Mark and him. Yeah, yeah, I guess it refers to browser. All right Let's let's get started Welcome everyone My name is Mark Khmelovic And I have with me Balava lanky part of our prog management team. We are going to talk today about The use of blockchain technology in COVID-19 fight Specifically the US HHS project that we were involved with using distributed ledger For testing results reporting. I will cover some of the initial Requirements and how the project developments and Bala will talk through some of the technical implementation details as well So just to begin a little broader though There has been a lot of work done over the last two years in leveraging enterprise blockchain in Health care space and you see some examples here of user blockchain across different use cases within and across the health care community Certainly provide the license and data management credentials, etc. Has been probably one of the more popular use cases We've done some work in that area as well as electronic health records sharing in Europe in particular self-soran health records sharing across health system hospital system Traceability of pharmaceuticals and also medical devices and particularly the under counterfeit tracking has been a very persistent theme and Then more recently of course particularly with one set of the pandemic. We've seen a lot of things around public health surveillance population health management and so on and The HHS project I think falls within that category as well as there's been work around claims and fraud prevention in that area as well Now in terms of COVID-19 fight specifically there's actually a blog that I Wrote recently you can see it on blogs that Oracle at com slash blog change it goes in details to some of this But I'll just summarize quickly one of the earliest efforts that we've done was working with a partner vows Hasera to provide the blockchain capability For me pasta dot org. So this was Aside that was built to collect all of the authoritative data from the World Health Organization and a number of other International and national health authorities to provide it for research as an analyst to have a verifiable source of data blockchain nodes where Provided by Oracle IBM and Microsoft Basically different hyperledge of fabric nodes integrated to work together by Hasera So this was a heterogeneous Multi-cloud network Leveraging hyperledge of fabric implementations from multiple vendors to underpin or basically anchor the data Has the data and ensures that when the researchers report particular data sets in the work that the data is authoritative and in a fully Credentials in terms of organizations is coming from there's also been worked on On Oracle blockchain with some of our partners around vaccination certifications and test results sharing to particularly examples Wotun and elope more recently what on in US and Spain elope in Switzerland and France I believe created applications to be able to track test results status and vaccination status We've also worked with Deloitte on a vaccine distribution ledger This was a project that initially was launched in the UK and then Propagated broader from there Obviously as you understand the complexity of the vaccine Manufacturing and distribution processes and all of the different participants that are involved in that entire supply chain That are value in having in a shared ledger environment and Deloitte and Oracle are working on that But there's a project that I wanted to Move in the wrong direction here. I apologize Here we go. The product that we're going to highlight today is the ones that we've worked with HHS on This was a project that Received a number of awards including the first place at the HHS at anywhere diagnostics designathon and more recently from act IAC which is sort of as a US council for technology and industry advisory We got an innovation award winner for this deployment of blockchain Which looks to be one of the largest in public sector at the rate At least the data is coming in and the testing comes up and I'll talk more about this in detail This was a project that was Focused on helping HHS collect the data testing results Covenant and testing results specifically from non lab environments. So they have Existing labs that report the data normally and they have various mechanisms to do that What's the concern was that as testing expands outside the lab, you know You go to workplaces or airports at home testing with FDA approving the devices a lot of new challenges, right? From places that are not used to any reporting requirements Even manufacturing companies that are relatively new to this and don't know how to report the data To HHS as a ad hoc processes typically file transfer weren't very reliable There was no tracking. There was issues with human arrows And concerns about you know data tampering and such Inconsistent treatment of PHI data and so on so HHS has asked us to come in and help Provide a solution based on some of the previous work we've done with them And they had a set of requirements around security and privacy confidentiality of the data Immutability being able to show that the data is not tampered with integrity of data and identity is maintained throughout They wanted a kind of lightweight API interface to make it test and device agnostic support for standard formats like CSV and natural sevens and Ability to report data in real time. So as tests is being performed The result is being done some of those tests like five minutes 15 minutes, etc. As well as batch reporting as well And perhaps the most important requirement was to provide the single source of truth across multiple agencies So HHS is sharing data with CDC CDC is sharing it with states and local agencies and so on and so As a single source of truth was one of the critical requirements for shared and transparent access and they were able to meet pretty much all of those requirements by Deploying this in a highly secured Oracle FedRAM certified government cloud, of course blockchain ledger itself provides immutability and This was based on Oracle blockchain platform using Hyperledger Fabric as its core framework Integrity of data comes from permissioned blockchain with shorting the authenticity of the members who are reporting the data All those organizations like test manufacturers and venues and so on and then field level validations as well That was implemented in the front end to ensure that all of their Health's data that's being reported, you know maps to valid designations and codes for test results and status and in all other kind of things and demographic data We created a restful API in front of this And ensured that this was very lightweight and easy for anybody to integrate Security for the TPI was provided through us to token basalization The format was at the format definition was a couple levels HHS defines actual payload structure And then it was delivered in CSV and HL7 format HL7 being kind of the health care standards for health industry And most recently we started working on fire formats as well Which is a new standard for health care data sharing and it provided both an API for single test results submission as well as a file upload for batch reporting Resinces Oracle cloud infrastructure So you might ask yourself, you know Why was this based on blockchain technology? What was the drivers for using blockchain technology? So we've started by first of all confidentiality being very important of course Integrity of identity and data and imitabilities. Those were the three basic drivers from confidentiality perspective Of course, we start with a fendrob data center and all the security that comes with that Then we have TLS date encryption and then block volume encryption at rest ensuring we're using only TLS 1.2 and support all those kind of standards around that of course there is permission block change that Authorizes members and then all of the messages coming in even though they're encrypted over TLS Of course, then we check the signatures on the messages There is ability to isolate different ledges in different channels with PHI data and non-PHI data And additional options to do find an access control as well that we provided as the integrity of the data again is supported by Private key-based signatures on all of the messages as well as the fact that there is Separation of duties right in hypoallergia fabric between the peer nodes that stores the legend run smart contracts and ordering services Which creates the blocks and so you could split The ownership and administrative controls in order to ensure that you know No single entity can support the data and endorsement policies on top of that that can be implemented for multi-signature Controls if you need to be able to ensure that the transaction update goes in only after it's been endorsed by multiple organizations and Finally immutability and tamper proofing comes from of course the nature of the ledger itself as cryptographic hatches linking the blocks and Any tampering can be easily detected. However, it can be detected But it's not detected automatically out of the box in the open source version of fabric So we have implemented and verification and auditing tool that sits as part of the platform and Is able on demand to provide verification works with the blocks and ensures that all of the hatches still compute properly? Over the data that's in the ledger and this was Provided as an add-on capability within that environment. It was actually a session earlier I believe yesterday, but it's recorded and available from Bahua young one of our architects talking about that particular auditing capability And of course, you know because of the distributed ledger We're replicating the data automatically across all of the nodes that belong to different organizations and we've worked with HHS and CDC To ensure that they have separate nodes Separate administrative domains and then there are other things as well that can be done to extend this to other organizations So we started by deploying Oracle blockchain platform, which is hyperledge of fabric based in the gaff cloud using basically all of the FedRAMP principles and Requirements as the cloud supports and then this was extended with identity management We have a lot of work we've done around high availability resilience API gateways security enhancement scalability and so on Initially, we deployed this with three nodes for Abbott HHS and for CDC Abbott was collecting the data from the by next now tests HHS approach does an October time frame by November we were in a testing environment and They have the infrastructure running a natural cloud. So through rest API is connecting to the blockchain node in the Oracle cloud and This infrastructure with the force three nodes was live actually By January when they started sending production data and I think we have today over one and a half million test records then we have of course shared nodes that are available and for What's called waters, which is essentially a group of companies sponsored by National Institute of Health rapid-advance diagnostic program radix program They're reporting through a front-end here. That is a shared multi-tenant node And you know, as I mentioned, both of them connecting to CDC and HHS We're on HHS side was unconnecting through a data pump to put it into Oracle database where it just protect and access it And for CDC we're pushing the data into the report stream Infrastructure which is and distributing to the states So this is a node that was built as part of the designer's own effort. We have live reporting coming in from Abbott a loom Q Bd and the number was us and we've gone through the HHS conditional ATO authorization So when you deploy something in a government setting, there is this authority to operate a requirement and HHS man through this process with us to get this authority to operate There is more organizations being on board it There is a number of new test manufacturers coming and then we're of course exploring the fire APIs as well We've recently implemented extension to CDC for pushing the data into report stream and then exploring also extensions for self-sovereign test status verification and Later on for non-covid disease detection, right? Public health needs is that, you know, going to be with us, you know, beyond the pandemic environment so let's talk a little bit about the technical architecture overview and ask Bala to Briefly give us an overview of this from a technical architecture perspective Thanks, Mark. Hi The technical architecture mainly consists of With multiple clouds and multiple components here Let's start with the top the first one on the screen which shows by next now I think by next now is a test kit that has been supplied by Abbott and Abbott uses Azure cloud to rest rest calls to submit the data result data That is good that is gone that they get from patients and it is submitted to our API gateway, which is running on our OCI or Oracle cloud infrastructure, which is Fed ranks a federal I'm certified so as soon as we receive the results from their results from Binax now Abbott what we do is we just go and use our Oracle access manager to go and get it validated with the user user privileges that are assigned to The Abbott users and then we we bestowed it on the blockchain and nodes and there's Once the results are submitted They are sent to Multiple parties that are there in this and one is HHS the other one is CDC Gov node which you see on the right-hand side top boxes where one is fed into the Palantir system using Using our rich history feature where we captured all the data that is sent to blockchain and we build analytics on top of it And also provide the data to the CDC stream, which is a node on the blockchain So there are three as you look at this a circle in the center talks about how many nodes are there for now We have four of them one is Abbott lab that's up. That's up that gives the patient results to Supplies the patient to those to the government node HHS government node and CDC right now We also have waters going through waters is one of the product that the government Results are supplied for you from each of the states You can see a few of the customers who are already submitting it and the data is received by the states here The key purpose of this functional architecture is it can be extended to any any size and it is on the government cloud Which is where I'm certified and we use all the Enterprise blockchain great facilities that are there provided by Oracle blockchain using multiple channels And all the access control which you're seeing and inside the authorizer For using authorizer and what to are done done through Oracle access control manager in this case They are flexible API more the formats that we support like CSV HL 7 and FH AR and You can scale it to the needs of the customer whenever it needs There was a question in the chat saying that how much transactions support to be support we tested and we went through with that but for millions of transactions and I can be extended based on the need though based on the nodes that are there on the block market and look at the next one now I'll give you one one representation of blockchain platform what we support and what we differentiate from others The key thing is Oracle blockchain platform. What what we? Show as a key features the integration with all the hyper ledger Third-party big clouds that are there if you have hyper ledger or an ether party cloud We support integration with that and we also have one more word other on-prem version that can be deployed on your infrastructure Using the Oracle Enterprise Edition those things are very tough for any of the Very easy for all the partners who are there on the network to communicate they they can be on our cloud They can be another hyper ledger fabric and they can have that the hyper ledger fabric notes on other clouds too now The key parts are plug-and-play integrations. We support integrations with all the ERPs and SAP ERP or Orca fusion ERP and other databases that we have we have all the built-in adapters That are that are available on the Oracle integration cloud that can be integrated to blockchain So not only that we have lots of third-party apps that can connect using our full integration cloud and the SAS applications that we also deploy on Oracle blockchain platform In in any case of all the integration capabilities provided by the platform are Built-in and that's the key Key that's a key advantage of having the Oracle blockchain platform and it can be scaled to the level of the customers need Mark you can go to the next slide So here we can see the major value that we add on top of hyper ledger fabric that we have this is May mainly starting the provisioning and integration We provide an easy console and create some new version of how to provision and we provide blueprints to do that And we can integrate with any of the clouds or any of the vendors that you have on your New enterprise and we offer a managed service and also an enterprise edition Which is an on-prem service to in this case on-prem edition to in this case We offer on and we also do IDM integration internally which is all which is all plugged in played with our Oracle integrations or Oracle IDM integration and Control and auditing they basically a lot of Customers are looking for fine-grain access control basically looking from this from the smart contracts perspective Just go and do auditing Giving access to the data that has been sent to the blockchain using the fine-grain access control We provided a good feature for that way you can control those There's a lot of even the the even subscription one is one of the key API API is that we provide for Subscribing to the event that have been published on the blockchain when a transaction happens So there's a rich feature set of like around Good set of API's that you can use to capture the events track the events or anything now Going on to the final consideration key considerations we have Conditional authority to operate we did multiple changes on our one on in this implementation one is outside the normal blockchain mechanisms, which is We we did a lot of cloud of cloud security measures to get it into the OCI FedRAM certified OCI We using the common core security measures and also we did we are going to do We are having the data encrypted that In a data encrypted on the internal side of it using the TLS you and using the block volume encryption with AES-50 say There are a lot of protective measures we took insert internally even using the normal blockchain mechanisms like permission network membership and policy-based act All spaced API's which are tied to the IDM center active services and the API's that are managed via TLS encrypted messages and the fine-grain access control which I talked to So I think these are the key advantages that of using this and we implemented all those so and Finally Going on that's fine mark. You can we can go to the next one. So there are lots of Material and blogs that are written if you this presentation will be shared to you guys in case you you're having any questions You can just look at these They can look at the links that are provided in here for any of the Blockchain platform questions and also there's a developer site e-book that was written in There's a YouTube channel too, which you want to watch and come back to us if you have any questions You can reach out me or Mara any time By just clicking on just clicking on the developer site. Thank you All right. Thanks everybody. Thanks. Well, I appreciate it As well said there's a lot of information you can follow up on There here's a link to the blog post specifically that talks about the use of blockchain and COVID-19 fight There is a great range of different solutions. We just highlighted one of them for HHS But the blog post actually goes into details and a number was a COVID-19 related blockchain implementations And with that we can take a few more questions So feel free go to the Q&A panel Q&A tab on the right and there have been a few questions asked That we've answered there, but I'll read them out as well There was a question about the transaction volumes So we've done initial benchmarking that have a few transactions per second on this infrastructure Of course, it can be easily scaled in the cloud environment The expectation is that some of the test vendors will be doing millions of tests a day Concentrated often in morning hours. Let's say, you know, 9 a.m. or 8 a.m. Whether it's you know kids coming up to coming into school or employers or you know other kind of time-based test environments, right and then of course, you know brought the testing across Sports venues and what else might be coming up the expectation is that that will continue And so we'll continue to see more testing going on and will scale as necessary We have at this point over one and a half million test results that's been collected and then obviously, you know shared With HHS protect the CDC Report stream for the states when necessary and so on So the system is in production since January And is expanding Feel free to ask any other questions again using the q&a panel q&a tab And as Val mentions the presentation is shared if you go to the schedule and you click on the presentation There is a pdf there that you can download as well if you want to go Any particular challenges Oh, yeah, sure. I mean government cloud is Is an interesting place to operate. I mean, it's much more restrictive than what we typically see in commercial cloud environment so, uh, you know in terms of access security multifactile syndication there is a A lot of scannings that goes on beyond what you typically would see in a commercial cloud And in order to get the authority to operate for a government agency They have to go through quite a bit of work that requires documentation Penetration testing that was one of those things we had to do actually specifically for this full-on penetration testing And You know the past that as well so There is a lot of steps involved in getting this authority to operate But the good thing is that once you get it then within that particular government agency There is many other You know potential deployment opportunities that can only refer to the same authority to operate and even in a different agency Uh, you know say that you know this has been done with hhs, but there's conversations with some other agencies now Um, they can refer to that authority to operate When they are requesting their own so they still have to go through their process But that process is much simpler and faster If they can rely on You know another agency having undergun that process because a lot of the requirements are very similar In terms of you know penetration testing and security standards and all of that Mark one more question is more related to blockchain or so central database Why blockchain was a central database since everything is so controlled government environment and Security active security Sure. Well, you know You would think it's controlled but but government is not a single organization, right? Uh, at least in u.s. It's not Uh, you have All of the government agencies and even within sort of cdc is under hhs, but really operates independently So hhs and cdc and then you have some other smaller agencies They all want independent control of the data and then you have States right which all have their own health departments and health agencies and then you have some non-state actors like some of the You know, um, territories and indian governments and so on that are sort of separate jurisdictions within the u.s Um, and then you have the companies that reporting the data as well And so, uh, the desire to use blockchain for mutability Uh for data integrity and transparency across all of those organizations, right single source of truth Nobody wanted to say yeah, we're going to rely on that one database and there's this one agency responsible for the database. Unfortunately You know, it's a much more complex in the government environment when you have so many different agencies across federal level and non-federal And the share part of sharing actually and giving control the access is the p1 Which is which is powerful with the blockchain technology itself. So Yeah All right, any other final questions before we wrap up here. We are At the bottom of the 10 10 10. I think that's our close to our time Uh, feel free to follow up. Uh, you can easily find me and bala on linkedin Or just send an email is basically first name that last name at oracle.com And uh, you know, happy to answer any other questions you might have after if you have a chance to download the presentation. Thank you


I'm Arnold Lehmann, Director of the Museum, and it's a great, great pleasure and honor to welcome all of you today to the 10th anniversary of our annual Women in the Arts Celebration. And needless to say, today we are thrilled to honor Yoko Ono and her extraordinary career. It's actually hard to believe that this celebration is a decade old. I'm extraordinarily proud of the Brooklyn Museum's accomplishments during this past decade. And today's program marks a critical progression. Begun through the museum's long history with its community committee, particularly through the singular determination of our great friends, Norma Marshall and Belle Tannenhaus, and continuing through the combined activity and incredible energy of the Council for Feminist Art and our own Development and Special Events team, and I thank them all. As many of you know, the Women in the Arts Celebration is inspired by the work of the museum's groundbreaking Elizabeth A. Sackler Center for Feminist Art. Absolutely. And it's that center that is committed to presenting such a diverse, energetic and insightful program of exhibitions, educational programming, and community engagement that makes it such a core part of this institution. Establishing the center of the Brooklyn Museum would never have been possible without the leadership of our great friend and trustee, Dr. Elizabeth A. Sackler. Elizabeth's deep commitment, which I doubt I have to tell any of you about, to feminist art and her philanthropic vision brought the center to life. And we are all the beneficiaries of that exceptional commitment. Thank you, Elizabeth. However, before I introduce Elizabeth, this is very mundane, but I've got to do it. Would you all be kind enough to please silence all of your various electronic devices? I know none of you, none of us, want to miss a word of this extraordinary program and the beeping of someone's telephone can not be the best part of that. So I thank you very much. I'm hearing some beeps right now. As you turn them off, and I'm very grateful. It is now my very great pleasure to introduce to you someone who needs no introduction, certainly at an event like this. Center's founder, Elizabeth A. Sackler. Thank you. Thank you all very much. Thank you, Arnold. Sometimes I feel when I follow Arnold that not only is he woman's best friend, but who needs a husband or a lover or boyfriend if you have Arnold in your life. It's wonderful to have all of you here as well as to have Arnold here. For all of us here at the center and for all of you, this is a wonderful day to share. It's a wonderful moment to be together and it's certain to be extraordinary.  Yay, Gloria. And I thank her for everything that she has done for the center. And lest we forget, I'm very glad that Arnold mentioned the community committee because it was the community committee in 2002 that was inspired by the eventual opening in 2007 of the Sackler Center for Feminist Art to begin this luncheon. And Norma Jean Marshall, who is the late Norma Jean Marshall, and Mel Tannenhaus, who I think volunteered here for almost 40 years. And for any of you who had seen her, she was in her 90s and rather petite and one of the most vivacious personalities around. And she came to all of the center events and I will miss her. And she's probably here. So that's lovely. The Council for Feminist Art is now at the helm. And our benefit coach here is a Mary Sabatino Mary. Please stand up. Wendy Oslaw. And our Council Chair, Regina Tully. Thank you very, very much. And the Council for Feminist Art Luncheon subcommittee includes Victoria Linford, who I know is here, and Nellie Knicks, who I think couldn't be here. Lauren Walker, who I know is here. Lola West, who I think is here even though I haven't seen her. Shout if you're here. And the Sackler Center staff. And a special shout out from me to Jess, who really produced this. And I thank her very, very much. I'd like to give a very hearty and heartfelt thank you also to wonderful benefactors who have supported this event, to the matrons, not patrons. I continue to try and take back the night with that word. But I have yet to convince people. But anyway, all of our matrons, thank you very much. Hosts, advocates. I mean, this is what, in glorious words, this is what a matron looks like. I'm not a philanthropic anything. I am a matron of the arts.  And I think your presence really speaks to the importance and the beauty that the center has brought to art, to the art world, and the important things that people are learning from it and the programming that we do. And this morning, we will have the pleasure to hear and participate in a dialogue that is very, very special for all of us with our splendid honoree, multimedia artist, Yoko Ono, and Catherine Morris, who is the wonderful curator of the Elizabeth A. Sackler Center for Art. And I'd like to tell you a little bit, because that's all I have time for, about Yoko Ono. Yoko Ono's work challenges people's understanding of art and the world around them, encompassing performance, painting, film, music, and writing. Her influence can be seen throughout the world, whether you were walking in Piccadilly Circus in 2002 and happened to see a billboard that read, imagine all the people living life in peace. Or earlier, thank you, or earlier this year you might have put a wish on Yoko Ono's wish tree for Ireland at the Dublin Biennial, and in fact you will have an opportunity if you haven't already to put a wish on Yoko's wish tree here, but there will be more about that later. Or you might have seen the artwork of both Israeli and Palestinian artists supported by the Biennial-Lenin Ono Prize bestowed by Yoko Ono. There are countless, countless, truly countless other examples of the ways we can and have witnessed the living effects of this visionary woman and visionary artist. Yoko Ono continues to make her presence known in the world as an influence for contemporary conceptual art, relevant today as it was in the 60s, and as an inspiration for peace and peaceful activism, and as an artistic visionary with uncompromising values. Please join me in welcoming... Oh, I can't do that. I forgot. I'm sorry. She's in conversation with Catherine Morris. I do have to tell you about Catherine. She's curator of the Elizabeth A. Sackler Center for Feminist Art, as I mentioned, has organized exhibitions exploring issues related to feminism and its impact socially, politically, and intellectually on the development of visual culture, and I also think on the development of our social culture and our political culture, including the recent Rachel Nebone regarding Rodin and newspaper fiction The New York Journalism beyond Barnes, 1913 to 1919. Her latest exhibition entitled Materializing Six Years Lucy R. LaParde and the Emergence of Conceptual Art, Co-Curated by Vincent Bonin, can be seen right now, currently in the Sackler Center, and it also includes Yoko Ono's important work, Map Peace. So following their discussion here, there will be an opportunity for you to ask questions of Yoko and Catherine, and now I would like you to help me please welcome the wonderful Yoko Ono and Catherine Morris. Thank you. It's so nice to be here. Thank you. Thank you, Arnold, and thank you, Elizabeth, very much for that lovely introduction, and thank you, Ms. Ono, for being here today. It's a true honor for us to have you. I want to start with just a few words, and then we will have a conversation, sort of looking at images of Ms. Ono's career from the beginning, and there are so many important works that it's incredibly difficult to choose just a few, and I probably have too many, so we may skip some. And we will focus primarily on visual arts today because we had to choose something. It's your work. Since the late 1950s, Yoko Ono has produced subtle, poignant, sometimes cryptic, and yet disarmamently direct works of art across a wide range of media. In the United States, she was an early member of a downtown avant-garde scene that encompassed experimental music, fluxes, poetry, performance, and conceptual art before it was even called conceptual art with a capital C. To prove that point, we are thrilled to have her work included in the exhibition, materializing six years on view now upstairs. It is entirely fitting that her piece, Map piece, is one of the earliest works in the show, dating from 1962. That work was included in the important MoMA exhibition, Information, in 1970. As the prescient conceptual and political artist, Louis Kamnitzer pointed out during a panel discussion on this very stage several weeks ago, Yoko Ono has perennially found herself in the position of being before her time. As a result, her groundbreaking work often appeared before there was a framework or even a context in which to understand or to incorporate it. For this reason, for a long, long time, it was extremely difficult for historians and scholars to write her into standard histories. The sad state of affairs has changed significantly in the past decade. Some of the important contributors to making that change are here in this audience today, which is really nice. But for me, her enigmatic persistence is one of the most remarkable aspects of her work. It allows so much room for the rest of us to join her, that at first it can make us actually uncomfortable. So in an attempt to trace that course a bit for us today, I'd like to start with one of the most recent work, with a more recent work that touches poignantly on Ms. Ono's personal history. So I will read the piece for us. The first piece of my piece one. Toward the end of the Second World War, I looked like a little ghost because of the food shortage. I was hungry. It was getting easier to just lie down and watch the sky. That's when I fell in love with the sky, I think. Since then, all my life, I have been in love with the sky. Even when everything was falling apart around me, the sky was always there for me. It was the only constant factor in my life, which kept changing with the speed at light and lightning. Again, I could never give up on life as long as the sky was there. A lovely work from 1996, but that speaks very much about your childhood and your first, I imagine, thinking about art. So I wondered if you could tell us a little bit about that. Well, I think that the fact that I fell in love with the sky really helped me because I was not always looking down. I was not only not looking down, but looking the reality. But the reality for me was the sky. And that really saved me, I think. I just want to say something, looking at you. I feel that the first time that, well, it's not the first time, but when Joan was playing Instant Karma for MTV or something, and I was there. And what I did was I put codecs on my eyes so I can't see very well. And I bowed my feet to the chair. And I started knitting. And it was symbolic of what women were in those days. In other words, I was saying, okay, you know, our feet are bound, and our eyes are closed, and we're just knitting. But very few people got that message. I said, you know, what is she doing? But anyway, that was one period. And then after that, I made some statement like women are the world. People didn't like that statement. But what I meant was, yes, you know, we are still slaves of the society. Conveniently controlled by men so that we were slaves of women. I mean men. And the battle started, and we started to keep battling to increase our position or whatever. And now it's a totally different age. And I see you. There's no women who's, well, we think about our family and what we have to do for our family and all that too. But still, each one of you are people who really worked hard to bring this position to women. And I see that in your faces that you are a very experienced human being. Well, which has an incredible, you have the incredible pride of having done something. And it's showing in your faces. And I'm being honored by you. Not the people, not the women who had to be in a position of the slave. And I feel very honored and very happy that you did it. Thank you. Thank you very much. It brings to mind one of the questions that I had with that in the order that I was going to ask them. But do you remember when you first thought about feminism as a term or when it became very useful to you and when you maybe applied it to yourself and to your own work? Well, you know, we all worked together in a way. And well, we didn't know that we were working together maybe, but we were. And that's happening now too, that many of us are feeling that we're the only ones who are doing it and trying to improve the world to better the society or whatever. But actually, when you really think about it, we are together. And only because we're together that we have the power to change the world. So maybe when you first came to New York in the late 1950s and the early 1960s, when you found the downtown avant-garde scene, you were certainly largely a woman alone in that scene. Well, you know, I was feeling home at home even in Tokyo, in Japan. And there was a kind of feminist streak there, of course. My mother was a real dynasty that sort of controlled everybody. Well, I don't want to use the word control because she went well, and she had to do it. And in a way, she had to do it because nobody else was doing it. But she was always surrounded by lawyers who was wishing that she would deal with things with them. That kind of thing. And so there was a very strong matriarchy in Japan. It started in Heian period when women were the ones. And the men would accommodate and come into the house. And if they can't have children, then the men have to get kicked out. And it was goes called Ashire. And even now, there's a certain tradition in the provinces that shows that that was going on a long time ago. So, you know, I was used to thinking of women as being a human being, a whole human being. And when I came to New York, I was more interested in expressing myself rather than learning. And you reacted against a bit the familial upbringing that you had experienced in Japan when you got to New York. It was a very interesting period. But when I say that, I think that most of the period in my life has been interesting. Interesting is the word I'm using as a Chinese person who would use. You know, your life is very interesting. I just have this picture up here of the Chamber Street loft and some of the early work that you did in Chamber Street back in the days when Chamber Street was very much off the beaten path. These three people were trying to have, well, we did actually, but a concert of modern Japanese music. And they were also avant-garde. Well, avant-garde is not the word, but well, they were the now music people in Japan. Toshi Janaki was my partner. And Toshiro Mizumi was one of the most famous Japanese composers at the time. And he was visiting New York. So we decided, well, why not do this? And it was a very interesting concert actually. But may I say this? We did the concert. And before the concert, we had this promo photo of me, Mizumi, and Toshiro, I mean each other. And when the concert was over, and that photo was used to show that there was a concert of Japanese music, they just cut me out. So the photo was not three of us, but just two of them. Well, that's the kind of thing that was normal. Well, I don't know if it was normal or not, but it was done in New York in those days. Yeah. And at the same time that you were involved with this performative aspect of emerging avant-garde music, you were also thinking of yourself as a painter. And you were also thinking of yourself as a painter. You were making paintings, for instance, paintings to be stepped on. This is my painting. But even in that photo when I'm sitting on the piano, you see that this canvas, the painting behind us. It's a very interesting thing. The Chamber Street loft was, there was a period of about six months between 1960 and 61, where you did a very specific series of concerts, which are still very important. Well, I think I was, I don't know what it was, but pride was there. I don't know if that kind of pride is really good or not, but it just was part of me. So that when people don't understand my work, I just didn't feel like explaining. So now I'm going to ask you to explain. Painting to be stepped on. Would you like to explain it? A little bit. But I like to explain it, yes. So the idea of painting as an object, but painting connected to language, and painting connected to an idea that allows the viewer to understand painting differently. Well, you see, I never believed in paintings that are like wallpaper. You know, pretty, you know, but this is not saying anything. I think it's a waste of time not to say anything. So each painting that I did had a lot to do with my experience of life. And this was one. And it turns out to be one of the earliest painting of this kind, and it was sort of like important for me. And it happens in the 16th century that the Spanish and Portuguese people came to Japan. And there was a Christianity became very, very popular, and the lords were very concerned about it. We don't want them to become Christian. So there was a portrait of Jesus Christ on the floor. And if you can step on it, you're right. If you can't step on it, you become a martyr on the cross. Well, sometimes martyrs on the cross, but sometimes we're just jailed or whatever. And people, the Christian people knew that that would happen. But still they could not step on Jesus Christ's portrait. And when I heard about that when I was a little girl, I was like, oh my God, what a beautiful thing. How courageous they were. So I wanted to be a person who was just as courageous. And so this was sort of like the signature painting for that. The painting to step on. And this was a painting that was included in a very important exhibition that you did at A.G. Gallery, which was founded by George Mccunus, who was a part of the circle of people who I think very much defined your early years in New York. George Mccunus and John Cage and David Tudor and other people. Here's an image of you. And this was in the mid-summer in New York, New York City. And it was very, very warm, too hot for anybody to come to a gallery. So I was there sort of waiting for people to come. But I think there was only about five people who came who were my friends actually. And one was Cage, John Cage. And one was David Tudor. One was Isam Noguchi, Beata Gordon and her daughter. Well, if you're going to have five people. Five people. Very, very important five people. Well, I mean, they were not important, but they became important because they came. This is an image of a performance of John Cage's work that happened in Tokyo after he went back to Tokyo after the A.G. exhibition. Oh, this, this. No, this is not Tokyo, you know. Oh. This is Hokkaido. Hokkaido is another island in Japan. But it's a very kind of advanced, advanced music there. And so I did this and... They didn't cut you out of this one. Well, I thought that I think that the body movement should be a part of music. And this is significant, too, because I think that there was a way in which your presence when you went back to Japan and invited Cage and Tudor and other people to come and do these performances was a significant impact on a lot of artists in Japan and ultimately in the United States with the exchange of ideas that happened as a result. Well, I did know they were in the United States. I did know they were in Japan. But the whole pattern of things were always the same. And it was very interesting because I performed in this particular concert not just to show the body movement, but I did some vocal things that I created which was sort of like a unique thing that I created. About a month ago, is it? Musicologist, American musicologist called me and said, you know, I think that I hear you in this particular Cage performance. So I said, well, I was there and I did it, you know. But you didn't get the credit. Well, that's true. That was happening all the time. But you see, if I were pursuing that all the time, I said, how dare you didn't give me credit or something like that? It's just a waste of time for me. I mean, I don't want to use my energy or negative things like that because I'm always thinking about the next thing I'm going to make. And it's so exciting. Life is so exciting without being so negative about things. So I'm just sort of, you know, going through it without being concerned about it. Which is not to say that I was not concerned. But I was less concerned about that than my next piece of music that I'll be making. And you also seem to have a very strong desire to work collaboratively and to work closely with a number of obviously many people over the course of your career. So when one enters into a collaborative process, that those boundaries often get blurred, as in this case. But you know the thing is, of course, that some people may have understood it. But if I really think about it, most people didn't understand it. So am I going to be crazy about it? Am I going to be upset about it? I'm only saying this to you because it's not to sort of show what I was or anything. But I think it might help you in some ways when you go through a negative situation. Just don't think about it. Or make that negative situation into a positive one. You can do that. And one of the positive ways that I believe that you did that was then to compile grapefruit. In the period after all of this collaborative work in New York and then in Japan, to sort of pull together your work and your texts. And grapefruit remains one of the most important books I think of the last 50 years. And it is for sale in the bookstore. Thank you. Though not this edition, I'm sorry to say. Grapefruit. And also I feel like the ono disc, the ricobox piece that you did in 1992 sort of does for your music what grapefruit did for your word and your text and your visual arts pieces. They both sort of encompass so much of what you were working on. There are many divisions in grapefruit. I have sculptural work, I have painting work, I have music work. I have just pure conceptual work poetry. What else is there? Dance. And I just felt that it was important that we don't ask ourselves to be just one thing. Just be whatever you want to be when you're thinking about painting. But then, oh, I'm not a painter so I shouldn't do it. Or you think about the music. Well, I'm a painter so I shouldn't be doing the music. Now, this way of doing things, it was not very popular. Popular is the word maybe.  And then when I'm doing music, they said, no, she's not a musician. So we shouldn't even listen to this. She's a painter. And it just went like that. But now I don't think that people are like that. No. Could you tell us what the word grapefruit means for you? Oh, grapefruit? Well, because I think vaguely I thought that way. But it doesn't mean that I was really thinking. Now here there's a mixture of two cultures, western and eastern. Like grapefruit, which is a mixture of lemon and orange. But that's what it was really. We always have to talk about cut piece. Yes, yes. This is the first one of the earliest incarnation at Carnegie Hall. What? Carnegie Hall. Yes, Carnegie Recital Hall. That's a slightly different, the smaller place. But in those days, you'll never think that. But people like John Cage could not have a concert in Carnegie Hall. He had it in Carnegie Recital Hall. All of us avant-garde artists was able to do a show in Carnegie Recital Hall and not Carnegie Hall. It's a very different kind of situation. So cut piece involved Nisono coming onto the stage and kneeling with a pair of scissors and inviting the audience to approach. Well, not now. No, not now.  Yes. And for those of us who have observed this piece as we are observing it now, I think it's sort of engenders a lot of thoughts about the audience. What the audience thought or why they did what they did or how that acted, or how they reacted to this invitation. You see how I am? In other words, I was not really looking at what was going on. I was sort of meditating in a way. So I was in meditation. And so it wasn't that scary, but it was a little bit scarier. Seems very scary to me. This was about three years ago in Paris. And in the beginning, was it 1963? No, it's not 1963 maybe. And I first did it in Kyoto and then in New York. And at the time, then I immediately did it in London too. So it was like boom, boom, boom like that. But then I just thought, well, I did it. So why not, you know, I made a statement so let's not keep repeating it. And about three years ago, I did it in Paris again. This was like after long, long hiatus or whatever. Oh, cut piece. And the reason is because I started to see that there's an incredible mistrust of people and getting very violent the whole world. And I just wanted to show that we should trust each other. But it was really frightening. So a friend called me and said, I can get you some bodyguard who would be there. He said, well, that's not the idea. Well, I can get you a bodyguard that doesn't look like a bodyguard. So the thing is my son was rather concerned too, which was rather sweet because he doesn't really like to come to my concerts or anything. He's not interested in my stuff usually in those days. Well, now we're partners, but so I was surprised that he came to Paris and was in the whole sort of standing, you know, to protect me or something. Well, I mean, if something happened, he couldn't protect me. But I mean, just the idea I thought was very nice. And I did this feeling that I should not have any protection and anybody could get into the concert hall. So I thought that's something, that's the vibration of that idea could maybe affect the world. And I'm not saying because it's my vibration, anybody's vibration. We can just start to trust each other. But I'm afraid it didn't work so well. No? No, I mean, that's sense. I think that, you know, there's a lot of violence still in the world. I have to include the white chest set because it's actually... Great, great trust, yeah. It's one of the first pieces that I remember seeing and experiencing and loving. And it's also very poignant because I'm wondering when politics in a very specific kind of current way entered into your work as opposed to a more metaphysical way. And I think that the white chest set piece does both of those things. It touches on the sort of history of the idea of violence and war and conflict. But it also at the time that this was made very specifically touched upon what was going on in the world. And I wonder if you have always felt that sort of dynamic in the work. You see, I go through some turmoil about the way I am. I read things like, you know, I'm sick and tired of people being positive. Why don't we have a book that just gives all the negative aspects of the world or something? Okay, you know. And I understand that feeling too. Sometimes I'm very depressed too, you know, as being human being. But I think that just on... Even if it's just to balance it, it's important that we have some positive ideas about the world. It's important that we would look to the future in terms of hoping for the best. And I don't think that we have the luxury to be hip and negative at this point. It might have been fun in the 60s. But now we are all very concerned and we have a clear understanding of where we stand and what we can do and maybe what we can do. So, you know, it's a different age, I think. Just again to touch a little bit on the sculptural objects that you made in this period in the 60s. Keys to Open the Sky. And a lovely work that again touches upon so many conceptual ideas and so many personal feelings of possibility and openness. But also touches upon ideas about minimal sculpture and other sort of art world ideas that were floating at the time. And I think in that way it... Well, you see, the meaning of this is twofold. One is the fact that it's a key, key to open. But also it's a key that would break if you try to open it because it's glass, you know. Well, you can think about that. So now we talk about direct political action. I don't mind. The piece is often called Bedpiece, Bedin. Bedpiece as in P-E-A-C-A, P-I-E-C. How do you think of it? Well, you know, for me it's very nostalgic. Looking at Joan, looking so serious. And I'm kind of serious too. And there were moments because, you know, it was a... What is it? About 14 hours a day situation where everybody was there looking at us, you know, and we made sure that that's fine. And... But so it was very trying in some ways. Also there were times when we were just smiling or laughing or kissing or hugging or whatever. This was your honeymoon, I should say, for people who aren't aware of that, that the performance was performed as... This was a performance going on for seven days. In two cities? Right after your marriage. Where? Just as a honeymoon after you were married. Anyway, so we were hoping and we were so naive. I can't believe that we were so naive. Each time when we do something like this, we said, Good, we're going to have peace right now, you know. What, the next year? It didn't happen that way. And now, I say we know, but maybe Joan knows too, that we have to be a bit more patient. And it is working, but it's very, very... It depends on how we are. It's a very slow process in a way. But it is working. When you look around, and if you see something that you love, beauty is what you love. And we are surrounded with beauty. And we will keep those beauty going on for a few centuries maybe. So let's do that. Thank you. So we go from the bed to the billboard. This boy is over. Exactly. How did you come up with the idea of installing work on a billboard? Well, I did say that in those days, so I think it's all right to repeat it. But I thought, why don't we have a big party with very many famous people in Ascot, in our house. And while the party is going on, somebody just comes in the room and says, voice over. And all of us say, voice over is great. But of course, you know, we didn't do that, of course.  And I thought that's John. And so John said, why don't we just have a picnic on Trafalgar Square.  And a chauffeur would take it to Trafalgar Square. A beautiful blanket or something that we sit on, et cetera. Well, that we didn't do either. So eventually we decided to do voice over as a poster. And then John came up with, well, not just a poster, we can do billboards. And so we had billboards all over the world, so to speak, not all of the world. Was it about seven cities, maybe? They've had a remarkable resilience and have shown up in many, many cities, jumping around a little bit. And I'm worried about time, so I'm wondering if we should, I wanted to just touch upon a little bit about your video and film work. This is one of my favorite images. Well, I'm sure that we don't have to explain this. This is a piece, this is the production shot of a film called Bottoms. Well, there's a continuation of this story that you're going to hear, maybe in about two weeks. I want to show a short video that you did that is very feminist. Was this for whatever it was? Oh, I know what this is. Just quickly could I explain it? I rethink what John did with music. It was fantastic. It was really very avant-garde and strong and powerful, you know, and kind of minimal kind of thing. And he just did it. And I was trying to really break out.  For the life of me, I could not cut it. So that's like a symbolic thing, isn't it? So you actually started off wanting to thinking you would break it. And it's just that thing would start there. I'm going to skip on to the next image, because I love the idea that one of the lovely things that you do in your work is consistently refer back and the way that in this case the bottom image that we saw a couple of slides earlier then reappears years later as a billboard. And I wondered if you could tell us about this piece. The things that I did before becomes the material for the next step. And I don't have any problem with that. And how was the reception of all these bottoms all over the city? Did people like seeing the bottoms on the billboards? And bus stations? And also I do this thing about audience participation. So when I have something like that, some magazine will say, please can we use one page with this? And I say, well, that's fine, but make sure that people write over it and then send it to you so that there are many different kinds. And what we did was in one city, somebody went to all the toilets in the bath. You know how toilets, they scribble something. So they're supposed to scribble something on this and then we filmed it. So it's all very different. It was very interesting. That's my son. And a performance that you did at the knitting factory in several years ago. Now I have to get my notes out again. I've been sort of ringing it to now. Excuse me. And it touches upon again your music and your performance work, even though we haven't talked about that very much today. But it also starts to lead into your collaborations with your son, which become very much more important when we talk about your next project, which has to do with anti-fracking. And I just wanted to show this, I think, amazing image of the two of you performing together. What is the next phase, you know? Next phase of the next phase kind of thing. And I'm very... Well, I didn't know that I was bearing a child that would become my musician so conveniently. But we're sort of working together. And it's good. So another billboard. This is a more recent one. Oh, this is the anti-fracking. Which is something that you've been very engaged in in the most recently. May I talk about this a little? Because it's so important for all of us that we don't do fracking. Fracking is very bad and that's sort of lying. Lying in so many ways. Oh, it's going to be safe. It's very good and whatever. I trust that because to do fracking you have to use enormous amount of water and then put maybe 20 or 30 chemicals in that too. So that water is very dirty, principle. And we don't have enough water.  And so it's very important to keep pure water. Now, New York happens to be one of the very few places that the water is pure so far. But if they start to do the fracking we're going to die. And you know that it's very interesting that these people say, well, this is a very good way to be independent and make money. Okay, I mean, they did once to start asking people to carry guns. Guns? Yes, guns make money too. But it kills as well.  It's going to take our health away. So please, please make sure to write to Governor Cuomo all the time.  Just write to him, so to say. We still don't want this, you know? Because now people, when people don't write about three days, you know, they say, oh, it seems like the people forgot about this and they don't care about it. No, we do care. But we don't write enough probably. So please write to him saying, don't fright me. Okay? These are some images that you sent to us. This is Pennsylvania. I don't know how they managed, but they told the Pennsylvania people, it's going to be great. You're going to make a lot of money. Or we're going to make a lot of money. And beautiful, beautiful green mountains and green fields are now like this. Like this. And the water, when you light with a match, it becomes fire. And that's the dirty water. The water is going to be dirty.  And we don't want that.  Thank you. Now we're going to end up, and then we'll have a few questions before we have lunch. But I want to end by talking about one of your most beloved pieces, wish tree, which we are thrilled to have an example of in our lobby. So we hope that as you leave here and go to our luncheon that you might add a wish to the wish tree. And I will put my wish too. Each time I see the wish tree I do. So wish tree is a work that has had many incarnations and many lives and many cities and countries all over the world? It's going to be very good. Well already, all over the world, they're all writing to me. Could we have the wish tree? Of course, you know. And I think it's about over a million now. You know, they all sent it to me. But a million is not a very big number actually for this kind of thing. But I think it is, because the quality that comes. You know? One wish that you make might change the world. So let's just keep changing it into a great world. Thank you. So we hope we invite you to add your wish to the Brooklyn Museum Wish Tree. So thank you very much. So we have a few minutes for a couple of questions. Yes. There is, by the way, a microphone, I'm sorry, over on my right, your left. If you'd like to ask a question, we'd love to answer a couple. Hi, Yoko. I hope you come. What? You have to come in. Oh, I'm sorry. I'll come in. It's very difficult to... For you to see. Yeah. Here when it's available it's going. Hi. Hi. And I want to ask you to comment on one aspect of your work, the collaborative aspect, inviting people to add to your work. Over the years you've been very open-minded and open-hearted about letting people add to your work and, as you say, finish it. Yes, adding. Finish it. Well, you see, the thing is, there was a tradition in art world that all artists would like their work to be not touched. Exactly the way they did it. And hopefully it would go on for eternity. And I was one of those artists. So I thought, I don't want people to touch my work, you know. But then I thought, well, that's why it's bad. I mean, that's... All of us are thinking that. So I said, okay, I'm going to make a work that people can not only touch, but add to it. Change it. Whatever they want to do with it. Because the other side of the idea, the idea, the reality is the fact that even if we try not to have that done, it's going to have it done anyway. I mean, even the pyramid, it's a little bit crooked now or whatever it is. I mean, people are going to do it. So why don't I make it part of my instructions and part of my work? And it's working. Yes? So, Miss Ono, it's a real pleasure and privilege to be here with you today. And my question is based on a statement that you made about that it's a waste of time not to say anything with your art. And I wonder, given in this day and age, is it really possible for artists with purely creative acts to really make a difference politically or socially today? Do you think that it's... I've been a paraphrase. I hope I get this correct. Do you think it's really possible for artists to make a social and political difference with purely creative acts? With purely creative acts. Do you think it's possible to make a real difference? Well, I really think so. You know, I really think that even one person can change the world. And that happened many times, really. But, you know, we're so credit-conscious and we don't want to give credit to anybody. And we get so jealous about somebody who did it. So we don't talk about it so much. But I think that those things did happen in history. And we can do it. But, excuse me, it doesn't have to be just art. But, you know, all of us, as I always say, we're artists, you know. And so that if you start to bring out that artist in you, and you can do it. Being an artist is such a privilege because, and we are all artists, politicians have so much red tape, they can't do what they want to do. Many people who are hired by a company or something can't do what they want to do. Many people who own the company, even that, they can't do what they want to do. But artists are still very free and they can bypass all that and do what they want to do. And the fact that you can do what you want to do is an incredible thing. And that particular power is what we are surviving on. Thank you very much. Thank you, thank you. Dr. Sackler is going to say a few more words. Thank you, thank you. I love you very much because beauty is what you love. And I love you. I would like to end for all of you that not only can artists do what they want to do, but that we're all artists and we can all do what we want to do. For this opportunity today, I particularly want to thank the museum's chairman, Jack, and our president, Stephanie, and the board of trustees for trusting. For trusting me, for trusting the center, and for bringing Yoko Ono to us today. Yoko's constancy in asking us to imagine peace, inviting us to snip away our unrecognized and recognized aggressions, all with the mantra, power to the people, does as great art is want to do, change lives forever. Thank you for having changed our lives and with your acceptance of this award on this day, the museum is now forever imbued, Yoko, with your vision and the invitation to call an equitable, honorable world. And this demands us to hold your truths on high, and I thank you personally for it. Thank you so much. This is from the Women in the Arts Award presented by the council for feminist art and the trustees of the Brooklyn Museum.


In the previous video, we learned how to create a map in DHS2 with a base map and a boundary layer. In this video, we will see how to add and edit a thematic layer. We will continue working with our example from Training Land to create a map that shows BCG coverage by district in 2020. A thematic map depicts information about a topic or theme over a geographic area. To add a thematic layer in the DHS2 Maps app, click Add Layer and select thematic. In the configuration dialog, the first tab of information we need to select is the data. As maps use the concept of layers to add data, there can only be one data item selected in each layer. In this case, coverage is an indicator, so we need to select Indicator as the item type. BCG is an immunization used to protect against tuberculosis. Under the Indicator Group dropdown, select Immunization Coverages. And from the list of available indicators, select EPI BCG Coverage Percent. The period tab is next. Although the interface looks a bit different to the other visualization apps, conceptually it is the same. First, we have to select the period type we are working with, either relative or fixed. And depending on the type selected, you will be presented with different periods to select. While with pivot tables and graphs, we could select multiple periods per output, within a map layer we can only select one period type and one period as we are displaying the data in one map. For example, in the period type, let's select the fixed period yearly and the period 2020. Then the Org Units tab allows you to select the organization units you want to view the data for in the layer. As in the Data Visualizer app, we can select organization units in the hierarchy by selecting levels or selecting groups. For this example, we want to select all districts in training land. To do this, in the hierarchy, tick the box next to training land. Then in the Select Levels dropdown, select Districts and Unselect Regions. Finally, click on the Style tab. You can see two styles of maps. Choropleth maps will assign a color to each organization unit shape according to the data value. A bubble map will show data values as proportional circles. The circles are placed in the center of each organization unit. For our example, let's use the choropleth map. Let's look at the legend options. An automatic color legend means that the application will automatically categorize the data for the selected organization units based on the classification, number of classes, and the color scale you select. You can set classification to either equal intervals or equal counts. Let's look at the differences between them. Select Equal Intervals and Add Layer. Equal intervals will divide the range of values into equally sized classes using this formula, highest data value, minus lowest data value, divided by the number of classes. For example, if the highest value is 94.5, the lowest value is 32.7, and we have five classes, the range of each interval will be 12.4. As you can see, the number of data values for each interval varies from 0 to 8. This method is best used for continuous datasets in which data represent measurements and not counts, such as the height of a person, precipitation, or temperature. Let's edit the map and select Equal Counts. To do that, click on the pencil icon to open the dialog, return to the Style tab, and then select Equal Count from the drop-down menu. Then click on Update Layer. Equal Counts will distribute the data values equally along the number of classes that are made. For example, if I have 12 organization units and five classes, each class will contain two or three values. Now you can see the range of values of each interval varies significantly, from around 1% to more than 40%. This method is best for data that are evenly distributed across its range, as it helps to emphasize the relative position of the data values, for example, which districts are in the top 20% for BCG coverage. Let's click on the pencil to continue editing the layer. The predefined Color Legend option will apply a predefined legend to your map. Note that when choosing this option, you don't need to set the classification, number of classes, or color scheme yourself. All of these features are already predefined. You only need to select a legend set. In this case, let's choose API Coverage and Update Layer. Now you can see the legend with five classes, their classification, and color scheme. However, we can see that the names of the districts are no longer visible. This is because they are covered by the color scheme, which is higher up in the layer order. You can move the boundary layer up by dragging the boundary layer card to the top. The district names are visible again because the layer is above the color scheme layer in the map. Now we can see the BCG coverage by district in Trainingland for the year 2020. In summary, a thematic layer represents information about a topic or theme over a geographic area. You can specify which data item, period, and organization unit you want to view in the thematic layer, and you can style your map by selecting the classification method that fits your needs, either an automatic color legend or a predefined color legend.


Your Coca-Cola bottler presents Claudia based on the famous play and novels by Rose Franken Brought to you transcribed Monday through Friday by your friendly neighbor who bottles Coca-Cola Relax and while you're listening refresh yourself. Have a coke And now Claudia Come on get conscious will you this is a dress rehearsal remember all right You kids now get out of the wings no talking backstage and don't smoke unless it's a part of the business that you rehearse All right, not try and act as if you knew what you were doing All right, let's go on from there. You know mama. I don't blame Varnie for getting his dander up It's not going at all. Well, is it maybe this is the way dress rehearsals go David? Maybe From the looks of things I doubt it. Thank you. So do I It's pretty bad. I'm starting to wish we hadn't come Feel pretty much the same between you and me your daughter is no actress and I don't blame it on me She's not my daughter anymore. She's your wife. She's my wife. All right.  Yes, she comes Looks all right This is her big scene Hope she gets through it alive and hardly bear to look here Stephanie you wanted to talk to me you bet I wanted to talk to you louder please I'm in the eighth row and I can't hear half of what you're saying There's no point in saying the lines at all if you can't be heard. All right, go on You can stand there looking me in the eye and saying what is it? What is it Stephanie?  What is this a rehearsal or a picnic? Oh, oh never mind never mind. All right. Go ahead.  All right. All right. All right here goes Yes, I want you to leave this house. I want you to leave this house to never come back I thought that's what you were going to say.  I I don't know I Don't know I Don't know you don't know your part. That's the trouble. She knew it last night. Even I know the line Well, if you know the line, of course you do you've got the script in your hand. I haven't got it in my hand I'm sitting on it.  I don't know anymore what I had planned or what I meant to do or what I meant to say All I know is that I'm ready to leave and I don't care if I never come back Where are you going? I bought a ticket for New York this morning. If you like I'll let you know where I'm staying and Do you need some money? I don't need anything. You've taken away the only thing I ever really needed I love guys happening. I loved him more than you'll ever be able to love anybody But you have one and he's yours. I wish you luck You're going to need it pretty words. Oh Jim that's so inadequate. I need something else here something I can get my teeth into something with emotion with with bite Look just get your teeth and the lines you have and we'll worry about additional lines later Please go on. Do you know what those don't say it? All right pretty words Yes, goodbye You're very proud. Yes, I am proud very proud for the first time in my life I'm not afraid of you and I feel I can manage without you. Goodbye my beautiful sister and Don't go. Don't leave me Please that's enough as much as I can stand. Well David. What do you think of that?  What are you going to say to her? And exactly what I said to you.  Maybe the truth will all right That's all for now. Take a ten minute break and everybody back on stage. I want to go over some notes that I made on the run-through Relax if you can Don't suppose it went very well did a chin What's terrible? You'll have to do a lot better opening night if you want to take this show in in New York And I mean it All right, no relax everybody ten minutes and then everybody back on stage that includes backstage too David you run along alone.  I do not deny it or make any excuses Well I'll go on back then Any message for your daughter? What does a mother say at a time like this? A mother? What does a husband say at a time like this? See where is it I can never find my way around These places we should put numbers on the door Oh here dressing room eight. Oh David Norton Come to see your little wife. Oh, hello Miss Mannet. That's right. Well What do you think of her? Well, it's it's hard to judge a performance on its first dress rehearsal. Well, I think she's very Interesting in the part. Yes, very interesting and really potentially a very sweet little like this Hmm what worse could you say? But I think she'll get by Here's a cigarette. Cigarette? Yes. I think so your brand Thank you You know, we're all in there pitching for Yes, I I know Thank you you are Going to be around just a little while, you know, I think if you and I talk this over between us We might be able to help Claudia So do drop into my dressing room before you go. Yes, I I will and Mr. Norton Please don't be too hard on her Bye-bye It's only your husband.   Oh, it doesn't come off. All right.  I'm not surprised Have you one? No Well, then you didn't come on.  Let's go home. Well, aren't you gonna tell me how I was? I'll take off your makeup plenty of time to talk when we get home Can I come in? Oh come in, Mr. Varney. Oh Hello, Lotton. Hello Varney Dead anybody got a chair for me to drop on. Yeah, right over there Well, that was the first dress rehearsal We are sure not going to get far this way. Is it so terrible and lady I think it's time you and I had a little talk Just as you say remember I'm I'm only your husband. Got a match. Yeah, sure cigarette. Oh, here's one. Well, yes, Mr. Varney Claudia What happened to you? What do you mean? I thought you were going to be good in this part I thought you were going to be fresh and young and simple I thought the audience was going to be on your side and you came out on that stage and nothing happened No electricity. No excitement. No surprise. No, nothing No, no, no, no nothing at all You look as if you felt you didn't belong there.  I did you just Yes, you did. You looked as if you'd stumbled on a stage by mistake. Well, I didn't feel that way I was I was starting to feel it was going pretty well. I'll take it from me. It didn't go very well It didn't go really well at all the whole thing reeked now Wait a minute old man your star miss Victoria manners isn't one jot better. That has nothing to do with well Why don't you go ball her out one thing at a time? You don't dare ball her out So you're taking it out on Claudia. You don't have to personally. I thought Claudia was pretty darn good You don't say I do say what's more? I'll have you know, I'm not prejudiced I'm always the first one to hop on her when she's wrong I think she has a difficult part to do and she's not getting any help from the other actors on the stage either you don't say It's awfully sweet, but shut up. I'm talking now Go ahead if she did look lost and helpless and uncertain and that's in the part The point is my dear man that Claudia is not supposed to look confused But the part that she's playing is supposed to look confused. Oh hogwash David you're being awfully sweet. I'm not being sweet. Husbands should not be allowed in the theater They're a plan in the neck. They're worse than mothers. I agree with you But I'm here now and you asked me to come to this dress rehearsal It's not my idea if you don't like Claudia in this part. I'll I'll take her right home with me You can find yourself another actor David.  So now I'm getting my orders from you No, you're darn right. You are I think it's high time You start stop picking on my wife just because you don't dare pick on Victoria Manners you ask me She's the one that's terrible. It doesn't matter how terrible she is. She's still the leading lady Just as I thought you scared to tell her well, I'll tell her for you. You dare say one word Well, I'll think about it But how would you like playing a scene opposite Victoria Manners mr. Varney? She'd be pushing you into the corner stepping on all your lines moving in on your speeches She'd do everything she could to distract you and take the audience's attention away from you I am only a director all I'm trying to do is put on a play just put it on fairly well So that the audience doesn't hood us out of the theater or sit on their hands when the curtain goes down What do I get? Aggravation and ulcer that's for my wife mr. Varney. I think you're pretty darn lucky. She's in your place. Oh, well What's the difference? I just came in here to give her a mild criticism. So she'll give a better performance and Well, honey, all I can say is it must be wonderful to be married to a man who's in love with you Well, I'll see you on the stage if it isn't too much trouble So long nothing no hard feelings. Oh, no, no hard feelings But any time you want to take over the direction of this play mr. Norton, it's all yours Well, I guess I told him a thing or two David you were wonderful Magnificent. Yeah, I was at that. That was quite a performance. I guess why didn't you tell me sooner? Tell you what that you thought I was so wonderful But when you came into this dressing room five minutes ago, I thought you're gonna say I was terrible You had such a such a headache. He looked about you Can't tell you how relieved I am that you think I'm so good thought you were good Mama and I thought you were terrible Barney's absolutely right everything. He told you was the honest truth. You mean I wasn't any good I said you were terrible. I don't earth made you think you were any good You did well, you didn't think I was going to agree with Barney. Did you while he was insulting you? You don't think I'm going to stand by and let another man criticize my wife and say Absolutely, nothing then you you didn't mean what you were saying how many times do I have to tell you? Oh my gosh All right now young lady.   No, I haven't you just get good And that's all there is to it. That's all You make it sound so simple Darling, you can't get good. I know it Or I wouldn't have bothered lying for you. Oh, David. It's not easy, but it's so wonderful to try to live up to you Even if you're one of those women who likes to shop there are moments in the course of a buying trip when your patients and energy run out At such times you'll do well to look about for one of those friendly red coolers that invite you to shop refresh Pause for ice-cold coca-cola and it'll be easier to finish shopping Coke helps to restore your good humor. It brings everyone the pause that refreshes Did you watch the dress rehearsal mr. King? Oh, I eavesdropped on part of it. Miss Manners. Well, what did you think? Well, I'd rather not say then you agree with David I'll give you my opinion after the opening night on Monday. That's the only time. It's really fair to judge an actress Suppose Claudia will be so nervous on Monday. It'll be even less fair to judge her then we'll see First things first, you know, well be sure to come around backstage to say hello. I will Every day Monday through Friday Claudia comes to you transcribed with the best wishes of your friendly neighbor who bottles coca-cola So listen again Monday at the same time And now this is Joe King saying or if wire and remember Whoever you are whatever you do wherever you may be when you think of refreshment think of coca-cola For coca-cola makes any pause the pause that refreshes and ice-cold coca-cola is everywhere The parts of Claudia and David on this program were played by Catherine Bard and Paul Crabtree and the entire production is supervised and Directed by William Brown Maloney and now here's a word from your friendly neighbor who bottles coca-cola


Of course you know it's that time of the year, bus safety is going to come into its rhythm here just in a few short days and we practice safety year-round as our drivers do and my driver trainer and coordinators do it full time here. You know if a bus has stopped on the road, if that stops on our mouth, the traffic has to stop. That's a regular stop sign like it would be anywhere in any other road. So we have some people that run those. So you know a lot of our buses now is getting cameras on them and even on the outside on the stop arm sign, we're headed in that direction because we want to flag those drivers and turn that information over to the county attorney's office and we do that. When they're boarding the bus, the bus has stopped. So they're usually in that bus line and we encourage our students to be in the bus line five minutes prior to their normal time boarding which all the time don't work because you got winners to deal with and we try to weigh all that rain and what have you. So but our bus driver has stopped. That child makes sure that there's not no oncoming traffic if they have to cross the road. They're at sign day seat and we encourage them to sit in that particular seat, particularly why that bus is traveling. I'm just about every county in Kentucky is short on drivers. We have reached that point too. So as your viewers view this, I encourage anybody in the county here that wants to come by our training department here at my office to receive training and we'll put them in a bus and test them and they can make the test and we can hire them as a sub driver or sometime full time. We got vacancies you can hire them full time.