Q: "Congratulations, jackass, you just got us sued." My editor, Sharon, was standing in front of my desk. She was apparently not happy. I shrugged, slouching further down in my chair, trying to hide from her gigantic crazy eyes behind my computer. It was a white laptop with a sticker that said "This Machine Kills Yuppies" slapped over the corporate logo on back. She reached out with one of her freakish man-hands and slammed the screen shut. "Let me try this again. You just got us sued six times over." Sharon Sinclair was a six-foot-tall beast of a woman with a huge mane of wiry black and gray hair pulled back in a pony tail. I had every confidence that she could tear me in two and use my bloody carcass in some kinky hedonistic lesbian cult ritual or something. So I usually tried to choose my words with the appropriate care around her. "Jesus-fucking-Christ, I haven't even had my morning coffee yet, and my head's still reeling from the Louisville Slugger that pummeled it last night. So I really don't feel like dealing with whatever annoying hormonal episode you have going on here." She glared at me silently, watching me squirm a little before asking, "Are you done?" "Probably." "Good," she said with a suppressed grin as she took a seat next to me. "Because I just let you publicly accuse the mayor and the valley's most powerful corporations of conspiring to defraud the taxpayers. So what's your plan for keeping my ass off the firing line?" I tilted back in my chair and met Sharon's gaze. "Look, we knew we'd get a strong reaction. Let them sue. We have e-mails to back us up." "These legal briefings say your e-mails were forged," she responded, waving a thick stack of papers in my face. "Of course they're gonna say that. That's why I made sure to get corroboration. Abrasax confirmed that the e-mails between Dylan Maxwell and City Hall are legit. But you know all this, so I don't know why we're wasting time going over it again." The protagonist probably works as a: - politician. - not enough information - lawyer. - writer.
A: writer.

Q: A prospective client sent me a link to this in-depth article on IBM's design thinking revolution, where Phil Gilbert, IBM's General Manager of Design, has hired over 1000 designers into the firm, and pushed for over 8000 of its managers and staff to get 'trained' in design thinking. They have even created specific design centres across the firm, with design offices in most of its key locations, such as the one above. The goal is nothing short of beginning IBM's next phase of transformation, one of many in its 100+ year history. However, all is not rosy. Despite achieving a monumental success relative to the status quo, 8000 'recognised' design thinkers in a corporation of over 370,000 souls is barely a dent in terms of changing practice. If NoTosh were to effect change in only 2% of the teachers with whom we work, we'd have packed up our bags long ago. I'm not sure hiring 1000 designers in and of itself is the answer to any organisation trying to instil a different way of viewing the world. Here's why. Since design thinking really began to be a thing, back in the early 60s, the designer him or herself has consistently been at the centre of the design process. Even though we talk of 'user-centred design', the actual ideation and production of a solution, and in many cases the synthesis and definition of the problem to be solve, too, are all tasks undertaken by skilled 'designers', rather than the people in the organisation who have the scope, brand, or 'permission' to play in that space. Once the designers leave the project, so does the design thinking. There is a reason d.school sees its executive courses filled with repeat customers and firms like IDEO continue to thrive - they are resolving challenges in specific examples of services or products, but not necessarily transforming the firms and organisations who had the budget and desire to solve a problem in that specific area. Solving a problem costs money. Solving a problem and teaching the client how to do it again and again costs more than just money.... Who is the prospective client? - Phil Gilbert's colleague - Phil Gilbert's hired designer - Phil Gilbert's subordinate - not enough information
A: not enough information

Q: Larisa Grollemond is conducting a comparative study of illuminations in the Mirror of History (Speculum historiale, Miroir historial) as a graduate intern in the Manuscripts Department of the Getty Museum. The massive text, compiled in the 1200s by friar Vincent of Beauvais and translated into French in the 14th century by Jean de Vignay, attempts to compile all of world history from creation to the present into a single source. "If our twenty-first-century way of understanding everything is to put it on the Internet," she says, "the medieval way of understanding was to create big encyclopedic texts that try to encompass all of human history and biblical history in an organized way." Larisa, who recently completed her PhD at the University of Pennsylvania with a focus on 15th-century French manuscript culture, is focusing on the Getty volumes' unique program of illuminations. The French translation of the Miroir historial exists in some 40 known copies, and while the text remains mostly unchanged from copy to copy, the illuminations vary dramatically, both in how scenes are depicted and in which episodes artists choose to depict. Larisa has decided to focus on the evolution of depictions of India and its inhabitants across these various copies, because the Getty copy, which dates to 1475, contains images that are different from earlier illuminated versions. While other copies don't dedicate more than one or two illustrations to India, the Getty copy has several that draw upon the medieval tradition of the "monstrous peoples" as well as knowledge of geography, materials, and customs newly gained through trade. This work ties into broader scholarly efforts to shed light on globalization in the Middle Ages. "Scholars of medieval art have generally thought of Western Europe as the center and non-European places as the periphery. There has now been a revision of that view," says Larisa. "These manuscripts provide an interesting glimpse into how late-medieval Europeans made sense of their world, including... Who is Larisa Grollemond? - 15th-century French manuscript expert - not enough information - A graduate intern in the Manuscripts Department of the Getty Museum - European
A: A graduate intern in the Manuscripts Department of the Getty Museum