Not taking away the rich when they get the free stuff. No, no, no. See, Chris Christie, you know, he is another famous free stuff taker and give it the way of taxpayers' money to his rich, crony friends. That's correct. But that's not a problem. Do. When they talk about free stuff, it has to do with the poor and the middle class. That's correct. That's correct. Who happened to be the backbone of the economy and the true consumers? And why do we have poor in this country? The richest country in the world that has ever existed on planet Earth. Because the jobs are outsourced, number one. Well, that's my point. The jobs are not here. Oh, yeah, they mentioned. We shouldn't have poor. They mentioned the corporations in America being the job creators again.  Yes, yes, of course. The job creators. Anyway, being that I am playing. That's why 97 million Americans are out of jobs today. Yeah. All these big jobs being created. Being that I am playing, I am a demonic Republican this Halloween 2015, might as well put on the evangelical serpent.  So we'll put on the evangelical serpent, all right? And when I feel a little cooler, I'll put the mask back on. So anyway, the serpent disappeared. Norquist. That's the guy who made the quote about shrinking the government so that it could be drowned. Rand Paul must have said some things that really pissed me off because, well, I'm sure he does. You know, I thought he was more of a moderate. He's a libertarian. He's Bob, by the way.  On fiscal issues, he's the same. It is on social issues that libertarians deviate from the strict Republican conservatives. So they believe that it will allow abortion or these things.  Correct. The haves should always have. The right wing libertarian, as opposed to Jesse Ventura, who claims to be a left wing libertarian. Fiscally, he'd probably be the same or was the same. Maybe that's why he ain't a libertarian anymore. Oh, Jesse? Yeah. He can't be a libertarian today. Now, with those still ideas. So libertarians might as well just call themselves Republicans then. They do today. They're in the Republican Party, but they bang horns. They bang horns with the base of the Republican Party on social issues. Like the Reform Party was very similar to the libertarians, the Reform Party. Now, the Green Party, which Ralph Nader ran under, they and Grandpa Al Lewis, Grandpa Muster, they were part of the Green Party. And the Green Party people, they seemed like the Democrats of old, the way the Democrats used to be. They were, they are very progressive and liberal, like the Democrats used to be JFK and FDR. But anyway, let us sink our teeth. Oh, before we sink our teeth, I was watching, well, I was forced to watch it. It's a new big pharma drug company commercial, Bristol Myers Squibb, not Fried Squid or any Calamari, it's Squibb with two Bs. Bristol Myers Squibb was advertising, those are the levity belts, advertising a new drug that stimulates the immune system to be used as an alternative to chemotherapy. I think it was. New Leicester? Called Sedevo. I think it was, it sounds something like. Op-vivo. Op-vivo. Yeah, the word devo was on the end. Anyway. Devo or vivo? Yeah, it was immunostimulant drug. And then, of course, I heard the side effects at the end. And the side effect is, listen to this. Death. The side effect is possible autoimmune response, a dangerous autoimmune response, which means the drug may cause your body to attack itself, which can be fatal, that that was the negative side effect. Only one? No, I'm sure there are others. I have a hundred or so. I'm sure there are others. Yeah, I was discussing that very subject with William H. Morrill about the side effects really turn you off.  So that's big pharma. Of course, they're not going to mention the tremendous amount of natural substances that stimulate your immune system. We're not going to mention that because they can't put a patent on it. Yeah, that's for sure. So shame on you, Bristol Myers Squibb. You're in the chiseless hall of shame. But all a big pharma belongs in a chiseless hall of shame. Now, being that we lost the segment last week for some unknown unseen reason, I did a chiseless hall of shame concerning compact fluorescent light bulbs. Normally, when compact fluorescent bulbs came out, normally I would get a few years, sometimes several years, out of them. Let's take putting one on the front porch outside. Now, all of a sudden, I put in a sunbeam, compact fluorescent light, 60 watts of light, but not, I mean, equivalent 60 watts. But it uses much less electricity. After one week, no, after one month, it burnt out. Forget about a few years, it burnt out. Then I put a second new one in, the same one, because I bought a pack, and that lasted a week.  So now I put in a different brand altogether. But the point is, I've seen this progressively happen. The compact fluorescence started to have built-in obsolescence.  So all you companies that have made compact fluorescence, this is why I buy LED lights now. Chiseless hall of shame, sunbeam, I've had sunbeam appliances before, like the toaster that toasted itself and melted. Yeah, literally, the whole top melted, the toaster that toasted itself.  That's it. All right, let's sink our teeth into these readings.  I was waving the very bulb around. You know where the bulb is now? In the garbage dump, in the landfill. Unless they recycled it. All right, we're going to look at Ask Marilyn here. Oh, you're going to start off with a light. Yeah, yeah. Well, all right, go ahead.  Well, is she out of her mind?  Well, she answers all these questions. She's a very smart woman. A serious question. Well, I'll give a serious answer. I am not electable. She's a shrink, right? My principles are based on attitudes that grow from on-growing, going observation and thinking. These attitudes aren't democratic or Republican. Smart woman. I wasn't raised either way. And for that reason alone, it would be virtually impossible to be nominated by either party. She's not in favor of political parties, it sounds. That's pretty smart, isn't it? Yes. Also, I don't like to slant my messages to the audience that I'm addressing, even though my views aren't rigid. One who acquires political beliefs early in life and rarely changes any of them is incapable of learning from experience. You see the difference between your average two-party system politician and, let's say, Bernie Sanders. Bernie has been consistent ever since day one. Even when he was mayor of Burlington, Vermont, I think he was very similar to the way he is now. No flip-flopping with him. So in my case, I'm not electable. Yeah, that's a good answer. Very good answer, excellent answer. The article conservative tapped to be state treasurer. I don't want to read that. What am I doing with this, then? Maybe I'm doing something like that. Maybe you were a tad bit.  This is a wrong thing, man. Maybe you were a tad bit scissor-happy. Well, somebody was, eh?  This is not applicable at all. It's applicable to the show. Apple-lickable. All right, let's take one of these. And you get Democratic presidential candidate Bernie Sanders called Thursday for an end to the death penalty. Well, I don't know.  I don't know, man. Do you know that that's true? Do you know that it's accurate? Where they had a fair trial, where all the evidence was in, and et cetera? Because there were many people on death row that were innocent. They could kill the man in cold blood. No, no, you can't say I heard, and then make a political judgment on that. You have to be accurate. You have to be tried, yeah. Well, no, a lot of people in the old days were tried, but they were innocent. Yeah, that's not good. Like Jim Crow laws, and et cetera. Like lynching black people just goes their back. Man makes mistakes. Well, look at what they did with the O.J. Simpson trial. They changed the complexion of the jury. They changed the complexion of the glove. It didn't fit. That's what happened with the O.J. trial. The man was guilty of sin, but he couldn't put the glove on. He did a Red Fox, for Samson and son, arthritis. He also, remember, he talked about his arthritis. Hey, that's the case that made the Kardashians famous, because right, Old Man Kardashian was one of O.J. Simpson's lawyers, I believe. Never, I don't know. I'm not that far up on it anymore. Anyway, fair trial. They must be proven guilty beyond a shadow of a doubt. Yes, they're entitled to a fair trial. And under politics, you can't have that, as Marilyn just said. If you grow up in a one-way, politics-wise, you don't change. So then everything that you see, hear, and do is according to your politics. In other words, you cannot be a biased judge or a biased jury. Yeah, but everybody is. That's the point. Well, I got turned down for jury duty, because it was a former employee versus the corporation. They were denying his workman's compensation case. And he got hurt on a job.   And when the judge heard that, I'm not going to be partial to him. When the judge heard, because the defense lawyer, he went like that. No, they were all clustered around the desk, even the judge interviewing everybody. And when he interviewed me, I says, I'm not going to show partiality or bias in favor of the corporation. I was dismissed. So I guess they wanted me to show bias and favoritism. Yes, of course. For the corporation. But I'm saying the defense lawyer would have liked you on the jury. Apparently, I guess he was out overruled by the HRF. Whatever, yeah. A day after rival Hillary Clinton stopped short of saying the United States should end the capital punishments. We are all shocked and disgusted by some of the horrific murders that we see in this country, seemingly every week, said Bernie. It's true. An independent senator from Vermont. And that is precisely why we should abolish the debt penalty. The United States is becoming one gigantic Dodge City. At a time of rampant violence and murder, the state should not be part of that process. Clinton's remark a day earlier to take a hard look at abolishing capital punishment gave Sanders an opening to distinguish himself from the former Secretary of State, who is the party's frontrunner in the battle for the Democratic presidential nomination. There's definitely differences between Bernie Sanders and Hillary Clinton, without a doubt. Sanders also called for reforming the criminal justice system, which he said puts more people in jail than any other country on the face of the earth. Oh, yeah, well, we also have lots of privatized prisons for free slave labor. Ain't that capitalism at its best? That's real capitalism. Let's put those bastards to work, man. Well, I even had a little dispute with William Morrow. He says, let them earn their keep. I says, what do you mean their keep? Their keep, living in a little jail, getting suboptimal food. Oh, yeah, that's for sure. Having a jail cell roof over your head. You know they have done studies. Earned their keep. Taking the sugar out from prisons and stuff like that, which changes them, their violence, their tendency towards violence. It does work. Well, look what it does. Look what sugar does to children. Yeah, and the same thing. And then they give the kids Ritalin, right? Yeah. What is it? Attention deficit disorder, hyperactivity? Yeah. Right? It's the sugar. Yeah. But it hasn't been instituted within the system, but all catch it as a vegetable. On the Ronald Reagan, they tried to get in there, didn't they? Listen, it's just a sneaky legal way to bring back slavery. The privatized prisons. Correct.   Well, the Republicans, for some reason, have a problem with two victimless, frivolous crimes. They have a problem with prostitution and marijuana. They had a problem with booze, with alcohol, back during prohibition. The right-wing religious nuts were the ones, right, that started- Got the law passed.  Later on. Anyway, I didn't introduce my partner over here because we got so caught up. I want to introduce the Reverend Dr. William J. Eisenman. How are you feeling this week, sir? Energetic. Yeah, I'm energetic, right? But I ain't enough. I'm energetic because I love autumn and I love Halloween, but I'm waiting for this medicine to kick in, man. Well, it ain't kicking in. It's not kicking in that good. I want to say greetings, excuse me, greetings to my near-dear friend, from Osaka, Japan, a miho. And, okay, I'll continue. A criminal record stays with a person for his or her entire life until the day he or she dies, Sanders said. If a person has a criminal record, it will be much harder for that person later in life to get a job. Many employers simply will not hire somebody with a criminal record. A criminal record destroys lives. Clinton says she thinks there are certain egregious cases in which the death penalty should be considered. Well. But I'd like to see those be very limited and rare.  And honestly, I have to side with the victim and the victim's family. I think restitution should be carried out, but it must be proven without a shadow of a doubt in a court of law, if that's my take on it. In an uncangarooed court of law. In an honest, impartial, non-cangaroo court of law, yes. But which we do not have. Well, not when you have Republicans in charge of the country. Because we do not have any solomons anymore. You know the famous case of Solomon in the Bible, don't you? They were drawing lots. No. I mean sticks, whatever.  Oh, okay. I remember this now. And her, whatever she was to her, another woman claimed that the baby was hers. So they brought the case before Solomon. And Solomon in his great wisdom, because God gave him wisdom. He asked for wisdom and God gave him. Well, Solomon and his son and his father, David, they were no angels. David was not an angel. No, I mean they were not what you would call godly people. I mean they were, but not. David did a lot of killing. Yeah, they were nice, nice guys were, I'm trying to say. So Solomon had to build a temple because he was a little more innocent than his father, right? But the point is that when they brought the case before Solomon, he said, all right, let's cut the baby in half and you can have one and you can have the other. Well, the real mother said no, no, let her have it.  Well, naturally, if you cut the baby in half, it dies and nobody would get the baby. But I get you drift. Okay, fine. You, were you in the middle of something or no? No, and we don't have the time for it. Well, we're gonna cut for lunch. Okay, we're gonna take a lunch break and now we will be joined by how to defeat a conservative Bible versus just click pause and read. And also, we will hear from our voice over artist, William Hamilton, moral of the third for promo and we'll be back for the bounce of the show. Happy All Hallows Eve, 2015. Now we'll be back. God willing.


Hello and welcome to the session. In this session, we will discuss how to round off decimals. First of all, let us discuss what is rounding up decimals. Now the process obtaining the value of decimal to the required number of decimal places is called rounding up. First of all, the value obtained rounded off value of the decimal. Then with the help of retaining the digits, one more than the required number decimal places. In the second step, if the extra digit retained is 5 or more than 5, put 1 to the digit just before it. Then in the next step, the digit retained is less than than just before it. Then in the next step, the digit is then omitted. Now let us see an example for this. That is, round off 34.7262 collected to decimal places. Now for the solution, the number is given as 34.7262. We have to round off this number. In the third step, we will retain. Therefore, we will add 1 after the decimal point. That is, the digit therefore is equal to 34.73. Now let us direct the total number of digits, the zeros, between the first numerals to decide the number of significant digits. The position is not of any importance. That is, all round zero numerals in the number are significant. Now let us see an example for this. The number of significant digits in decimal is not of any importance. That means, then this number are significant. So here, as 1, 2, 3, so it has significant digits. The zeros between numbers. Now let us see one example for this. In this, we have to find out the number of significant digits in 5.409. Now here, zero is lying between 4 and 9. That means, this zero will be counted. So the number of significant digits in this number is 1, 2, 3 and 4. So it has, now the next three must numeral. Now let us see one example for this. Here we have to find out the number of significant digits in 2.576 number. Zero is coming after the last numeral which is 7. That means, this zero will be counted. So the number of significant digits in this number is 2 significant digits. Now the next first numeral of significant digits in 0.0034. These are the zeroes which are before. The first numeral, that means these zeroes will not be counted. Then digits is 1, the zeroes of the number are ambiguous. So let us look up an example. Now in these type of numbers, let us, in 7000, the zeroes are coming at the end of the number. It is not clear if the zeroes significant. Now here, the number of significant digits in this number is at least, but could be 3, 4 also. Could be written as scientific notation to place the significant zeroes behind the decimal point. Now this number here, we will write this number in scientific notation. So this number will be 7.2 into 10 raised to power. This number is having 2 significant to 0 into 1, 2 and 3 significant digits. 7.200 into 10 raised to power 3 which has 1, 2, 3 and 4. 4 is significant. Now the next point which we should remember is, is done in the same way for the decimal place. An example for this, 0.04732 on significant digits. So it will be quoted 0.05 significant digits. Fiction using significant digits. Now the number of significant digits of significant digits in the numbers 0.1276 plus 0.0974. This will be equal to one point in the question. This number is having the smallest number of significant digits. That is, it is having 3 significant digits. 10 digits in the result will also be 3. So rounding off this number to 3 significant digits, it will be one point learnt about rounding off decimals and significant digits. So this completed, have enjoyed the session.


Okay, thank you everyone for coming. I'm very pleased to be here to present to present to you about my company. So my name is actually Grey Tan. I'm the founder of TinyMos. So in case what you're wondering what TinyMos is, I'll go into that. Okay, so oh I click twice. Okay, so TinyMos is a space imaging company. We are making the world's smallest astronomy camera, which is called TinyOne. So we have been described by ex-NASA scientist Dr. Bidushi as a Hubble in your hands. I'm pretty sure she doesn't mean that we are as advanced as Hubble in our imaging capabilities, but I believe she is actually saying that we have the same aspiration as Hubble. We want to bring astronomy and astronomy imaging to the masses. For us it's on the individual level and for Hubble it's across the civilization. So how did this company begin? It began when three of us founders came together. I was actually a student back in 2014 and that's where I got into astronomy. So I was actually a very avid photographer. I took a lesson by Dr. Phil Chan. So he actually told us a lot of inspiring stories about physics. So the one that I remember the most clearly is that at the start of the universe there were only very light elements. For example, hydrogen and helium. Everything that actually is heavier than hydrogen and helium formed at the core of the stars through a process called fusion. And we both we all know that we are not made of only hydrogen and helium and therefore actually all of us are stardust. So this physics story actually inspired me to find out a lot more about this physics about space and science. So I took even more modules in NUS in physics. The second module I took was called Sky and Telescope by Dr. Abel Yang. And through his own hobbies and interests he taught us a lot more than what is required in the syllabus. And that's how I learned about astronomy photography. And during the same period of time I was actually doing a business module and that's where I met Esprit, my co-founder. And we were doing a module called New Product Development. And we came up with this idea to make a camera for the masses to be able to capture astronomy without a hindrance of cost as well as weight. So between the two of us we didn't have enough extraordinary physics knowledge. And we wrote in my high school friend Lee Wei over here. So he is a stellar individual really. So he actually was the CTO of a multi-million dollar startup before he even joined us. And that was back in Silicon Valley and even till now he hasn't even graduated. So coming together of three friends founded this company. Okay so oh so just one second. Okay so I was watching this video when I was doing the physics module under Dr. Abel Yang. And I look at this video of the Milky Way. And I always wondered is the Milky Way real and can we actually see it through our own eyes? And I hope that when you're watching this video you have the same questions as me. And I'll let the video do the talking. Okay so I was very inspired by this video to actually go and find out is this actually real? Is this actually visible through my own eyes? And through the help of the NUS Physics Department I met a very helpful person known as Remus. I think a few of you guys here know him as well. So through his help I actually went on a tour to Mercing just two hours drive away from Light Belated Singapore. And I managed to capture this image. This is the image of the Milky Way captured just two hours drive away from Singapore. And this is the very first time I've actually seen the Milky Way from horizon to horizon. And it's just so all inspiring that I've decided I want to pursue this further. But I also want to share this experience with my friends and family. And that's where I realized that there is this problem. So remember I told you I was a professional photographer. So I happened to have one of this camera and this is what I captured it with. And this is from a secondhand shop and it still costs $4,600. And to be able to capture images like this, this is about the entry price to be able to do that. So a few problems here. First of all the camera commerce really heavy, very expensive and very complex. Most of us don't know how to operate a camera like that. So in addition to that you still have to actually know more about astronomy to be able to capture images like those. So basically you have to go to university and learn from a professor basically to capture images like that. So we want to simplify that. And this is the prototype idea that we have. To create a small camera that simplifies the capture process and helps you identify the astronomy features that you want to capture so that you don't have to carry so much weight. Go in depth into the astronomy and photography knowledge. But be able to capture great images like that. So we're wondering whether something like this could be made. And we brought this very small scientific camera known as the ZWO ASI 120MC. The sensor was the size of my pinky's fingernail. And we managed to capture an image like this. This is definitely a very low quality image compared to what DSLR does. But it proves to us that at one seventh the size of a DSLR we are able to capture the milky way regardless. And we were inspired to actually pursue this endeavor. So after 18 months of development, raising funds and building prototypes, we managed to capture this image, the next image with a camera with the same sensor size. And this is approaching image quality standard of a DSLR that costs a few thousand dollars. And the target price we are actually going for for this camera at launch is 500 US dollars. And not only can it capture great images like this, it will also tell you where to point your camera so that you don't have to have in-depth knowledge of astronomy just to be able to begin. And after 18 months of development, this is how the camera is going to look like. We've engineered it out of aluminum for durability as well as cooling purposes so that we can improve the signal-to-noise ratio as much as possible. And we really wanted to bring this product to the masses. That's why we went to US, California to go for a TechCrunch conference where we actually sought to gain more interest as well. And along the way, we captured this time lapse. Okay, so I wouldn't say that this exceeds the performance of a DSLR, but I would say that we've come close to the performance of the DSLR at a fraction the width, the cost, as well as the complexity. So apart from imaging Milky Way, we are also targeting to capture northern lights as well as the moon and the sun. So this video is captured from the F1 pit building in Singapore with a lens the size of a can of coke. So notice that you can actually see the craters within the craters on the moon and that's how sharp we can actually go into. Okay, I thank you for listening to my presentation. I hope I have developed a product that will help you to explore the cosmos and to inspire you to find out more about astronomy and physics. Yeah, thank you. Thank you. Any questions? Okay, so any urgent questions, important questions? Okay, so, okay, so do you have a mic? Is there something specific or is there a lens that you use? Okay, so the camera is designed for a wide variety of purposes. So the wide angle was taken with a lens that is about the size like this. So we are actually using a CS mount standard so that you can put as many accessories as possible.  Then for the lunar image, we actually adapted to a Nikon reflex lens, 500mm, which allowed us to capture an image of the moon. Yeah, does that answer your question? The one I can't disclose right now. So, okay, so do remember to support us on Indiegogo. We are coming to Indiegogo in first quarter 2016. In the meanwhile, if you want to keep getting regular updates, do subscribe to us at tinymoss.com. That's right. Okay, so to be honest, we had some post-processing done. So I think there are some astral enthusiasts over here. They will let you know that actually you won't be able to take this kind of image in a single shot. And the limiting aspect is the atmosphere actually. So the movement of the atmosphere prevents you from getting a sharp photo. This was taken 900 consecutive shots combined into a single image. So right now this is captured at about 3 frames per second because we are using a prototype. When we complete the development, we are aiming for at least 60 frames per second. So that will take you just over 10-15 seconds to complete a sequence like that. Okay, I will take questions from this side. He asked what is special about the camera? What's the difference between for astral cameras as well as an everyday camera? So the difficulty in astral photography is that you have to be able to capture photons effectively because apart from the moon as well as the sun, most of these objects have very low luminance. So if you expose your sensor over a long time to capture the photons coming from these distance objects, you have to be able to separate your noise away from the actual data. So there is one of the key challenges. And the difficulty in shrinking everything to this size is the fact that once your sensor goes really small, your collecting area is very little. So we're actually getting images of these really deep objects from the sensor size of my pinky's fingernail. Yeah, thank you. Can we let him know the pixels? So I think right now we cannot disclose the pixel size but would this actually be sufficient resolution for you? Okay. Okay, so processing wise, there's one of our key innovations. So in terms of noise reduction, we want a very responsive camera. So I think one of the leading ways to reduce noise for long exposure is called dark frame subtraction. So if you were to expose for the Milky Way for 30 seconds, you have to capture 30 seconds of noise data by covering the lens. So this creates 60 seconds for a single shot where you collect data for 30 seconds. So what we do is that when you're charging your camera, the camera is actually calibrating for that and storing it into a memory module. And we use that noise reference to do the reduction so that your camera right now only takes a fraction of the 60 seconds. I think you'll probably take about two to three seconds after you've captured it to do the noise reduction. That's right. So I think I describe this as the world's smallest astronomy camera. I think it's more accurate to say that it's the world's smallest standalone astronomy camera. So there are a few cameras out there for example, those made by point gray that are actually smaller than us, but those require a laptop to bring along and that makes life a lot more difficult. So what we have done here is that we actually attach a screen at the back of it.  So there's a star map overlay over on top of what your camera sees. Yeah, okay. Any other questions? Is this an FPGA inside? Actually, I'm quite curious which occupation are you from? Thermal camera from Fleur? Yeah, so actually when we began our development, we have looked into different platforms. The very first one we've looked into was actually FPGA. There was one of the highest performance processors in terms of parallel processing. However, we found out that FPGA actually consumes too much power. And right now we are actually using what do you call that? Okay, we are using a system on chip to do the processing in software, but this system on chip has additional modules that actually does image compression rapidly. Okay, thank you.


At that moment So in how about looking at it just now M poke na very Zack Spread much of chances Ya papa La RESRC But my current performance is based on papakwa of the ash, a paper is not worth enough. The same to the agasets, if paper lagasets is to make it very complicated, I will release sabayose in the midfield. Kuna chances is, because sabayose is a good creator, they create so many chances, so it's up to a be my aim to take these chances. But if they are going to prepare to be at Kujena, not like using counters maybe trying to open Liverpool midfield, and Liverpool defends from a short passes, killer passes whereas they must use counters capsule khikutimako jum아 karahigabira cun lak연 kupaka lik Me wa mwen wun всё ya 게i na pasawani maik nee mihi tawani tawani tawani matawani mire iitakwa ke98 wa tawani esi tawani mib dewna ay wa make maakami ui asun'u defensu kuwa taba kuji. Ako sejama uti asun nipe lii nga luza ui ma Quality Piai. Kunifikia maqa wajarenia. Wanjama. Viitwa Wanjama nga ui wa nma strikes kuwa ui belgia. Amid media reports indik tuha ngama wajarenia na negoshiaswato Nun gei-b transfato klub revealing the injures and the last two seasons We have been looking for a move away from the premier league Where he has no longer been able to train or play in a high intensity According to the reports of 2 clubs I have agreed on ten million Euro fee For the twenty-eight-year-old midfielder, who are targeting to boost their squad Na uminbukwani kiyangale historia wanyama like nimukwani kiyangale for a while. Now, when I look at last season, wanyama didn't play so many games and he was really a lukwanashida injury. And even at Kirudi, it was really hard to put him on field because his results were really a bit devastating. But it's not more about kenya lukwanafanya, but more about kenya watu enyana compete now anafanya. Unona. Like the people that were anashindana now for the same position of lukwanafanya more than yeah anafanya. But then again that would be understandable considering the fact that lukwanafanya took on injury. But what do you feel, wana nanivizuri a kaiapona and the lukwafanya position here? I'm going to feel it's just about time that Angalipa elsewhere where Atakwana play the full 90 minutes. Ok, for me the first option I'll go on here and elsewhere because last season, we taught him how to purchase any player last season. So it meant that wanyama lukwana's possibility was so many games. But he failed to push himself into first 11. At the moment, touch na mime say, 2 midi fail last, 2 world class midi fail last. Loselso and Domboli. So wanyama mizikuja, let me say close to them. Those are super midi fail last. Yeah, and actually lukwana skia a statement that was made by Kuchwa Kenal. He does not owe wanyama any games. This is like, I think he was just looking at it in a business perspective. At the end of the day, pia mimi na na siya atrizin blame pa say because when you see the players that he has and then wanyama wanyama kwa ki struggle to get back to the first 11, atami mimi na kwa na player ma players. And wanyama ananii the serious game time Dua Rudisha fomia Kenya lukwana. So I guess the better question would be ataki baki. Ataki baki, what are the chances that ata naeza succeed? How you succeed kwa zata pata game time because without these two sailings ata game time and mimi na na mimi na game time nihariwings, hariwings is so young. Hariwings aksha kukunya nga nga nga namba and is English. And you know this is English and it's so young wana jarebu kumunachat for the England national team. So hariwings deba nga nga nga nga nga apu sezo sisoko.   Kwa wana nga nga nga na lipoa the biggest obstacle na itransfer kwa pese nga nga na lipoa is a bit too high for club road to actually accommodate so they are hoping wanyama naza reduce but if they do qualify to the Champions League which one a play by the qualifiers watakona yopisa kumunipa shida ni wakosa kukulifai to Champions League nwa sayi nga wanyama watakona shida kulipa wanyama.   Well other notable transfers that have happened toward the week has been continue going to Bayamunik. Franck Ribury has made it to Florentina and the storage has made it to Taki where he is hoping to actually continue his endeavors as a striker which means that I am really hoping for him because I really love the storage toward his career. That was all from us from Sports Desk and we are hoping to see you all next week as we meet again to bring you all the sports news na kuwa mazi ka chayia mazi kwenya wa kujikapu kwajimu na wajkwa mimi nisha kainu na kawafo


Thank you so much for coming to our presentation on the EMI Canada project that we're doing at the University of Calgary. That is nearly done. We gratefully acknowledge that Catherine and I live and work on the traditional territories of the people of the Treaty 7 region of southern Alberta. The city of Calgary is also home to the Métis Nation of Alberta, Region 3, and thanks for welcoming us on this land in Washington, D.C. The traditional territory of the N'Kochank and the neighbors and ancestral lands of the Piscataway and Pamonki peoples. So my name is Annie Murray. I work in archives and special collections. My colleague, Catherine Ruddock, works in our digital services and our colleague in spirit is Kate Cawthorne, who's in Calgary actively doing the digital preservation on this very project. A little overview of what we're going to do, we're going to tell you what our project is and has been, share what our philosophy of access is, some barriers and solutions we have developed, or barriers we encountered, solutions we developed, and tell you about some of our workflows. So just to introduce you to what this collection is, the EMI Music Canada font is the complete corporate archive of Capitol Records Canada and EMI Music Canada. So it covers the periods 1949 to 2012 when Universal Music Canada bought EMI. So it's a 63-year span of all kinds of archival materials, about 5,500 boxes that have come from Toronto, more than 42,000 recordings in 94 different audio-visual formats. So very simple and easy collection. The preservation project has been supported very generously in three phases by the Mellon Foundation and so here you can see the sort of phases and dates. So we gratefully acknowledge the Mellon for their support of this, what has been truly transformative for our library. So we want to show in this briefing how we've addressed the challenge of migrating, preserving and providing access to the audio-visual components of the EMI archive. Supported by both the donor of this vast archive, Universal Music Canada and the Mellon Foundation, we've worked since 2016 to migrate and digitize a significant portion of the audio-visual materials in this collection. We're preparing to launch 105 terabytes and counting, as of last week, of migrated and digitized audio and video recordings in March 2023. Today we're going to focus on access and preservation, just a sec, oops, the access and preservation dimension of the project more than on the details of digitization and migration, but we will gladly talk to you about any aspects of the project. So we're available later and we'll give you our email addresses. In our earliest conceptions of providing access to this complex media collection, we imagined that following the migration and digitization of 94 analog and digital AV formats, we would be offering a digital collection in a web-based access system. In the world of archival audio and video recordings managed by archives and special collections units, however, this is not a standard approach to access. The more routinely followed practice is providing access to AV via a dedicated offline computer workstation in a physical reading room. This route offers a very controlled means for researchers to access a collection and is often decided upon for very understandable reasons linked to security and copyright. However, given our strong relationship with the donor, surprisingly a record label is highly supportive of making their materials available to scholars and the public, we did not want to make the only access to the recordings in our physical reading room. It just did not make sense. At the same time, knowing that this collection is highly copyrighted and represents outputs varying from original raw studio recordings to final commercial releases and music videos of major music label, we wanted to balance meaningful digital access with respect for the rights holders and Canadian copyright legislation. So that means we would need a sophisticated access system that offers us both granular control over assets as well as a powerful capacity to organize and facet resources. The very nature of the recordings lent themselves to complex digital objects often with a single multi-track recording resulting in multiple files. Through consultation with our team and AVP, we developed requirements for our systems based on our project goals. There were 31 outcomes, I will not recite them all, but some of them included and those that are linked to access are having methods for preserving and making accessible complex digital AV objects and understanding the hierarchies and relationships amongst the digital objects for multi-track recordings and presenting these complex objects in a way that helps users understand and see the relationships. Also being equipped to promptly respond to access requests from donors, researchers, educational users and public users in that all materials in any format that wasn't yet digitally accessible could be prioritized and addressed through a prompt prioritization in-house. We wanted to provide digital assets in a very user-focused service and we wanted the users to be able to have a customized usage experience where they could create light boxes and share assets. So we wanted the EMI materials to be discoverable in various systems including Ex Libris Primo which is our discovery layer as well as crawled by Google. We wanted them to be accompanied by robust descriptive rights, administrative, technical and preservation metadata. We wanted them to be logically organized into individual and collection containers to facilitate easy access, discovery and use. We wanted to have intuitive search mechanisms and faceting and to be very secure and managing requests and approvals in accordance with copyright legislation and the permissions we got from donors. So our plan was and is to deliver this robust metadata, multiple high-res images of each object, clips of the recording whenever possible and an easy to use request system so a researcher could request access to the full content of a streaming recording. We identified different use scenarios when researchers could or could not access to a downloadable file. We imagined classroom and research project scenarios where we would grant assets for a longer period of time. And then also have a very good physical workstation in a reading room if researchers wanted to engage with the materials in that way. So with those lofty and to us highly logical goals in mind we set about our work. So Catherine is going to describe how it went. Thanks so much, Annie. So as we near the end of this project and have the chance to reflect on six years of our lives here and out of these day-to-day operations, we can see some themes for how we've been able to accomplish making this archive accessible. I'm going to take you through our different categories of barriers and how we solve them. Our first three legal, technical and format were accomplished as part of our original project plans in these different phases of the project. The fourth category, perceptive, was not explicitly envisioned as project work. However, now we can see that these were some common barriers as a common thread that was coming up from our project team that we need to solve through change management plans. So I'm going to jump into some specifics. Our copyright office and our principal investigators use the Canadian Copyright Act to establish what we could migrate and make accessible. For migration, we used the maintenance and management exception in the library and the Copyright Act to migrate obsolete formats. We intend to provide mediated access to migrated media on a per-request basis for research and private study under library exceptions and the Copyright Act. And we're going to be providing a preview of content. So these images, these high-resolution images of the media carriers that are available worldwide, anybody can download them. And we also elected to create these 30-second clips of content for streaming, like you'd observe in any sort of streaming media service. Our Copyright Office applied Canadian Fair Dealing and legal precedent Bell V. Socan in 2012 to justify this. Finally, we incorporated language from our archives researcher agreement, so like a form, a paper form, that we usually have researchers sign before they access archival material. We incorporated that language directly into our terms of use in our digital asset management system and user license agreement so that we can just track that directly within the system. They're not going to have to sign a separate form. Our donor was on board throughout this whole project with providing the level of access afforded to us in the Canadian Copyright Act. They also agreed that we could make copies for preservation. Any user requests for publication or commercial use will be escalated to Universal Music Canada to review and approve or decline directly within our digital asset management system. And then I'll note this gap that emerged later on in the project where we didn't originally ask to process data through third-party applications to supplement any description. And this is something that we are gonna need to discuss with the donor in order to process our collections through different AI tools like facial recognition or speech to text. We have those tools directly in our digital asset management system using third-party applications, Azure and Google Vision, but we can't use it right now with our current agreements. We were able to procure two systems to solve some of our technology barriers to access. We didn't have these systems before we started this project. First, we implemented a digital asset management system, Cortex, by Orange Logic. And in there, we're able to build these complex object packages and different levels of granular access. So our clips, we have these as view only for anybody worldwide, or we will, March 2023. We'll have these images available for download, but private images will be restricted. And then we'll have full packages with all the media files, multi-track or whatever it is, available for request and download, or view only. Users can indicate what level of access they want, for what purpose, if it's for research, private study instruction, or commercial use. And it goes directly into our system and we're able to do our reference in there and provide access or escalate that to Universal Music Canada. We also implemented LibSafe by LibNova as our digital preservation system. Here we submit our packages for preservation processing and long-term storage and send access packages to Cortex for end user access. So we have an integration between these two systems. I'm going to jump into these workflows in a little bit more detail in a moment. We established an AV conservation program through this project. Our program employs a mix of in-house and outsourcing digitization that's dependent on format. In-house we can currently migrate 42 different AV formats. And our ability to migrate locally depends on how long the equipment that we purchased over eBay and all kinds of different areas will last, how long the media is going to be viable for and our in-house staff expertise. We needed to outsource 28 formats to date. Over the six years, we've migrated 19,000 objects and counting. In terms of reference formats, decision making, we base this based on best practices from other cultural heritage institutions. And we hope that the formats that we've made readily available in our digital asset management system are going to meet the needs of our end users. But this is something that we'll be monitoring once we launch the collection. So the tasks and responsibilities for the project were divided amongst units and team members. And we kept everybody up to date with monthly project meetings. And in those meetings, we got a general sense of change angst from team members about the level of access that we wanted to provide. Can we do this? Here's some examples of some of the areas where we observed some perceptive barriers. So we solved the barriers, like our legal challenges or technical challenges, but we had some just general angst from our team members. So just for example, we're the only ones doing this. Why are we doing this differently? Nobody else is providing this level of access. So our principal investigators or project sponsors were really key and this is why we're providing this and having that communication message very clear to our team members as these questions emerged. The clips were actually a very contentious issue within the team about can we actually provide clips when there's a good legal precedent and our copyright office was on board. So what we've done is, well, yes we can. And again, some clear messaging is really important here, but we also have some risk mitigation workflows. So if there are questions about why we're providing this or if we need to change a clip to do a different 30 seconds, we'll have a mechanism to change that clip out as we need to. These systems are new for us. We only started implementing our digital asset management system in April 2020, digital preservation system in 2021. And so we have been using them and we've been using them in production, but not for this collection. So there's some general angst about system reliance that we're continually coming up against. We plan to do some really in-depth user experience testing in the new year prior to launch the collection to hopefully mitigate some of that. But it is something that comes up a lot from the team. And then for end users who may expect to have to come into the reading room or maybe that is their question, we need to change our end user expectations of no, we can deliver this to you offline. Do you have the software that you need to read these multi-track recordings? You don't have to fly here. So it's changing our reference interview techniques and changing what we ask of our users. We developed a preservation first workflow that would allow us to ingest migrated EMI objects directly into our preservation system and then derivative assets into our digital asset management system. We base this workflow structure on the OAS model. The migration, imaging and packaging happens within our AV conservation team. And our metadata creation is technical metadata by that AV conservation team and descriptive metadata from our archivists. The metadata actually goes directly into our digital asset management system first and that's where we're actually tracking the whole workflow for these objects. Once the package is complete, well, the submission information package goes into a staging area in our digital preservation system and then that metadata is paired with what we have from Cortex and an archival information package is put into LiveSafe. The digital preservation system is able to ingest up to 1.5 terabytes of content per day and process it. It performs sanitizing checks, preprocessing checks, packages the data and metadata into these apes and we're creating three copies to own a cloud, one local storage. It's providing audits for us and scheduled validation checks based on some configurations directly for this content. Once it's fully preserved in that digital preservation system, then we'll do a sync to our asset management system where these derivative copies are going into our dams and the clips are generated at that point. So we're not storing the derivatives or those clips in the preservation system. And then at that point, my team takes over, we'll add in some more item or file level metadata, descriptive metadata and get it ready for publication. And this is an example of what an object will look like where you can see, you can browse through the different images of the media carrier. Users will be able to stream clips, so up to 30 second clips. Below the clip or below this preview window, you can see the full package contents for what we have available. So the users will only be able to see the content, the images and the clip, but then they could see what is contained in the whole package. So this is a multi-track AV object. And then on the right hand side, you'll see the metadata action button. So users can add to cart and tell us how they wanna use this object. They can ask us questions about it and that goes into our reference queue. And then we provide metadata and writes information about this object. So our final recommendations for our access and preservation plans was first, I feel like we just misdiagnosed our level of change. We were treating this as a transitional change or maybe incremental at some points in time when really it was a transformative change for our team and how we want to provide access to digital content. And so what we're doing now is we'll come back in the new year and have a change plan with different change initiatives to make this change stick and have team members buy in a bit more. One of the things that we will need to do is build out a change team that is independent from the project team so that it's not, so that there's more trust and more openness in some of the change inks kind of areas. We did build our workflow preservation to access, which would have been fine if it was a smaller amount of data, but with the size of data that we were working with and our ability to only process 1.5 terabytes of data per day, if we need to quickly make content accessible once it's migrated, we found that we're gonna need to build an access to preservation pipeline as well. And so that's what we're working on right now. We're building a digital asset management system to digital preservation system workflow as well as keeping the preservation to access to be able to get content both ways and have the system synced. And then finally, in terms of scalability, we've had our head down and thinking about this EMI collection for six years. And now we need to pick our heads back up and think about how scalable some of the workflows that we've implemented are to other parts of our collection. So it's not an EMI workflow, it's an AB object workflow. And how is that applicable across other AV objects that we'll be preserving even in the way that we've designed our complex objects. Right now we're working on implementing museum objects within our digital asset management system and some of the same learnings for building these complex objects, granular access to different files and inheriting metadata are applicable across the board. So this is what we're doing now and able to apply across the board. Thank you so much to our project team across libraries and cultural resources. Here's our current project complement. And thank you so much to our sponsors, Mellon Foundation and Universal Music Canada. If anybody has any questions, we're happy to take those now. Thank you for your presentation. First of all, I thought it was fantastic. And then just in terms of actually what you're doing also a very brave project in terms of putting EMI, the entire record label out there on the web for people to use. My questions, by the way, my name is Ray Yusushin, I'm from Mississippi State University where we also have big record collections, the Mississippi Delta Blues, defunct labels that actually were seminal in I guess the birth of American rock and roll. My questions have to do with I guess intellectual property and how I find it fascinating in terms of also remix culture. I could see this immediately as a treasure trove for people that are interested and have a fascination with music, downloading a track, taking that one track that's kind of iconic within a song, and they want to remix it and do the version and then put it up on YouTube. What is the process in terms of intellectual property? Is the discussion okay? Well, once they start actually having success with the song, then they're gonna contact Universal Music Canada or is it, we're gonna trust the user to do the right thing with the music or what is the thought around that valence? And I guess the copyright, I never thought about, I would always, I would say I would be deferring like you to Universal Canada, but what about there were different players on each of those tracks, the bass and the drum and the singer, who owns the copyright of that? Is Universal just claiming all of that or how does that all work? Any color you can provide? The rights holder is Universal Music Canada. And so we've tried to design a workflow where when the user encounters the asset and they can look at all the previews and the pictures and they think, okay, I think this is what I wanna listen to, they can initiate a request and then we're at the other end of the request. Part of what they're going to indicate is the use they intend to make of that material, if it's for personal use, research use, or if it's in a classroom setting or they wanna put it in an exhibition, they wanna publish something. Depending on what they've chosen and the terms of use that they agree to, it may go to a different individual here or at Universal Music. So we will be able to carefully know what every person is intending to do. We know who they are, they have an account. So then they get the tracks, they play with it. Maybe Catherine can speak more to, I don't know. Do you have thoughts on the remix, the creative stuff? Hello. I mean, yeah, we're putting our trust in the users. So we've just been making it very clear. This is what we're clearing it for. And that tracks throughout the system. So when we approve it, it's at an item level that we've cleared this for this purpose. If they break copyright, it's on them. And so for us as well, we have, every user will have to have an account and we're tracking how those users, what content the users have access to. Yeah, and it'd be on the copyright holder, Universal Music Canada in this case, to go after anybody that breaks copyright. So Rick Ferrante with the Smithsonian Libraries and Archives. I have a couple of different questions, but I'll stick with the thread we're on right now. In that this idea that the publishing company is the copyright holder is kind of changing in the industry. So with regards to royalties, when these things are played, does Universal ask for that information so that that reflects onto what the musicians are paid? How is there, is there a reporting back to Universal in terms of what access has been delivered through this? When we acquired the collection, Universal Music, so EMI no longer exists and any new projects they take on with their artists they may have ongoing relationships. It was their wish that these materials be shared widely and used in research and for the public.  Because we have viewed these as research uses, we have not approached it in a way that each research use of an archival recording is the same thing as something that would generate a royalty. However, in working with Universal Music, because we have the capacity to migrate and provide digitized content to them, we do provide them with high res recordings if they do reissues. So they have kind of a concurrent streams of activity going where some things are still commercial assets that they monetize and the stuff that we're providing access to, they don't necessarily view it in that way, which is a very generous position for them to take. Although we can track very well the use of assets, we haven't had discussion with Universal about here's who's hot, here's what's the most requested recording that could develop into a part of our relationship with them as they determine what they do with what they consider sort of a legacy collection. So I give them credit for this openness and sort of experimental willingness to undertake this, but we don't view it as a way to help them generate additional revenue. Having said that, we haven't launched the system yet to observe how it works. And luckily it is such a sophisticated system where we have such control over the assets that if we wanted to analyze the use and the donor had concerns or questions, we could adapt really quickly and reframe anything. So we are cautiously optimistic, but we are always cautious. And we have had a good understanding with them about what our aims are and the terms under which we provide access to the collection. Should that change, we are prepared to talk about that. We don't know how this thing will live in the world. And frankly, we're amazed it has gone so well in conceptualizing this sort of open archive feeling. Do you want to? No, I think you did great. Okay. Did you have another question though? Great. Thank you. I'm Jennifer King and I oversee the Rose Library at Emory University. And first of all, congratulations. This is such an enormous undertaking. It's really exciting to hear about it. My question is in the realm of kind of like the financing of the big build. And you talked about a lot of different parts of the organization that have had to grow and change to support this. But thinking about where the financial support has helped, how could you quantify? And then how does the system build for the audio-visual discovery which is really customized for such an incredible collection? How does it fit into the ecosystem of your digital libraries? And I'm imagining that you would say that this system is really growing that infrastructure too. But I'd love to hear you talk about that a little bit. I can talk about the general categories of the money and what it supported. And then Catherine can enhance. So it was a considerable outlay to develop the capacity to do this work. So simply the machines, the hardware, the equipment, the software, the studio space. It dovetailed into some other growth areas that were occurring in the library and availability of space. So some of it came along serendipitously and some of it came along quite intensely and suddenly. So it paid for setting up that capacity. It paid for a lot of the outsourcing and the initial costs of running these systems, running and implementing them, as well as consultation with AVP who guided us through a lot of initial foundational questions about what is access? What is preservation? The salaries of project staff, for example, imaging every object, you know, at least five ways to have a representation of the archival object. So as we all know who work institutions, these are the starting costs and that long-term operationally we bear the cost of maintaining these systems and processes. So that's the basics. Yeah. And in terms of like the digital content or our strategy for digital collections, we were able to get our digital asset management system because of this project but it was never envisioned just for this project, right? So from the get-go we were building this so that could handle all of our digital collections objects. We were using more like collection management systems like content DM before and then we got this digital asset management system which really just flipped how we, have built our objects, how we've built our metadata schemas, our integration strategies, everything like that. So we started off with this being, we had three priorities for our digital collections, our digital asset management system, EMI being one of them but then we had 60 other digital collections that we were migrating that were across disciplines and then a photographic collection that was new. And so that went into that project for that implementation from the get-go which is, was really fundamental in how you're doing this. Like I'm really glad that we didn't design this for one collection and then tried to catch up with everything else. Yeah. And yeah, like that would first, if I was doing a recommendation on implementing a digital asset management system, like get the scope of all the content that you're going to want to do. Yeah. Because that really helped, it helped with what, how we see libraries and cultural resources as a convergent environment across libraries, archives, museums, designing metadata schemas for all those different types of collections and where that content needs to be accessible. We're thinking about that from the get-go. Is that helpful? Yeah, thank you. Okay. So I guess that was part of my question. And it goes to the sustainability and the rights, the copyright issues that so intertwined with this. And so I'm just wondering where that ended up. Was it in the collection management system? Was it in LibNova? Was it in the dam system? Where do you see that continuing to be kept as you build more and more collection? So our system of record for metadata is going to be a digital asset management system. Like that's where we actively work on our metadata across all of our collections. And that's where our end users work. So like both our internal staff as well as our public members that are going to use this collection, that's our system of record for this content. We'll pull some of that metadata into our preservation system. But so we consider our preservation system as our system of record for the assets. But our metadata system of record is digital asset management system. So all the rights metadata, all descriptive metadata, technical metadata needs to be in that system. Does that? Well, thank you very much. I guess it's lunchtime. Thank you.