'm patient. I listen. I want to know what's going on. Nevertheless, let's back up. I was going through all the normal stuff, right? You get future time back. You don't have to spend on that listing. You can now take that future time and go get, procure five more deals. The, you can call all the owners, you know, in, in the subdivision and tell them about the listing.  And he kind of sounded very sad still at that point. You kind of sound like you or like, I hear ya. And I said, okay.  I said, all right, well look, here's what you do. You've got a window of opportunity right now. A window of opportunity right now between the moment that that seller signs a listing with that agent and it actually hits MLS. What's that window of opportunity? Like three days, a week, two weeks, depending on how quick you can get the pictures, like what the process is. Sometimes it's quicker, whatever. Two, two days, two a week, something like that. If it, if it's getting signed today. I said, you're sitting here sulking while this property's not on the market yet when you could actually call all the owners before it hits the market and say, hey, I know of a house coming on right in the subdivision. I know of a house coming on. I can't tell you which one yet because it's not official, but I know of it. I have inside information that it is coming. I know the agent, da, da, da, da, da. If you want to head start on it, if you want to be ready when this thing hits, if you know somebody, if you've got a friend, if you've got somebody that wants to be in the subdivision, like come to me, let me know. Let's get a game planned together. I'll even call the agent and kind of get all the ducks in a row where we can be the first in there, maybe even hit a, get an offer in before it even hits the market. Now, right there. What I did was, is he has a subdivision where he's made a lot of impact already. So a lot of homes knows a lot of people. What if he calls people with this in there that already know him, know of him, whatever. Look at the value he just provided. He's giving incredible timely, timely, inside market information. They can't get anywhere else. And even if he doesn't sell the property, look at the value, look at the relationship building that he did with that opportunity, not to mention that he might actually sell the house. That's a strong possibility as well, especially in this market with low inventory and people trying to get in certain subdivisions and I'm sure a four million dollar subdivision, I'm sure those houses are hard to come by. Who knows? I don't know the market down there. I'm just throwing out scenarios, but look at the value you're giving them. But if you take that two to five, two to five days or whatever it takes for it to hit the market and you sulk about losing the deal, then you let that opportunity slip through because why? You were looking at this from the wrong perspective. Remember, two sides. There's two perspectives here.  I could go find a buyer. This gives me an opportunity to find a buyer. This gives me an opportunity to let people in the subdivision know and if I haven't talked to the people before, this is a great relationship starter. If I've talked to them before, this is a great relationship. Builder and nurture situation. There's so many positives here that you can spread this out. You can even call other subdivisions, smaller subdivisions. You can call limitless smaller subdivisions within a one, two, three, four, five, 10 mile radius and say, hey, I know the listing coming up. It's in this $4 million area. Are you looking to be in a $4 million area? Because I could get you in there. I have a strong, I have inside connection for you. It's unlimited. You can't call all the people that's available to call about this and use it as a leverage point to continue building your business. Then you can call. You can never call them all. It's never gonna happen. It's unlimited, right? And so when I say limitless, what I'm talking about is the fact that you can't get to all the people and create, nurture all the relationships. You'll never do it all. Therefore you have job security forever. I think about this business in terms of relationships created and nurtured, not deals closed. The deals closed, like every relationship I put in place turns into 10 to 20 deals to me over the life of my career, right? I don't think of it in terms of deals. I think of it, how big is my influence in the market and how many of these people actually like me enough to do business? So we continue talking. And when I said that to him, it clicked.  I never thought that that dude, he like, you could tell he was stopped in his tracks and his whole tone changed. And he was like, okay, I get it. That is an amazing, I'm gonna do that right now. Then he went on to tell me, he said, Ricky, I don't even know how I was even in the conversation with this because I was up against the number one agent in the market. I said, oh, really? I said, look at there, dude. Like, you're already starting to spot the positives from this. He says, man, I was happy to even be there. And now like, I didn't ask him that. This is all coming out of him now that he's realized the opportunity. And now he's starting to think about the positives of the experience instead of the negatives. And remember, when we think about the negatives of an experience that makes us sad, we think about the positives that makes us happy and energized and wanting to take action and execute. And he said, but you know what? That number one agent didn't even get the listing. I said, okay. He said, this other agent did, okay, that doesn't sell hardly as much as the number one agent. And they got it because the wife liked her. And I said, bro, listen to what you're saying. Listen to what you're saying. Like, at the end of the day, like, why do you think that they picked that agent? I'll tell you why, because they liked her the most. They liked her the most, right? That's how you're gonna win it every single time, is who do they like the most? It don't matter about stats. You guys think it matters what your brokerage sold or what who your brokerage is, or what the market share is, or what team you're on, or what your presentation looks like, or how many views you get, or how you're gonna advertise. They don't care. They care about two things, okay? People at the end of the day care about two things.  Number one, that's the first thing they care about.  Nothing's gonna happen. They like you more than the next person. Obviously it worked on this, because this agent, right? The guy that's number one, probably had the best presentation, probably had the most sales, but he didn't win it. Why did he win it? Because they liked the other girl more. Now, this is part of it too. This is the second thing. They only care about their problems. Their problems.  They don't care about all that.  Like why are they selling this property? What's the driving factor here in their life that's causing them to make the decision to wanna sell this property, okay? That's what they care about. Their problem and do they like you? That's number one and number two, right? Everything else is three, four, five, six, seven, eight, nine. And until you understand that, you're going to lose listings to people who are more personable, who ask enough better questions, who go deeper with what's going on and so on and so forth. I never did a listing presentation. I'm not saying don't do a listing presentation. I'm just saying I focused on them. I didn't have a presentation to show them about me because I know they didn't care about me. That's just real talk. I know that they didn't care about me so I didn't show up to tell them about me. I showed up to learn about them. I showed up to ask a ton of questions about them. I showed up to understand what problems they are going through and then I helped them understand what I could do to help them solve those problems. Never had a presentation. I had comps. I had a listing agreement. I had a restaurant gift card. I had it all in a nice folder. Ricky Caruthpin. That's all I took to every listing appointment. Every single one of them. And guess what? I won most of them. My track record, I went to a listing point. Even when I was up against other agents, they're interviewing three agents. I won a lot of those. I lost some. Absolutely. Nobody bats 100%. Somebody commented on my Instagram the other day, I get 100% of my listing appointments. Yeah, right. That's a bull phase lie. You ain't never gonna get 100% of nothing. And it's okay. That's what makes the world go around. And this comes back to this idea and principle of abundance is that there's enough for everyone to have more than enough and still be more than enough left over. Ooh, that's the thing. You can't get to it all. And when somebody else wins, don't count it as a loss for you. That's a win for you too. That's what I'm trying to tell you. They get a listing, you get to A-sell it. You can leverage that listing to go get more listings, even though it isn't your listing. You can use it as a conversation starter. When I talk to a prospect, I'm not trying to get them to buy or sell. I'm trying to use whatever property I'm calling about, whether it's a property I'm presenting to them or a property that they own, whatever. I'm using it as a excuse to get to know them, right? And understand my fellow human and what it is they trying to do and why so I can help them do it. And that's how I do real estate. So anyway, I hope you got a lot out of this video. I'm gonna start being a lot more consistent on YouTube. I'm gonna map out certain days at certain times and I'm posting the same times on the same days every week. I'm still mapping out exactly how that's gonna work. As you can see behind me, I got a vibe board. So I'm gonna start drawing y'all some pictures and helping you guys understand things a lot better. So a lot of great things coming and I appreciate you so much. I hope you enjoyed this and we'll see you on the next video. Let's go.


I think it's really important because the world is facing enormous challenges, climate change, expanding population, also feeding the expanding population, also supplying materials to the profoundly poor people of the world. All of this needs new science and technology and the people who are going to invent this are the young people who have new ideas.


Hello, everyone. I'm Elena Chai from the Faculty of Social Sciences. Today I'm going to share some thoughts about beliefs and richer. I will talk about belief first, then richer. And the ultimate aim of these two topics will be summed up by my colleague, Mr Kelvin, on how belief systems and riches are manifested within societies in Borneo. First and foremost, let us ponder upon the word belief. It is a noun. Understanding a noun can sometimes be perplexing. So let us try to make it easier to understand by using the verb belief. As a verb, when we say belief in something, it means there is a positive attitude towards something we deem to be true. So we accept the truth or it's of opinion that this is the truth. Whether or not it is justified truth or unjustified one. This is an apple. When someone says apple is full of vitamin C, eating an apple a day is good for health. Yes, I believe. So I'm justified to believe it is good for my health. Therefore, I eat an apple a day. When someone says education is the key to success, if I want to be successful, I believe that I have to have education. I'm justified into believing education is the door to success. So how are these beliefs acquired with justified and unjustified truth? It could be justified through scientifically proven publications such as the level of nutrition in an apple. It could be socially acquired from living examples of people who obtain higher education and lead a successful life. It is more often than not acquired from the process of socialization dan from the interaction between members in the society. A society is the body of individuals living together as members of a community. Its members are bound by established relationship. There is interaction between most members of the community and this is what we call process of socialization. Values, beliefs, pattern of behavior are shared through the process of socialization. Values, beliefs, value, and pattern of behavior that we share is called culture. Culture is the social group that binds society together. There are few elements in culture which are social values, what are desirable in the society, social norms, fortwares, morals, laws, and taboos, social institutions, family, education, and economic government. We have the material products, cultural artifacts such as buildings, music dance, arts, language, words, and system people use to communicate among one another in the society. Just now, we talked about apple and education. Those were the profan beliefs. Profan means ordinary element in everyday life. Apple, toothbrush, cup, handphone, are profan items. Going to work, going to school, eating a meal are profan activities. The opposite of profan is sacred. Bible, Koran, cross, incense, rosary, tasbeer are sacred items. Performing solat, attending Sunday Mass, chanting the mantra are sacred activities. These activities involve some sense of religious city. Now, let's talk about religious belief. What is religious belief? It is the attitude towards supernatural, mythological, spiritual aspect of a religion. People acquire religious beliefs like profan beliefs through the process of socialization since beliefs are generated within the context of a society. In mass religion, there exists a belief in anthropomorphic supernatural beings such as gods, deities, spirits. There's a feeling of reverence, deep respect and awe of fear towards the beings. When we talk about religious ritual, it is the performance of a regulated pattern or sequence activities, recurring activities. It usually involves manipulation of symbols such as prayers, offerings to connect, communicate with the anthropomorphic supernatural beings such as gods, deities and spirits. In the Buddhist temple, I pray to the heaven's deity first by bowing three times. Then I pray to the man deity standing bowing three times. Then kneeling and I convey my wishes or my prayers Every temple I go to, I will do the same. The sequence of the activities will be the same too. So this is called ritual. We saw three settings of religious ritual in a Buddhist temple, in a church and in a mosque. It is all in a formal context in an institutionalized setting. There is the house of worship, the church, the mosque and the temple. There is the proper conduct of all doctrine guiding the do's and the don'ts. There is a systematic chance or prayers. This is what we call as official or institutionalized religion. What about those without doctrine? No laws for do's and don'ts, no systematic chance or prayers. What do we call them? Well, it is sometimes called traditional belief, popular belief, folk belief or pagan belief. Because it is defined against in comparison with the official and institutionalized religion. Most of these beliefs predate the official ones. There should not be discrimination to religious beliefs that is outside the context to what we usually know. There are many other beliefs that is not the so-called official or institutionalized religion. As students of cultural anthropology, we must look at beliefs and rituals from the perspective of cultural relativism. The beliefs and behavior of a society should be assessed within the context of the society from the people's own values, not based upon the values of the observer. For example, animal sacrifice may be objectionary act. We may think it is cruel, but it is a common feature of many society in the world. There is no universal yardstick on how culture, society, ritual beliefs should be measured. No one society, culture, ritual beliefs is more superior nor inferior than another. Well, students, that's all about my sharing for you today. And I hope you have enjoyed this session. Remember, eating an apple a day is good for your health.