We weren't able to get data on, unfortunately, so it could be even more terrible. Next slide, please. Then we also looked at innocent rates of people who have been incarcerated, who were later found to not have committed the crimes that not only were they arrested for, but actually were imprisoned. The National Registry of Exonerations, which looks at this data, found that African-Americans were 12 times more likely to be convicted, who were not guilty of drug crimes, than white people who were not convicted. And so while some of the focus is on making sure that there is absolutely fair treatment and justice for individuals who may have committed no offense, and as they go through the system that they're treated equally and fairly, but we also focus on people who have absolutely committed no crime at all, who end up in prison. And that may be hard to imagine, but it certainly happens all the time. It happens in a very racially disparate way. Similar, if you look in Manhattan, for example, again, when you go down to the local levels, you see how the disparities become even more charged when you go through the data. Next slide, please. And even for those who are not necessarily arrested or sent to jail, traffic stops. One study that we found that was stunning, actually, was looked at 95 million traffic stops. It basically looked at traffic stops over a long period from all over the country, a total of 95 million. And what it was able to discover was that not only are African-Americans stopped at much, much, much higher rates, but that is clearly driven by racial profiling. Because when it was broken down into drivers who would stop during the day versus drivers who would stop during the evening, in other words, when it was easier to see what the driver actually looked like, the numbers became very close in the evening versus during the day where these disparities existed, which indicated that it was really looking at the driver and then pulling these drivers over and doing these traffic stops. Next slide, please. So we also looked at food and housing insecurity. These are areas, again, that have not gotten a lot of attention. They've gotten more attention this year because of the pandemic. And the data we looked at as bad as it appears is before we have reached this crisis now. You do not have to go far to see the long, long, long lines of individuals and families who are lining up for food because people are very desperate kinds of situations. But even before the pandemic, this exists. And again, it was racially disparate. Black children, about three times more likely Latino children, about 1.6 times more likely to be food insecure. And by food insecure, it means that people are not sure where their next meal is coming from. Certainly not with their meals and food they will have for the coming weeks or for the coming months. And so it's a very startling situation to be in a country, one of the most advanced countries in the world in 2020. And you've got millions of people. And again, you can see them lined up every day who are food insecure. And if you look at the chart on the screen, this has been persistent over a longer period of time. You see some degree of drop with Black and Latino communities in between 2015 and 2018. But those numbers have risen again and again, even before the pandemic. And now they are sharply rising as a result of the situation people find themselves in. Next slide, please. One area that has contributed to this situation has been the loss of land by Black farmers as well as by Indigenous communities. Indigenous communities, of course, as Elena alluded to at the very beginning, lost virtually all of the land that was originally in tribal hands. But even after, even in the 21st century, that land loss is still continuing. And that has had an impact on people's ability to grow food and to develop provisions for themselves. And in a similar way, African-American farmers, which at the beginning of the 20th century owned hundreds and hundreds of thousands of land, peaking at almost a million by 1920, that's fallen down to about 45,000 Black farmers to date. And you still have a number of important organizations that are working to save Black farms. But that's going to require some policy intervention, which I'll talk about in one second. Next slide, please. Can we go back? Yeah, there. All right, thank you. And then coupled with the crisis that we're seeing every day around food insecurity, there's also housing insecurity. And it's pretty well documented that by the end of this year, both renters as well as homeowners all face the possibility of being out on the street. And that, again, is disproportionate, about 53% of Latino households, 55% of Black households. And again, this data was collected prior to the current crisis compared to other households. And if we look in certain areas, New Mexico, Hawaii, Montana, and Vermont, more than 2 1⁄3 of Black households are rent burdened. As Elena alluded to in her remarks, the purpose of looking at what she referred to as repair, the necessity of addressing these issues requires public policy. And what we hope this report will do, and my colleagues will go over this more, is it will lay the basis and the groundwork before beginning to deal with policy solutions that can address these concerns. So now I'm going to turn it over to my colleague, Helen, and thank you so much for listening. Thank you, Clarence, for that. And thank you, all of us, again, for joining us today. I want to say before we get into the racial disparity aspect of it that we used as a case study, that we did not forget the domain of education. We just didn't have enough time to actually cover it. Just two things about that, the when you log into the report, or you see maybe the original slides, that there were two disparities in education in terms of the racial and ethnic demographics of the teacher population in comparison with the student population. And we also looked at the racial disproportionalities in school discipline that actually affects the achievement gap between groups. But we're going into now the racial disparity in COVID-19 in the United States. Thank you, Alina, if you would advance that slide, please. Thank you. We used, looking at this data, we use COVID-19 and the situation on the ground as the lived experience of this data. What does this data look like when it's experienced among a pandemic? And we use the notion of looking at the disparities across the groups and how they correlated in people that were being infected and dying of COVID-19. And the data that we used for this came from the COVID tracking project that's in partnership with the Center for Anti-Racist Research now at Boston University. And to let you know that the data that we are using for this is actually the data that is used by John Hopkins, as well as many of your news stations. And you have open access to this data. And what I want to talk about, I want to show a little bit, even though, and if we'll go to the next slide, I think will be a good one to introduce that next point. Thank you, Elena. This is what we've been hearing about nationwide, that black and brown and indigenous people are dying at so much of a higher rate. And I just downloaded the slide literally last night, because the data on the COVID tracking project is updated daily. And this is the latest. And you can see just the visual disparity of who is actually dying. Black people at two times the rate of white people. And what I've decided to do with this section is to look at some state-by-state disparities, not just looking at how many people are dying per state, but look at how that data is being collected and the inconsistencies across the data collection around race and ethnicity. And while we have this picture before us, if we had better data, if we had more consistent data, going to show you where some states aren't collecting data on some of these groups at all. They might be collecting it. Some might not be publishing all of it. But there are really disparities across that. And so when you look at this picture, you wonder what would this picture actually look like. I think we do see the trends. But if there was more consistent data collection across the state, so we'll go to the next slide. Thank you. Just to give you just a quick overview, you can see this on the COVID racial data tracking site on how they calculate a racial and ethnic disparity. And it's flagged as suggestive when it meets the following three criteria. Is at least 33% higher than the census percentage of what they represent in the population remains elevated, whether we include or exclude cases or death with unknown race or ethnicity. And it's based on at least 30 actual cases or deaths. So there is definitely some patterns, even in this universe of really inconsistent data and data collection. Thank you. Next slide, please. What's the start out with the District of Columbia? Because, and if you go to the COVID data tracking project, you can look at this data state by state and to see the reported race data, the reported ethnicity data. And I wanted to start out with a part of the country that was actually doing the best around reporting this. And it actually is District of Columbia, even though it's not a state, but it is doing the best in terms of reporting. If you look, 100% for race data, 100% of cases and 99% of deaths. I didn't include the ethnicity part, but they also reporting very high percentages of that. So when you look at the disparate outcomes, you have some confidence in them. Black or African-American alone, 47% of the population in Washington DC, 47% of cases and yet 75% percentage of deaths. And what I have outlined in red, that's where the COVID data tracking project has actually flagged a racial and ethnic disparity as being likely. So we'll go to the next one. And I've given some more case studies, as we move forward. Next slide, if you would. We're gonna go to Idaho. These states weren't picked just randomly. They really, I wanted to show you the inconsistent picture across the United States. Reported, so they report ethnicity data. That's for the Latinx and Hispanic population. For only 51% of cases and 98% of deaths. So deaths, almost 100%, but only 51% of the actual cases. So when you look at the disparate outcomes, 12 American Indian, Alaska Native, representing 12% of the population, get 30% of the cases and 12% of the deaths. And you see the very high racial disparities there. And certainly there needs to be more representation in reporting the number of cases there. If we could go to the next slide. Great. This is Montana. Interesting here. In terms of race data, 70% of cases, but only 65% of deaths. I was actually comparing this last night to the last time I presented this. And for Montana, in terms of ethnicity, they're reporting 61% of cases, but you notice 0% of deaths. They're actually not reporting deaths at all. And the last time that I presented on this, they actually have improved. And they were reporting 54% of ethnicity. Now they're reporting 61%. But still 0% of deaths. And look at the impact on the disparate outcomes. How well can you get a picture of that when the reporting is so poorly? For the American Indians, they represent 6% of Montana's population, but 13% of cases and 28% of deaths. To get a better picture of that, we need better data on the left-hand side. Thank you. We'll go to the next state, just a few more, and we'll look at some patterns very quickly. North Dakota, similar situation, but worse, really. The missing data, they reported race data for 71% of cases, but 0% of deaths. 0% of deaths, let me say that again, was reported in terms for race data out of North Dakota. And for ethnicity, or Hispanic and Latino populations, 0% of cases and 0% of deaths. And I'm just looking down, I was just noting the last time that I presented, that has not improved, or actually the reporting percentages are exactly the same. Look at the disparate outcomes on the next picture there, moving over. How much we can trust that? Are we seeing the full picture? Certainly not when you're not reporting data for some groups, but for African-Americans, 3% of the population in North Dakota, and 5% of cases. And of course, we have no idea of the deaths because they are not being reported. Next slide, please. South Dakota, reporting race and ethnicity data for race and ethnicity, 100% of cases, 100% of deaths. American Indian, Alaska Native, we have more confidence in the disparate outcomes when we look at what's being reported. They are 8% of the population, 12% of cases, 18% of deaths. And what's highlighted in red is where there is a racial and ethnic disparity likely. Just a couple more just to give you a range around the United States. Next slide, if you would, please. Thank you, Texas. Really interesting here. Reporting race and ethnicity data, only 6% of cases, but we do get 99% of deaths, but we need a higher percentage of cases. And you can see the disparate outcomes among Indian and Alaska Native. Huge disparities in Texas for American Indian and Alaska Native. 39% of population of Texas, representing 45% of cases, although we have some misreporting there, and 54% of deaths, a really huge racial ethnic disparity certainly there. Next slide and we'll be wrapping up here shortly. Vermont is an example of, although they're not at 100% across the board, they seem to be doing a fairly good job reporting race data, 94% of cases, 100% of deaths. Ethnicity, Hispanic, Latino, 88% of cases, 100% of deaths. We do have however, disparate outcomes in the Asian American population that represents 2% of the population in Vermont get 4% of the cases and 3% of the deaths. So a disparity in terms of cases, the reason why we need to make sure that we have full reporting of all those cases. Next slide if you would, I have another minute or so. I wanted to include West Virginia, it's an interesting state in terms of reporting 100% of cases, 100% of deaths, yet 00, reporting no percentage of cases in terms of ethnicity, 0% of deaths in regards to ethnicity. And yet they do have quite disparities in terms of some other race alone and how they calculate and understand that particular category. Okay, I'm about a minute or two over, so if I can just take a minute to wrap up, we'll go to the next slide. The reason, and I think this has been reiterated very well by my colleagues, why we need consistent and timely data collection to really understand the pandemic to its fullest extent. And you can see just by sampling, if you look at all the states across our wonderful union, you're going to see the same discontinuous inconsistent pattern. We need to focus efforts and messaging that are culturally responsive and we need the correct information, the data to do that, ensure equitable access to testing and treatment and to ensure equitable distribution in terms of resources, in terms of preparedness, even as we move forward with the vaccine distribution. Let's see what we have for the next slide there. And our conclusion, and I'll let you read this if you want a copy of the slides on your own. But what I did was to look back and look internationally at the calls for disaggregated data, 2007, the United Nations Economic Commission for Europe, calling for attention to data regarding subpopulations, regarding gender, committee on the elimination of the forms of racial discrimination, calling governments to provide racial and ethnic data regarding education and employment. And again, the committee on the elimination of discrimination against women, being asking states for data stratified by both gender, race and ethnicity. So the need to do this has been ongoing and internationally. I'll end with that and turn it back over to my colleague. And thank you very much for joining us today. Thank you, Helen. I'm clear and excited to invite you to turn back on your video as well. Yeah, now turn it over to everyone on the call. And I'd love to hear questions that you might have around this project or things that you'd be interested in learning more about. We also have some questions for you also. After that, we'll turn back to you. Maybe as we get started, maybe I'll turn it to you first clients and ask, what do you see as the next steps in terms of moving us into policy? Do you see there to be a policy opening available? Thank you. Yes, I do. One of the things that we do with data, and I would mention that I worked on Capitol Hill for about seven or eight years working on a different range of issues. One of the things that's critical for developing policy is data. You have to have the right information. You have to have correct information. And one of the things that we need to do right now is what I would call a racial policy audit where at the federal level, the state level, and local level, we look at not only existing policy but proposed policy to address these issues and assess that policy for its adequacy. And if it's unable to address these questions, then we need new policy. And so that's where we're at now. And this involves not just policymakers but people who have the vested interest in these policy changes from church leaders, to community leaders, to academics, to community activists, to educators. And so there's a broad spectrum of stakeholders that need to be brought together. Again, around not our report, but data again that begins to assess all of the, and identify the reality of the experiences that people are having. Thanks for that. Helen, I don't know if there's anything you'd like to add. No, I, along with that racial audit, I would like to say would be a unique call and for more consistent data reporting and gathering, which I didn't include in the presentation, there was a researcher from Harvard that actually termed it as a form of discrimination in and among itself. If you are not collecting, reporting, and acting on, we included that Harvard professor reported that if you're not reporting or collecting, but I'd like to add, if you're not acting on data that you know where there are disparate outcomes that is in a form of inequality of racial and ethnic discrimination in and among itself. Thank you. Thank you for a really important point. I see we have a question in the Q and A. It says, how is this presented in terms of SDG metrics and terms? Maybe I'll take a stab at it and then I'll turn it over to the two of you. So we started by grouping this thematically by SDG and we use the basis of our state index, which is grouped thematically by SDG. So the underlying backbone of this report is the SDGs and in the index and dashboards that will be published in the new year, that is organized by SDGs as well. So I don't know if you're familiar with previous reports, but we organize by score and SDG and we give a score for each SDG as well as overall. So that's the underlying backbone, but this report was really for a general audience. So we kept the SDG backbone and when we talk about food and housing insecurity, we talk about how that relates to goal two as well as goal 10 and all of those pieces, as well as the idea of this underlying framework and the SDGs of the leave no one behind agenda, which really requires that those who are furthest who have been the least served by their governments receive the most attention and resources first. And so we believe this is a way to move forward in that agenda by understanding which groups have been the least served and how to prioritize that reparation. I don't know if Helen or Clarence, you wanna add anything? The only thing I would add is that in the report, to a limited degree, we also do some international comparison. So we look at how incarceration rates and other data compares on a global scale. And I also would like to add, this is, we haven't seen many in terms of research using the SDGs as a metric for accountability for racial inequality. And so in a sense and in spirit, we are arguing that the SDGs are certainly a metric for as they are defined, peace, prosperity for all, looking at environmental and sustainability issues, but understanding that the backbone of that requires racial and ethnic equality as one of the fibers that actually hold those clinics, the SDGs across the 17 indicators. So thank you for that question. There's another question or it seems like a comment and it was saying that this project will not just look into data, but also policies that have led to disparities and that mission to actively point to policies, which have caused disparities will be great. Yeah, I think in this report, we only scratched the surface of probably all of those policies. I don't know if Helen or Clarence, you wanna talk about that approach to talk about the policies that have led to these disparities. Absolutely, thank you for that comment. That's absolutely right. So for example, when we look at housing and we look at Helen did a lot of research and we look at redlining, there are a number of what were federal and state and local policies that contributed for decades to what we see as the outcomes now of the housing insecurity, the wealth gap, the income gap that exists. There's a very good book called Color of Law, which traces in some detail the federal policy that shaped how the country looks in terms of housing and the absolute hard line segregation that was part of that policy. And so the comment is really appropriate that it's not just the absence of policy to address these issues, but the history of policy that has led to the disparities that we're witnessing. Absolutely, and I'll add a little bit to that, even though we didn't have time to talk in depth about the education section, and Elena illuminated that we have some missing data around segregated schooling. But what data would we have suggest that schools are more segregated now than the time of Brown v. Board? And when you look at Brown v. Board, of course, and we actually discussed policies that were sort of paralleling at the time with the Hispanic Latino population, similar court cases that were going on, but Brown v. Board has been challenged and really broken down in the courts and have been watered down till in fact, even though we celebrated, and it is one of the greatest civil rights edicts that we celebrate all the time, but in practice, it's been broken down through the courts and what you see actually on the ground is schools being very much so segregated with white students as being one of the most segregated populations. And you're seeing this coupling together of African-American, black and brown students being coupled together through. And when you think about policies, how wide reaching that is, you're looking at how neighborhoods and gentrification and white flight and just the way schooling now is structured having charter schools and private schools.  And I'd also like to say along with that, that we were able to pull all that and we did some policy analysis as much as we could within the confines of the report, but we use a social determinants of health model. And when you look at that, take for instance in education and people are thinking, well, how does education actually connect with what you're seeing happening in COVID-19? And we were able to show that people with less education were more likely to be in customer or consumer-facing roles such as cashier or a bus driver and therefore more highly exposed. People with less education, poor people, less likely to have health insurance. So there's a connection, a web, if you wanna think about it, sort of as a web and how things all sort of come together and produce this, what I like to call it, constellation of inequalities. And that's another connection back to the SDGs. The SDGs 17 indicators, you have 169 sub indicators that sort of pull a lot of these things together. And we were able to see what was contributing to COVID-19 on the ground was, you could just draw a jagged or somewhat straight line back to many of these policies and lived experiences on the ground. So I'll end with that. Hopefully there's some more questions around it. Thanks both. I would like now to ask you all, no, one of the important pieces of this work was to figure out how to move this into policy and actually make policy changes. And so I'm going to share my screen now and hopefully you all will see this Mentimeter at the top. There's a code to put in if you go to menti.com. We would love to hear what are your ideas for moving this into policy? Are there strategies at whatever level, at the local level, at the state level, at the national level, do you see openings? Are you working in places where you think there's a place where this could fit in? How do you think this type of work could move into the policy arena? And I'd love for you all to fill in your thoughts there. Maybe while I give everyone a minute to do that, I'll just answer one last question that popped up around the criteria. Hi, David. David is a colleague of ours at SDSN. When you include indicators, not an SDSN USA indicator set, what criteria guided your choices? So I'll say that we use the same criteria that we use for SGG indicators. So it had to be from a reputable source. The source had to be open access. It had to be easily and frequently updated. There had to be rigorous data collection processes. And there had to be an opportunity to set a target. So there had to be some way that you could say what would be the optimal level. And you can find, if you're interested in those details, it's in the methodology of our report. How exactly we did that? I'm refreshing the screen to see what's happening on menti.com. And we have a suggestion to establish a coalition of researchers and policymakers, which I'm very happy to see as a coalition of researchers and policymakers who are adjoined here today. So I don't know, that's great. Do any, let's hear feedback or thoughts from either of you on that idea. Yeah, I think that's right. It can't be done by policymakers sort of separate from the community and people who actually are experts in the areas. And then for folks who want to make policy change, just doing the research and sort of putting it on the shelf or bookshelf or any other shelf. It's also inadequate. So we really do need these crossovers. And again, I would involve the communities that are impacted as part of that coalition. I see, Dr. Gardeller. I see a comment around the collection of race-related data for every COVID patient should be a law. Definitely there needs to be certainly national leadership around the collection of this data, which is primarily state-based. You can see that, wow, the inconsistencies in regard to collection. Yeah, that's right. It absolutely should be mandatory because without the data, you just cannot develop effective policy. Absolutely. I see the suggestion around decision support tools. And I'd love to hear more about what that means for where you're sitting in your position. So if you're interested, please follow up with us because I'd love to hear what kinds of things might be useful in that way. I'll just switch quickly to, or maybe I won't because my screen is not frozen. You'd like to hear more about how you'd like to be involved. So Caroline, I think has posted a link in the chat. And we'd love to hear what might be interesting to you, how we might take this further, what other things haven't we done that we could do, how we might collaborate and be involved with the things you're already doing. And here's a link to tell us more about what we might do. Helen, I don't know if you'd like to speak briefly about some plans you have in the new year. Yes, I was just thinking about one of the comments to gather a coalition of policymakers and researchers. That is exactly what we have in mind at SDSN is to, we'll be looking forward to working with SDSN and developing a working group around racial inequality in respect to the metrics provided by the sustainable development goals. So look forward to hearing more about that. I look forward to leaving that and to maybe involving the policy community and that way more directly. So look forward to hearing more about that. I look forward to your participation and thank you. If I might just expand on that. I think Helen is going to be leading a really critical group and I'm very excited that it will be hosted here at SDSN. One of the things we're also thinking about are who are other organizations that are thinking about data gaps? How might we collaborate? Or are there researchers who are working to fill these gaps? I know that Data for Black Lives is one group that's doing really incredible work. The Black Mamas Matter movement is also doing really incredible work around that. If you or an organization you're part of or aware of is doing some work that we might collaborate with or get connected to, I'd love it if you share in this forum or connect via email, I think that'd be really, we'd love to be connected and work collaboratively on that. As well. Okay. Any closing remarks as we end this webinar? Thank you so much to everyone for your participation and your ideas. It's been an honor to be able to share this hour with you. Thank you for giving us your time. I know how precious it is, especially right now. And I'll turn it over to Helen and Clarence for the very last word. Yeah, I just want to say thank you as well. Each time we do this, we learn something new. We get new information, new insights. So we do see this as a dynamic and living project. So again, I just want to extend my thanks as well. Yes, I'd like to extend my thanks to all the listening audience, as well as to SDSN, as well as to all the researchers that SDSN and we have reached out to. And we do encourage you to go online. And if there's a link in the chat, I'm sure there is. Thanks to Caroline Fox for doing that. Please do go and read the report in full. And we'd love to hear your comments further. So thank you very much. Thank you all.


I'm here to talk to you guys about creative coding, code art, creative technology, and what that means to me and hopefully what it can mean to you guys in the future. So what is creative coding? It's art, it's experimentation, and it's exploration through code, and it's doing it in an interesting, out-of-the-box way. It's making something without really knowing what you're gonna be making a lot of the times. If you think of technology as a jungle, you're just kind of a shetty and you're just going forward and maybe you'll end up at Oasis and maybe you'll end up getting bit by a snake. Who knows? It's trying new things and knowing that they're gonna fail sometimes and just accepting that and just embracing that as part of the process. And it's about rediscovering the beauty of code constantly and that's my favorite part. Hello? My name's John Brown. I'm a technical director at Instrument which is a creative code, or I'm sorry, it's a digital agency in Portland, Oregon. There's about 100 people there. And more important than my work at Instrument, I'm an organizer for PDX Creative Coders in Portland, Oregon. We've got 300 people who love code art and generative art and creative technology and doing all kinds of fun things with code in and out of the browser. And I consider myself a creative coder and a digital artist. And I mean artist and you know it's true because I did drop out of art school twice. So I can't draw. This is me trying to draw skeletal data from a Kinect with a body around it and it's a hot mess. I can admit that. But like I said, I dropped out of art school. Took me a while to find my medium. But my medium is code and I love making things move. I love exploring things with technology. And that's what I'm here to talk to you guys about. So, that was a weird jump. There's so many different ways to make things with code nowadays. It's incredible. Anything you can do in the fine art realm of art, you can have a digital analog for it. Sculpture, you can make music. Plots, robots, all these things. And all these things you can do with JavaScript. And I'm gonna show you guys some examples. So some personal projects have done recently. So in Portland, Oregon, another organizer for the PX Creative Coders Group decided to put on an art gallery. And the idea behind it was you walk into the room and on all the walls is digital canvases and in the center is one touchscreen. So if you walk up and you touch the touchscreen right in the middle, it's 0.5x, 0.5y. On each of the digital canvases, something will happen at that center point. And all these have been created by other artists. So you swipe your finger across the touchscreen, each of the canvases react accordingly. So it sounded like a great idea. So what I ended up doing was I wanted to do it. I invited a friend of mine. His name is Chris Arth to come do it. He's a print designer. He wanted to do some creative code stuff. I wanted his expertise in color and space and all those sorts of things. So what we did is we went to the hack day for the show. We sat down on the couch. We messed around for about two and a half or three hours. We came up with these two pieces that are very complementary, but they're very different. One's rectilinear and monochromatic. One has arches and it's full of color. And they're all responding to touch input or the leap, the leap motion in the background. It was so well received by the group that we ended up going in the window outside of the gallery in downtown Portland. So for a week, anybody walking around downtown could walk by our exhibit and move their hand around in front of the window and create some magic. It's really powerful. It was Chris Arth's first foray into creative coding. I got to work with a really good friend. It was super rewarding. And again, we didn't know what we were gonna make when we walked in, and that's important. And then a couple of weeks later, I called up Chris Arth and I said, hey, I'm bored, let's make something. He said, okay, what do you want to do? Let's make a Twitter bot. It had been a really long time since I'd made a Twitter bot. He had never made a Twitter bot. Again, he's a print designer. So what we ended up doing was, I went back into my memory banks of some things that had been happening recently. I'm gonna mute this. Wait, this is a sound? You guys probably can't hear the sound. That's all right. So another friend of mine, Ben Purdy, did all the visuals for XOXO this year. And I hung out with him a lot while he was sort of walking through the process, doing all these really creative things. And I thought to myself, I wanted to do something with glitching. So he was doing all this stuff on the very top level with corrupting just the visual output. I wanted to go down into the guts of these things and do something really interesting. So I said to Chris Arth, I said, let's crop some data. So don't cringe at what I'm about to do. Anybody that knows how JPEGs work. So this is a JPEG. It's a handsome devil right there. So if we take this and we open it in our favorite text editor, this is what it looks like.  Turn this nine to a five. Is anybody cringing? Turn this seven to a five. Doesn't matter. Let's turn this, okay, there's another seven. We'll turn this seven to an eight. We'll save it. Fingers crossed, I didn't completely destroy this file. Cool. So we got a little bit of corrupted data. What happens if we scroll down a little bit? Take this chunk of data here. Cut that out. I know, this is risky business right here. This is the first of three demos I'm gonna do. And let's see what it looks like. Oh, that's a bad one. Okay, anyway, destroy that file. No big deal. So the idea behind this was we wanted to take this data. We want to take some data when to corrupt it, do something at a very low level with JPEGs. So I got to read about how JPEGs work with the headers. Chris Arth just got to learn how to generally make something that waits for input and then does something with it. So we ended up making avatar glitch. It's a Twitter bot. Nobody do anything right now because I wanna make sure that this works. Which one of these million things should I connect to? Exmission? Exmission, five gigahertz? This is one of the things I should have done before. Here we go. Everybody, get off the Wi-Fi. Keep, just keep, just gonna keep doing this. Boom. Okay. Hi, avatar glitch. Let's do something fun. I always mess up. Let's see if that actually went out. I don't know. That may actually not have worked. Okay, I'll show you guys a little bit about that. So we made avatar glitch. What it does is it takes your avatar, if you tweet to it, it downloads it, converts it into a JPEG and creates one of these weird glitch pieces to it. And some of them are subtle. Some of them, this one just ignores all the headers and just goes crazy with it. But I got to sit down again with Chris Arce, this is him, and just make something interesting over a couple hours. And it was a lot of fun because I got to learn, he got to learn. And then the best part is that we then got to go to the Creative Coder Meetup and talk about it. I talked about it from a development standpoint. He talked about it from a design standpoint and it was this learning moment for everybody. Let's check out the demo. Yeah, I don't like that one out. Anyway, check out Avatar Glitch later. It'll give you a fun avatar. Plinko from The Price Is Right. Hopefully you guys all remember this. My favorite game from The Price Is Right. I used to watch this when I was sick at home. I was hanging out with Ben Purdy from the XOXO visuals. And there was an arch exhibit coming up for Cascadia.js. We wanted to do something physical and interactive to put into the art show. So a little bit of brainstorming later. We said, let's make a modern day version of Plinko. Plinko. Just saying the finished name, I love it. So we started with a prototype. Again, sort of knowing what we were gonna be going for but not really knowing how to get there because there's no manual to look up how to make a modern 2.0 version of Plinko. So we decided to start from the very beginning of making a prototype. Sliding puck bounces off a peg. It senses on the computer. This is an iPhone. It didn't focus very well. Step one done. Step two, oh, no, that's step three. Step two, nope, step one.  We put a projector on it so we would get visual feedback every time it bounced off a peg. Not bad, I think we got something. It's time to go full scale. I'm seeing it in the reflection over here. Hold on, there it is. So we ended up going full scale. Plinko size board. Spent a lot of time making some boards, some soldering. Oh, I'm also a full stack developer as well. So I do hardware software, a bunch of different stuff. So this is sort of coming out of nowhere.  There's a lot of time-lapse photography and then I'm sure you guys can all realize when you're just walking through a jungle of technology with a machete disaster. The day before we were supposed to turn it in, a lot of things were going wrong with it. First of all, all the pins attached. We used epoxy with 3000 PSI tensile strength. Didn't matter, they just started coming off. It was horrible, it was a big problem. There were constant misfires where you dropped it down on one side and all of a sudden, bunch of these ones didn't go off. Didn't know why that was happening, that's a problem. The Arduino board we used was too slow. We just missed pegs all the time, not even misfires, it just missed them. And then we missed the deadline. Came and went, we went hung out with the organizers and we're like, sorry, we just couldn't get it done. But, this is a disaster, you also have to overcome it. Especially in this field, if you wanna call it that. Because again, there's no playbook for how to make these things work. You have to realize that there's problems and you gotta figure out how to get around them. So, we just soldered the pegs on, took it apart, reconstructed it, perfect. I called some friends from Intel who had master's degrees in electrical engineering to ask them why there were misfires that came to the studio. They looked at it and they gave us some pointers. Awesome. We tried a few other boards, including the teensy, which ended up being 20 times faster than the Arduino. We had to try a few, but then it was like picking them up like butter. Is that a thing? That's not a thing, if you don't pick things up like that. And then we created our own deadline or created a new deadline. There was another gallery show that was gonna be opening in about two or three months. And so he said, that's gonna be our new deadline. And then, with all these things accomplished, there was install day. And we got to step back and for two or three hours, just watch people walk up, not really understand what's happening and then realize, pick up a puck and then drop it. And we got to see the joy on their face as a puck would just drop down and it would create these beautiful visuals. When you work on the back end for an e-commerce site, you don't get a lot of joy from your end users if they even know you exist. So it's doing creative coding and code art is a wonderful way of using your skills and technology in a way that's gonna give you some sort of like instant gratification and really good feelings. The state up for a month, we learned a lot about how to make Plinko boards if anybody ever wants to make a Plinko board. And we learned a lot about how people wanna use the Plinko board because people would drop one puck and then they'd immediately pick up all three and just drop them. And none of the visuals were meant for that but we learned that. We actually ran into a big O problem because there was an in factorial issue on one of the visualizations. So it stopped running very well after people chose that one. I know you're saying this is a JavaScript conference. So there's hardware and we're talking about Arduinos but here's the deal about this. This is a 99.5% JavaScript. There was a few, there's about 40 lines of code that's actually on the board that's grabbing all of the pin strikes but the rest of it was all JavaScript. Not only was it all JavaScript but Ben Purdy ended up creating an actual projection mapping framework so we didn't have to go outside of the browser and use MadMapper. And that's now available, he released that on GitHub. It is awesome if anybody wants to do projection mapping check out MatTastic. But JavaScript for all this was so powerful. Which leaves me to my next slide. Choose your path. JavaScript developers, you guys are all using the exact same thing that I'm using and let me assure you from the talks that I've seen today you are probably all much smarter at that stuff than I am. So using your creativity and your knowledge of how these things work, taking NPM modules and putting them together and trying things is gonna be super powerful. A lot of people will say try processing. I say try JavaScript because you can write it and seven billion people around the world can see it if you want to put it up on a browser. You can do it in vanilla JavaScript. Has this been opened? Can I have this water? Okay, it hasn't been opened yet. Vanilla JavaScript, P5, the processing port. It was designed for designers. It's created for designers to get into code art. So it has a very simple syntax, it's very high level but it's really super powerful. 3JS, you can create entire 3D worlds in the browser. That's pretty awesome. And you can have access to just tons of WebGL stuff that's been abstracted. And then there's all sorts of input and I've worked with all these so I can say these are all great. Connect, oh geez, connect. Just don't try and draw anything on the whiteboard and nobody will make fun of you for that. Connect, leap motion which is connect through your hands. The Myo, which is you put it on your arm and it can tell you your pitch, yaw, your roll, acceleration, all this stuff of how your arms are flailing around like my do when I give talks. And then, ooh, that was risky business right there.  That's also terrifying. And then there's all kinds of microcontrollers. Raspberry Pi, can run Node. TESL is built on JavaScript and on all the plug and play sensors that they have have NPM modules. You can plug it in, you can immediately be using any of these, pair them together, create something amazing. And there's more. Like I said earlier, anything in the fine art world, there's an analog for it in the digital world. You wanna do sculpture, you can do 3D printing or subtractive printing. You wanna make something that looks like watercolor. You can do that in a canvas or acrylic. And then there's so many things that you can do with technology that you can't do outside of a computer. And those are the sorts of things that I love to push and to explore and to try. So, what's the payoff here? A lot of people wanna know what the bottom line is. You're just a few of them.   And that is super powerful when it comes to art. Because right now, when you're working at work, you will have to sort of follow the dictates and the mandates of what's happening around you based on the team that you're working on but when you do it with just yourself or one fellow developer or just a couple of them, you guys get to figure out what you wanna do and you get to go for it. And then you get to put it on the internet. Make sure you put it on the internet so other people can see what you're doing. The future of art is digital. My wife has two degrees in art and she tells me that I am correct when I say this statement. So, that's important to me. In the future, we're gonna have frames in our house that are just gonna be there for artwork. We're gonna be able to push WebGL experiments and animated GIFs and all these things to the wall. I can't wait for that day. And a lot of agencies nowadays are embracing this idea of creative coding. As these things become more commercially available and a little bit more stable, you can actually get paid to go to work and to do creative coding, do technology exploration, which is what I do. I'm very proud to say that when I work at instrument, most of the work that I do is with creative coding and I'm gonna do some really fun things. I was a lead developer for the Google IO experiment last year. This is a 3D world that we made with CSS 3D, created a framework around it, just this wonderful exploration of CSS 3D that not a lot of people use in any super meaningful way, but this would run on perfectly on a mobile browser. Instrument also did this about a year or two ago. Running on Node, it's these tetrahedrons that are in the center of the city, nearby really, really busy streets, and they're flashing and they're vibrating with all these colors that are connected to music venues all across the city. And you can walk up and you can interact with it. You can just sit in the middle and meditate, but it's quintessential creative coding and such a wonderful project. And I'm gonna try a demo. Okay, wish me luck, sorry guys. Okay, now imagine, if you will, that you walk into a room and you heard there was gonna be a party there and you invited a friend and your friend and you walk in and all of a sudden you realize it's really quiet in here. Thought this was supposed to be a party. There's no music, there's no sounds, there's no lights. Everybody's just standing and looking at the door and when you walk in, somebody goes, hey here, try this. So you take this, brain scanner. Let's hope this works.   There it goes, you start dancing, you start, everybody has a good time. Then all of a sudden you realize, oh, I need to go to the bathroom. So you don't want people to be seeing what you're thinking when you go to the bathroom.  All of a sudden, it goes quiet again and everybody starts booing you and you go, oh right, you're right. So you hand it to your friend, you take it, you put it on and all of a sudden, they're now controlling the party. It's a fun idea and I got to work on this at work just as an exploration in what could be possible with brain scanners and potential ideas. Very surprised that worked, considering the luck we've been having today. I called it rave wave, where you get to be the life of the party no matter what, introvert, extrovert. Regardless of your physical abilities, as long as you have a brain, you can lead the party. These sorts of ideas are made totally possible with creative technology. And I hope that you guys all are interested in exploring those ideas. Oh, there was a demo in case that whole thing fell apart. But this is a commercially available brain scanner and there's more of these on the market and this got cut off. But I also used neuronal synchrony, which is an SVG animation library to make that and the sounds and everything. So, I think you guys saw this earlier. Got a swear word up here. I know you're thinking, what's the H word? Anybody have any ideas, what's the H word? Nope, it's fine. I told you I wasn't gonna do that, homework. So, sorry, but you guys have homework. I'm gonna give you guys, let's say a six week deadline to do one of these four things. Oh, go back. Oh, go back. Option one, make a Twitter bot. I don't care what it does. Just use some NPM modules and make something on Node and throw it upon a server. Do something visual, something with sounds, combine some things. Just have a good time, spend a couple hours making a Twitter bot. That's option one. Option two, is fork something on CodePen. So, CodePen does a really great thing where on the front page they put all sorts of CSS animations and JavaScript experiments. And one of the hardest things for an artist to do is look at a blank canvas and know where to go from there. So, as an example, I saw the, oh boy. As an example, nice. So, as an example, I saw this by Jonathan Hooker. It's just spinning double the decahedron. Really great. I said, yes, I love it. Let's push it. I'll use this as a jumping off point. I made this. I gotta learn about how color transitions between points. I got to work in a 3D space, which isn't really my thing usually. I'm usually a very flat 2D person. But I had a great time making this. I didn't know what I was gonna do. I was just like, let's explore this double decahedron. This is what came out of it. So, does this thing work? Ooh, let's just ignore that one. So, find something that you think is interesting. Fork it and explore it. Option number three. I think that you'll maybe have noticed a theme in every project that I've done. I've said there was somebody else working on this with me. And that's really important to me. It's a community and having somebody to bounce ideas off of and helping you when you're stuck. Maybe they're the same discipline as you. Preferably they're cross-discipline. But, is anybody in here from Dallas? Yes, okay. Computer visionaries, look it up. Awesome code group, creative code group. Is anybody in here from Pasadena, California? Thought that might be the case, nobody. Hypercube, if you go to Pasadena. Anybody in here from Vancouver? Anybody in here from Berlin? Is anybody in here from Salt Lake City? Woo! Woo! Okay, awesome. You guys have a different assignment.  I couldn't find one for the life of me, correct me later if I'm wrong, but I want to come back in a year and I want to see that you guys are working on something interesting together.  Those are your peers. Those are the people you want to connect with over the next day and a half. Option number four, submit something to Uncontext. So what Uncontext is, it's a project that I started last year. And it creates, or it's several streams of, mum, mum, mum. It is several streams of uncontextualized data. It just, all the data that streams over a web socket doesn't have any identifying features. It's A, B, C, D, E, or F, and they all change at different times at different rates based on different rules.  If you use A to control the color of something it spins, I can use A to control the speed at which something bounces. Uncontext is a great way to sort of take data that doesn't have any meaning and eject meaning into it, and it doesn't matter, you guys can check it out later. Make something with that and send it to me. We've had hack days with Uncontext data. Here's just a couple of things that people have created with it. The first one was also had music attached to it. Here's some fun 3D visuals. I don't have a steady cam, sorry about that. 3D shapes that were created in 3JS and then printed out on a 3D printer. We got it to control Mario at one point. There's been paintings and music generated and all these things just from this data that has no context to it, except I know what the context is, which is awesome. All right, here's a few final thoughts and then I'll get out of your hair. Creativity is hard.  There are some of the best artists in the world that the world says are the best artists, but they themselves are thinking that their art isn't any good and it doesn't touch anybody. So if people who have, who the world sees as great artists have issues with that, know that when you first start getting into digital art, you're gonna have some struggles with that, but embrace it and just keep getting better. POV is important in this particular field of technology. I'm a huge proponent of diversity in tech and I think that one of the best places to really showcase that is in the creative code art area. Because like art, it's all about what you feel inside and what you put outward.  Whether it's digital or whether it's analog. For example, I met Alicia Kia at one of the code groups that, one of the code events that I organized and I showed her the rave way of thing or I had talked about the rave way of thing and she said, hey, I made one of those also. She ran to her car, she pulled this out. She actually made hers. I ordered mine on the internet so she's way more badass than I am, which is pretty great. And this is some of the work that she made. So mine was very frenetic and it had sound and it had a different sort of context and hers is very subtle and it's smooth. And this is, oh, and this is her interpretation of visualizing that in like a constant, in a constant way. So POV is super important, especially in this area. And a final thought, a final, final thought. There is this wonderful essay that's very short that you guys should all read. It's called The Work of Art in the Age of Mechanical Reproduction. And it's all about when lithography and photography was coming to the forefront of art and how there's no longer a one-to-one relationship with art because you can take a negative and you can create an infinite number of prints. Before then, art was all about the one-to-one myth. The Mona Lisa is what it is because of Da Vinci's talent, the time in which it was made, the story behind it. There's all these things that make up what the Mona Lisa is. But when you're just taking photographs, a lot of people are like, well, what's the point? You can make as many of these as you want. If you read this essay and you replace mechanical with digital throughout, you're gonna get a manifesto for creative coding. And this last part is my favorite part of the whole essay. To an ever-greater degree, the work of art reproduced becomes the work of art designed for reproducibility. When you're making these things, you have the ability to put them on a browser and seven billion people in the world can look at it. That is super powerful. And know that that's what makes digital art powerful, potentially more powerful than fine art that's hanging up in a gallery because it can be shared with anybody at any time. You can have infinite iterations on it. So when you take this idea and all the frameworks that are out there for creating, you take the community of people that are interested in making art and doing some creative coding, you package that all together. That's what makes me an artist. So make you an artist and you an artist and you an artist. Everybody in this room an artist. So I want you to go home in the next six weeks, pick up a digital paintbrush and make something interesting. Thank you. I probably went long, do you want me to do questions? If anyone has any questions, in this moment, no. I could, oh, sorry. When I put the brain scanner on, was I using it to figure out what colors it was? In this moment, no. Those were the colors of nervousness and fright. But in theory, you could program it to influence it based on your thoughts and your impressions. Cool, good question. Anybody else? Yeah, totally, that's a great, that's one of the reasons, that's one of the things that I put out there. Go to CodePen, find something that's interesting, learn how it's put together because you can see the source right there, futz around with the inputs and the outputs and figure out the math that's behind it. And you can learn a lot just by, I mean, everybody knows you can learn a lot by looking at other people's code, especially when it comes to art. But yeah, that's a wonderful way to start. The question was about how, if you were gonna do a creative code group, it is using CodePen a good way to get started. Another really good way to get started is just to get a bunch of people in a room. I gave a talk in Nashville about this exact same thing and two months later, I got a tweet saying they were having their first creative code meetup and they got 70 people in a room and apparently so much cool stuff came out of that and a bunch of people met, that that's exactly what I wanted and I really hope that you guys can have that in Salt Lake City as well. So I'm gonna move the walk over here. Okay, cool, thanks everybody.


It's one of nature's deadliest forces. Every year tornadoes kill dozens of people and create millions of dollars in damage. Maybe it's time to fight back. Hello I'm Michael Holligan, welcome to your new house. It's protection right inside your home. A super strong indoor tornado shelter that can stand up to almost any storm. I'll show you how it's done. And tornadoes aren't the only weather to keep an eye on. Super handyman Al Carroll has a state of the art weather station you can install yourself. Plus we're going to talk a little bit about air infiltration and how to save half of your utility bill each month by keeping outside air out. All this and more coming up right now on Your New House. For a moment there you probably thought your television was tuned to the wrong channel or perhaps your satellite provider had connected you with the wrong link. Well this is Enet, it is learning again and I'm Ken Stewart. We slipped the opening for Your New House in to let you know that we have two new television partners here, Michael Holligan's Your New House and the Discovery Channel. I'll tell you more about this later but right now I'd like you to think about this question. Is your community at risk from tornadoes and hurricanes? If yes is the answer and for much of the country it is, then today's program has some important information for the residents and builders in your area. For many years now the Federal Emergency Management Agency along with corporate partners, researchers and local communities has been working on ways to reduce structural damage from high winds and lower the death and injury toll produced by these storms. From these joint efforts has come the concept of above ground safe rooms, a secure area in a home where the family can take shelter should a tornado or hurricane hit their neighborhood. Much of the research work has been conducted by the Wind Research Engineering Center at Texas Tech University located in Lubbock, Texas. Recently we had the opportunity to visit with Dr. Ernie Keesling, one of the center's founders and learn about the results of their work. In May 1999 FEMA responded to the tornadoes that swept through the Midwest particularly Oklahoma and Kansas. Among the responders was a Building Performance Assessment Team. We've included footage from their work as well in this first segment, safe rooms from research to practice. We are inside our safe room and it's a six feet wide and 12 feet long safe room and we have steel reinforcement inside these walls and they're six inches thick and our ceiling is 10 inches thick. It is a multipurpose room for us. It's a safe place to be able to keep things protected from fire. If we have documents that we want to keep safe there's a place to be able to do that and should we need to be here for any length of time we have a little table and chairs. We have a battery powered TV and radio, a little bit of water, flashlights, just the extra chairs for neighbors if they should come in. We're just so very proud that we have it with this steel door and our latches as Texas Tech designed and and very proud to have it. I feel very safe. The wind forces will be somewhat higher in a tornado. On the other hand they're higher only for a very small area and and even for only a small portion of the width of the tornado because in a tarnatic wind the wind speed is say if the vortex is rotating at a given wind speed and that's where the maximum wind speeds come from where the translational speed adds to the rotational speed is where the wind speed is going to be the greatest in a tornado but then as soon as you get out away from the center a little bit the rotational wind speeds die down considerably so it's only a very very narrow strip where the wind speeds are high in a tornado. Most of the damage is done by wind speeds say well under 150 miles per hour but in providing occupant protection we feel we need to design for that worst case scenario. Now in a hurricane it's a different situation. The wind speeds typically are not as high even for tornadoes that are spawned by hurricanes but the wind speeds are a much longer duration and in fact they can come from both directions as say the pass is close to the point of that we're considering. So they're a different challenge and furthermore the occupants are going to be there for a much longer period of time and because of that you're also likely to have far more people in the shelter so we have to pay attention in hurricane design to amenities to more space to some comforts in there because people are likely to be there for a long period of time. Obviously the garage was not a very good place to be or the workshop you can see the walls the door has been blown out and the roof is gone a lot of debris is going to be flying around in here. We go inside you can see all this exterior wall the windows have been blown out so you want to stay away from windows. Inside here here's where we had a major failure within the home obviously some sort of missile penetrated this wall and you can see the splatter on the opposite wall this room would be very dangerous to be in. It's clear it'd be filled with flying glass and debris and that's your major hazard in tornado hits. First of all there's a higher concentration of structural members there and then in say in the case of the bathroom you have some plumbing that is affixed to the walls into the floor that further anchors the building so it's not surprising that the small interior rooms offer a higher degree of occupant protection simply by the way they're built and the size of them and it becomes relatively inexpensive then to modify them to provide yet a higher degree of occupant protection by hardening and stiffening. You have an interior hallway you can see there's a lot of debris splattered around in here but essentially anywhere within this hallway for this case would be a relatively safe place to be. Now my recommendation in this sort of situation if we can come down the hallway in here would be the bathroom and obviously what we've been telling people is get into the bathtub pull something over on top of you from everything we've seen that if you're going to survive the tornado that's one of the best places you could possibly go. Another good place would be an interior closet. This sort of structure also will will tend to be the last thing to go in the house. First of all the shelter needs to be anchored to the floor so we would in new construction then that's primarily what this would be intended for. Leave reinforcements sticking up out of the floor when you cast the foundation floor. This be a typical four inch slab or six inch slab? Yes at least four inch slab that's minimum that more codes go down and in fact for this masonry shelter anytime we have the weight of concrete or masonry it's recommended that the slab be thickened or there be a footing under it so this shows a thickened slab and then leave reinforcements sticking out of there to anchor the shelter build a conventional concrete block or now insulating concrete forms are used as well for the construction then upon completion of the walls put a reinforcing bar into each cell and fill that cell with concrete then the reinforcement over to form the reinforcement for the ceiling and put a concrete ceiling on it. So that's a poured concrete ceiling? Yes sir and the ceiling must also be able to repel the falling debris in this case because some of the debris is lifted very high in the air and dropped so this is simply one of the techniques and one of the strategies for building a residential shelter and it is I think suited best for or suited best suited for new construction for retrofit. This is not really suitable because you would essentially have to clear the area so if we have an existing stud wall construction then another strategy would be used for that. For existing construction we would recommend several others this one is probably the most suitable for if you have stud wall construction we would recommend double studs and double plates both top and bottom but this uses simply two layers of three-quarter inch plywood for the structure getting the structural integrity and then a sheet of metal on the inside to provide the resistance to be on the inside of the room. Yes sir and so in this concept if you could get at it from the inside as you normally would be able to do in a closet or a pantry without tearing things up too much then you could strip it from the inside add the plywood and the steel and tie it all together before we add the plywood or the steel we would want to anchor the lower plate to the floor and then of course you have to pay attention that the ceiling built probably in the same way is firmly attached to the walls would be some sort of a joist hanger that would tie that. That's one strategy yes and then the walls must be tied together too because with the wind forces the extreme wind forces pushing on here there's a tendency for it to collapse so the shear walls must be able to carry the forces and the door is critical for wind loads because they must carry the same loads that the walls see and those forces can be either inward or outward depending upon the direction of the wind and that's not an easy thing to do to hold that kind of wind pressure with a door this is a one that that utilizes concrete and again we would use the plywood to get the structural integrity use double studs but this just utilizes concrete block for solid four inch concrete block that stacked in there this is not really that suitable for retrofit either because you have some sizing problems the stud spacing is not as good but for a person who does not wish to use poured in place concrete yet wants to use this basic concept that's that's one way to do it another concept for retrofit with this one uses poured in place concrete and we found that you can even use lightweight concrete there but there we add a layer of welded wire expanded metal on the inside and then the plywood to get the structural integrity here there's a tendency for the the debris to simply knock out a cone like a you see in a windshield a damaged windshield so this expanded metal would essentially arrest that and keep it from some from going on through also the new construction this one would work well in new construction it simply leaves a space between two layers of brick and fill that with reinforced concrete this is a little more expensive and requires of course a mason to do the brickwork the benefit of it is that you have finished wall on both sides that probably would match the masonry and the rest of the house we can use metal doors if the skins of the metal door or 14 gauge or thicker then it does not need modification to resist the fine when born debris if it's lighter in weight than that then we have to supplement it with a steel plate and screw a steel plate to it furthermore the hardware is critical because we can find no single latch that will carry the wind forces or the debris impacts so we recommend total of three closure mechanisms they can be sliding bolts but we would prefer dead bolts that can be operated from either side so that no one locks themselves in I was and I wanted to say for him and this is it you can tell by these walls there's 12 inches of concrete here 12 inches concrete here the roof is 8 inches it's all poured concrete one thing that I didn't think of the contractor did was the door they said to be sure and have a door that opens inward so you don't have to worry I mean if that bathroom had been full of stuff we still could have got out we still wouldn't have been trapped because the door opened this way we don't have to worry about the door being blocked so you get two pieces of three-quarter inch laminated plywood and in the the inside sheathing cover is 14 gauge steel and of course it's all screwed together and glued together and it's all tied in you have to put the the light bolts in about every four to six inches as you can see in these whole the walls in the ceiling are done this way the Texas Tech University ran a impact test on this thing and they had it all monitored and engineered and they fired a two before through the wall at 100 miles an hour and this was all tested and verified and I used my own test on it in that I went to the firing range and I got my 45 out and from about 15 to 20 feet I fired a bullet through this thing as you can see it went in here and it did not come out on this side it did make a little bit of a dent in the steel but it didn't go through obviously the cars were in the garage but there is no longer a garage back here this is the living room it's just you can't we haven't been able to get anything out of it it was probably done in the kitchen area this is the guest bathroom in here this is one of the closets and I've been pretty bathroom and this is the closet I went with the the inside closet as opposed to a cellar mostly because I didn't want some we had to go outside the storm sellers tend to leak we were trapped one time years ago a neighbors couldn't get from under their carport to the cellar because a softball size hail so I mean there something outside is is just more dangerous I wanted something plus the idea of the closet it's usable I mean I use it every day you know it it's that's my closet so it's a room that that gets a lot of use regardless of whether you're using it for a storm cellar or not this is the outside two walls of the safe room of the room addition that we did as you can see up here there's the concrete roof it's eight inches thick these walls are virtually other than the dirt and debris are unmoved why it happened that way even on down past the safe room which comes to here I can't explain why it stood to the West down that wall I can't explain why the wall stood there's a lot of wall standing in this house compared to the other homes in the area the best we can figure is that this safe room protected the whole house when the power went off I just dumped up slam the door locked it and within minutes it was here it was here and you knew when it got here it announced itself very good probably not more than five minutes total all of this was was done in five minutes I mean just the total total destruction took five minutes even though you build this room for this reason we just never thought of you know nobody can ever imagine something like this happening and we should have had flush lights in here and didn't we it ended up we were okay because it was still light outside once the tornado passed if it had been later at night we would have been in real trouble because you couldn't you had no idea what you were walking on nails and wires and I mean it there was no way of knowing what you're gonna step on it's safe I mean this room didn't it didn't move it didn't rattle it didn't I mean it did just exactly what it was supposed to do in our next segment Michael Holligan the host of your new house reviews safe room construction supplies and the equipment you would want to keep in that kind of a room and he also shows us an alternative method for installing a safe area in the house Michael Holligan Homes has been a corporate partner with FEMA's project impact program for some time and this segment is one of several that addresses upgrading new and current construction for wind resistance there are 170 tornado days that account for over 800 confirmed tornadoes in the United States on average 20 of these tornadoes are labeled killers claiming about 90 lives per year and accounting for thousands of injured what can homeowners do to protect themselves now your first line of defense is at your home it's traditional to put a storm shelter out in the yard but who wants to run outside during a tornado FEMA has come up with some plans where you can actually build a storm shelter inside your house you can see underneath the staircase here where they've already put up a layer of steel and now the guys are put in plywood up against it according to plans that you can download off the internet FEMA is the federal emergency management agency it's the government body that's responsible for safety preparation for natural disasters FEMA's website is full of advice on how to prepare for any kind of natural disaster there's an entire section devoted to plans for storm shelters and safe rooms home builders can implement these designs in the construction of their new homes Ray Higgins of Jim Sexton Homes is such a builder so Ray you've got your piece of steel on the exterior here and then a couple pieces of plywood and then one on the interior yes that's correct the the steel is 14 gauge plywood is three-quarter inch two layers and this will go on the exterior with a single layer of three-quarter inch plywood on the interior of your structure and that's according to the FEMA plans and what type of wind will that take how much that'll handle 250 miles an hour so it's it's a sturdy structure so that could be a big tornado and I'll stand up yes I noticed over here that you did go ahead and bolt our bottom plates of the wall down to the foundation and then you put straps holding the bottom plate to the studs that's correct we've got half inch J bolts and the metal tie down straps to tie the wall down to the double plate so not only should it not burst through the wall but it shouldn't rip the room off the foundation and then you put it underneath the staircase that's gonna add some strength as well and exactly we don't have an air cannon here to sheet studs at it a hundred miles an hour but you want to take a few wax at it and try see how strong it is compared to a normal room yeah that should be plenty strong you still got another piece of plywood put on the exterior don't you right so that'll give you an idea how strong the the structure is going to be now I hear you're putting a different type of shelter in another part of the house sure let's go to the garage okay let's take a look break here's another shelter in the garage we're building it's by a tornado shelters and closures I tell you that it's something else this is a big boy this solid steel hey Dave how you doing good good tell me what is this without a besides still what's this is a it's made out of a three-and-a-half inch tube still five sixteen cents thick with a half inch polycarbonate skin on it state-of-the-art material and if you're in a tornado this would be like watching it on TV you can see it come right up to your room yes you could yeah one of the things we've done we use a healthy anchoring system with this we've got some heavy safety factors built into that area in the anchoring this design where it's certified a FEMA 320 but our design criteria we've beefed it up a lot more than that we can take some really heavy wind loads on this structure sure looks like it what goes up on top the same thing this is a panel design all the panels are typical all the connections are typical except the door and you would mount the same panel on the roof of it is a glass bulletproof this is not bullet resistant we can make it bullet resistant with some thicker materials so you could use this like a safe room so that breaks in your house just lock yourself inside they could see you but they couldn't get you that's right we have the dark panels also in case the homeowner didn't want to see things flying at them or coming at them so they have the option of going dark or the clear the nice thing about this panel design is you can go into an existing home and measure up a closet put it in the closet you can make a home office out of it change the colors so it doesn't have to be in the garage like no it doesn't have to be in the garage we typically would like to see them in the center of the home somewhere that's usually the safest area and because we really want the home order better get into it within 20 or 30 seconds anywhere from in the house and bolted together like this it should be plenty strong oh it's the wind loads it can take are a lot more than 250 miles an hour I guess the biggest question would be the glass if you guys tested that yeah we were Texas tech has done all of our testing we got some footage of that glad to show you now they did the FEMA 320 test which is a 15 pound 2 by 4 at 100 miles an hour so Dave is that what the glass looks like after a tornado yeah it's a 15 pound 2 by 4 at 100 miles an hour well didn't crack the glass at all did it no just made an impression sure it in we don't have the air can in here but why don't you take our unofficial sledge test to it sure see how it holds up wow takes a big hit doesn't really do anything to it scooted it back a little bit it's not bolted down and that's heavy so I mean you're really hitting it the total unit's about 4500 pounds yeah it looks like it can take a tornado now if you're ever caught in a tornado even if you're in a shelter there are a few basic supplies that you're gonna have to have let's take a look you need to have some place to store a little bit of food preferably dry food that won't spoil especially things like peanuts make sure that you have an emergency scanner so you can listen to what's going on with the weather a cell phone is always a good idea a flashlight plus enough extra batteries for everything you definitely need some fresh water wouldn't be a bad idea to have a conventional radio in there as well a first aid kit in case emergency does occur a blanket if you have to stay in there for a while and stay warm and a bucket and I won't really explain what that's for but if you've ever been camping you probably know what the bucket's for I guarantee if you're inside watching a tornado tear your house apart around you you'll want that bucket if you like more information on how to prepare for a tornado contact us on the internet at michaelholligan.com we've heard in two of these segments about the testing and research at texas tech let's return to the wind research engineering center and take a look at those tests and get some more information on wind resistance a number of instances some small portion typically an interior room a closet a bathroom a pantry would remain standing even if the house was totally destroyed so the idea occurred to us rather early in the 70s that if we exerted some effort toward further stiffening and hardening that small room then we could provide a very high degree of occupant protection with relatively small costs so that really was the birth of the concept of the above ground storm shelter what we have observed is that the most common piece of debris that we see is a two by four and generally speaking again about a 14 foot two by four which depending upon the kind of material the as weighs roughly 15 pounds is what we see the most of simply because of the the extent that they're used in construction when we first got into this business there was a lot of lure and myth there there were reports in the literature about wind speeds in tornadoes the speed of sound and seven 800 miles per hour and all kinds of strange details of the effects of those extreme winds so we found a little substantive in the literature about wind speeds in tornadoes so one of the earliest contributions here I believe was working with scientists meteorologists in particular arriving at realistic wind speeds for tornadoes it's not sensible to try to prevent damage in the worst case scenario you're going to have some damage you can reduce the damage by paying close attention to connections in that building and trying to hold it together because most of the wind damage occurs at wind speeds say well below 200 much of it below 150 miles per hour and we can prevent that major damage we think the worst wind speeds we've seen are 200 or below 200 and we're designing for 250 so there again is a margin of safety this then which is again is a two by four stud construction we would probably put a vapor barrier of some type and then either plywood or a an oriented strand board or something to which we could attach the exterior siding so this with three-quarter inch plywood here is is uh as strong or stronger than we would find in considerable number of house constructions and this will will not nearly withstand the debris impacts probably I don't know for sure but I think a two by four traveling at 40 miles per hour would probably pierce this whereas we're seeking a hundred this is the behavior we see when the missile perforates it simply punches a hole in the wall section in this case the the end of the missile was hardly damaged blunted a little bit and the missile would simply have kept on going at it not hit the end of the laboratory but finally when it hit the end of the lab the missile splintered what we desire to happen of course is that this wall section have the ability to absorb or arrest the energy of the missile and stop it or to reflect the energy of the missile back into the to itself to cause it to shatter as we'll see when we use a more massive wall section here this wall employs some reinforced concrete this is two courses of masonry with about four inch concrete layer between it that's reinforced so this has the mass and the hardness to reflect the energy of the missile back into the missile itself causing it to shatter as you see here so i think the secret is either to have reinforced concrete in place as we have here or to have metal that will give some and absorb the energy before it perforates this was simply a material that we tested for someone at a fiber reinforced plastic that performed successfully the missile impacted right here it stopped caused a little structural damage but that's of no concern once the shelter and once the wall section has repelled the missile then the damages of little consequence because it's saved the people inside i think when we assess the public benefits of keeping more people in place then we will find that the there is a substantial public benefit to the widespread use of shelters in hurricane regions the major reason for having a shelter in a tornado zone is is the peace of mind that it offers if one looks at the probability of being hit at a given location it's very small yet that's not very comforting when weather warnings are issued and and when you see the devastation caused by tornadoes i think the the best reason for having a shelter in a tornado zone is the peace of mind of knowing that a safe place is available and you can go about your normal living patterns feeling that the safest place for you to be is at home at the end of the segment on safe room testing you saw the results from tests performed on fiberglass wall materials it's a relatively new construction material in homes the folks at your new house and steve eastley toured a plant where these goods are manufactured and we've got that segment for you did you know that they now make wall sheeting materials for the home that can actually withstand the impact of a bullet well today we're in weco texas and we're going to show you how bullet resistant wall panels are made it takes a lot of muscle and patience to make a wall panel that will stop a bullet they call this paneling armor core and at the weco composites a four-man team produce about 16 panels a day enough to cover the walls of an average bedroom armor cores made from layer upon layer of especially coated fiberglass cloth compressed together under a tremendous amount of heat and pressure thickness of the panel depends upon the caliber of bullet you want to stop Wayne you make four different thicknesses of this bullet resistant material why steve we are trying to stop four different weapons here level one armor core level one is a five six inch thick product that's designed to stop a nine millimeter round that looks exactly like this here you've got three shots per one square foot panel and you can see that we defeated or stopped the energy of the bullet it's just humped up there but the bullet's in there that's correct the bullet is locked inside the panel level two is designed to stop a 357 magnum which is around just exactly like that that's a much heavier bigger bullet correct a little thicker panel and again you can see that three rounds per this one square foot were stopped and contained within the panel okay level three armor core level three is a product that's designed to defeat or stop a 44 magnum round which is a bullet exactly like this as much heavier much heavier and here we have two shots per one square foot good example of how the product absorbs or defeats the energy of the bullet by delamination process we call it controlled delamination big hump here that's correct big hump but it's amazing that this thin material can stop a bullet that big correct here you have a product we call armor core level four and it's heavy that is very heavy almost 14 pounds per square foot here you've got a 300 wind mag high-powered 30 caliber rifle now this would be used for what well most common application for level four is in rural situations where you have a home that's concerned about taking stray rounds from deer hunters or an adjacent shooting range I see and this stopped the bullet as well the company has its own indoor gun range to ensure that the panels are not only bullet resistant but ricochet resistant as well so when you shot this target three times with a 357 magnum is that right that's correct Steve and let's go ahead and open this and get the panel out see what we got as you can see three rounds of 357 magnum let's take a look at the back side what you have here Steve is a perfect example of how the bullet right there as you can see has been defeated and contained within the fibers of the panel so let's pass the test it passed the test no no penetration it's locked within the fibers and this was probably at about 1350 feet per second wow it takes nearly two hours to produce a single panel and the time the fiberglass is stretched to the trimming of the rough edges well Wayne this looks like the same material that they make fiberglass boats out of that's correct Steve woven roving fiberglass is used to make a lot of different products what we have here in making these ballistic panels is the fiberglass is being pulled through a resin bath by this impregnating machine here it goes between two squeeze rollers that are squeezing out excessive resin making sure that the glass is completely wetted out then the fiberglass is received on this end onto these call sheets and we'll continue to pull just enough glass to obtain a desired level of ballistic resistance now the resin is basically the binder that holds all this together and hardens right that's correct the resin is the binder that is allows all the plies to be squeezed and held together now the more plies the more bullet resistive the panel is that's correct so what happens after it leaves here from this stage after they pulled out the number of plies they need this lift table will bring it over and load it into a hydraulic press here where we'll press it a temperature of probably in excess of 150 degrees for a period of roughly an hour at at least 1500 pounds per square inch one hour later the panel is removed from the press hard as a rock and bullet resistant so wayne after the panels come out of the press they've cooled down they come over here but they sure look rough right steve at this point we bring them over to this saw it's 16 inch diamond saw that's that's a wet saw we trim it down to whatever size our customers wanting four by eight and three by eight well that's the four by eight sheet here right exactly this is a four by eight sheet of level two armor core designed to defeat a 357 magnum this is about three eighths of an inch thick it's three eighths of an inch thick weighs approximately 137 pounds now how do i cut this in a field it's a good question steve if you're in a field situation a carpenter can field cut it down to any net size using a skill saw with a masonry diamond disc blade well you know i've seen pictures of hurricanes and tornadoes where they've actually sent pieces of wood flying through trees and homes this looks like it'd be a really good material as a storm resistant panel steve just recently we were tested by the wind engineering department at texas tech university in cooperation with thema as it turns out these panels are excellent to resist and defeat the energy of a two by four that might be propelled by an f five tornado traveling in excess of a hundred miles per hour wow well if i were ever building a home in storm country i'd definitely consider using this four by eight sheet of level three armor core cost about four hundred twenty five dollars and that means if you wanted to build a 10 by 12 bullet resistant room it would cost more than four thousand dollars certainly an option for the homeowner with a height need for security you've had a chance to look at the materials and criteria for building safe rooms now let's go to the internet and check out some of the resources that we've talked about today at www fema.gov site this is the fema web page project impact you see that we've got a lead stories all through the page here if we want to find out specifically about safe rooms we're going to go in through mitigation and prevention when we go to mitigation and prevention you see we have a link here to tornado safe rooms and if we go into that one get some sound effects here but you'll notice here that we have a page that talks about taking shelter from the storm uh we have safe room events funding some of the initiatives some of the projects mitigation today we looked at the building performance assessment team this will describe the team what they do there you notice that there are several links here one is to the residential safe rooms new expanded second edition this is the booklet that describes fema 320 and talks about the construction plans and cost estimates for putting in an above ground shelter you can get this by contacting the folks if you just click on this expanded second edition it'll take you to the toll-free telephone phone number where you can go ahead and get that book sent to you they talk about some of the concrete possibilities here this is the portland cement association another one of the corporate partners with fema they're working on some possibilities and then we go to the texas tech university wind engineering research center we're going to head on over to that now we've there's still quite a bit of information on the website here at fema you'll notice when you come over to the wind site you get their address you're leaving the fema website this is actually the easiest way to get to texas tech we come forward again and we're going to be at the texas tech wind site this is the wind engineering research center and where i really wanted to take you on this was protecting the family they have a you notice we've got quite a few menus here and one of these is protecting your family how do you protect your family this has some terrific information in it on protecting your family what to do different sites you can go to they reference back the tornado and hurricane tips from the federal emergency management agency they talk about the american red cross here we have a website on in residence shelter what do you do at home if you're at the mall if you're in the car at a ballgame in fact we can kind of go forward here and take a look at that if you go to tornado safety tips you notice they talk about what you do at home at school in your car at a ballgamer at the mall now if we just come down here you notice at home you have a plan monitor the weather and in residence shelter again although a full basement do so if you have an outside shelter and we talked a little bit about that in some of our segments today get out as soon as the warning sounds what you should do at school occupant protections for school there's another website right there what do you do if you're in your car monitoring driving an open country drive away from it sounds obvious but these kind of storms sometimes attract folks what to do at a ballgame so we've got some good information here even beyond looking in in residence shelters our next site is michael holligan dot com and we wanted to come to this site because here we've got some information for us on various materials you can use to harden up your house if you remember we talked about hardening your house today if you're a nascar fan you may want to come up here to team 25 michael holligan's nascar racing team they have daily updates on that and even if they haven't had a particularly good race they're pretty upfront about what happened what i want to do is come down here on the second page i'm into the television page here and you'll notice that here we have summaries of all the segments for this week's programming remember that michael holligan's your new house is shown on the discovery channel and you can check your local cable listing your satellite time up here you can see you can either go ahead to the next week see what's coming up or go back to previous weeks rather than searching through all that what we've done is we've typed in tornado as a keyword search and when we go forward from that you'll notice that we've got all of the segments that are related in some way to hurricanes or tornadoes actually you get both in here brick exteriors here's the bulletproof paneling segment that we've already taken a look at today here are some sites on this is from the framing program framing a house this has to deal with tying the frame down to the foundation stormproofing your home here's a segment here on tie downs and i think that's the segment that was actually shot in hawaii so if you're looking for some good shots of hawaii you might want to go there here's a tornado shelters you notice here's the opening one of the ones that we actually looked at here and let's head on over to this as an example here in the tornado shelters page this is segment 5051 you can ask michael questions you can join a discussion group here are the tools that you're going to need and you notice this is what we talked about earlier flashlights the bucket the radio the scanner the tornado shelter the first aid kit here we look at the featured product this is the tornado shelter we actually looked at and if you want some information about that you here's the size here's the price you can actually order it here on the website talks about the design what it is where it goes all of these sites and others as you go through are a good way to find out more information about protecting yourself and your family in high wind storms you will have noticed a bit of blank space between the segments on our broadcast learning again programs are developed as teaching tools therefore we've separated the host from the program elements so you can queue the tapes comfortably the segments in this program can be used for presentations to builders and homeowners who might consider adding safe rooms to their structures as well as the public officials who might support safe room construction special thanks for today's program go to tim hickey the executive producer of your new house and patty peterson from the discovery channel you know as michael holligan said in his opening windstorms are dangerous but we can fight back on behalf of the staff here at enet i'm ken stewart thanks for watching


Hi, I'm Gustavo Ortiz with Cal OES. This week, original disaster-ready summits come to an end after three successful events in Los Angeles, San Diego, and Palm Springs. In partnership with Listos California, Cal OES can be in around 1,000 local and state government officials, community-based organizations, and trusted messengers to create an even more robust disaster-ready network throughout our total of eight summits statewide. In Cal OES Director announcing work was honored by the organization, California Woman in Homeland Security and their Animal Latina War Ceremony. This event also paid tribute to outstanding women who have made significant contributions to keeping our homeland safe. And finally, on Wednesday, October 4th, at 11.20 am, there will be a test of the alerting system. Individuals may receive an alert in English or Spanish through their television, radio, and smartphones. This is a yearly test done to ensure our nation's emergency systems are working properly. For more information and tips, visit and use that Cal OES.ca.gov and follow us on all our social media platforms.