As for instance, after Bridgeport, I said "I will never again own another tool," and I will only do things at other people's shops where they have tools, and where they need the tools, and I'm not going to hire anybody, I'm only going to go to the other man, and pay him to take the people he already has hired and his machinery and give him a contract to produce the thing, so that the people will not be afraid of when they get through with my part that they're not going to have a job. This really had to be completely disconnected. That is why when it came to doing what I've been talking to you about today, about the house the first full-sized Dymaxion House, the Beech Aircraft I made just such a deal with them, and I'll tell how that came about because it is important for you to know, also, how these things come about.

But, at all times here, going back to the just the 1922 and my five little factories, I am continually learning things that happened I found, I always lost my tools. Tools disappear anyway, people want tools and they disappear very easily anyway, and you spend an enormous amount trying to guard them, and I saw that time and again I set up my own shops, got all my tools very expensively ready and I and either they were stolen or I found that I couldn't afford to keep them, one way or another I had to let them go. So this brought me to absolutely, I was forced to a new strategy, as a little individual to carry on.

Now, there was an item that I went very close to the other day with you and failed to say something, and as I was talking to you most recently about Ford and one thing and another, it began to dawn that I had ought to make one little digression over there and bring it in.

It had to do with that inventorying, the mobile inventory of Henry Ford. I'm going I have something else to think about right now.

I feel then, thinking about the human individual as a conceiver as a comprehensive anticipatory design scientist, I would really I have also said to myself, such words as "artist" and "poet" are names that cannot be professed by individuals, but society in retrospect can really in real retrospect, not right away, can evaluate as to whether that really did have something to do with the evolutionary events of humanity, and I, so my own guess is that Henry Ford, who, and Henry thought of art, the word a r t as something that was in museums, and galleries, and some rich men's houses, and he did not like at all the gallery world of New York and that. And he felt it was part of the money people's game, and it didn't feel right to him at all.

His sense of art was, he liked old fashioned American music and Americana in particular, and he bought, went out buying old inns like the Wayside Inn in Massachusetts, and brought them out to his Deerfield park out there in Detroit. And he one of the things he liked very much was as I said the fiddlers and so forth, the kind of music of the generation he lived in he was a very, very great patron of that, but he also was a "twinkle dancer", and he literally could jump over his own desk. Even at considerable age, I don't know it was up to possibly 65 or so he could still jump over his own desk. Because he loved to do to go out into that kind of music and dancing, and that was art to Henry and the rest was not. He never thought of what he, himself was doing, as an art. And as I point out to you, as we go through the ages there are different canvasses and there are different tools of the artist, and to me, in the twentieth century, this man was really an artist on behalf of humanity. He was a great conceiver.

And I felt that that time study he made of the world, and actually painted the picture, where the ships were going, and they were carrying it, and he was in touch with them. He was conducting a great orchestra and really making it work. I think this was possibly, at my estimate, Henry Ford in the 21st century or 22nd, will be called THE great artist of the 20th century. THE great artist. And it will be really be very moving. They'll begin to dig out his books and find the things Henry was saying, that he has been very mis-reported because big money just did not like Henry. He was very much of a trouble maker for them. And they had great power that big money, and the propaganda was really propaganda is very powerful. And particularly in the power structure, and this is the powerful people, and this is the way they say, this is the way I like and so forth, other people don't really tend to getting to say that, it gets to be terribly, terribly powerful. And they own the newspaper, in fact they own this critic and the critic says it this way that way. Now, it's not something you can cope with very easily, so Henry will gradually emerge.

I was very sad that his own son, Edsel, did not understand this extraordinary farmer Henry his father. Edsel was absolutely corruptible, and the big money bought him in. And so he joined up with the big money makers. When, at the time of the 50th Anniversary of Ford Motor Company, Young Henry III was coming along, I hoped he might understand, and I tried to incidentally in my book NINE CHAINS TO THE MOON I talk about Henry this way. And I gave him a copy of NINE CHAINS TO THE MOON and I said I think you ought to be celebrating Henry here as the artist, and the family said "That's absolute nonsense." They did not see it that way at all. They were really seeing it in a very, very hard way.

Now, with your sensitivity alerted about DESIGN SCIENCE it is interesting, also, to keep ourselves right up to the minute. I had a telephone call at the office just before I came over here, from Alvin Toffler I don't know whether you know Alvin Toffler, but he is a very, very extraordinarily good writer, and Alvin said that he had been in Washington during all the formation of the new Congress, and he said that so much went on. All this young blood of the Congress which we all read about, and they were all challenging the old committees which are absolutely deadened and make our representative system almost useless. And highly corruptible. So that we have that young group, then, getting at the committees. But he said that, what was not reported in the news, he said "Good news rarely gets reported," but one of the most important things that came out of it was that it became a statutory requirement in the government, that all the new committees now, all have to have a "futures control", they have to be literally looking ahead, and, he said "This hasn't been published for some reason newspaper didn't say anything about it." But he said, he, Alvin, and a number of other people were so excited by this that he called me up to know whether I would join forces with him and he is developing a group with a name with the word "comprehensive" in it, and, oh "anticipatory" committee, and they were wanting to congratulate the Congress as people who were really very well known as writers and have some authority and credit with society to be congratulating the Congress on this, but he said "We want to get them going." I said, "you might as well use the popular term get cracking!" And that would be the thing, so he is going to use that term.

At any rate, I said I would join up, but I think it is interesting that we have our Congress getting around to the word being used is "anticipatory." Now, how many years I have had COMPREHENSIVE PARTICIPATORY DESIGN SCIENCE and people were saying "What is all this verbosity about here. Why don't you use just industrial design or something?" I found industrial design, incidentally, is a great misnomer. Industrial design came about the words were invented in the mid twenties. They were invented when a great many people after W.W.I, not knowing that all that tooling was available and was suddenly going to go in a big direction didn't know you were going to get into an enormous amount of production of cars automobiles. And that is exactly what happened. As we went into W.W.I, there were a hundred and twenty five automobile manufacturers, and every one of them started with the racing man an ingenious inventor, building his own car and get a name, whether it was an..., or whatever the whichever the names were. These were all very competent guys. And, they really were interested in making a car, and they were interested in loved driving it and so forth, and they liked the public's interest, so the show was very fascinating. But they were somebody would come along and say "I love would you make me one of those cars?" and the guy would say "I don't know whether I've got time, I'm busy racing " and so businessmen began to hear this being said, and said, they stood behind these guys and said "The man wants to buy one," he said "Right, Joe, I'll help you and we'll make this car," so they gradually all got to making cars, so as we came into W.W.I, there were 125 different automobile companies all primary. And they were

So, after W.W.I, and all this machinery was there, and production started to get really going, with the Henry Ford ideas, it really was very different, so the little guy didn't have those kind of tools. So the first thing they began to realize, if you're going to produce at all, you had to have tools, and so, there were lots of very extraordinarily good cars there were some superb pieces of design, and tooling was up so it was quite something, so that automobile company after automobile company kept going bust. They bought a lot of tools, and they had they got 30,000 orders and l5,000 orders, and that looks like a lot of orders, doesn't it? They said, I'm going to make some money out of that. At any rate, people on Wall Street all began betting on automobile companies. Boy, this is a brand new one. So all American began to bet on it. So a lot of shares are sold, and a lot of automobile companies are all going bust. And that got to be a very sorry turn of affairs, so they there was complex of them that got sold primarily there was the Dodge car, the Dodge group. And they were in real trouble, so there is a banking firm in New York, Dillon-Reed at the time, and they, then, put together a group of the bankrupt firms, because Dillon-Reed had some design science, and some engineers really making some studies, and they found that there were really you could only have one premium car, where people would pay anything a rich man so it was a Rolls Royce, and Americans couldn't really break through on that one. Rolls had it, and, then, you might get a sort of competitor to that one, but you'd have to work awfully hard, so there could be one Cadillac, one Packard, or one some kind of fancy car out there.

Then there was a really a good sort of middle-priced one like the Buick size, and then there was a production car. They said, you were up against it. If you wanted to go up against that premium one, you were probably going to go bust. It was very, very hard to just If you wanted to go in that middle one, that's going to be pretty difficult also, because there are too many fluctuations, but if you get to the mass production one What they learned was, I'm going to give you a diagram. We have what it would cost to tool up, and this tooling up is really running into the millions of dollars, so there are the buildings themselves, and all the tools that went in them, and so forth, and having to hire a lot of people to produce an enormous, big labor force going on with a lot of administrators before you've ever produced anything. So there was then this enormous capital cost then at the outset. If you then made that capital cost and you only produced one car you'd have to charge $70 million for that car, or $50 million whatever it is for the car, and obviously no one is going to pay you $50 million for the car.