Bismillah Khman Reem and Aslanikum Pakistan. Welcome back to corporate governance and we are continuing our journey of understanding the role of media and its various connotations, its various elements in relation to corporate governance. Today we have a very interesting topic and that is ethics in advertising because advertising is a very big industry now in the 21st century and we see that with the advent of social media and electronic media and print media and digital media what we see is that in all of these different medias advertising is done differently there are different approaches and now after covid what we see is that advertising has even gained more impetus because what we have seen is that people have been confined to their homes and therefore their outwardness towards life has been limited and therefore these advertising agencies and these different advertisements have a huge impact on the people because they have more time listening to more media and therefore those very structured approaches of influencing to advertisement have a huge impact on individuals and also institutions on the products the institutions are basically giving out to the public and also to the different processes which they are adopting and another thing that we see is also the service industry. So all of these are being affected through advertising and can have a positive or negative implication based upon how that advertising strategy is being implemented or executed and now a very important element in all of that is the ethical consideration related to advertising now ladies and gentlemen when we are looking at the ethics of advertising that advertising is one of the major tools cooperates used to direct persuasive communications to target the buyers and the public they advertise to inform potential buyers of the existence of product and to establish a positive attitude towards it. So again this is very important and what we see is that complete perceptions are developed and not only our needs being met the desires are being converted into needs and again through that advertisement there is this great sense of competition and this great sense of being deprived of a particular product and they tend to instigate that and embedded within the psychological framework of the human mind and therefore people tend to buy into that product and buy many allied products also as we have seen in for example nowadays we see there are different gaming boxes digital gaming boxes which have immense implications and again are actually addictive and we also see that with mobile phones and with other digital equipment because all of that is being packaged in such a way that they tend to entice and create that magical aura for the customer and based upon that the customer gets hooked on to the product and also the company just like we see how Apple consumers are hooked on to Apple products even though they are extremely expensive but yet those consumers are always going for them and also upgrading themselves with it. So that is all the power of advertising and seeing how it develops attitudes according to this total one of the basic concepts in effective persuasion is to be ethical. So again this is a very important thing that one should not misguide one should not sugarcoat and one should not tend to exaggerate their product or their service and therefore the most effective persuasion is ethical because to ethical persuasion trust is built and based upon that trust then the customer becomes a lifelong client of that particular individual of that particular institution or that company and that is extremely important. Raymond Baumhardt has quoted this in his book an honest profit what businessmen say about ethics in business. So ethical is what my feelings tell me is right. Ethical means accepted standard norms in terms of your personal and social welfare what you believe is right. So again Raymond Baumhardt simplified everything and it's all about what person things is right, what person things is needed, what the person things is justified as against something which could be wrong or unjustified or a luxury. So again through advertisements we see that companies have a very strong influence upon individuals and those individuals then become lifeline clients of those companies. This is an era of a vigilant and well informed consumer who wants to know about the product. So again the ethical advertisement is that whatever are the pros or the cons of the product they should be mentioned. Now we have seen this in Pakistan in one very important case in which we used to have a polka ice cream and then it became another ice cream and that ice cream they would always be writing ice cream but it was not cream and therefore then the court ordered them that they could not write ice cream. So again that they had to change the complete marketing strategy and they had to change their complete ethical advertising so that they do not misrepresent that particular word and similarly when we are talking about let us say health drinks or organic food stuff and all of these different type of things then one has to be very careful that all of the elements and all of the characteristics are properly stipulated and there is no misdirection or misdemeanor taking place and the consumer is very well informed due to mobility, due to internet availability and everything and they just have to Google or do some other search and find out about that particular product and therefore if the advertisement is done in an active way and is immoral then that would have many implications and consequences for that particular organization. This is a need on which corporates will have more lasting relationships with the consumers than just marketing products. So again the consumer, the citizen or the customer wants to have an experience so it is not a one time buy they want to have long term relationship so once that trust is established then that customer comes again and again becomes a repetitive customer which tends to enhance the revenues of the organization. So that is very important that through unethical advertising one does not tend to lose their customers but actually tends to build up their customer base in such a way that they become lifelong customers of the organization. In number of humanities and social science scholars view advertising as an intrusive environmental and its effects as inescapable and profound. So there are many studies which have been conducted and based upon those studies it has been seen that this advertisement process is now psychological and has many implications both internal and environmental for individuals and for institutions and the advertisement is being done in such a scientific and psychologically manufactured way that they tend to change the perception of the and it is not only it is not only when we are talking about let us say products and services but we are also talking about political perceptions and political parties when nowadays we see that elections are basically swayed through media. So all of this is basically emerging and we see that the role of media is gaining profound and inescapable impact on institutions and on individuals and that is why it is extremely important that we understand the implications of advertising and ethical advertising so that these negativities can be avoided all together. Therefore what we see is that in advertisement it is very important to do away with reinforcement of materialism, cynicism, irrationality, anxiety, sexual preoccupation, powerlessness and a loss of self respect. It is extremely important that we keep in view the customer and the citizen and the consumer because if we tend to mislead that individual then it has many repercussions and many negative influences which in the long term would be detrimental to the organization also and therefore ethical advertisement is very important so that the consumer, the customer and the citizen can take a right choice and can be well informed rather than misinformed and misled and that is what ethical advertisement is all about and just to sell a product one should not tend to use a complete psychological process to undermine the very self respect and the very competitiveness of an individual because that is not right and therefore the right way to do it is to be truthful, is to be honest, is to be upfront and to own the product as it is rather than sugar coating it or poison coating it and then selling it with negative consequences and that is something which should not be permitted by any of the stakeholders. There are various benefits of advertising also information advertising aids in the education of general public as we have seen in the COVID pandemic all together values and lifestyles advertising contributes to the improvement in the standard of living because on one hand excess of anything is bad but it does create competitiveness, it does create awareness and due to that what happens is that the individual can improve their own lifestyle and then it is also creative experience advertising adds new and interesting experiences to life because it is a creative process it is full of colors, it is full of design, it is full of graphics, it is full of videographs, it is full of pictures well yes it has many benefits also so again it depends upon the organization the management and the board of directors of the organization that do they want to have the ethical context or the unethical context what are the objectives what are the results and how advertisement advertising can be channelized in a positive way to add value to the organization to the stakeholders to the shareholders and most importantly the consumers and to the customers thank you so much


Hello, everyone. I am DeSoto Brown. Welcome to Think Tech Hawaii's Human-Humane Architecture. And I am joined today by this program host, Martin, who's speaking to us from Germany. And let's put Martin on the screen and say hello to him. Hello, Martin. There you are. Hello, my friend. How's it going? It's going very well. And Martin is speaking to us in the early morning in Germany and afternoon. So he had to get up early to do this. And we thank you for doing that, Martin. My pleasure. Let's get started. Let's do that. And we promised in the last show, which was about the Princess Kailani Hotel, who shed a light on a couple of other hotels who might need some help, right? Correct. So let's bring up the first picture here. This is the reference that there is a hotel, which used to be the Waikiki Park Hotel. And that's the project we're going to talk about. Let's go quickly to slide two already here. And that gives us the context of the architect of this project, which was Edward Killingsworth. And he is mostly known for the Kahala Hilton Hotel that you see our tropical tourist expert, Suzanne, standing in at the very top left. And on the right, you see Killingsworth with his client, Conrad Hilton. And so this was, we're talking 1960s, very classy times and as classy as our previous guests, Mayumi and John Hara. And John's car was the Pagoda Mercedes from that era. So one thing was very typical, sort of a signature style by Edward Killingsworth, which our friend and previous host in a lot of shows you have been doing with him and will be doing with him with Don Hivert and in his legendary book, Designing Paradise. He refers to some elements in his architecture as the concrete trellises. And so these you can see at the very bottom left. So let's go to this project here, which is the next slide number three. And here you can see these bones or concrete trellises sticking out of the project. Let's put it into a context of something else next slide please, which we like to compare architecture and vehicles and use automobiles as vehicles for thought. So the next generation after John's car was this model here of the Mercedes-Benz SL as it shows here. And I pulled this from the Mercedes-Benz classic website. So they made this one from 71 to 89. And with that it's one of the longest made models of modern car history where they didn't basically change the model of the body style, just the very sort of subtle revisions. So what does it have to do with architecture? Next slide. These time era from the mid-70s to the mid-80s was also the time of the longest period of a governor running at the state of Hawaii. And that was Mr. Ariyoshi, we can see here at the very bottom right. And what's the relationship to? We've seen that blue car a couple of times before because it happens to be mine.  And they told me it was originally Ariyoshi's wife's car. And so here we are and we're in this time period. We threw in another picture here I snapped from another classic, which is the varsity building. We see another model of these, you know, classic modern classics or young timers, I guess we could say. And we're talking about the same year of build of my car, which is 87. And that's also the year when the White Park Hotel was built back then. And let's go to the next picture. This is how it looked until most recently, which, you know, looks fine to me. But as we learned from tropical tourism experts, Suzanne, every so like seven to 10 years, the tourist industry things they need to remodel hotels to keep them up to date and fresh and basically rentable to hotel guests. And so let's look at the project next page here, how it looked like until most recently, I took these pictures here shortly more for our left at the end of the semester heading out to my sympatical year in Germany. And this is how it looked right now. It's much progressed. But let's look at the next slide, which is from the website of the Holly Kalani, who is the sister hotel and has always been. And this is their imagination or their promise, what they try to make out of it. Maybe you want to comment a little bit about what you see. Well, two things here. Well, one thing we discussed when we were discussing this earlier was that the Waikiki Park Hotel, first of all, it's being re-branded as the Holly Puna. And the Holly Puna is a new Hawaiian name. But you'll notice also that the local type that they're using is identical to the one that the Holly Kalani Hotel currently uses, which it entered or prospered into use in the early 1960s. So they're very clearly putting these hotels together as a unit and showing there's a connection. But the photograph looking out over the blue ocean is perhaps misleading because the Waikiki Park or Holly Puna is not located right on the beach. So you're never going to be having this unimpeded view of the ocean that you see in this photograph. So fire beware. Yeah. And Nora, what do you have the one at the very bottom right at this sort of ancient, unobstructed view of Diamond Head and that one palm tree? That's long gone, right? Yes, very long gone. And that's maybe okay. That's maybe okay. Next picture, because we're talking about Waikiki, a very dense urban fabric with one of the highest high rise densities in the United States. I think we're scoring position number six or so of the number of high rises in the United States. So this is one here. And this is what is going on. Their renovation isn't just interior, but it's also exterior. You can see the original enclosure of the glass facade at the top and then at the bottom them ripping them out. So you can see that clearly here. And so what is, let's look at the original one. You have lanais sticking out and you of course have an access to the lanai, which is a sliding door, which is a sliding glass panel.  And that gives you an indication that might be some functional reason for that. And there is, because the glass part behind that also has a sliding part. While this is a double loaded corridor, so you don't get the cross ventilation, but you might get some side ventilation, if you want to call that. So let's see what's going on and go to the next picture here. You can see at the very bottom right, they're putting in or they put in what you call a mock up. So before they install the entire windows, they test it. They put a sample in there, a mock up. And let's look at that closer in the next picture where you can see the construction worker cleaning out the original at the top and at the bottom. And for me, shockingly, you see something here that what used to be our system with a sliding door is now one fixed piece, which is shocking and unfortunate because we used to say easy breezy. And we get to the, you always credit me as the author of that. But in fact, there's another person that we refer to later in the show who owns that copyright for that saying originally and not just quoting her. So here, we're turning from easy breezy to her medicizing. And that's something we don't like. No. Right.  And that's the next slide here. This is a Tropicure David Rockwood with the emerging generation testing alternative ways of mitigation of wind and sun and privacy. And I wanted to ask you, does each one of those horizontal louvers move independently? Is that the intention? Well, they can move independently as you see at the very bottom right, you can turn them individually. But more importantly and fascinating, you can basically move them all down. So you have a balustrade that you're from falling off the building, but you have a totally unobstructed clear view and then you can move them up. So it's, you know, it's very multifunctional and great. And you can only do this in Hawaii. Never in here. And that is, that's a very innovative way of dealing with louvers. I mean, we've had, you know, Don Hiverton, I did a show just about jealousy windows. We don't have that with glass jealousies. Then this is really quite breaking. Yeah. Let's turn the discussion to a slightly different, but somehow connected level here and go to the next slide. This is looking at the sister hotel, the big sister, the Hale Kalani here. And there's a big piece of artwork that you can see in the background. And while I, this is from the 80s and sort of looks like that is a little too literal for me.  Exactly. But they don't talk about what the sculpture, the intention of the background of the sculpture is that the Hawaiian islands people have been fighting a lot and making war against each other. And this is addressing that. And you were the one when I was actually happened to be on the road and actually servicing my car at Jiffy Loop when we were in touch. And he said, Martin, have you watched the news? What's going on in France? There's revolution, there's riots going on. And I want to make very clear if you see at the bottom left, I'm not a Fox News watcher for obvious reason, but Jiffy Loop is so never mind. But you can see what's going on. I mean, this was going and they were fighting over fuel tax as it says here. And it's gone crazy. So let's go to the next slide because what does that have to do with us on the island? When this is the project is on my daily or was on my daily jogging route. And so I experienced something going on, which was people on strike. And these were the hotel service workers basically fighting for getting more money and fighting reminded you of something surreal and I think it's it's somehow directly related. But if you think about it, it is. And let's go to the next slide and please explain what was striking you. Well, the photographs that we see here are taken in Beirut, Lebanon. And in 1975, there was that was a site of a civil war that erupted in the country. And ironically enough, in the midst of this city of urban high rises and particularly in an area where all the hotels were, one of the major hotels at the time, which was the American chain Holiday Inn, became a central part of this civil war because it was so it's such an important position and it was so tall. Anybody who was in the Holiday Inn, which of course at that point had been devastated by gunfire and fire, etc. could control the area around it by shooting at people in the streets. So we saw this very bizarre juxtaposition of a Holiday Inn hotel becoming a symbol of war. And next picture, because you might people might think they're crazy. Now, what in the world does this have to do with us? Why are peaceful paradise? And let's go to the next picture. History has shown if you don't take care of the little people at the lower end of the food chain, at some point, they will not put up with that anymore.  And that's the situation that's the biggest challenge we have on the islands. And it's different to mid century, which we glorify so much. We have these different circumstances where the cost of living is exponentially getting more and more extreme. And wages are not rising proportionally to that. So when I was jogging by, I saw this surreal situation of people spending the annual vacation and a lot of money in adjacent hotels. And all they were expecting and counting on was peaceful tropical greases, maybe some birds. But what they were hearing was aggressive noise coming from one the construction site and Jack hammering and stuff like that. And secondly, there were these people on strike and hammering on gas cans and kitchen pots and stuff like that. So there was this sort of really rebellious riot situation going on. And other things have been discriminated. I mean, Waikiki was basically landscape and flora and fauna. And maybe this Rooster in the front is a leader here as well. And me too. Here's me and my card that I picked up. One job is not enough, as it says. One job should be enough. See how it should be enough, exactly. And it is not. So again, going back to architecture, what does it have to do with architecture? And so let's go to the next picture here. Here's a potential because the project is being comprised of a tower and a plin as most hotels are in Waikiki and all across the Hawaiian islands. And so the next picture here shows a potential that we've been pointing out some shows ago, which we gave it a surreal title or even more surreal title, the People Power Parking Plins. And that means if we somehow manage to get the island back to something different than individual inefficient and effective traveling in little tin cans that are driven by fossil fuel, then maybe we open up the space that until now hosts these tin cans and we can open this up for people as this picture here shows. These are of course hotel workers and not the people in need who would need the space, but there is this potential. So let's go to the next slide. And this is taken in the picture of the hotel from the other side, from the Malca side. And you can see relating to Rockwood screens here, some screens were already in place. So it's almost ready to move in for, as we call them, the proletarian people. And that gave the name to the show, the proletarian power, powers potentially sounds weird, right? But maybe the soda and Martin were ahead of that time because I threw in this little article from a German online newsletter here at the very top right. And it says there's my daily German lesson in Parkhaus sind noch Zimmer frei.  So what does that mean the soda? I can't remember now. You told me, and I don't remember. I apologize. So it means no problem.  So this means in the parking garage, there are rooms available. And you were surprised because this is a German article. Right. Right. And one of the things that we, you and I have talked about is when you're talking about people moving into spaces like this, it really requires a tropical climate in which you don't need to shut out the cold. And yet this is the thing that surprised me. They're talking about doing this in Germany, where it is cold, and you do need protection, unlike easy breezy living in Hawaii. Exactly. And that means if you can do this in Germany, and then we can do it here, you sure should be able to do that in Hawaii. Exactly. Okay, let's go to the next picture. Again, us dreamers and visionary people here, folks, how do we do that if we bring back the island to mass transportation? Which again, we used to have street cars and cable cars, electric cars, as we can see here. Let's go to the next picture and zoom into the micro pores of the architecture that we're analyzing here. And this picture at the top in the middle makes you laugh, give you a chuckle, right? It certainly did. Because I thought I was the only one who had long hair in the distant past, but that long-haired young man standing next to the Mercedes station wagon is Martin Beck, when he had hair with his father and their Mercedes station wagon, which we did not ever have in the United States in the States. Exactly. The first TE model was built from the mid-70s again. There we go again back to the beginning of the show to the mid-80s. And so as my car, at the very top left, you see me taking a picture of some things that were meant to be clipped on sort of the hinge gearware of the seats, which are on the metal, but these caps are basically out of plastic and chrome. And so they're falling off because they're getting old and plastic is not aging well. And what does it have to do with the architecture? Because at the bottom or at the top right, you can see this is a detail from the Kahala Hilton, where it's all concrete. And they went through the effort to put this additional batten at the corner and take it off with a foamwork. And it leaves this sort of negative, mesian corner. Again, that was mid-60s. And so here now, when they at the very bottom of this page here, you can see that the construction workers took off an awning that used to be attached to the trellis structure. And so here all of a sudden, you can see what's coming through, which is a steel structure. And it's been boarded up and plastered. And then somehow it reminded you of the way we built these days, right? And you were referring to our show of your Denny's in your front yard. Exactly. One of the things that it made me think of was when you look at pictures of buildings after natural disasters, after earthquakes, or sometimes hurricanes or tornadoes, you see when the facades are damaged or ripped off, what the inner parts of these buildings really are. And many times it's deceptive, many times there is a false front that looks like something, but it really wasn't made of that. And when you were taking pictures of the construction of the Denny's restaurant, right next to Compiola New Park and the zoo, that's what we were seeing. We were seeing structural steel and things like that, with decorative things put on the front to make it look like a different building, covering up what it really was. And as we're not afraid to be political, we talk about zeitgeist. And we say everything, prior to the 70s, that breaking point was authenticity of the Carta era. And everything after that, to be continued now, unfortunately, is sort of the fake front Reagan era, right? That's right. So if we go to the next picture on the other side, the Hale Kalani, however the Hale Kalani was built a little earlier, three years earlier in 84, they still were holding true to the Kahala Hilton tradition, even here more refined, not only did they break the corner in a 45 degree angle, but also in the center of each side, they put in some significant, even more significant effort to decorate, as we could say, the colors, right? So let's look at the next page about what they're going to do. This is a hard to pronounce name of an interior design firm, sounds rather French to me. And the design is sort of cream colored and beige and, you know, sort of tries to be in that sort of elegant, humble tradition of the Hale Kalani. And there's nothing bad about it, but as we were saying before, does this address the significant issues and challenges we're having socially on the island? And I think you said it doesn't. So where could be some hope? And let's go to the next picture. There is a little gallery in the Hale Kalani, just between the two restaurants. And I do a pit stop occasionally there and look at the artwork. And there were this four piece artwork in the back that was mesmerizing, because it's in the true tradition of modernism being very abstract, being patterned. But the closer you get, just like in modernism, you see something maybe more real, maybe more literal. And these are comprised of thousands of little fishes. And it's an artwork by, shouldn't have surprised me, our dear friend, Kaili Chun, the show we did with her is referenced here at the top right. And Kaili is indeed the one who crafted the term easy breezy. So let's go to the next slide and let's be a little bit patriotic here about because Kaili has a little German in her as well. And let's just say what if. Let's just say what if Hale Kalani would have gotten the whole job to Kaili, to a local girl who is Princeton educated by Michael Gray's and has ever since proven to be the most talented, sensitive of her culture, but as well also critical in a constructive, critical way in questioning her culture. We're getting fascinating you and Don with your screen show. I did a little addition to that a while ago on our show where we're saying there is a German product that offers glass jealousies that have been optimized to the temperate climate here. So they made a triple glaze. They formally optimized the frame. So you can withstand the cold winters and the hot summers here with that system. And so we were saying, well, I can see when Kaili would have been doing this, she would have equipped the whole facade maybe with that system. So you can do what they call a split system that when the sort of a little bit of a sissy tourist come in August, it's just too hot for them. They can shut them close and run their AC, but only to open it up in the fall and in the spring when we have perfect temperatures.  It's a very simple thing to do. You're saving energy when you're doing that. And we could do that. Yeah, exactly. The next picture that gets us to the bigger scale to the macro scale is study we've been doing a while ago with the emerging generation here, sort of criticized and critiqued by our activist journalist, Kurt Sandburne, that you see in that picture and his text that, you know, if we would do that, we're just talking about these sort of innovative retrofitting probably coming full circle back to the roots to the beginning of Waikiki, where everything was easy breezy and not on the fossil hook yet. What would happen then? And it could look like that. Let's go to the next picture, zooming in and we have tropical tourist experts, Suzanne again saying, well, this is where tourism is going anyways, there is the catchy term, we don't like the term sustainability, but it's been used in the tourist industry where the where the tourists are not tourists anymore, there are short term occupants, their guests and they become involved and they get interested in and they care and they're not depleting, you know, a place, but they're they're engaging with it in a constructive way. And as we said, when, you know, there could be this synergy of in this building, the former park hotel, where the proletarian workforce people who take care of the guests, you know, live in its plinth and and the guests live upstairs and they can mix and mingle, you know, why isn't this possible? Why do the workforce people have to live far out west, right, where the only place is where they can afford something and then they're stuck on H1 or they have to leave at 3am in the morning. No, let's integrate that, make that inclusive, right? Correct. That's right. And we were talking to you and I were discussing too, that as Porta Lulu is affected by the mass transit system, we will see more and more of this living close to your job thing or at least that's what I hope and you hope as well. Yeah. And I guess as to the next page, which is showing the attempt of the major landowners, we're seeing Howard Hughes at the top with a little ironic, we find, you know, they have their, their development model up there and they have it in front of the architect of your place, Vladimir Asipov's IBM building, where he some half of a century or more ago was recognizing a glass box doesn't do it. You need to shade that. So he did this very, very imaginative trellis shading work around it. And but today, you know, we don't look from that. You see at the bottom, these are the affordable, so-called affordable projects by at the bottom right commandment school. But all you see is basically a Chevron decorated elevator shaft or in the middle, you see that just almost completed workforce project by Howard Hughes, where they're using, you know, these sort of punched in shared gathering spaces. But that's a theme. It reminds us of, you know, as old fogies of Miami Vice and it's original from the, from the, from the 90s and, and architect Tonica having built this sort of Atlantis project. This, this isn't really new, right? I mean, we're basically recooking, warming up all things and our island deserves what Asipov has been doing, something that's really sort of novel and new and fresh and specific to our place. Exactly. And gets us to the next picture here, second to last, is showing what this photo? Well, we're seeing the, when you revealed your class reveal from one of their projects. And at the project were both me and former governor Neil Abercrombie. And Governor Abercrombie is holding up a booklet which is called wither Honolulu from 1938. And it was a publication by a city planner named Lewis Mumford. And he was advocating for some of the things that we're talking about right now for Honolulu. He was saying, you need to recognize your location. You need to take advantage of your weather. You need to work within these things to make your city more beautiful. And it's still applicable today. Exactly. And another thing he was proposing, and that was one of the reasons I think he is not our governor anymore because he was too brave and ahead of his time, he was proposing to not stick to this sort of 400 feet chopping off a skyline. But he's saying, let's allow certain prominent and dominant buildings and maybe proletarian people, power and towers could be such to rise higher. And so certain things need longer. And he was breaking the ground for that and broke his neck. But now we're back to that. He sent me the article at the middle row at the top that lawmakers are basically rethinking. And while we, you know, we're weirdos and we're proposing this stuff, but we need politicians like Neil with visions. So hopefully we get that lady at the very bottom as the next president. Or if not, maybe we get as we were promoting the Rock Dwayne Johnson as to renew his candidacy, which he was suggesting. And then maybe they can support projects like as you see on the right. And I think this is actually the faster tower that we're retrofitting and saying stripping naked, take off the facade. And then you see that green thing, which is just symbolic for again, screens could be vegetative as well, which gets us to the last page, which is our concluding note here, because many people, you know, know we're far out there. We're dreaming and people could say, well, keep on dreaming guys, but it's probably not going to happen. And so we learned that if we can point out some potential on the island, that things have been done that we just do again, that might be more convincing. So this one here comes full circle to Edward Killingsworth. And one of his last projects on the island built in 1994 is on the what we now know as the Coalina Resort. And the first project that was built there was the Ihi Lani, right? And it shows the same architectural language with the trellises and the full word concrete homework. But guess what, which we also saw at the very beginning, and people who were probably curious in the permanent background picture, you can see what we were talking about. We would constantly talk about keep the facade open, don't glaze it, use vegetation, use plants, use curtains. And here we are and have always been doing that. So let's do it again. How about that? Very good. Well, thank you very much, Martin, for joining us. And thank you all of you who've watched us today. We will be back or think Tech Hawaii in two weeks. I will be back, I assume, next week for Dokomomo Hawaii. And so until we all see each other again, thanks everybody for watching and see you next time. And we're gonna stick with hotels, right? And I think we said, let's take on, you know, in the last show, we showed this project and also the outrigger. So let's do an outrigger hotel. We're gonna be and I just sent you some really good outrigger stuff. Watch for those. You did. And your email. The picture I was waiting for for so long. I woke up with that. Make me very happy. Thank you very good. Thank you everybody. See you next time. Aloha. Bye bye guys. Bye bye.


Hello everyone, I'm Alicia Woodruff and welcome to the Fort Report. It's summertime and Stage 1 water restrictions are in effect. The water department wants to encourage people to have a green yard without using much water. The water department, along with its conservation committee in Britt, have created a landscape contest that we are calling EcoScape. The contest is open to residential landscapes in the Fort Worth city limits and in Fort Worth's wholesale customer cities. Basically a landscape that is minimum a thousand square feet and that conserves water, basically. We would like to showcase people, the non-believers, that you can have a green, beautiful lawn without the use of a lot of water, especially during the summer when we don't have a lot of rain. Steve has done just that. Well, I decided it was time to get rid of my grass. It was getting thin, thinner, more weeds were coming in and I was having difficulty controlling those weeds and I just thought, this is the time to get rid of the turf all together and so I came up with a design that would use other kinds of plants instead of grass. I used a herbicide to get rid of the grass and I made sure it was dead and then I incorporated the organic product, the compost and expanded shale, grated it, then I put some stepping stones, some sandstone across the lawn and then I fleshed out my design which included some salvia farinacea, a variety called evolution, I put some agaves out there, some variegated yuccas, one called color guard and then I filled the center of the yard with a ground cover rose called coral drift and then I put a large boulder out there just for accent so you actually walk through the garden and you're walking past different kinds of plants that add more diversity and interest to the landscape than just among the culture of turf and I don't have irrigation at all in my yard so if I need to water at all I will simply go out there with a sprinkler and run that during the hours that we can water or I can hand water. And don't worry, Steve cannot enter the contest since he is a city employee. The entry deadline is August 16th so submit your entry to WPE at Fort Worth Texas dot gov or call<PHONE_NUMBER>. Here's a look at other events happening in and around Fort Worth in the next few weeks. For a listing of more events and city meetings you can always check the calendar at the city's website.


It's Diddy Kane up back today with another video. Shout out to you for tuning in. If you are not subscribed, do me a favor and smash the subscribe button. Also smash that like button so it can push us up on the YouTube algorithm. In today's video, I have something to say, baby. I am exposing two apps today, baby. Two apps, so make sure you stay tuned and stick around. I'm not playing around. On this channel, I give you guys a good, bad, and ugly, and I also have to make sure I am holding these apps accountable for what they are doing. So, before we do that, we gotta get to this dough.  This order is on an app called Freight. Now I'm gonna expose them. I'm gonna tell you guys why. Make sure you stick around and stay down. The pick up place is Lowes. We are picking up two items that weighs 135 pounds. We're driving six miles and we've received a payment of 34, 44. Y'all don't even want to get this dough. It's go, get a papa like Chris Co. Let's go.  Let's not go yet. Put that right there, baby. As you guys can see right there, on the screenshot, it says mid-sized, it's right under the mileage. It says six miles right under that. It says mid-sized, meaning a mid-sized vehicle. Now we're gonna go on the Lowes, get this dough, it's go, let's go. And just like that, we are here at Lowes. So we can go, you know what I'm talking about? Get a papa like Chris Co. Hello. How you guys doing? I'm gonna have an order to pick up. Sure, was it done in store or online? It's through an app, so I'm not sure which one it is. I do have the order number though. The order number? 7-8-3-0-9-6-0-1-8. I think they're supposed to fit in a mid-sized vehicle. I don't know how that's possible for. Oh yeah? So, does it have to stand up or? So usually, yeah, we don't like to, on the side, they get down real fast. Okay. How does it have to stand up? Oh, we can stand it up, put it here. Okay. Oh, that ain't that bad. It ain't too bad. Yeah, definitely, let's just note it. It's not fit in this way. It's not fit in the SUV, so it has to stand up.  All right. Just because the side's been so easy, you don't want that happening. Yep. It sort of ain't the opening of the box. No thank you. Thank you very much, you have a great day, sir. And just like that, it's time for me to roll and get our pockets on the floor. Let's go. And just like that, we are here at the drop-off location. Hopefully, somebody here helped me get this thing off the van. If not, I'm gonna have to slide off on myself, baby. Here's the car to drive with. So we're gonna see if we can get busy. We also got this for the water here, so. Can you get the noise? Yes, ma'am. Yes, okay. Okay, do you have any, your husband anything, anybody here? Yes. Can he help me to slide up? Cause he has to, the water, he has to stay standing up, so I don't want to lean it back or anything like that. Thank you. I can slide it out though, it'd be okay. It's okay. Yeah, so for me, it comes in through an app, so it's not actually through Lowe's. So I'm like an independent contractor, so it comes in through an app and I accept it and then I just go pick it up and. Yes, ma'am. Sometimes you gotta do what you gotta do. That is it. I have to take a photo and get your signature. Of course, I got you. So if you just type your name and then sign right now and after that, you can be infamous. Great, yeah, that's me. Alrighty, so we got that. Now it's photo time. You ready? There you go. I'll make sure I get the face. Look at that. That is it. Let's get right into it, baby. I know you're wondering how I'm gonna expose freight. As you guys saw screenshot again for the second time, it says mid-sized right there. Let me ask you this question. How is it possible for a water heater to fit in a mid-sized vehicle? I don't know. Comment below and let me know. I'm clueless on this. So what I did is I decided to reach out to freight. I told them the order I just completed was listed as in mid-sized vehicle order, but it should have been a cargo van order. It was a water heater that could not be laid down. It had to be standing up. How much more would I be compensated for this? Now, I'm not just making this up. As you guys heard in the video before, the guy said that the water heater had to be standing up because they get damaged when they are laying down. So I reached out to him and said that. Now, do you know they had the nerve to text me this? Hello, all those orders come through with the correct vehicle type based on the dimensions. Pick up trucks are considered mid-sized vehicles on our platform and something such as a water heater could be filled up in the back of a truck, which is why it was sent over that way. Thanks and let us know if you have further questions. My question is this, mid-sized. To me, mid-sized means mid-sized, like maybe like an SUV. How is a SUV in a pickup truck the same size? It doesn't even make sense, maybe. So if someone showed up with a SUV, which I would consider mid-sized and they tried to put that water heater in the back of the SUV, it would have not been able to go in there because they had to be standing up. So I don't know, comment below and let me know. It doesn't even make any sense. How is a pickup truck and a SUV both mid-sized? Not to mention, say you had a, so it wouldn't fit in a regular small size SUV, but if you had like a suburban, like a suburban or a Yukon extended version, then it will be able to fit back there, but it also will be laying down. And the dimensions that you're going up, you're going on dimensions, you said, right? If you're going off dimensions, then the dimensions may be the same size, the width and the height and all that stuff as a pickup truck. So it doesn't make sense, maybe. Comment below and let me know if I'm tweaking or not. Hey, Freak, y'all need to get it together. Y'all gotta stop trying to do the finesse, man. Y'all already went down on the pay. I need y'all to get it together so we can run off to the cheddar. Now, we had an order on Curry, right? We had an order on Curry. I accepted the order. It was one item, one in a thousand pounds. We were going to drive 28 miles and receive a payment of $68.56. We were trying to go out there and get in the mix. So I get the order, I accepted the order, and put that screenshot right there, baby. As you guys can see right there, look all the way at the top where it says claim. Right under that, it says assigned. Meaning I got the order, right? So I'm driving, right? I'm running, running, I'm getting it. I'm running, running, I'm getting it. I'm running, running, I'm getting it. I'm thinking I'm about to go get busy and get this money. Guess what? I got seven minutes away from the pickup location and the order was canceled. So I'm, I don't know how. I'm like, maybe we're in the cancel this order. You know what? I'm only seven minutes away. So let me pull up to the actual pickup location and ask them what's going on. I'll pull it up in this half. Just like that, we are here at the towel shop. Let's see what's going on, baby. See what my guy talk about. I don't know. It just canceled that joint right on me. They are out of pocket. I hear somebody over here. How you doing, boss? Your name Jason, right? Your name Jason, right? Josh. Josh, I'll get it mixed up. I got a question for you. So I just had a query order to come here and it just canceled on me. They assigned it to a driver that was here at the time. Really? He was here dropping something off and because he was here, he accepted it because he was here at the time. I was literally seven minutes from here. That's crazy. He was right at the back door. That dude with the white, he had white a ram. The van? I just saw him. Yup. What? That's crazy. See, look, it said assigned and everything. All right, appreciate it, boss. Yeah. Now, you heard what he said, baby. Y'all heard what he said. They came out the horses in my van. Come on, nobody. Hey, I don't want to make no assumptions because the reason why I went there and asked him that is because I didn't know for sure, guess what? They're gonna try to act like it was the one they fought. And y'all heard what he said. He said that they did that, not him. So what I did was I reached out to Curry. I said, why was my order canceled and given to someone else? They said, hi, Jerome. It would appear that the customer requests another specific driver. I said, I just spoke with him and he said that you guys gave it to another driver because he was closer, but I was already assigned to the order and I was literally seven minutes away. I saw the driver leaving when I got there. How much would I be compensated for this? Now, I'm gonna be fair about all this. They did compensate me $25. But I also think that they're wrong for this.  How do you know I ain't come from an hour away? I drove all the way there and then you cancel the order and give to somebody else just because they're closer. I understand that y'all are trying to run a business but y'all also gotta do what's right. And I tell you guys this all the time, I'm gonna continue to tell you this, always make sure you do what's best for you every time because the apps are gonna do what's best for them. So that's what you need to know. Always make sure you do what's best for you because they're always gonna do what's best for them. I had to learn this the hard way and I learned this over the years of me doing different businesses and doing different things like that. Always make sure you do what's best for you because they're gonna do what's best for them. So remember that and keep that in your head and never forget it, baby. But I hope you guys enjoyed this video. Again, if you are not subscribed, make sure you smash the subscribe button. Give me a thumbs up and do not skip those ads. I also need you guys to start liking the videos so it can push us out on YouTube algorithm. I know y'all want this money, man. I told y'all already. I'm giving away a thousand plus dollars when we get to a hundred thousand subscribers. And if you want your chance to win some of those different ends, make sure you are subscribed and you smash that like button so we get there faster.  I hope you guys enjoyed this video. Make sure you like it tomorrow. It's going back down. We ain't playing around. The 233 is big bass easy. We'll keep on giving a reason. I'll see you guys on the next one. Be going, be going before you already know it, DDK. And I'm on my way.


Hessen matrix on suuri important element of numerical optimization techniques that we use to calculate maximum likelihood estimates. Hessen matrix is something that can be also useful to inspect when you have convergence problems. Let's take a look at what is Hessen matrix and why it can be useful for diagnosing model, non-convergence and particle and model identification issues. The first time an applied researcher sees the term Hessen is probably in this context. So you might have your statistical software printing out warnings related to Hessen, or you might have some output from the maximum likelihood estimation, where in addition to printing out the likelihood, the computer prints out some lines about Hessen matrix something. So let's take a look at what the Hessen matrix is. I have another video where I explain the Hessen matrix in more detail, but the idea is simply this. So understanding the Hessen matrix is useful to start from understanding what is convergence. And normally when we do maximum likelihood estimation, it is kind of like climbing on top of a mountain.  And one commonly used rule is that we are on the top when the ground below our feet is flat and it curves down to all directions. So the point here is that we cannot take a step to any direction and go up anymore, we would always go down. And the slope, the flatness is stored in the gradient vector, which contains the first derivatives of the problem. So slopes. And the curvature is stored in the Hessen matrix, which contain the second part of the derivatives of the problem. When we visualize a Hessen matrix, it's useful to take a look at different surfaces. So this would be a surface, we have a maximum likelihood surface here. And this is for an estimation problem where we are trying to estimate the standard deviation and mean of a normal distribution for some sample. And that's the standard deviation and this is the mean. And we can see that the maximum likelihood is run here when standard deviation and mean are at certain values. So this is where we are trying to find the maximum, the values of standard deviation and mean for this normal distribution that makes their likelihood as large as possible. When we look at the same problem from the top down perspective like a map, we can see that there are these contour lines. So the map points that there is just one peak when we travel across the contour lines, we go up and then we are eventually on the peak. And this is a well behaved problem. We would call that the Hessen for this problem is negative definite. It simply means that when we are on the top here, then it curves down to all directions. Another example would be a Hessen matrix that is not negative definite. So we might have a problem like this. So the mean is identified, but the standard deviation is not. For example, if there is no variance in the data, then the standard deviation couldn't be calculated. If a sample size is like one, we might calculate mean but not standard deviation. So we have this ridge here. So all values of s are equally likely. We can only estimate this m here. If we look at it from the top, then the contour lines on a map would be straight. We can go up here, but we can see that there's this ridge here along which all values of m and s are equally likely to produce the observed data. So briefly, the Hessen matrix tells us to which direction this plane or this surface curves. Now let's go to a practical example. I'm going to be estimating this model here and then showing the Hessen matrix, how we can use the Hessen matrix to understand why this is not identified. We have these two factors f1 and f2. We estimate a model where f1 is regressed on f2, f2 is regressed on f1 and each factor has three indicators. The decrease of freedom are positive, but this model is not identified because we have just one latent variable correlation. And as a general rule, you can't estimate two things, two regression paths from one correlation. So estimating these kind of reciprocal paths generally requires the use of instrumental variables, which are not available in this example. Our data comes from UCLA. This is an example of how you can calculate that exploratory factor analysis using converter factor analysis. But we'll be using this data set just to run a normal two-factor converter factor analysis or CFMR. And this is the status index that I've been using. I will use, it is a bit complicated, but I'll walk you through line by line. What we'll start first is that we will estimate this model from a hundred different set of random starting values. So we have this R normal here indicating that we have a random starting value for these regression coefficients. The first set of estimates is here. And importantly, there are no warnings here. So everything looks okay, but it is not identified as I explained already. So you can't always trust your software's identification checks. They are not bulletproof. They work most of the time, but sometimes problems like this go undetected. All right. So, but if we know, if you know where to look, you might see that these standard errors are very large. And that indicates that there is a problem with these two parameters, two regression paths. Generally, if you have a linear model, then identification problems almost always involve a trade-off between two parameters. So if one parameter increases, another one must go down. So it is quite often a trade-off. And if you can fix identification of one parameter, then the identification of another one will also be established. If we compare the first seven models estimated from these random starting values, we can see that all the factor loadings, all the error variances for the indicators are the same. So these are identified. But what we note is that there are regression paths between these two latent variables. They vary from depending on which starting values we apply. And this is an indication of model non-identification. And we also note that the estimates are negatively correlated. So whenever the regression path from F1 to F2 is large, then the regression path from F2 to F1 is a large negative number. If one is zero, then the other one is also close to zero. So this is an interesting feature. They are negatively correlated. To understand more about how these estimates behave together, we'll save the estimates in the file and then we'll do a scatter plot of the two estimates. And so here's the scatter plot. We can see that there are a couple of cases where both estimates are very large in the ballpark of 1000. If we take, leave those out, we can see that, okay, so there are a couple of where the estimates are very small in the minus tens. If we take those out, we can see that except for those four outlying estimates, this is what the estimates look like. So we have two estimates that are perfectly correlated for a sub-sample. So these are perfectly correlated and they all happen to have also the same likelihood value. So this is the largest likelihood value that we can get using these data and all these other likelihoods are smaller, more negative value. So in that case, the computer has not found the ridge here. If we overlay our map of this ridge line here, we might see that the Hessian looks like that. So there's a ridge. This is not negative definite. And then these are not on the peak. So they are not on the ridge, they are smaller values than the values on the peak. But the values on the peak are equally likely. So how would we then know, based on looking at a single set of estimates, what the problem is? If we repeat the estimates from multiple different starting values and then we plot the estimates, we can get this kind of nice plot that illustrates the problem that there is a trade-off between these parameters. But this is a bit of work to do. We can actually do it more easily. So let's take a look at these estimates again. So based on these estimates, how would we get more information, which parameters are not identified? We can look at the standard errors, but let's say that if there are like six parameters with large standard errors, we wouldn't know which combination of those parameters is the problem. We are typically in words just two parameters. What we can do is that we can print out the covariance covariance matrix of the estimates, math list EV, so that's the variance covariance matrix. And we can say that there are regression paths from F1 to F2 and F2 to F1 are almost perfectly negatively correlated. So this is in the covariance matrix, but when the covariance is in the same ballpark as are the variances, then we also know that the correlation must be very close to plus 1 or minus 1. And indeed if we convert these to correlations, we will see that there is almost perfect negative correlation between the two estimates, which we saw in this plot here. So this is almost perfect or perfect negative correlation in repeated samples when we estimate it, it's almost perfect. So you can identify or you can spot where the identification problem is by printing out the variance covariance matrix of the estimates and then check if any estimates are almost perfectly correlated either positively or negatively. If a pair of estimates is perfectly correlated, then both of those estimates can be estimated from the same data. So you have to adjust the model or if it's empirical under identification case, which is sample specific problem, then collect more data. Sometimes the problem is so severe that you don't get estimates. So if you don't have estimates, then you can't calculate this estimate variance covariance matrix. So what do you do then? Well, what you can do is print out the gradient vector and the Hessian matrix. And this is the printout. It looks pretty intimidating for a beginner, but we have the gradient here. The gradient simply contains the slope. So it's the ground flat under our feet when we are at the presumed maximum. All these values should be close to zero. If they are not close to zero, then you have a problem with that specific parameter. Generally, they are always when the computer declares convergence or when the computer stops estimating, they are pretty much always close to zero. So finding problems here is not that common. Then we have the Hessian matrix, which tells us something about the curvature. And we would interpret this the same way like we interpret the variance covariance matrix of estimates. So we would be looking at values of off diagonal that are large in absolute value compared to the diagonal elements. So the diagonal elements are always negative numbers, or almost always a non-negative number indicates an identification problem that is specific to a parameter. But most of the time you look at the off diagonal elements, do any large values, and we have a large value here. So the value is comparable to these diagonal elements. This value here is comparable to these two diagonal elements. That indicates that there is a problem involving that specific parameter. I have a video about Hessian matrix where I talk about this interpretation in a lot more detail. But this is just a demonstration that you can use Hessian matrix and variance covariance matrix of the estimates to identify if there is this kind of linear dependence between two parameter estimates which makes the model not identified. When we take a look at the bigger picture of convergence problems, the Hessian matrix and the variance covariance matrix of estimates is useful for diagnosing these identification problems. It is not that useful for troubleshooting problems related to computational issues for which starting values is more useful to some computational issues might be diagnosed with Hessian matrix, but typically the kind of problems that you find with this technique is identification problems that you can only adjust by adjusting your model or by collecting more data.


Hello, fellow followers of Christ, and welcome to the show that introduces you to the men and women behind history's greatest works of literature. Come along every week as we explore these renowned authors, the times and genre in which they wrote, why scholars praised their writing, and how we as Catholics should read and understand their works. I'm Joseph Pierce, and this is The Authority. Hello and welcome to this episode of The Authority. I am your host, Joseph Pierce, thanks as always for joining me. This week we are looking at arguably, and indeed I would probably say probably, the greatest poet of the 20th century, certainly in the English language, and that's T.S. And last, last time we looked at Siegfried Sassoon, and there are a few parallels that exist between Siegfried Sassoon and T.S. Eliot. First of all, they're near contemporaries. Sassoon was born two years before Eliot and died two years afterwards, but basically they lived parallel times. So T.S. Eliot was born in 1888 and died in 1965. And I said that the similarity is not just in terms of the fact that they lived at the same time, almost exactly, but Siegfried Sassoon came from a very wealthy family, sometimes known as the Rothscholls of the East, the Baghdad Sassoons, whereas T.S. Eliot comes from the group sometimes known as the Boston Brahmins, in other words, the Wasp elite from New England that possessed most of the wealth and the power in the United States and certainly in New England. So T.S. Eliot comes from that class, but although he's a New Englander by roots, and an Old Englander, if you go back further of course, he actually was born in St. Louis, Missouri, and the reason for that was that his grandfather had left New England to start a Unitarian church. So Eliot's upbringing was certainly not orthodox in terms of Christianity. Unitarianism was part of the family heritage, in other words, a denial of the trinity. But as befits, as one would expect from someone of his class in society of the elite order, so to speak, he was educated at Harvard, received his BA and MA in literature, and he then went on to spend a year studying philosophy at the Sorbonne in Paris, so having studied first of all undergraduate and master's level at one of the elite schools in the United States. He then went to study at the elite school basically in France, in Paris, the Sorbonne, one of the medieval universities of course. Then returning to Harvard, he studied Indian philosophy and Sanskrit between 1911 and 1914. This is a very learned man who has a great and deep academic background. Someone would have thought at this point that he would be pursuing a career, a vocation in the academy as a professor, but things were not to actually be. So he came to Oxford in 1914 and studied at Merton College, Oxford. But after a year he dropped out, so he actually became a college dropout, although of course he'd got his BA and MA and further studies. He preferred London. So he basically fell in love with the London society scene and particularly the scene of the literati, to find himself amongst the literary people of London, not particularly liking Oxford. So in 1915, having dropped out of school, he got married somewhat hurriedly at the, should we say, encouragement of Ezra Pound, the American poet whose influence upon Eddie was powerful but not always necessarily healthy. He married Vivienne, his wife in 1915, and she had a drug problem. He had a drink problem. Both of them were prone to sickness and in the case of Vivienne, ultimately to insanity. So it was a very troubled and turbulent marriage. And in a private paper written in the 1960s, Elliot confessed the following, I'm quoting. I came to persuade myself that I was in love with Vivienne simply because I wanted to burn my boats and commit myself to staying in England. And she persuaded herself, also under the influence of Ezra Pound, that she would save the poet by keeping him in England. To her, the marriage brought no happiness. To me, it brought the state of mind out of which came the wasteland. So I'm going to, at this point, spend some time looking at T.S. Eliot's probably his most famous poem, either that or Four Quartets, which was the last final great work he wrote. So I wrote a series for Crisis Magazine called Great Literature in a Nutshell where I endeavored to take the great works of Western civilization, great works of literature, Western civilization, try to encapsulate and encompass them in around a thousand words. Well, that's ideal suited for a podcast of this sort. And as this is one of the most important poems ever written, certainly arguably the greatest poem of the 20th century in English language, it's worth us knowing. It's also one of the most misunderstood. So it's worth us understanding. So here we go, The Wasteland in a Nutshell. The Wasteland by T.S. Eliot is probably the most influential poem of the 20th century and one of the least understood. Published in 1922, it was perceived at the time as being a jarring and iconoclastic modernist attack on tradition. One reviewer described it as a, quote, mad medley and so much waste paper. Another thought it depicted, another thought it depicted, a quote, a world or a mind in disaster and mocking its despair, adding that it expressed the toppling of aspirations, the swift disintegration of acceptance stability, the crash of an ideal. Its cultural impact was certainly very divisive. The modernist avant-garde gazed in awe at its many layers of allusive meaning. The old guard claimed that the layers were not so much allusive as an illusion, suspecting that the emperor had no clothes. The pessimism of its language and the libertine nature of its form accentuated the polarised reaction. The detractors included poetic traditionalists such as G.K. Chesterton, C.S. Lewis and Alfred Noyes, none of whom were aware of Eliot's own deep traditionalism, which would only become apparent a few years later with his embrace of Anglo-Catholicism and his description of himself as being a Catholic, a royalist and a classicist. It was not until his death, more than 40 years later, that a more balanced perspective would emerge of the cultural impact which the misreading of the wasteland had caused. The obituary to Eliot in the times conveys such a perceptive, that's the London Times of course, quote. His presentation of disillusionment and the disintegration of values, catching the mood of the time, made it the poetic gospel of the post-war intelligentsia. At the time, however, few either of its detractors or its admirers saw through the surface innovations and the language of despair to the deep respect for tradition and the keen moral sense which underlay them, end quote. It is ironic that the key that unlocks the wasteland is Eliot's great admiration for Dante. You cannot understand the Inferno Eliot had written without the Purgatorio and the Paradiso. The disgust Dante shows in the Inferno quote is completed and explained only by the last canto of the Paradiso, the contemplation of the horrid or sordid or disgusting by an artist, is the necessary and negative aspect of the impulse toward the pursuit of beauty, end quote. It is therefore in the light of the peace and resurrection at the end of the wasteland and the earlier infernal, that the earlier infernal and Purgatorio aspects of the poem are to be seen. The epigraph at the beginning of the poem sets the scene and a prophetic tone with this reference to the Cumaean Sibyl, the most famous of the ancient prophetesses whom the Greeks and Romans consulted about the future. She is described at length in Virgil's Aeneid in which she shows Aeneas how to enter the underworld and she is featured in Virgil's Fourth Eclogue in which she delivers a prophecy which theologians would later interpret as a foreshadowing of the birth of Christ. The Cumaean Sibyl in this sense can be seen as a figure of John the Baptist as one who cries in the wilderness in the wasteland prophesying the coming of Christ. The poem itself is divided into five parts. Part one, the burial of the dead, begins with an allusion to Chaucer's Canterbury Tales which sets the scene of pilgrimage. They then follow a heap of biblical allusions from the Old Testament, references to Job, Ezekiel, Ecclesiastes, and Isaiah which provides the penitential atmosphere. Quote, what are the roots that clutch? What branches grow out of this stony rubbish? Son of man, you cannot say or guess for you know only a heap of broken images. In these few lines, echoing intertextually with cautionary verses from Scripture, the image of the wasteland of modernity is laid out before us. The stony rubbish of modern culture enables no roots of tradition to clutch and therefore no beautiful cultural fruits can be found on branches that cannot grow. Instead we are left with nothing but incohesive and incoherent fragments, a heap of broken images. The poem's fragmented form is itself a reflection of the fragmented formlessness of modernity it satirizes and reproaches. As for its moral purpose, it is to show us something beyond our narcissistic selves. Quote, and I will show you something different from either your shadow at morning striding behind you or your shadow at evening rising to meet you. I will show you fear in a handful of dust. The wasteland is therefore a memento mori, a reminder of death, ashes to ashes, dust to dust, and the four last things to which such a reminder points, death, judgment, heaven and hell. The final section of part one introduces a new motif of the unreal city, an image of modernity severed from reality by accretions of artificiality or what we might now call virtual reality. Part one ends with the poet pointing the finger at the reader in its quoting of the final line of Baudelaire's famous poem to the reader. Part two and three presents a tableau of the last and decadence of rich and poor alike, including intertextual allusions to Shakespeare's Cleopatra, to Elizabeth the First and the Earl of Leicester, to a middle class typist and the young man carbuncular to whom she sacrifices her virginity, after which he bestows one final patronizing kiss before taking his leave and to working class people in the pub who discuss sex within the context of abortion and other manifestations of the culture of death. Part three ends the section on decadence and last with a reference to St Augustine's Confessions. O Lord, Thou pluckest me out, signifying and prophesying the turning point of the poem from the inferno of modern faturity and vacurity to the purgatorial cleansing of the passions. Part four is entitled Death by Water, offering a further memento mori but beyond that a promise of the death and resurrection wrought by baptism. Part five begins with the barren and arid image of the desert and the thirst for water it induces. There then follows an allusion to Christ on the road to Emmaus and a listing of the falling towers of the cities of man. Falling towers, Jerusalem, Athens, Alexandria, Vienna, London, Unreal. All the major centers of civilization which have been pivotal to human history are listed as fallen and unreal except for Rome which is omitted ostentatiously. Only the eternal city remains. Rome has not fallen nor is it unreal. The poem culminates and climaxes in the coming of the much needed and much desired reign, a symbol of grace and the awful daring of a moment's surrender which is the acceptance of faith. As the thunder proclaims the need for sacrifice, compassion and self-control, the poet ends with gratitude for the peace that passeth all understanding. So there we have a brief summary of the profundity of the great poem The Wasteland by T.S. Eliot. We'll backtrack a bit now. The Wasteland was published in 1922. We go back to 1915 during the year that Eliot was in Paris studying at the Sorbonne. He fell under the influence of Axion-Fran, Axion-Française and particularly its leader, Charles Morasse. Long since prior to that even when studying at Harvard had been very interested in French literature in general and the French symbolists or decadence in particular. But Charles Morasse is leading this political and cultural organization called Axion-Française, somewhat controversial, but we won't discuss that now. But the important thing is that Charles Morasse summarized his creed in a very simply. He said that he was a catholic, a monarchic, a classicist. So a Catholic, a monarchist and a classicist. When Eliot is received into the Anglican Church as an Anglo-Catholic in 1927, he describes himself as being a royalist, a Catholic and a classicist. So he echoes exactly, mirrors exactly the words of Charles Morasse. And this is important because it shows the influence of this tradition-oriented understanding of culture, which Axion-Française and Charles Morasse has, that dates back seven years before the publication of the Wasteland. So the point is that although Eliot was not a Catholic, when he wrote the Wasteland, the trajectory that he was on was one leading towards conversion. There was a desire for conversion at work in the Wasteland and that desire came to fruition five years after the Wasteland was published. But before the Wasteland was published, Eliot first came to prominence for the publication of a volume of poetry during World War I, 1917, Proof Rock and other observations, and then three years later a volume just called Poems in 1920. And then the Wasteland was the one that really exploded, if you like, onto the cultural scene as the anthem of modernism, both understood and misunderstood in 1922. And then there's a wonderful poem by T.S. Eliot called The Hollow Men, published three years after that, 1925, and I'm just going to read the beginning because of its cultural importance to other writers, and then we'll also read the end of it, because that's also very important. So I'm just going to read the first part of the poem, The Hollow Men.  Our dried voices when we whisper together are quiet and meaningless, as wind in dry grass or rats feet over broken glass in our dry cellar. Shape without form, shade without color, paralyzed force, gesture without motion. Those who have crossed with direct eye to death's other kingdom remember us, if at all, not as lost, violent souls, but only as the hollow men, the stuffed men. So this image of modern man as being hollow, vacuous, lacking form, substance, tradition, roots, which you'd always seen rehearsed, if you like, in the wasteland, became very important for writers such as Evening War and C.S. Lewis. So C.S. Lewis, who is certainly not an admirer of T.S. Eliot, in his own book, The Abolition of Man, published in 1945, I believe, towards the end of World War II, talked about men without chests and C.S. Lewis's Men Without Chests or Effectivity Synonyms are the same as T.S. Eliot's Hollow Men, this understanding of modern man as someone lacking substance or depth, vacuous, fatuous, not fully real, unreal, virtually real, living in virtual reality, artificiality. And Evening War, in writer and visitor, in fact, much of his fiction is full of these hollow men, samples of examples of modern men and women who lack any substance or integrity, any philosophical depth, any theological depth, any historical depth, merely slaves of the zeitgeist, slaves of the spirit of the age. So this idea, which Eddie encompasses here in The Hollow Men, published in 1925, is taken up by other writers such as Evening War and C.S. Lewis. I'm just going to read the final part of the poem as well because it's marvellous and I'm going to see how it leads into a quote by G.K. Chesterton. Between the idea and the reality, between the motion and the act, force the shadow, for thine is the kingdom. Between the conception and the creation, between the emotion and the response, force the shadow. Life is very long. Between the desire and the spasm, between the potency and the existence, between the essence and the descent, force the shadow. For thine is the kingdom. For thine is, life is, for thine is the, this is the way the world ends. This is the way the world ends. This is the way the world ends. Not with a bang, but a whimper. The conclusion of that poem irked G.K. Chesterton. You remember I mentioned how the old guard were not very enamoured of the avant-garde. And Chesterton certainly did not like the poetry of T.S. Eliot. And one of Chesterton's final broadcast before his death in 1935 was, he ends with, they may end with a whimper, but we will end with a bang. And the idea being that somehow or other, T.S. Eliot represented this pessimistic, sceptical view of reality, which the moderns display. But of course, what Chesterton didn't understand is that on the contrary, Eliot was satirising these people. He was, he was basically in agreement with Chesterton. And as we shall see, Chesterton, Eliot, actually came to some sort of reconciliation towards the end of Chesterton's life, which I'll get to anon. 1927, the T.S. Eliot published a wonderful poem called The Journey of the Magi, which is one of the greatest Christmas poems ever written. It puts us into the mind and experience of the three wise men on their way to Bethlehem. And indeed, they're looking back on the experience after the event. So 1927, the same year, Eliot himself becomes a wise man by becoming a Christian. He announces Christianity, as I've said, in the manner which I've already spoken. In the same year, he also announces British citizenship, deciding that his future lay certainly in England and not in the United States, his land of birth. When asked by someone, Jacques Maritain, the great Thomist philosopher, when asked by someone why T.S. Eliot never became a Catholic in the fall, should we say, Roman sense of the word, Jacques Maritain laughed and said that T.S. Eliot exhausted all of his powers of conversion when he became an Englishman. So certainly he had a much better English accent than I did than I do. Very posh, very Chelsea, and C.S. Lewis very irritated by what he saw as T.S. Eliot's posing as a sort of Chelsea posh part of London, bourgeois, Anglo-Catholicism. He actually satirizes him as the character Neoangular in C.S. Lewis' book, The Pilgrim's Regress, written and published in 1933, so just six years after Lewis' war's conversion. T.S. Eliot's conversion, C.S. Lewis satirizes Eliot as the character Neoangular, the Anglo-Catholic in his book, The Pilgrim's Regress. Ash Wednesday is a marvelous poem published in 1930, shows the purgatorial spirit. Certain people such as my good friend, Father Dwight Longenecker, compartmentalizes Eliot's poetry from the infernal poetry, the poetry of Hell, the early poetry, and then the purgatorial period, of which Ash Wednesday evidently is part, and then finally the Paradise, Paradise of Vision of Four Quartets, published in 1945. I think that's an oversimplification because I think there's a purgatorial dimension in all of Eliot's verse, but certainly there's this progression, and Ash Wednesday is certainly Eliot's certainly in purgatory now, not in the inferno. Perhaps the most popular book in terms of its cultural impact, possibly at least, is Old Poss'er's Book of Practical Cats, Eliot in a much more playful and lighter vein, and that of course became the inspiration and some of the lyrics for the musical Cats, which continues to be very, very popular. For Quartets we mentioned 1945, which is a deep meditation on the relationship between time and eternity, God's presence, the relationship with history. Don't have time to talk about that, unfortunately. Perhaps we'll come back and look at that. In greater depth, he also wrote plays at the poem The Rock, published in 1934. It choruses to the rocks on great Christian poetry, and this is The Reconciliation with G.K. Chesterton. In 1935, Eliot wrote a play for the Canterbury Festival called Murder in the Cathedral, based upon the martyrdom of Sir Thomas Beckett, and Chesterton as an old man, again, a year or so before he died, very big. It said he took up two seats at the theater, but he went to see it. But he went to see Eliot's Murder in the Cathedral and loved it very much. Eliot began to write to Chesterton and said that he thought that Chesterton was the greatest critic of the works of Charles Dickens. So they became friends belatedly in spite of Chesterton's misunderstanding of Eliot's purpose and form in his earlier poetry. His nonfiction needs to be mentioned. He wrote some very good works about what we might call cultural conservatism or cultural traditionalism, including Christianity and culture and notes towards the definition of culture. He also wrote literary criticism, and I do not think he was a great literary critic. I'm begging to differ with him here. He is wrongheaded about Hamlet. He calls Hamlet an artistic failure. He also described it as an insoluble puzzle. There are two types of insoluble puzzle, a puzzle which has no solution, which is objectively insoluble, and a puzzle that's only insoluble for the person trying to do it, and it might just be that the person trying to do it is not equal to the puzzle, not that the puzzle is itself insoluble. That was the case with T.S. Eliot's approach to Hamlet. I also think he was wrongheaded about the metaphysical poets, and it was a very, very uncharted one, wrong, about the status of Germanic Hopkins. Although I'm a great admirer of T.S. Eliot, I don't greatly admire his literary criticism. He won the Nobel Prize for Literature in 1948, and so we'll conclude with asking some questions around insoluble puzzles, should we say. Was T.S. Eliot an American? Was he British? Was he an Englishman? Was he somehow a hybrid form of one or other or more of these? Apart from that puzzle, it's certainly he's the most influential poet of the 20th century, and arguably the century's greatest poet, and on that note, T.S. Eliot, we salute you. Thanks for joining me as always, and please do join me next time. Until then, goodbye, God bless, and good reading. This has been an episode of The Authority with Joseph Pierce, brought to you by TAN. For updates on new episodes and to support The Authority and other great free content, visit theauthoritypodcast.com to subscribe, and use coupon code authority25 to get 25% off your next order, including books, audiobooks, and video courses by Joseph Pierce, on literary giants such as Tolkien, Chesterton, Lewis, Shakespeare, and Bellach, as well as TAN's extensive catalog of content from the saints and great spiritual masters to strengthen your faith and interior life. 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Good morning. My name is Greg Williams, and I work with the City of Columbia's Economic Development Department, and I am here to welcome all of you to another opening in Columbia and specifically Five Points. As it is July in Columbia, I'm going to be real brief and simply introduce our speakers. First, we're going to have our Mayor, the Honorable Daniel J. Rickerman, followed by the Five Points Association Director, Heather MacDonald, and last but certainly not least, our business owner, Ms. Ashley Lindler. So thank you, and without further ado, Mayor Rickerman. Good morning, everybody. Once again, a big crowd down here. It's exciting. We've had multiple ribbon cuttings this week, and I know that Ashley had her little store down the street, and now she has her own space, which is very exciting, and you haven't been inside. It don't make you smile. There are a lot of funny things in there, a lot of cool gifts to put some joy in everybody's, but excited to have another woman-owned business open up this week. We just did a ribbon cutting yesterday for another woman-owned business here in Columbia, which is a pattern that's growing, and I'm so excited about it. But glad that everybody's here. Yeah, I think that deserves a hand. Yes, it does.  We're at Palmetta State. Everybody always says we're last in everything, but we're actually in the top five for women-owned businesses per capita. I think that says a lot. So let's give ourselves another round of applause there. We're very excited to have this addition continuing to fill these empty spaces down here with local businesses and a mix of exciting new things going on to keep people coming down here and being part of our community. This is our most iconic neighborhood, so it's always great to see something new happening here. Without that, I'm gonna move it to Heather. Heather is our Five Points Merchants Executive Director. I'm gonna let her take the show. Thank you. Greetings to all of you on this very happy Friday here in Five Points. On behalf of the Five Points Association, I would like to thank you all for being here with us on this very special day. Ashley, I want to say congratulations to you. I admire your story, the person you are and the positive energy you bring to the village. You have a wonderful staff here with you who supports you, and I personally am very thankful for the time and effort that you give towards the Five Points Association Board of Directors serving as our secretary. And without further ado with that, I just want to wish you many, many more years of great business and let this be the forever little happy corner in Five Points. Hey guys, I am Ashley, obviously, and thank you all for being here. Every one of you that are here right now, I'm just, y'all are important to me, and it's just such a special time. And many of y'all have been with me since I was at a little corner over on Carlow, and y'all moved to meet with me to a temporary location here on Saluda. And we're finally here. Two and a half years later, we finally made it. And I just want to say a special thank you to the City of Columbia. I was a part of their, like, rehabilitation project loan program. And so that helped us get to where we are here. And I just love how Columbia pours into the small businesses to help us thrive. And to Five Points, it's just a family here, all of the business owners that y'all are not only my friends, but my family. And I'm so thankful for y'all holding my hand through all of this and helping me through it. And I couldn't imagine being anywhere else in Columbia, South Carolina, than right here. But thank you guys so much. I couldn't have done it without so many of you that are here. And thank you's not enough. So thanks.