Well, it's a real pleasure to have this trio with us today. For those of, you know, there are many of us who have had the pleasure of watching the larger Exit Zero project, which includes a book documentary film and the project that we'll be seeing today develop over the last few years. And yeah, so it's just exciting to see what this new part, how it's been developing over the last year especially, I will go ahead and just introduce everyone. And then I'll hand it over to the three of you. So Jeff Soik is an award-winning media artist with credits as creative director and UI UX designer on PBS Frontline's Inheritance, which was a 2016 News and Documentary Emmy winner and a Peabody Facebook Award winner, as well as art director, UI UX designer and architect on Holo, which was also a Peabody Award winner in 2013 and a News and Documentary Emmy nominee and was really, you know, one of the first projects to really show what was possible with interactive documentary and really kind of set a sort of high bar early on in the development of that genre. Chris Wally is a professor of anthropology at MIT. She is the award-winning author of Exit Zero, Family and Class in Post-Industrial Chicago, which was on University of Chicago Press in 2013, and a co-creator of a documentary film, Exit Zero, an Industrial Family Story 2017. Chris Babel is director of media and development at MIT Open Learning, where he oversees media production for professional education and explores the uses of media in education, including VR and interactive media. A filmmaker by training, he has produced and directed feature films, documentaries, and television. His work has been shown on many networks around the world, including PBS and the BBC, and at more than 50 film festivals, including Sundance. I will hand it over to the three of you, welcome. Great, thank you all so much and thank you, Vivek, for the invitation to come speak to comparative media's colloquium. With Vivek, Chris and I have been in conversation for many, many years because our projects, our work across different media has been ongoing for a long time, so it's been wonderful to be in conversation on this whole time. So thank you so much for the chance for us to come and tell you a little bit about this latest project that we're working on. Since you've already kind of gotten quick introductions about who we all are, maybe we'll just kind of hop into things. So today we're gonna be talking about a project we've been working on for a number of years now called the South East Chicago Archive and Storytelling Project. And the way we were thinking that we would organize the discussion and demonstration today is that as the project director, I'll give a bit of an overview of the project and then we're gonna kind of take you through and do a demo of the site. The site's not fully completed, we're hoping to do our official launch in the next month or two, but Chris and Jeff will lead you through the project, we'll go back and forth and talk more about the larger overarching ideas as well. And hopefully leave a lot of time for the Q&A and discussion at man because we're really interested to hear what you all make of this. And again, because we still haven't officially launched yet, we still have a chance to take in feedback and make some tweaks. So we would love to hear what you all think. Okay, so just to hop in, so this website project is a collaboration on many different levels. And on one level it's a collaboration among ourselves, Chris, Jeff and myself, as well as a large and growing team of folks who've been involved in this. And then I think Jeff is doing the slides, if there's another slide we have too that lays out some of the folks who've been involved in this project. And there's been quite a number who've developed over the last time of years, we've been working on this since 2004 in various different stages. So there's the kind of creative team and academic team has been working on it. The three of us, we also have an archivist, a couple tech developers, we have advisory committee and a range of other folks who've done various things for the project. But the biggest sense in which it's a collaboration is with the Southeast Chicago Historical Museum. So what this is, it's a little tiny museum in Southeast Chicago. And basically the museum was created in the mid-1980s. Southeast Chicago is part of the Calumet region, which along with Southeast Chicago and Northwest Indiana is kind of the old steel belt region in that area. And the steel mills started closing in the 1980s. And around that time that the steel mills were closing, this little museum was created. So it's an all-volunteer museum. It's located in one room in a park field house along Lake Michigan. It doesn't have a phone, much less the internet. It's, you know, in some ways we think of it as kind of like the community attic of Southeast Chicago. So it's an all-volunteer run institution and it's been that way for 40 years now, basically. So with this little community museum, as the steel mills started to close, I mean, I think basically what happened was that a lot of people who lived in Southeast Chicago who kind of felt as the steel mills were closing not only that they were losing their economic livelihoods but that also their history and the kind of social worlds in which they had grown up were disappearing. And so I think there was a real sense among a lot of people of wanting to, you know, hold on to or preserve or do something with the kind of materials of the past that they had as part of their lives and make sure that that continued or was recognized in some way. So there was a lot of donation of material that happened in the 80s and on from this region for people in the community themselves.  So historically, Southeast Chicago with the rise of the steel industry in the late 1890s, a lot of the folks who came to live there were European immigrants who came to work in the steel mills, a lot of Eastern European immigrants. Around World War I, you started to get a lot of African Americans who were also coming to work in the steel mills as well as Mexican Americans. So it's a quite diverse region and it's been that way historically from some time. So I think we also have some video of the museum itself just to give you a little taste of what the museum is like. So this is the museum, as you can see, again, is one room really overstuffed to be in your way with things. It's a pretty unique place. It has a really remarkable collection. If we're getting some video, maybe I'll turn off my video, maybe that'll help. I'm not sure if that'll help with the live, but anyway. So it's a really kind of unique place. There's a remarkable wealth of material in here. There's about 180 oral histories that dating back to the 1970s. There's about 10,000 images in the museum, about 350 pieces of film or video, about 250 pieces of clothing, countless documents and other materials. And there's really not anything else like this place that I know of. I mean, as a scholar who works on deindustrialization and former industrial regions in different parts of the US, there's not really anything else like this, a kind of collection of this much material that basically came out of the community itself where the materials were donated by people in the area. And if anybody's interested, it's a good question for the Q&A. How did this museum emerge and how did it end up with such an incredible collection over time? But even also pretty amazing institution in a lot of ways. Again, because it's an all-volunteer institution, it's only open one day a week. It's considered to be in a very out-of-the-way place within Chicago. It's very difficult for people to get there. There's no public transportation there. And Chris and I started working with the museum for a book and documentary film about the region which Vivek mentioned, Exit Zero. Exit Zero is the highway exit ramp number for the old Southeast Chicago steel mill neighborhoods. And those works were more auto ethnographic. I grew up in Southeast Chicago. My father had been a steel worker. Many of my relatives had been steel workers. And so that original work kind of took that more kind of family-oriented as well as academic analysis to the area. And with this project, we were really trying to kind of spread it out and do something different which you'll see as we go along. But so we got the idea to collaborate with the museum in part through CMS's open doc lab. So actually when Chris and I were working on the documentary film and in conversation with William Marricchio and Sarah at the open doc lab, they're saying, well, is there anything about the research? You should do something kind of eye-dock related in relation to your research. And I was like, well, I don't know about that, but there's this amazing museum that Chris and I have been working with. And that actually was the original impetus to do this project. And then we got hooked up with Jeff who has been a fellow at the open doc lab. We knew about Jeff's fantastic work with Hollow, the interactive documentary that Vivek mentioned, which was kind of groundbreaking early one for those of you who are familiar with and are really fantastic piece of work. And so we started working on this project back in 2003, 2004. And as the name suggests, Southeast Chicago Archive and Storytelling Project is really meant to be the project that we're creating now. The website is really meant to be both an online archive and a storytelling site with a somewhat unique take on both of those as hopefully we'll demonstrate. But I just wanted to quickly tell you some of the larger goals around the project which we had going into this. And so those larger goals have been threefold. First of all, one of the things that's quite important to me as an anthropologist and somebody also who's from Southeast Chicago was to show the diversity and the multifaceted nature of working class lives. So if in the kind of the Trump era, the rhetoric around the working class quote unquote has been to resurrect this notion of the working class as kind of white male industrial workers. I mean, what this archive really does is show that not only is that not the case now, that also wasn't the case in the past. Folks in these industrial communities were very diverse. There's a lot of diversity from early on in racial, ethnic, gender and other terms. And so we're really trying to capture some of that kind of diversity of what the working class quote unquote is and has been historically. And that doesn't mean that there weren't very serious tensions within this region. There were certainly racial and ethnic lines in part because the steel mills, the steel mill management pitted very much pitted ethnic and racial groups against each other in order to decrease unionization. So they're very real tensions. And one of the things we try to do is bring some of those tensions into the website itself, as you'll see. But we also wanted to highlight how the museum and the material really kind of offers a more multifaceted view again of quote unquote working class lives and history. So the materials in the museum not only focus on the steel mills or on work, but also people's social and cultural lives, popular culture, games, music. And we also try to show in what the materials themselves really demonstrate in which we try to kind of capitalize on is that these kind of old communities, they also had very different kinds of strains within those communities. So both quite conservative institutions and quite progressive institutions in other cases, those kind of intertwined in these communities. And so we're really trying to capture this kind of more multifaceted view of working class history. And secondly, another goal of the project, what we're really trying to do is use objects that people in the region themselves saved and the stories that people told themselves about those objects to generate interest in working class lives and kind of all its ethnic, racial, and gender diversity. And so this project is very much a kind of anthro take on archives. So there's a real kind of fascination with kind of what people saved from the past. So what did people donate to this museum? Why did they donate it? Why was it important to them? What were the stories that people told through and about these objects? And what kinds of conceptions of history emerged from this kind of storytelling on objects? And the themes and the categories we use to organize the website largely emerged from the museum collection itself and the way that the volunteers from the community themselves organized the museum. So for example, there's one featured curation on kind of military experience as we call it on the home front. And thinking about the military is not something I would have come in thinking about as an issue. But there was a lot of material in this museum on people's experiences, either people who had been in the military themselves or people on the home front and what that experience was like for them. So that ends up being kind of one of the focuses there. So again, we try to really draw the themes and the categories from the website from what's actually in the museum itself. And there's often this kind of cliche about bringing history to life. But I really do think that telling history through objects really gives a more kind of lively sense of everyday life and the pleasures and struggles of people's lives than many other ways of telling history. And I think this is particularly key given that many of the issues represented in the museum's collection really speak to key issues in our current historical moment as well. So things like the nature of work, issues of police brutality, ethnic and racial conflict, controlled by powerful corporate actors. You really see all of these kinds of issues in the materials from the museum and how this played out for people historically in this kind of region. And a third goal of the project is to expand out our sense of who the audience is. So with this project, we're really trying for multiple audiences. Obviously, we'd like the general public to be interested. We hope to attract teachers and students. We're actually working on a study guide to accompany this project. We want scholars to be able to use it. But really the first audience in many ways is people in the community itself and in other de-industrialized regions like it. And so given my own background, I've been very concerned about being able to interface with working class audiences, particularly since for many people in regions like this, legit news is often behind paywalls. Local newspapers have been decimated. This area actually has the oldest community newspaper in the United States was in Southeast Chicago, which has been down off for some time. There's no more local newspapers that are left. And also disinvestment in public education. And so given this, people in the area themselves don't necessarily know a lot about their own histories often and how relevant the issues that their forebears struggled with, how relevant they are to a lot of contemporary issues. And so we really wanted to engage with diverse working class audiences who have links to this region or kind of other de-industrialized ones. And to do it on a train generated by community residents themselves, again, through the objects they saved and the stories they told about them. So one of the goals of the project for me anyways is to really think about how to reflect that working class history for working class audiences of diverse backgrounds who really don't necessarily get a lot of that reflection back in many domains today. And part of this goal is to use these material to create bridges for intergenerational conversation. So there's a scholar, Martha Langford, who's argued that photo albums, she thinks of them not so much as pictorial technologies, but as oral ones. And she argues like, if you think about albums, photo album, family photo albums, how people actually use them, they pass them around, they talk to people, you know, you'd sit down on the couch and you'd chat with family members about what was going on and the other people who were depicted in the photographs. And she really says them as conversational objects that were mnemonic devices to help people remember. So there was conversation built into those kinds of albums. And then she argues them when albums got put into museums, often the conversations at the heart of those albums were suspended. And I was presenting on this work at a conference not too long ago and a colleague said, oh, what you're trying to do in this project is reanimate those suspended conversations. And in some ways to engage in a kind of intergenerational repair work, which I think is a really lovely way to do it. So how do we take these objects that people in a community saved and the stories around those and use those to regenerate conversation that had been there in the past and kind of reanimate those links between different generations. Because for a lot of younger folks, they don't know much of this history themselves. So just quickly to mention a couple of challenges before I hand it off to Chris and Jeff. So a couple of the challenges we faced in putting together this archive and storytelling project. So number one, because again, this is a tiny, all-volunteer institution. Again, a bit more like a community attic in some ways than a formal museum. There's been no professional archivist historically. So record taking was really erratic. So different volunteers had different numbering systems. A lot of stuff was never catalogued at all. Sometimes you had handwritten records. So it was really hard to even know what all was in the museum or how to find it. Even for the museum volunteers themselves who'd been working there for decades in some cases. And so when I was working on the first NEH grant for this back in 2013, we needed to know how much was in the film and video collection because we wanted to ask for money to digitize it, but nobody knew. So I literally spent like one day just counting. Counting VHS tapes, and then you'd go to a file cabinet and pull out another drawer and it'd be like, oh my God, there's like six more, 16 millimeter reels of film here. Or so at the beginning, it was simply just also a matter of just counting things, figuring out what was actually in the museum. And then later we got money to, when we got the NEH money, the first thing we did was hire a part-time archivist, Derek Potts, who's been fabulous. And he's helped to take these records and put them in an online database and also to help systematize the records of what was there and create ones for ones that didn't have records. So for the first time now, not only for us, but also for the volunteers at the museum, they can actually see what's in the museum. And one of the things that's been very cool about that is as you can see things and track down who's the donors, we can see how the different objects are linked because often people, different family members across generations often donated things. So you can put together now different donations and figure out how family members were related or linked together stories. So it's actually been really fantastically useful. So just figuring out what's there took three or more years of work to be able to do that. A second major challenge that we've had, and this is true for obviously all archival collections, is thinking about the silences and gaps in the archives. So in this particular case for Southeast Chicago, there's four neighborhoods that are considered to be part of Southeast Chicago. There was a historical society founded in 1976 in one of those neighborhoods and that was largely a white ethnic neighborhood. And that group was one of the kind of founding groups. But then the project expanded out to four other neighborhoods which were more diverse and racial and ethnic terms. But because of that kind of early history and also because you didn't see African-Americans and Mexican-Americans in the area into World War I, there's still a disproportionate amount of material on white ethnics, largely Eastern Europeans. And another issue that came up also is because of housing discrimination and racism, even though you had a lot of African-Americans who worked in the steel mills. And there's a lot of material on African-Americans in union history and in the steel mills here. But because of that housing discrimination, they often didn't live in Southeast Chicago until later decades. They often lived in other parts of the city and took public transportation. So for example, we have a lot of material, again, on African-Americans in the unions, but for example, African-American businesses. There's very little on that, for example. So how to deal with that kind of gap in the collection. So what were the kind of gaps in the silences in this collection and how would we handle that was another real challenge. And then the last challenge I wanted to throw out was this question of how to get people excited and interested in a place like this. Thinking about something like labor or industrial history or working class culture, something like labor history, people often know very little about it. These days, pretty much in the 1990s, a lot of teaching of that at universities often stopped. At that point, even in the media, you don't necessarily, you know, kind of discussion about unions is coming back, but it kind of went out of the picture for a while there. And again, as I mentioned earlier, for a lot of young people, even in this area, they really don't have a lot of background to bring to bear to help understand some of the materials in the collection that deal with those kinds of topics. So how do you create ways into this material to allow people to approach the archive? And also, on my end, I was somewhat frustrated with some of the other online archives that I saw elsewhere. Sometimes they were very beautiful, sometimes very expensive, but sometimes they can be hard to approach. So some of the online archives, there might be, for example, a lot of technical information about, oh, here's a particular object, here's its exact measurements, here's the resolution that it was scanned at, but in terms of what do we really know about the object? Why did somebody save it? Who donated it? Why did they care about this? So those kinds of questions often aren't answered in a lot of the archives. And so that was another kind of challenge was how to create pathways into this material that would make it engaging for people, would allow them ways to think about how do you search for stuff? How do you search for stuff if you're not even aware of what you should be looking for? So how do we create pathways in when people might not know anything about the area or the kinds of topics that might be interested? And how do we do this in a way that makes these materials engaging for people through the kind of metadata we're gonna bring about these archival objects itself? So anyway, so those were some of the challenges that we're gonna be talking about later and then in the talk about how we tried to address those challenges in the website itself. So now I'll hand it off to Chris. Excuse the noise in the background. We'll then hand it off to Jeff. Thanks. Yeah, I'm not sure what that was. So I wanted to just say a few words about the museum collection itself and storytelling because that's really at the heart of the project. So the thing that's really unique as Chris mentioned about this collection is how it was assembled. It was assembled by community members who basically just donated things that were important to them. So there's not like a lot of professionalization about it. There's not a professional archivist. It's not really programmatic. It's sort of like in a moment of crisis, this crisis of deindustrialization, which is when the museum started, this is what was important to people. This is what people felt they needed to preserve. So that means that there's some pretty quirky items in the archive and there's a ton of repetition. Chris mentioned some of the organizational challenges. And there's a lot of what some people might call junk. Rod Sellers, who's the really amazing volunteer director of the museum, who has a historian's training and is a local community member and a retired teacher, is always warning people, like don't bring your National Geographic magazines. We don't want those. Don't bring the contents of your attic. We're not going to sort through for you what you have. But there are amazing objects and some of the objects, something that one person might call junk or trash is of course precious to someone else. We have objects like these. These are baby shoes. They were worn by a resident named Gloria Heinkel Novak who was born in 1926 to German immigrant parents. She later worked as a secretary to scientists working on the Manhattan Project at the University of Chicago. We have this. This is the last bar of steel that was rolled at Republic Steel in 1986, then called LTV Steel. This was preserved because the workers at the mill when it was being closed felt that it was important to them to preserve it. We have thousands and thousands of photographs and other documents. These are the Martinez sisters. This is this really amazing family of Mexican immigrants, Mexican Americans who were just incredibly dynamic people who were real pillars of the Mexican American community. They'll come up later in some of the stuff that we're going to show you. But this is just this wonderful vibrant shot of the women of the Martinez family standing in front of St. Kevin's Church in South Gearing, one of the neighborhoods. And this stuff is all mixed in with other things that some people might consider to be, trash and some people might consider to be amazing. But what really makes these things amazing are the stories that connect to them and the stories that people tell about them. They could be a story that's connected to the object directly. It could be the story of how and why it was donated and who donated it. And it could be a story about how one particular object in the museum is connected to other objects in the museum. All of those are stories that we are interested in exploring with this site. So one of the chief goals of the site is to find ways to connect the objects in the archive with the stories that they tell. So it is an online archive first. It's an archive of digital objects. But what really makes the objects powerful are these stories that we try to tease out. And as you'll see, there are sort of several strategies or techniques we've attempted to tell stories with these objects and to connect the archive itself quite literally with the objects and the stories that are behind them. The other point that I wanted to make is that, as Chris mentioned, this is one phase of a multi-year, multi-media project which we've called the exit zero project. And this idea, this technique or this approach to storytelling comes really out of something that we've been very passionate about for a long time. The exit zero project, as Vivek mentioned at the beginning, encompasses a book that Chris wrote. It encompasses the documentary film that I directed and Chris and I co-produced. The documentary film in particular, well, both the book and the film, approached this trauma of deindustrialization that happened in Southeast Chicago beginning in the 1980s through the lens or through the eyes of Chris's family. It is really a portrait of Chris's father who was a mill worker who lost his job in a very, very traumatic way in the early 80s as well as her mother, as well as her grandfather who also worked in the mill. There were several generations of mill workers in her family and of Chris herself as a daughter growing up in this really tumultuous time. And we found this to be a really powerful way of telling stories to sort of take the very particular lived experiences of people and then sort of connect those up to these sort of larger social and political forces, but to really try not to stray too far from the experience. But the challenge or the downside is that you've got the palette you have to work with. You have the people you have to work with. Chris's family's experiences are their experiences. And so if we wanted to talk about other communities in the neighborhood, African-American, Mexican-American, other experiences, other kinds of experiences, we don't really have a window into doing that if we're sort of staying with her family. And what was really exciting was sort of that moment when we realized that the museum was that window into a broader community. And that we could sort of try to apply some of the same techniques or some of the same things we were doing in the movie to this broader archive. And so there is this sort of two-fold goal or this two-fold challenge, one being just organize, digitize, and make these objects available because some of them are amazing and really incredible and there's almost no way to view them because it's this tiny room that you saw. But secondly, to find the stories within the objects or behind the objects or between the objects and connect those stories to these larger experiences, the experience of immigration, the experience of racism, the experience of de-industrialization.  So Jeff, I'll stop sharing and you can take over. Thank you, Luki. All right, so this is the homepage. So as mentioned, you know, from the start of this project, you know, our team discussed that need for that, this strong relationship between archive, you know, this archive of objects and storytelling, right? It's kind of like we wanted to really have a strong connection between those two things. And it was definitely, you know, from the beginning there was this desire to create these kind of cinematic immersive stories that incorporate the items from the archive, which we ended up, we ended up calling these storylines. But so at the same time, just in terms of like the structure of this, as I'm kind of gonna go through the homepage a little bit, we were also aware that this website actually would partly function as like a primary website for the museum itself and their archive. So within this kind of larger archive and storytelling project umbrella that we've created, which also obviously includes the exit zero initiative. So we did have a little bit of a challenging, you know, kind of like a brand challenge to kind of overcome a little bit, but ultimately we decided to kind of, the way in was kind of introducing this larger archive and storytelling project umbrella on the homepage. And then ultimately have the digital archive, which is essentially the kind of like the home base for the museum and these storylines that are stories created using items from the museum as our kind of own independent sections. So you'll see in the beginning here, it's more kind of introduced with a concept of the idea of saving objects and stories we tell about them and also bringing up the idea of who tells, who's in charge of history and obviously the importance of everyday objects and kind of giving some insight into this community, this former industrial region and kind of, you know, and asking as Christine had mentioned earlier, you know, whether, kind of asking the question of whether some conversations can be sparked from these objects, you know, on across generations and groups and regions. So kind of asking some questions, kind of sparking some curiosity, but, you know, ultimately we've kind of, just kind of, the site has kind of two main sections in a sense, it's the archive. So it's like the objects we save. And this is kind of a way into that. And then the stories we tell, so that's the storylines kind of side of the website. And this, as you can, that's Mary Flores, she's one of the residents that we feature in one of the stories. The rest of the home page is more pretty standard in terms of, you know, contact and footer. Oops. So, you know, even though they kind of, the storylines and the archive kind of exist independently on the sites, they do speak to one another, which we will show. And also the archive itself does do a little bit of work and kind of pushes itself a little bit to do a little bit more storytelling than the typical archive, which, you know, Christine will talk about further. But I do, I'm gonna jump into the archive a little bit. I'm not gonna get into the details just yet, Christine's gonna kind of take over, but just in regards to structure, you know, one thing that, you know, Christine mentioned earlier was that online archives tend to be, you know, kind of off-putting to a lot of users in a way that are structured because they can be kind of overwhelming in their broad categorization that they use, or like, you know, just kind of hitting was like a large search bar and they just kind of assume that you as a user, that you know what you're looking for, you know, or they assume that you're gonna be like a researcher or a scholar who kind of already has something in mind when you come to the site. So, you know, one of the challenges is we definitely still want to accommodate that type of user, but we also wanted to, you know, consider other ways in to the contents. So that's something that Christine will kind of get into further detail about. I'm gonna kind of jump in. So like right off the bat, you can see, we have obviously our standard about pages, you know, so just kind of like about the community, about the project, but also about the society and museum as well. So again, it's kind of like multiple kind of components to this larger project. For those that kind of just want to jump right to the archive, we want to have an easy access to this browse option. So I will jump into that in a second. So this is kind of like, as I was saying, like kind of the home base for the museum itself, this is almost like their homepage and kind of like their website in a sense. And Christine will talk about as we scroll down some of the additions that we kind of added to it, but, you know, we really didn't want to just hit with the, you know, the kind of large search bar and kind of, and again, like those kinds of like overwhelming database terms and things like that. It's more, we wanted to kind of introduce you to it, give you the option to quickly browse, but then also potentially, you know, learn about what's in this collection for someone who has zero familiarity with it, you know, kind of visiting. So I'll just show the archive. I'm not gonna dive too deep, but if I were to jump into browse, so this is, so, you know, one of the challenges with this was that, you know, we had to consider our kind of the scope and limitations, being an independent team and trying to, we couldn't really necessarily reinvent the online archive, but, and just building an online archive itself is quite a beast to take on, but we figured what we could do is kind of build on top of it a little bit and entertain some kind of tweaks and additions that would make this do a little bit more and kind of speak to what was mentioned earlier about trying to tease out the kind of story aspects of these objects. So this is more the kind of, you know, kind of conventional foundation of the archive itself. As you can see, there's close to a thousand objects entered to date, which required an enormous amount of work from all of us, but definitely Christine and the archivists, a lot of work putting these together. We chose to, there's just a, right now there's a tab on the side that allows you to filter by different criteria. There also will be, we do have a search part is programmed that it's hidden currently only because we have to do more work on the kind of metadata side and key wording side of things to make that search bar really function at its full capacity. So there will be a search bar here, but we intentionally kind of put it off to the side and wanna hit, you know, I didn't wanna hit you with that first as like the main way in, but currently in this development version, you know, you can filter by various themes and themes we also have, you know, I've got to have sub themes as well so you can get pretty specific in terms of the kind of topics you want to dive into. Also time periods, organized by neighborhoods, ethnicity and race, and also media type. So just one thing to also keep in mind that we were thinking about building this was that this is something that's ultimately gonna be kind of passed to the museum volunteers, we could think about long-term maintenance and also them kind of using this as a tool.  So this is, so the strategy was to kind of incorporate some additions to the Common Archive, you know, and also knowing that, you know, as we considered different ideas, I had to handle the archive content that also kind of creates new work for either ourselves or the museum volunteers, you know, which, you know, Christine can talk about a little bit more in terms of some of the things that we came up with, there, they definitely help bring out some of the story elements of this collection, of this archive, but it does require, you know, additional research to be done, additional work to be done and like content to be created and generated to be added. So we kind of approach this as like a little bit of like, you know, stepping this thing forward kind of a little bit of a time at a time and kind of trying out a few things and things that we can kind of test, get some responses from and kind of see what's even feasible in terms of like the kind of workload that we're potentially promising. So yeah, so we thought that was kind of the smartest way to approach it creatively and structurally, but Chris, I'll pass it on to you. She'll get into the details of some of the kind of additions that we added to it. Okay, thanks, Jeff. Here, let me, sorry, can everyone see that? Yep. Okay. Okay, great. So just in relation to this question of, in relation to this question of how to deals with gaps and silences in the collection, which I talked a little bit about earlier. So how to deal with this? And as I raised the question about, for example, since there are fewer materials on African-Americans, particularly in terms of, sort of community life, how do we highlight those materials more in the collection? So if there's a preponderance, if there's more on say Eastern Europeans, how do we make sure that that stuff doesn't get kind of lost in the sea of other things? And so one of the ways we tried to address this in the archives, oops, sorry, future curations, back to the future curations list. So one of the ways we tried to address this is by creating what we call this featured curations. We have 13 of these. So basically curating on certain topics, things that were key to life in Southeast Chicago, but there might be fewer items on those things in the museum. But they're things that we think people would be interested in. And so we created these featured curations. This one here is on Black Experience in the Mills. We have another one on women at work. I mean, one of the things that often happens in the industrial communities because there's a lot of focus, say, on steel labor. It tends to focus on men's work and doesn't acknowledge as much. There were some women who did work in the mills both during World War II and then beginning in the 1970s. But there was other work that women did both in the mills and offices, for example, here, or in other kinds of work. So we have a featured curation on women at work so that kind of doesn't get lost. We have one on the cradle to the grave thinking about sort of the life course for many people in the area and trying to curate some objects that relate to that. Again, some of these are oral history. Some of them are objects. A lot of things are photos. We have one on union life. We have one on danger in the mills. The mills were quite dangerous, as I think many people probably know. There's one on just having fun. There's a lot of material on just sports and popular culture. And so we wanted to make sure that that had a place, a key place on the site as well because this was historically a largely immigrant community in a lot of ways. So we wanted to kind of pull some of the key materials around that up towards the front as well. So anyway, so we have 13 different featured curations. And that's one of the ways then to try to kind of both create ways for people to be able to approach this site but also to make sure that certain kinds of materials weren't getting kind of lost getting lost overall. And to give you so here, for example, since again, we have relatively little material on African-American home life. We wanted to make sure that we prominently emphasize this one. These are the home movies of a family called the Elkins family. And it's quite telling. So this object in the back story, which I'll get to in a minute what that is, but we have these descriptions of the objects. Again, for a lot of African-American steelworkers because of housing discrimination, and he didn't actually live within Southeast Chicago. So for example, this family, Robert Elkins, was the first African-American boiler maker at US Steel South Works. But his family lived actually in a housing project in Bronzeville in another section of Chicago, again, because of housing discrimination. So this is actually home movies from there. So we try to use the kind of stories around the particular objects to talk about the issue then of say housing discrimination, for example. And then what happened then with a lot of the housing developments in Chicago, when they changed their standards for how much money you could make and still live in them, a lot of African-American steelworkers got kicked out of housing developments. And so then they had to find housing elsewhere, which was, again, very difficult for them. So housing becomes a real kind of question. So we try to use this object of the home movies as a way to talk about those kinds of questions. So, and let me just go back to sorry, actually I'll just do it this way. So we have featured curations is again, a way to kind of approach this collection for users. We also have at the very top something called featured items. And so these featured items, you know, one of the questions then too is when you have certain items, I'm sorry, I'm trying to get to a particular item, which is quite an amazing one. This one, for example, that's particularly that we really want users to focus on say, how to again, not to have it gets lost in the shuffle. So the featured items are just rotating items that we wanna highlight for users at various points. And this one here was a World War I diary. And again, it's another example of sort of things being lost in the museum. There was a note in the record that there was a World War I diary in Polish, but nobody could find it. And at some point just like a year or so ago, somebody pulled open another file cabinet and they found this World War I diary in the bottom of it. And so it's half written in Polish, half written in English. It's a really interesting piece. This guy actually, he was a Polish American immigrant who actually joined the Polish Army during World War I. The US allowed Polish Americans to join the Polish Army and then they trained in Canada and actually got sent to France to fight. But anyway, so it's half in Polish, it's half in English. We had to find somebody who could translate it, which was hard because a lot of it's archaic Polish. But it's interesting too, this guy was also interested in poetry. So there's snippets of poetry and kind of drinking songs in Polish. But also it appears to be some poetry that he himself wrote. So we had this translated. And again, we can tell through the archival donations. This guy had worked in the packing houses and he married a Polish young woman whose family all worked in the steel mills and he came to live in the steel mill area. And this was later donated by a family member. So anyway, so we could use these featured items. There's also another one about there was a midwife, a Croatian midwife who had her midwife records going back from the 1910s and 1920s all written in Croatian. So anyway, so we're using the featured items and the featured curations as a way to draw attention to get lost. And, sorry. So there's also an idea of story pass, which I think we're gonna kind of hold off on thinking about that now until a bit later. But another major way, again, in different kinds of ways is something called the storylines, which Jeff and Chris are gonna talk about. But actually, there's sorry, there's one thing that I've forgotten to show, which I meant to my apologies. Oops, sorry. I just wanted to quickly show something that we refer to as backstories. Let me find an example. So, again, how to approach these objects in a different way. So this was an ID badge from US Steel South Works. And so this woman, Pasquale Martina, she's the mother of actually the five young women in that photo that Chris showed earlier. And so when we're giving descriptions of these things, what we're trying to do then is write up what we're referring to as backstories. So we're trying to have it be a bit more than the usual kind of context that's given and try to have it be a little more personal. Partly it depends on what we have in oral histories, but basically we've been taking oral histories, other information in the archives, doing research on ancestry.com, sometimes secondary literature. Also, we've been going to people in the community. The museum has a Facebook page with about 6,000 people. So for particular items, we'll post it on the Facebook page and like, does anybody know this person? Do you know anything about this kind of object or what's being depicted? And we're getting information back and we're kind of creating these little kind of summer. Some of these backstories are quite long. Others are relatively short, but we try to link it up through the ways people talked about or referenced the objects, which are often through families and family connections. So this is a quite simple one. I can call this in Schemerkevich, who is a woman who worked in World War II also in the steel mills. So again, we're trying to use these backstories as a way to talk about the objects and the donors and you didn't really see that in these two examples, but for in cases where we have oral histories, which we've been trying to pull directly comments from the oral histories themselves or stories that people told and actually pull those stories and quotations from the oral histories into the discussion of the objects themselves. Okay, so I think maybe I'll hand it over to Chris and Jeff here for discussion then about the storylines. Okay, thanks. So let me hear my screen. So to this point, as Jeff mentioned, the site is really divided into two sections. There's the archive, which is the objects we save. That's kind of how we were describing that. And then there's the stories we tell and all of the things that Chris has been talking about so far are all part of the archive, part of the objects we save, quote unquote. So those are a number of strategies for telling those stories and making those connections that I was talking about before. But one of the chief ways that we're attempting to do that is in the other part of the website, the stories we tell. And this is where we're putting together what we call storylines, which are basically broader, more sweeping or sort of more significant stories that are pulled entirely with objects from the archive. And to date we've completed one and we're in the middle of doing the second. The first one, which Jeff and I are gonna just talk about very, very quickly, is called Mexican American Journey. And it's about the Mexican American experience over a century essentially in the neighborhood. It ties obviously to other immigrant experiences. There are a lot of commonalities, but there are also a lot of things that are very different about the Mexican American journey. So each of these stories begins with an object. And in this case, the object is this display of dog tags, replica dog tags. These are the dog tags that belong to the young men who died in Vietnam from the Our Lady of Guadalupe Parish, the local Catholic parish that was primarily Mexican American. And in fact, more young men from that parish were killed in Vietnam than from any other parish in the country. So they suffered very, very heavily during the Vietnam War. And this object, which is part of the museum collection, becomes a springboard for our attempt to explore this Mexican American experience over many generations. So we introduced the object, we learned a tiny bit about it. And then the first thing that we do in each of these stories is we meet someone who has a connection to the object. Might be the creator, it might be someone who has a very significant story that relates to the object. In this case, it's not the creator, it's Mary Flores, who is a woman whose brother was killed in Vietnam. And in fact, one of these dog tags is his. So we start with a very short video of Mary, which I'll see if it will play. I knew all the young men that passed away at Our Lady of Guadalupe. Even Father Maloney said, he says, I've never seen so many of a young man from a parish died. Yeah. But my brother was the first one, it was killed and that's him, my brother is there. They all from our neighborhood, they all from South Chicago. My name is Mary E. Flores, and I've been in Chicago since 1949. When I first came to Chicago, I didn't like it because I'm from Oklahoma. I don't know, my father used to be a coal miner, and he lost his job. We came here and all the steel mills were going then and the coal plant and everything was so ugly. And you see all that graphite flying around. I told my mother, I don't like the city, I like being on a farm instead. She said, she tell me, oh, you're crazy. There were 17 of us. I was second to the oldest. I remember I used to carry the kids on my hip and do their diapers and all of that and hang clothes and take them down and chase after the kids. That's my brother Tony. He was the oldest and now he was killing Korea at the age of 17. Joseph was one of my younger brothers and then he went into Vietnam and then he was killed in January, 1966. Oh my God, my mother and she was beside herself because she had already lost one son in Korea. Now the second one. She wasn't herself anymore after that. Here we give them birth and they're taken away and they don't come back. So we got a lot of military family. Three of them didn't make it, so they wanted to fight for our country so they did.  So from here, we broaden out to the community and this is a mural that's painted on the wall of a building right by the church. And the church is really the center of the community. You can see the spire. So we move out from there to, and I'm not gonna go through hands-takingly, but we move to tell this story about Mexican American immigration that attempts to sort of get at the place of the Mexican American community, Mexican immigrants in America and racism, the sense of patriotism, the sense of belonging or not belonging over, as I said, over 100 years. And all of the objects in the story are from the collection and you can always actually find them in the collection with this tab here. So if I click this, I would go to the archive entry of this particular drawing. So we have all sorts of objects here. We have, you know, linking texts. We try to do it only when needed, but obviously we're trying to to sort of make connections sometimes. Hundreds of oral histories. There are hundreds of oral histories in the museum and these storylines draw very heavily on oral histories. So Jeff, do you wanna go look at, talk about any particular part of this? Yeah, no, I think I mean, you covered a lot of it. We really are, we're just trying to kind of create a nice, you know, thoughtful flow and, you know, we kind of, obviously you have to kind of work through a story kind of outlining process and then also considering a lot of the media. As Chris mentioned, there's so much to pull from and, you know, Christine was trying to kind of distill a lot of what is there and then we had to kind of, and then, you know, let's try and put this into, you know, a story with an arc that we could, we actually had like visual media and things that we could make use of, but we also, you know, we had a sound designer, Billy Raznick, who he, you know, pulled from actual videos from the archive as well. Like at one point we have some parade sounds and he got that from a Mexican American parade that was in the archive that we were able to use for some of the atmospheric soundscapes. This is Artelé de Guadalupe. This is the church that I talked about at the beginning and we're hearing a service in the church. Right, so it's like an actual church service that was recorded by someone on the ground there. We weren't able to travel there ourselves so we ended up hiring someone who was local to record that sermon there. So, yeah, it's a mixture of mostly driven by materials from the museum, but then kind of complemented by some original texts and sound design and some original, you know, some video work and some other pieces of media. These are the Martina's sisters. I showed the photo of the Martina's sisters early. So this is a really, really great, rich oral history that they did quite a few years ago that's part of the collection. So anyway, so the story, you know, we, again, we're not gonna sort of go through it point by point, but it goes through the sort of long journey of this community and the sort of moments when they flourished and the moments when they faced all sorts of challenges. And then at the end, we end with Mary Flores again. I don't know if I'll show that video or not. It might be, but it'll take too long. One thing I'd show Chris is like if you open the menu, you don't have a chance to open the menu yet. No, the diet menu, yeah. So I'll close that menu, the tab. Oh, yeah. Oh, right, right. So this is, again, a very important part because as I said, you know, we wanna link these stories with the archive itself. So here you can see, you know, these are the objects that make it up. These are the ones that we've already experienced and then you actually see, you know, they're grayed out right now because we haven't gotten to them yet, but those are objects to come in the story. So you can jump back to, you know, any of these pictures, any of these oral histories or other objects. And if you click, I mean, you should click on view item in archive and just show that it, yeah. You know, we'll launch, it will go to that item in the archive, right? So we're kind of allowing the user to decide whether or not they wanna deep dive into any of those items and spend time with it in the archive before returning back to the story. But, you know, in the archive, there might be a backstory. There might be some other element that, you know, Chris has already talked about. So that's, this is the one that we've completed. We have three more that we're working on and one of them, the next one that we're working on that we have roughed out is about a very, very important event that happened in labor history in the area, the Memorial Day Massacre that occurred in 1937. A Memorial Day when 10 steel, striking steel workers were shot and killed during a peaceful protest during what was essentially called a police riot at the time. They were just gunned down by the police. So we don't have a lot to show you, but we do have the opening video. And I think maybe we can end with that. The object that everything springs out of, this is a really, really amazing object. It's a scrapbook that was put together by a young woman whose fiance soon to be husband was one of the strikers.  This one is a scrapbook about a massacre and it's a really, really powerful object. So, Jeff, should we just show the mic borers on video and then kind of end there? Sure. So if you have that here, I'll stop sharing. Okay. So this is just kind of like a rough early pass. So it actually looks a little different than the Mexican American story, even though it's gonna follow the same format. Let's skip through the text here. But same idea and then introducing and starting with objects. So in this case it's a scrapbook and then kind of transitioning to a resident that has some kind of personal connection to that object. So in this case, it's Mike Borzon, whose mother made the scrapbook and we'll jump into his video. Actually, you know what? Just to make sure I have the computer sound here. Okay. Yeah, my mom kept a good book. Sad day, sad day. This is where I grew up as a kid. I was on 117th and Buffalo. This dirt road still looks the same as it did when I was growing up here. There's a pear tree right here. And the steel mill was right there. When we lived here, my dad would walk to work. There used to be a brick factory over there. But I guess when the 1937 strike hit, this was all prairie, except for the few houses that were here. And from what I remember from that day is what my mom and dad told me. They were pickling the steel mill. All my family was here. My mom, my dad, my uncles, they were all here because they wanted to form the union. And then back in them days, they had no rights as workers. And then all the, as my dad would say, the bulls come running down the hill with their nightsticks, shooting people, beating people. And they say they got pretty violent. They've seen many of their friends getting hit with the billy clubs, seen a couple of the people that died falling next to them. That was 1937 Memorial Day. Yeah, all this happened right in here. So that's the field where the massacre actually occurred, which was right next to his mom's house when she was growing up. So Chris, do you want to just kind of wrap up for a couple of minutes and then we can do questions? Yeah, I mean, just to kind of leave time because we don't have a lot of time. I think the best I think to kind of just jump into the Q&A. But just to just quickly, you know, a final thought, you know, again, this whole project has been very collaborative in a lot of ways and built on interaction with the community. In the website itself, there's not a lot of space for people to like say, add new stories or other things, not because we didn't want to have that, but because the people, the volunteers at the museum were afraid of being overwhelmed with stuff and work. And they already have this Facebook group that has like 6,000 people. So they're asking us to send the traffic of people who want to talk or donate things over to the existing Facebook page that's already there. But in other ways, you know, I mean, again, it's been collaborative from, you know, in terms of who donated the stuff, how it's built on the museum and the community itself, you know, going back to folks in the community to talk about what these objects mean to them. You know, pulling on their knowledge about these materials for our backstories and other materials. And, you know, the plan for the future, we're working right now on a study guide for teachers in the area and others. And the whole idea, again, is to spark community conversations, right? So this is meant to in some ways be, again, you know, a prompt for conversation back and forth, both within the area and also with people and other regions as well. So that's, you know, kind of the next stage after we have the official launch and get this stuff finished is the next stages, again, getting back to collaborative work with the community, kind of using this tool to spark a range of conversations. So, you know, you don't exactly know where that's gonna go yet, but that's the plan. And we've done that with the Exit Zero book and film, where we have had a lot of community screenings of the Exit Zero film. And they've been very powerful in some ways because often people would kind of get up and kind of witness their own family's experiences of the industrialization. So we're hoping that this one, again, because it's kind of so spread out, a range of different families and their stories and individuals in different neighborhoods, talking about what their experiences were coming in some cases from very different positions, using that as a, you know, kind of prompts, again, to be getting people to reflect on their own history. So anyway, so please let's open it up for conversation and apologies for not having more time for the Q&A, because we really love to hear what you all are thinking. Thank you so much. I usually jump in and ask a question, taking advantage of my status as host, but I'm not gonna do that. I do have questions, but I wanted to just open it up more broadly to everyone. Laura. I wanna thank you for your presentation. I'm actually from Wisconsin. And so this just felt, it felt close to me and just kind of my experience is also growing up around the communities, some similar to this. So the design of the website just looks elegant and accessible, and I really appreciate the measures you took to make it that way. My question for you, which you somewhat answered already is that it sounds like you're designing tools for teachers to use, but have you seen this being used pedagogically already? Has the community already taken it in certain ways besides showing the film, taking this and already begun to use it as a teaching tool? Because I just think it's incredible and I'm kind of curious to see what they've already come up with, if they have. We're working on the study guide right now and in conversation with community leaders about interfacing with teachers in the public schools and how we might wanna use this as a disseminate it within the community. Also through a lot of people, one of the things that's tough about this, a lot of people in the area have phones and the archive itself works well on phones. These storylines are very data intensive. So that's gonna be an issue for people who don't have laptops. So we really wanna try to get it out through the community through the schools then for example, where people would have more access to laptops or the local public libraries, which a lot of people rely on those heavily to be able to access computers. So trying to do kind of community viewing events at the library, you know, both kind of community events and then having people kind of give their feedback on stuff. So that's all still, it's sort of in process yet. So we don't fully know yet exactly how it's gonna be taken up, but we're hopeful that people will make real use of it. Amber. Thank you so much for your presentation. It's really impressive, all the work that you have been doing in the archive. And I was wondering if you have considered expanding the archive and bring it to the present. You know, like I saw that you were interviewing people but then I was wondering if those people also have stories, right? And also have like important objects. So if you start like collecting those and expanding the story, it could create like a broader picture of the whole town. I know it's a lot of work, but I guess I was just wondering, yeah. Yeah, I don't know if Chris has other thoughts on this as well, but the other two storylines that we wanna do. One is about the impact of deindustrialization, the loss of the steel industry on the community. And the last one is on environmental activism. There's a lot of industrial pollution. So the environmental activism story goes up into the contemporary period. So like you see where the Memorial Day Massacre strike happened, that's now a brownfield, that's toxic. There's a lot of space in Southeast Chicago that's just toxic empty brownfield. So community environmental activists in the area. So that's a storyline that goes up to the current moment. So, and we do want this to become a site where it's both about the past but using the past as a way again to connect generations and think about the future. What's the future for old industrial communities like this? So we would love to think that about, some of the stuff you're suggesting about, again, and we have to work with the community volunteers cause they don't wanna be overwhelmed. So how to do it in a way where you can take in more, maybe if some people end up volunteering where we can kind of think about creating other kinds of ways then to access newer material and attach it to the site. So that's something we'd like to think about moving forward. I don't know if Chris or Jeff, if we had other. Well, I would just say, yeah. So I was the environmental activism story that that storyline, the object that it comes out of is a jar of pet coke. Pet coke is a toxic material that's left over from oil refining, Tarsian oil refining.  A lot of them are moms who have children who live in the community who become very, very adamantly opposed to some of the more recent, there's a long history of toxic pollution in the area but the more recent sort of levels of it. So yeah, we are very interested in bringing it into the contemporary period but it's an enormous amount of work and it's all volunteered. The museum is all volunteer. So we are assisting and the organizing and so on of the collection. The collection remains the communities. Thank you. There are a couple of questions in chat. So I'll go to those for a moment. So from Greg, curious about how you hope members of the community use the online project to share their oral stories with family and friends as they would if sitting on a couch while thumbing through an old family scrapbook photo album. How do you hope they recreate that shared social experience? Chris, do you want to tackle that one or? Well, yeah, I mean, I think that's a great question. You know, one of the issues that we have right now which is a huge developmental lift is the fact that the storylines don't work particularly well on phones. They're quite glitchy. So the archive, as Chris said, is better. You know, I think I would like to think that, you know people got huddled around a laptop. We know that in practice that doesn't always happen. Phones are really kind of the center of social, the social world for a lot of people and it's more virtual. It's not like sitting on the couch together necessarily although our son does that with his friends. So, you know, I can very easily imagine people sharing this on a phone, either when they're in the same space or in different spaces. The laptop which, of course, as MIT people, we all have is less of a common item. I will say though, I mean, we are looking to have this work on tablets. It's more just like for the storyline part. Like the archive itself is definitely mobile friendly. Yeah, right. The storyline, the thing is it's kind of like you're doing a service to users if you expect them to download all that media on their data plan on a phone. You could blast someone's data plan pretty quickly. But I mean, if you're on Wi-Fi with a tablet, that is certainly a potential option so that could be more conducive to what you're describing. And something else we had talked about but again, we were kind of overwhelmed with how much work it would take but would still be a great idea is if you could put the GPS coordinates in for the various objects and you know, because there's a lot of old photos of particular places because then I could definitely see a lot of people with their phones walking around to various parts in the neighborhood that might have been like, you know, because like the site, we didn't show this but at the end of the Mexican-American journey story, you go back to the South Works which was the biggest mill in that area which is now all brownfield. And so you actually at the ruins of the brownfield they actually had a recent Day of the Dead event where Mexican-Americans in the community were honoring their ancestors who had worked in the museum. So that's pretty powerful there at the ruins. So you could see people with their phones at ruins like that, looking up the images of the time period. But again, you know, getting all the GPS data and setting that up, it's, you know, time and money. So we have lots of things we'd love to do if we had. And just one last point about it. So because of deindustrialization and the economic challenges that the areas faced for, you know, the last more than 20 years, there's been kind of a diaspora of people. You know, a lot of people have moved away but who still feel really tightly connected to the area. So there, as Chris mentioned, I think there's a really strong Facebook presence that the museum has, a very, very lively Facebook group. People are always commenting, always sharing things. So I think that the archive part, and hopefully the storylines as well as, you know, on tablets or laptops can kind of be taken up into that diaspora ecosystem. So that people are kind of doing what they might do with a photo album, but doing it across, you know, great distances. And I just want to say in relation to one of the other questions in the chat about relationships with other Chicago-based institutions that have archives and museums. So the advisory, there's an advisory group for this project. It includes somebody from the Chicago History Museum and the Field Museum. So they've been fantastically helpful in all of this. And actually with the guy, we've been working with the Chicago History Museum. He actually has his PhD in Slavic studies. So he's volunteering to translate some of the Serbian and Croatian materials for us, which has been fantastic. So we are in connection with those folks and they actually, through the Field Museum, they're trying to create a consortium of institutions across the Calumet region to bring together different kinds of archival collections. This is kind of like the biggest one, but there's a number of other kind of small historical collections. Gary Indiana also has some industrial archives there. So trying to create a kind of a consortium of groups as well and then hooking them up through the Field Museum and the Chicago History Museum so more users can find those spaces. So we are trying to kind of create those connections. Also folks at the Mexican Museum of Art in Southwest Chicago as well. Hey, looking at the chat, I see that there's a question about the curation of the storylines and the creation of them. And just because that's like a very challenging process, I don't know if we wanna say a couple of words about that. I don't know, Jeff, you're kind of always, you know, like shouldering the burden there. I don't know if you have anything to say to answer that one. Well, it's funny to be articulate at the question. It sounds to me like it might be more about where it's like choosing the materials to use and whose voices are heard. So like what, yeah, kind of the selection process right at the media and the materials that we're using. We're right, which I think relates to the narrative process broadly speaking, which is also a challenge. Yeah, absolutely. Yeah, I mean, it's a narrative process, but I guess I'll also say it's also plays into, like Kristina, if you wanna talk about how you're sharing this with the committee and various community members that are getting incorporated into these stories as well. There's that part of it too. And just to say with as part of, from the beginning of the project and also as we were working on the grants for the National Endowment for the Humanities, we worked with the advisory community, which has community reps and the different volunteers from the different volunteers on the board of the museum. And we kind of talked through, you know, we tried to pick stuff based on what's in the museum itself, you know, so again, trying to honor the kind of categories that people had in terms of like, you know, if there's certain topics that, you know, again, the military topic, there's a ton of stuff. So as an anthropologist, that's really interesting. Why is there so much stuff on military here? So that's been an interesting one to ponder. So we've tried to kind of honor the kind of categories around which people were donating stuff. But then another instance is we tried to, like if we knew, for example, by the time the steel mills ended, about a third of the workers were white, again, largely Eastern European, about a third were Mexican-American, and in turn, you know, so we, you know, but again, there's some gaps within the museum's collection itself. So in those cases where we know that it's kind of reflective of the actual social life of the area, trying to make more prominent certain voices that might be getting lost in the stuff because we know that's historically accurate to the place. And so that played a role as well. So we went through with the advisory committee, what are the stuff we want to prioritize and emphasize and how do we kind of create balance in these kinds of ways, both honoring kind of what people donated and why they thought it was important, but also making sure that we're addressing gaps with gaps are there. So we went through that kind of process then of deciding what kind of stuff to emphasize. And then Jeff had a huge influence as well as like kind of what stuff is arresting in aesthetic terms that we, you know, that people would enjoy looking at, which was definitely part of the process as well. So if you've got 300 pictures of a steel mill, right? Which ones are the exciting ones to look at? Anyway. I'm gonna take another question from the Q&A. This is from Mimi who asks this, or who says, this is an awesome project. Thank you so much. Can you show an example of an entry on the back end? I don't know whether Jeff you're set up to do that. And if not, it would certainly be interesting to hear a bit about the code side of this. Back end, yeah. I mean, so this is built on WordPress. So any of you have used WordPress, it's pretty standard, you know, it's customized and everything they have are back in developer Jared.  The storylines are very custom. That's not really anything that we have like a back end for because that's like a very tailored thing that we've been kind of creating and kind of shaping as we make them. So that's something we're just kind of building manually.  So we still don't have the kind of resources and capacity to do that. The storylines, but for the archive side, we definitely, you know, it's all WordPress based. So I can go quick and jump in here. So these are typical, you know, WordPress dashboard. We have a future curation section. We have our, here's the archive. Let's jump into there. So if I just jump into one of the individual entries, this is actually speaking to another piece of software called Archive Space that the museum's using to kind of catalog everything in there in the archive. So the archivist Derek works very much with those records. He's like a session records in the archive. And he inputs a lot of the metadata there. And then we're actually putting in the unique ID from those records. And that's actually drawing from Archive Space and pulling in that data into WordPress. So we actually do have two kind of databases that are speaking to each other for this project. And then we have the ability to kind of add additional metadata on top of that. And then, you know, obviously articulate if it's like, if this item is a part of a future curation, if it's a part of a storyline, we can add a call to action for the storyline that's a part of, add any kind of rights information, you know, put up the thumbnail. If it's something we have on YouTube as a piece, if it's a video, we have the links of the YouTube video and the channel. And then of course, you know, all the filters and everything are these check boxes on the right-hand side. So how are those two integrated? The database that you're pulling from that there, is that custom code that you're writing manually or is there some existing plug-in or how much of it is sort of pushing beyond what WordPress allows you to do and kind of customizing it in a very line-by-line way? Yeah, well, I mean, you know, WordPress is pretty much a blind canvas in terms of like just a foundational framework. And then, so this is definitely customized, but you know, in terms of some unique functionality, the fact that it is pulling, so Archive Space has an API so that allows it to, you know, kind of make its data accessible to external programs. So we're tapping into Archive Space API to draw from its data to pull into here. And then there's like an automated kind of check, you know, the frequency we have get to the side, but it might be like every week or so where WordPress will look back to Archive Space and see if anything has changed then automatically make updates. You know, but the main, the unique relationship here is that Archive Space really would be the place where the museum would go to kind of organize their collection and keep tabs on it and be able to find things. And then the WordPress and its website is more like one stage aside, they want to feature something in the digital archive and make it more public. That's when it kind of, you know, leaps over to this website and becomes a new added item to this. Because obviously we only have like maybe about a thousand items on this site, but the museum itself has thousands of items.  But, so I'd say that relationship between those two programs are pretty unique. And it's definitely, this is like, you know, in terms of the combination of functions that we put here, it's very, it's very custom. We definitely made use of certain preexisting, you know, WordPress functionalities or functions to make this happen. Thanks. Yeah. I mean, you know, in a nutshell, without going into crazy detail, I'm trying to keep it pretty simple. Other questions from the group? Well, I, so I'll finally ask a question. And it sort of goes back to the question about, you know, the choices that you're making in terms of the storylines.   And is this something that would, that you see as an ongoing project where, you know, every six months or something or every certain amount of time over the first few years, you're continuing to add these stories or, you know, what's that kind of longer-term picture for the storyline aspect of the site? I don't know if he wants to field that one.  Well, I would, so right now we have plans for four. And the four, I guess Chris mentioned them. It's the Mexican American experience. It's the Memorial Day Massacre, environmental challenges in the area and activism, which is a much more contemporary story. And then deindustrialization, which is a historical story, but a little bit more recent history, 80s and 90s. They are really labor-intensive and they require essentially funding. So we got a supplemental grant from another foundation to do a couple of additional ones, which is why we now have plans for four. And I think doing more is kind of a wonderful idea but also requires funding. One of the things that, again, we wanted to do was find other ways to weave stories into the archive, which is why the backstories, which are much more, you know, much less labor-intensive, the featured curations. And then a third sort of direction, which Jeff could talk about if we have time, something we call storylines, which are, I'm sorry, story paths, which is a little bit like a storyline, what you saw, but much lighter in terms of the design elements, the design work and the sort of shaping of an arc. I know, Jeff, do you want to briefly describe that? Yeah, briefly, I mean, because I guess, you know, the interesting thing in us kind of having these two sections of storylines and the archive and then being related is that this idea of kind of pushing the archive a little bit in terms of its storytelling capabilities is that we were kind of coming up with things that were making it lean a little bit towards the storyline side, but not go like full-on into it. They store kind of these separate spaces. But yeah, story paths, and I know we keep using the word story in like a lot of different ways, so we might have to change the name. We're kind of worried about, you know, the backstories, storylines, yeah. There's a lot of different forms of story, but what the idea of story paths is that instead of, you know, curations are kind of just like a collective group of items that kind of fit under, you know, a shared theme, but a story path would be kind of like you're thoughtfully kind of choosing a sequence of items in the collection that might, if you were to follow it in sequence, actually have some kind of an interesting arc to them. And it would almost be almost like a, like in my mind, it's almost like an animatic or something, it's like this kind of visual storyboard or something that you could follow. And if you go from like picture to picture to picture, you can actually see this visual narrative kind of unfolding. And that's like one other way to kind of pump up the storytelling capability of the archive itself. Yeah, it's something we're entertaining. Yeah. The story lines with the complicated ones, you know, we start with essentially what's an animatic, you know, it could be a PowerPoint or a Google doc or something. So this would be, yeah, I'm like a stripped down version of that without, you know, designed, you know, because it would be based on a nice design, but not custom designed, I think. Right. All of the other, you know, sound design and stuff that really takes a lot of the effort and energy and time. And it kind of invites the user to fill in the gaps themselves a little bit or kind of do a little bit more than investigating themselves, you know. So we're just kind of providing the main kind of key frames and they can kind of choose to read out more about the individual items and kind of fill in the narrative gaps a little bit on their own. But yeah. I think the whole idea is right. So you have the archive. The archive is the thing. And I always think of it, I always think kind of archive first, right? It's an archive. And you can explore the archive in a lot of different ways. And maybe it seems confusing that there are a lot of sort of story ways of exploring it, but I feel like really it's an archive.  This item leads to that item. This one has a backstory. Or you can go and just embrace the full on story lines as well, however many of those there end up being. So it's an archive first. And then we're trying to make all these internal connections that supplement and enhance.  Hopefully not in a confusing way where, you know, you don't really understand what you're doing, what you're seeing, because what you're seeing is an archive. Yep. I just wanted to briefly say, like in terms of, again, this has taken an enormous amount of work, I think far more than any of us anticipated when we got involved with it. So I just wanted to give a huge shout out to Jeff, who's done really extraordinary work in, you know, in making it look really gorgeous at the same time. And then also seeing Kurt sign up there, like Kurt helped back in the early days of thinking about this project. So thank you, thank you, Kurt. And just mentioning some other folks, like in addition, our archivist has done enormous amounts of work again, like, you know, taking the community ad, I can try and get it all organized.  We can't find any information. And like, just an extraordinary amount of work and over decades that he put into kind of preserving these items and making sure that they're kind of around and there's information on it.  It's just an enormous amount of work to do this kind of thing.  We'll see, we'll see how it goes, but it is a huge team effort to do something like this. So we've gone past time, but I think there was, there was one other question from Tomas in the Q&A. If you have a moment for that and it's a question about the platform, why WordPress versus other archived specific platforms like Omega? Thank you, Professor, but I think he largely responded by now, so. Okay, all right. Thank you so much. Okay, I think, I think time, our time has come to an end, but this has been really incredible and really it's such a rich, rich project. And you're doing such, I don't know, beautiful work with it, you know, that's both meaningful and aesthetically beautiful. So I wanna thank you for presenting and ask everyone else to join in giving your thanks, giving thanks. Thank you all so much. It's been great to have a chance to talk about the project with you all. So thank you. Yeah, thank you. Yeah, thanks for joining. All right, take care everyone.


Hello everybody, my name is Michael Bailey with Avocon and I'm also known in various virtual worlds as Marcus Llewellyn and I'd like to welcome you back to this tutorial series on learning to build an open simulator. Up to this point, we've been rosing prims one by one from our edit window, even when they're the exact same shape. But there's a much easier way to do this and it's called cloning prims. Rosing a prune creates a new copy of that prune and this allows you to reuse an object that you put a lot of work into without either recreating it or taking it and rosing a new copy out of your inventory. And even better, it also works on link sets.  This is a very valuable skill that will increase your speed in building a great deal and make things a lot easier for you. So let's start by opening our build window and let's res a sphere. Now to clone the sphere, what we're going to do is hold down our shift key and then drag on one of the axial arrows. As you can see, an exact duplicate has been created. You can do this as many times as you like. What's more, you can select all the prims you've just created and duplicate multiple ones. It's probably very apparent that you can very quickly make a lot of prims this way. You can also clone a link set. Let's do this now by selecting all the prims we've just created and hitting control L to link them. Now if we hold their shift key and drag, the entire link set is duplicated. Practice doing this. In the last tutorial, when we were working with link sets, we learned about the edit linked option, which allowed us to select a single prim in a link set and move it or resize it or modify it however we'd like. One thing to remember is cloning does not work on a single part of a link set. The viewer just won't let you do it. If you want to clone a single part of a link set, you'll first have to unlink the prim that you want to clone and then shift and drag to clone it. And then relink your prims back into the link set. And that is the end of this tutorial on learning how to clone prims and link sets. We hope you learned a lot and as always, keep practicing, keep building and we'll see you in the next tutorial. Thank you for watching.