Good morning everyone. It's nice to see you this morning. I hope you enjoyed a little Wake-up music from the Grateful Dead I'm Ginny Steele from UC Santa Cruz and this is my colleague Robin Chandler who's also from UC Santa Cruz We're happy to be here today to talk to you tell you a bit of the story about the Grateful Dead archive and It's history with us UC Santa Cruz found out about the existence of the Grateful Dead archive in 2006 we were informed by our Professor of Music Fred Lieberman who is a long-time student of the Grateful Dead who Actually has collaborated quite a bit with Mickey Hart who's one of the two drummers for the band They've written several books together, and they collaborate regularly Fred teaches a course on the Grateful Dead that usually has an enrollment of three to four hundred students and Mickey comes to campus Every time Fred teaches the class and does a guest lecture. So there was a close relationship already in place when When this story began for the library So Mickey mentioned to Fred that the band had a large archive and was looking for a home for the archive They wanted some place that would appreciate it that would process it and make it available and Care for it in perpetuity so We then were informed of this in the library and got in touch with the band's business manager And expressed our interest so we went up to San Rafael to meet with the business manager and Then he took us to the warehouse in Marin County where the archive was located But one of the things we talked about with the business manager was why we thought Santa Cruz was a good fit There were a number of reasons why obviously the relationship that Mickey had with Fred was an important one But also the fact that Jerry Garcia as a child Spent his summers with cousins who live in the Santa Cruz mountains just north of Santa Cruz proper and for anyone who's a real deadhead you know that Jerry was missing part of one of his fingers and That accident actually happened when his brother accidentally chopped off that portion of the finger when they were both quite young and playing together obviously in kind of a Violent way So also the campus for a long time has hosted the website that has the annotated grateful dead lyrics on it It's a website that's done by David Dodd and Is is considered to be an excellent source of information about the lyrics for the the songs? So we made a case we actually after we met with the business manager wrote a proposal and sent it to the band and described what we would do with the archive and We committed to make it available Collaborate and actually make it more open to the public and to use then we typically do with archival materials That was also something that the band's manager told us was important And so we we made that commitment to them And we also agreed that we would dedicate some space in the library to showcase some of the items from the archive So eventually the band made a choice and they gave us the archive We were not prepared for the amount of attention that this received When the announcement was made in fact one of our campus trustees Committed that he had never seen you see Santa Cruz featured on the front page of the Santa Cruz or of the San Francisco Chronicle over the fold and In such a positive way, so this was the beginning of The public phase of having this archive the same day We had a press conference at the Fillmore in San Francisco That was attended by Bob Weir and Mickey Hart as well as a number of other members of the band family John Perry Barlow a number of other people one of Jerry's daughters was in attendance so And it was quite something because it was a true press conference with a room full of reporters TV cameramen All sorts of people really interested in what was happening with the archive So again, we were getting the sense that the world was taking a lot of interest in this archive we then went back and Went to the warehouse and really started looking at what it was the warehouse itself was 2,000 square feet and it was packed floor to almost 30-foot ceilings with materials and We didn't know exactly what was there. We knew there were Records of the band's concerts. We knew that there were business records. We knew there were photographs posters T-shirts other kinds of merchandise Also a lot of material that fans had sent to the band so we we embarked on the process of packing up the material in the warehouse and Bringing it to Santa Cruz. These were some of the file cabinets. We brought along I love some of the the bumper stickers on them. They're a lot of fun We also found a lot of ephemera as well as the files and We became very close with Eileen law who is actually considered the mother of this archive Eileen was first a volunteer and then a paid employee for the band She worked in their ticket office and she has the true soul of an archivist She kept all these materials and she organized them As best she could and she even defied the band on multiple occasions when they told her to get rid of all that junk In one case she she put it all in a closet in the building that they used at fifth and Lincoln and San Rafael Just so the band members would think it had all gone away But she held on to it and and she has worked with us since that time to really Make sure that we know what's in the collection and take good care of it One of the other large components of the collection that we received was fan decorated envelopes the band Sold tickets and made tickets available for people who wrote to them at their office And people would write in they really desperately wanted to get tickets to concerts And they thought it became sort of Folklore that if the envelopes were decorated there would be a better chance of actually getting the tickets So as part of the collection, we received more than 16,000 envelopes decorated most of them front and back and Boxes and boxes of these envelopes and that's actually been kind of a fun treasure trove to have because we have people who come to visit the archive who Wrote in for tickets and who find the envelope that they decorated in 1981 So it's been quite a trip back in time for some people So once we got the archive our first step was to process it physically using more traditional methods So we we arranged the collection described it Here's a copy of a record that was put in the online archive of california To let the world know again that we had the collection We've also spent time Reaching out and trying to make People aware of the scholarly aspect of this collection One of the questions we get on a pretty regular basis is why is this collection important? Isn't this just another rock band and and essentially who cares? The answer is a lot of people care This was a very unusual band it existed and they performed for 30 years starting in 1965 through 1995 until jerry's death Uh, they were incredibly Improvisational one of the first jam bands that performed They had a very wide repertoire one of the interesting things about the band is they could go to a city and have Three days of concerts to give and they would not repeat a single song in those concerts They weren't a band that had a set Show that they put on so you'd go once and you'd see the show and then you'd go the next night And you'd see the same show over again. It was definitely a band that believed in creating an event and doing that spur of the moment and Drawing the audience into it There was a very strong relationship between the band and the audience And the band felt that without the audience they couldn't be as creative and perform as well So it it was important for them. So all of this has generated over the years A fair amount of interest in on the part of scholars and a variety of disciplines And in fact the um southwest texas and american popular culture association Have a grateful dead scholars caucus that meets every year and has met every year for 15 years And that consists of two and a half days of papers given about the band about their music about the sociology of dead heads the the group of people that followed the band around and that were Dedicated fans of the band And so we have started in the archive to put out a journal called dead studies that is the Much of the material that comes out of the grateful dead scholars caucus Here are also some cover pages of some of the books that have been written about the band One of the first was dead head social science, which was edited by rebecca adams A sociologist at the university of north carolina greensboro She was one of the first to Teach about the grateful dead and she got into a lot of hot water politically speaking For teaching that content She's also been in touch with us and we've been in touch with her and We're trying to work together on some projects around this Some other books here the a long strange trip if you're wanting to read about the history of the band This was written by denis mcnally the band's publicist and a person who has deep knowledge of their history And a recent publication actually two recent publications are marketing lessons from the grateful dead And dead letters grateful dead fan mail that showcase many of the envelopes in terms of our own outreach Around the archive One of the things that's often said about the band is that they the dead head community around them formed the very first social network And so we've tried to build on that and create a real ongoing social network taking advantage of the tools that exist these days So we have a blog We also have a facebook page and that's been pretty interesting because Our library facebook page has about 400 friends Our grateful dead archive facebook page has more than 62 000 friends So it tells us who likes what in in our collections And another part of building communities is to reach out in more traditional ways So we're doing a newsletter that comes out Periodically that showcases some aspects of the collection or describes new materials that we've added This is definitely a growing collection And from the very first day that the announcement went out that the the archive was coming to ucsc We've been adding material to it so We continue to build relationships with with dead heads and Members of the band family and we continue to add content So i'm going to turn the floor over to robin who is going to describe what we've done in terms of making the materials available online Thank you all very much for coming this morning. Um, it's an exciting topic to kick off the uh the morning with I think um We uh, we began uh this next stage of the project was really to to focus around this building of a socially constructed archive As jinny mentioned a little earlier, you know One of the things that we worked with the band To do was to talk about how we could make the content available And so building a building a website that could feature the band's content and also begin to Continue that that sort of legacy of working with the fan community was an important important step for us The band had this very unique relationship with its fans It was really an exchange between the artists and the audience during the show And the show was very paramount As you've heard, uh, the same set list was never performed Twice the same song never in the same manner And we uh, we wrote and were happy to receive an IMLS grant a two-year IMLS grant Which went towards our process of building the socially constructed website and What we what we saw was that this was really a very unique opportunity to leverage this relationship between the band and the community To help build the collection We would enhance the content that the band gave us through the great efforts of Eileen law But then build the build the collection through capturing the fan experience Our specific IMLS goals were to scan some 45 000 items To use omeka as the essentially core of the website To bring in, uh, web resources When appropriate into the collection To work on developing a plugin that would Essentially enhance the exchange of information between cunt and dm and omeka and also and you can well imagine this To identify and resolve some of the the copyright issues that we might You know sort of encounter as we went into Scanning this collection and as you can imagine there might be a couple of issues That would be a part of that It's really been a very library wide effort To to do this work. We've drawn from special collections From digital initiatives from our library it staff As well as from librarians with expertise in scholarly communication and ip We hired for the project the grateful dead archivist Myself as project manager and also a programmer for the project Um Omeka was a very uh appealing software for us to use In in a couple of ways It has the the ability to create exhibits, which we saw as a very good way of being able to help Provide interpretation of the collection to give that enhancement to the collection and also as a way to Potentially in the long run reach out to graduate students and faculty to help build Content that would use the collection The other really important piece about omeka is the fact that it has a user submission piece And that was really critical to what we wanted to do with the project One thing too to really mention I just want to say it right up front And it'll it'll be a theme that you see throughout the my presentation is a fact that um as As a library it's part of the University of california system We have the opportunity to essentially leverage the services that are provided by cdl and the california digital library and you'll note through the presentation that we're using the online archive of california We're using the web archiving service. We're using uc3 easy id for persistent identifiers And we're also tapping the uc3 merit repository We've also been working very very closely with the staff at omeka At george mason university and as well with the university of virginia scholars lab who've been doing an awful lot of development on the omeka software Okay Well to jump jump in here a little bit deeper One of the the first things we needed to do then was to really think about this 600 Linear foot collection and determine what items were we really going to scan for the project? We worked with the intellectual series arrangement and description From the archives And also with the grateful dead archivist expertise Nick maryweather regarding some of the significant events in the history of the band You know one of the a good example of showing this is is the idea that The grateful dead maintained their their show files Which would include their business correspondence about having Having a show in a particular city as part of a tour But in the show files you'd find a great deal of things the correspondence You know some of the financial arrangements, but you'd also find the tickets You know for example the sample tickets. Well for us as a project to scan We were really very interested in in just scanning the tickets And we wanted to bring those out And you work with those as a particular format As we would begin to gear up for scanning You're gearing up for digitization is much easier if you can go into production where you're really working around a format So one of the things we needed to do was as you can imagine was to go into the show files and then begin to To take out those items that would be relevant This happened throughout the throughout the entire process where you have your archival arrangement But then what you need to do to actually scan is quite is quite different Um The digital production really needs to happen at that sort of mass scale to be um and format scale to be efficient Um, some of the materials that we have scanned Have been t-shirts three-dimensional objects Photographs three five millimeter slides and also videotape and audio tape And you can imagine for each one of those formats you've got a different kind of scanning arrangement And and quite quite honestly different different equipment that you need to use Um We also developed tools to guide the selection of content for the scanning Um one thing to to bring to mind and you can see it here on the the slide Which is a grateful deadline and nick was able to develop sort of the the ultimate list of shows As well as what were the significant events in the history of the band And we were able to use that to essentially be able to target material that we wanted to scan in the collection The show again being the very preeminent sort of baseline for how How the the band would be documented and how we would scan What are the the big goals of the project then as well was to to really engage Engage the fans in crowdsourcing We um We we developed uh Before we even began scanning we really and then And then the subsequent process of then creating the metadata. We developed a strategy on how we were going to engage our users We thought about it in terms of what what kind of metadata should we create? And what metadata would we like to see our our users create and this could this would Uh, this would be different depending on the the format that we were scanning and I've brought an example here to sort of show a photograph of A fans waiting outside the film art east in 1970 for uh for a performance And to the just to the other side of that is our grateful dead archive name authority file And I I illustrate this to say that right at the beginning We decided that in the in the images and throughout the collection We would strive to identify the major players You know the members of the band the band changed throughout the years And and particular individuals that were significant like bill Graham You know in the in the history of the band and that's what we would concentrate on But it seemed a very logical thing to then To leave the other material i'm sorry the other sort of access points around names to to the community as we as we go live So as we as we move forward then We will leverage then a mecca's tagging and comments to gather a lot of that other metadata around individuals This is an example then of showing the digitization process what we went through This is scott camble one of our digital technicians scanning the envelopes that that jenny has mentioned He's using a cryo scanner there and doing and doing three envelopes at a time You can imagine that was an important thing for us given that we had over 16 000 of them to scan And this is an example of a particularly nice envelope Created by michael everett who actually went on to be a poster artist for the Grateful Dead It does it did work in a sense that when When the fans submitted art the band took notice and they they developed relationships with several of the artists to to do work for the band I'm bringing up an example here then to just in terms of the process Which is to say that we we thought about our metadata we did our scanning and then ultimately we would load Load our our to create our objects in content dm content dm has really serving as sort of our workhorse repository for us both for authoring Metadata and for creating the structure for the digital objects And you'll see a little further in the talk that we are we're working on then doing that data exchange into ometka Content dm is also important for us because It it does serve as a way to integrate the Grateful Dead collection that we've scanned with other collections that are that are scanned as part of as part of special collections It's kind of a an interesting thing ometka will be very separate and we'll just be focusing on the Grateful Dead But content dm allows us to have that that joint repository for for linked content I just wanted to comment and say that the the abbey software has worked really well for us That's a part of content dm. The one thing that we've noticed is that Poor quality original gives you poor quality ocr But we we've been very happy with it. We've done minimal correction of names Again in the in the text Just thinking in terms of users that those are going to be the kinds of points that they're going to want to find the people People that are part of the part of the texts be they artists or the band members or photographers But anything else we again will turn to the crowd to do As we as we move forward This is just kind of a little montage of some of the things that we've we've scanned again the You can see here envelopes fan envelopes tickets tour programs A wonderful picture of jerry in the early years and the hate. It's a photo by herb green The wall of sound and then some of the t-shirts that we've scanned My uh, my next few slides are going to really feature on The development of our website Our website is still in in progress. We're planning on Releasing the grateful dead archive online or g dow as we've come to come to speak of it It's the ubiquitous acronym, I guess But it is in development. We'll release it at the end of june of this year I think what's an important point to make is that with this website We're really trying to balance The needs of the public in a sense the dead heads With the with the need of those individuals that you're going to engage in scholarly research It's an interesting it's an interesting thing to to balance and I think that we will we'll see how it works We're planning on doing after release some focus groups with individuals to see What we might do to help improve it for scholarly access as well as with some of the fans I'm I'm quite convinced we're going to hear a lot from people. I mean, there's no question I think it'll be a really really interesting set of discussions But we've we've tried to at this point really strive to do something. Uh, that's kind of in the middle middle ground at this point There's five major browsing points. You can see them at the top. I hope It's essentially accessing the content by milestones shows artists media and fan art We've also featured then What's new about the site exhibits blog you'll see up there in the right hand corner There's a little flag for contribute And that's that's going to be a very important key to this project again as a socially constructed archive We really want to encourage the users to contribute Just sort of picking up here This is going to be one of the major ways into the content. It's a milestone Timeline we're using the university of virginia's neat line Tool that they've developed as part of omeka Our programmer kevin clark has been Talking a great deal with the uva staff at the scholars lab Because we're really pushing Pushing neat line at the moment We're going to be putting over 2000 shows Into this and sort of having a timeline that will accommodate 2000 shows and other significant events will be an interesting use of this and so Stay tuned. We'll see how it works One of the other things we're doing is we're bringing the existing blog into jidau. It's been a separate a separate blog using blog stop This is maintained by nick mary whether our archivist, but again, we'll bring it into the omeka site And import the existing entries Another feature is our oral history page. This is again a mock-up of what will be It's it's an opportunity for that user community again to help develop develop original content for the site We'll have five questions for them to to provide Answers to you know, what was your favorite show? What was your first show? It's really a way to engage them We we we hope it leads to even deeper oral histories nick mary whether Our archivist will be having a story core Where interested parties could come in and they could actually do extensive Oral histories with nick in our museum or sort of exhibit for the the grateful dead But again, we see this is sort of a way to reach out and get the user community to participate Um They can either answer the questions as text Or they can call the google voice number that we'll have and leave a message essentially google will supply us with a An audio file and a transcript that we will lend later turn into Into a digital object One thing I think that's Important point to make is that you have to register as a user To answer these questions and we have a pretty good feeling that anonymity is probably going to be an important factor here And so, um, you won't have to supply your name. It'll only be your email So or that email alias So, um, I think we'll have a richer collection by going going in that route We'll feature exhibits one of the the first exhibits that we will launch with will be the europe 72 72 tour It's also important to note that We'll have audio and video associated with the with the project We had over 150 to video tapes that actually came with the collection from the grateful dead They end up being sort of documentaries musical performances As well as sort of tv coverage of when the dead was playing in a particular place We've had all those digitized outsourced We've also been doing in-house the audio Transfer to digital The predominant material that's there are Radio broadcasts which end up being sort of interviews with members of the band as well as the concert line recordings Eileen law and members of the bands would essentially have a recording that would let the fans know When the the tour was kicking off when tickets would be available for particular shows And it's pretty wonderful to actually hear like jerry's voice for example or phil lash And those will be available for the for through the website The other piece again that's Really important component of this whole website is the user contribution page This again is a mock-up. We're going to be asking for very very minimal amounts of metadata From the from the users, although We love it if they would give us more You know in terms of if they can actually give us a date and they can actually give us a location of something But if they can identify a title and identify themselves that'll that'll start it that'll start it off But what's particularly important to to note here is that We're asking users If they own the copyright or or if they don't do they think they can make this available Via fair use We're also giving them the option to pick one of three licenses as they submit Two of them are creative commons one of which would be for non-commercial use the second one for Commercial use and then the third license is one where they would be granting the uc regions To grant our our library the permission to to use the material Sort of hand in hand and this hasn't gotten to the mock-up stage It's still in in wire framing But we want to we want to incorporate a wish list as part of the website Which is to really kind of target specific items. We might be using what might be looking for again You know a good sort of example of that is particular tickets that we might want to have for particular shows And and that would kill very much hand in hand with the the overall collection development policy That we have for the collection That will be available through the special collections website We sort of see this as sort of a balance There's there's that place where you know certain kind of users are going to be interested in specific things Again, I think that's sort of a place where the fans are going to be very interested In that but there are other kinds of users that would be interested in in what we're collecting around the Grateful Dead In a much more a deeper way and in some sense sort of a broader way And we'll have that available for those users to to evaluate as well The Grateful Dead website would be really nothing without music to a certain extent It is it is the it is the baseline for the for the collection But when we receive the the collection we did not actually receive any of the Original music at this point from the band contractual arrangements between Grateful Dead Productions and Rhino Records Prevent us essentially from being able to post any of the recorded albums online But what we decided to do to again make this a rich resource Was to reach out to the internet archive, which has a very rich resource of fans submitted tapes As you know the fan tape culture was very important to the whole experience of the show and the internet archive Was very happy to see us essentially Harvest their metadata and bring that in as part of of the the website What's this is kind of an interesting way to to think about it that will be incorporating Google Maps as a as a view into the content and the the experience of the the music coming from internet archive Will be very much browsable through this this location specific Where each show was So you'll be able to to click on this as an entry and it will bring up internet archive content as well as Our content that we've scanned as well as user submitted content I think it's important to note here as well that we've we've done our best to locate the GPS coordinates for particular venues, but some of these things are Not on the map per se And so we'll be reaching out to the the community To help us with specific coordinates if they if they have them as as they're able to make them available We've also used the web archiving service from cdl to essentially crawl 16 sites that we've identified the sites that That we've crawled include things like fan blogs That have images and commentary As well as the grateful dead lyric website that was created by david dodds that jenny mentioned earlier We have 14 sites in the in it now two of them are still embargoed But they'll be available in the next few months But this is is something again as well that we've incorporated The mark record that we've created for each of the websites That mark record is going into a mecca and that bibliographic data will then be Again available through our search results. You can just see the the tab for the the websites that will be there as well I've only got about a hundred more slides here, so I hope you guys don't mind staying through the break One of the the I've hinted at this earlier in the talk, of course Is is the whole intellectual property strategy around around this project and Really what we've what we've tried to do is really approach this in a way where how can we balance our our sort of fair use Fair use assessment And our interest in being able to put content up In a situation where it's still very much Much of it is still very much in copyright And so there's sort of the fair use piece Working in conjunction with identifying rights holders and obtaining licenses from them At the same time too, there's a really very important value that we That we have at UC Santa Cruz Which is also building those community relationships and goodwill in a I think kind of in some ways a very small A community of artists and photographers that are also very well connected I think a nice example of this is to think about For example, some of the poster art that we've scanned There are over 600 posters that we've scanned and by doing Copyright research we have actually determined that some of them are in the public domain But one of the the questions we have is Um Would it be the right thing to just post that publicly available make that publicly available when It might jeopardize a relationship with uh, you know with an artist Who some of them who were were burned? Through some of the relationships they had with Some concert promoters Bill Graham for example During the 60s and so it is kind of a question You know, we're still we're still debating that a little bit And we'll be talking with Ginny a little bit about what's the what's the right thing to do But we've we've done our homework is really the important thing and we've we've determined who the rights holders are And we've we've done that research to determine if it's in the public domain or not But the question will be should we just uh, should we just post it? Just to an ip campus library restriction Or should we make it publicly available and that's a that's a strategic question You know, I think that uh, the libraries need to ask themselves um, one of the other things too that Again, I mentioned he's also just thinking about contractual arrangements that the band has had with With rhino records as well and how that how that works, uh, we've um They they did not particularly want, uh recorded music up on site. So That that the band would have done in a formal session So we've um, we've been very careful about really documenting when that occurs In some of the audio recordings that we have and then Getting a sense of how long some of those performances are and then making rhino, uh, aware of it Politely and just as a as a good partner in this We're really very interested in in posting it and I think we've we've gotten very good feedback from rhino so far About those pieces of music that we found um Another important thing to just sort of relate to everyone is that we we engaged the services of a consultant to help us with This this intellectual property strategy We developed a strategy and then we uh asked Peggy hoon who is at north carolina seat university charlotte Who's the scholarly communications librarian to uh to prepare a report to really look at the strategy that we had developed To help us fine tune it but then also to really provide an environmental scan of current practices It was we were very happy that uh in this time frame just in the last couple of months that the ar l bus practices has come out So that's been sort of further Further knowledge as well as sort of um, I think support for uh where we want to go with this Peggy has also given us a nice sense of What she sees is sort of the risks associated with with some of the collection formats Some of the problems that might come up, you know, particularly Just to say that uh, it's there's no question that posting video is a real concern and We had putting entire works is an issue. That's one of the one of the formats that are specifically most risky And uh, but we we can uh be within our rights to post just you know sections clips of those So that's that's a way that we're we're proceeding um I wanted to just uh Briefly sort of speak a little bit to kind of the metadata environment that we see this ip work being done in Each digital object will have a right status and a rights holder when it's available We provide copyright and terms of use policies on the website as well as the dmca information And particularly the takedown policy that would be associated with that We've been coordinating with our dmca campus contact Pretty regularly on what our you know relationship will be when we get a takedown what we need to do How that will follow through We've also been just as an overarching piece Developing a real good communication channel with the community to to let them know that If if we didn't know who the rights holder is please come out and self identify, you know Please let us know so those are those are sort of uh steps we're beginning to take and as we roll out the website We will uh, we will go into high gear on that as well um the strategy that I have here i'm showing as a just sort of a A piece up here was approved by our campus council Essentially what we did was to lay out by format The risk that we saw associated with the particular format We had our consultant strategy We had our strategy that we then have developed After after the consultant and we talked about and approved this with with jenny The consultant when available gave us Sort of her opinions on access management, but we also Have outlined the kind of access that we want to give per each format Generally, we're looking to provide essentially medium res jpegs at 72 dpi for the material and to to essentially only restrict To campus when we have to we want to try to to put as much things out as we can publicly, but we will We will of course Use our our fair use assessment to help us inform that what we what we make available just uh just to the campus I just wanted to sort of briefly speak This is our our fair use assessment and copyright copyright issues analysis tool that that we developed I will do a shout out to you see san diego Library where I used to work and we did some very good work on on some of these issues as well And I took this this intellectual property to santa cruz. I hope my colleagues here don't mind But it was it was good thinking we did there and we've we've taken it and adapted it to to santa cruz as well The um Our our head of special collections Went through and evaluated the the brief of that collection Particularly, you know looking at what the copyright status was particular formats And then to obviously evaluate based on the the four factors of fair use purpose nature amount used and market impact We were taking that that information and then again sort of balancing it with the The the the goal of actually going out and getting licenses from the specific specific artists and photographers We identified over 400 of these individuals in the collection And then we were able to do the research to find over a hundred addresses For whom we sent out letters and emails Requesting their interest in participating to let us post and asking them to sign a license To date we have received 46 licenses out of that 100 that we've sent out But it's really only A small percentage, you know about 10 percent of the larger, you know amount of photographers and artists that we found in the collection The the strategy that we engaged in to research the contact information was to talk to some of our grateful dead productions Staff who still knew some of these individuals We also researched professional databases for artists and photographers We leveraged where we could the research that had been performed by others for addresses For publishers of books like the art of rock And we also did google web searches And we've documented all of this really well in spreadsheets so that we will have it On hand to to indicate the work that we did To to do the due diligence We've also developed a rights database that will maintain all of this contact information And the the rights database will actually work dynamically in omeka So in a situation where we have we have contact information for a rights holder Will actually link to the database and it will provide the contact information And so the the user of the the omeka Jidao site can get in touch with the individual Directly to to use the work I've also just Let's see here. Yeah, I just wanted to show we got we actually got a license from west wilson Who was one of the major poster artists artists working in in family dog? And that was a very big step for us. That's really a wonderful thing to have west participate Participate in this and to give us his blessing. I think it will speak very well to To the future and hopefully other artists supporting what we're doing So I'm really I'm wrapping up here The the next and last piece I wanted to just sort of speak about was sort of the back end of Of the grateful dead archive online there's a there's a Sort of a Couple of major things that wanted to to say here And one of the the biggest pieces for us was how to How to how to bring together omeka content dm And our use of the the uc3 merit repository As well as how to Bring user submissions Into an environment that could be Managed for access and also managed for preservation If you if it wasn't clear from speaking earlier We're building the omeka record objects from content dm records And so being able to enable that data exchange between content dm and omeka was really critical one of the One of the things for us that was a A are sort of an important Sort of milestone for us early on was the fact that we couldn't use the oai harvester That's available through content dm That really wasn't viable for us because you can only use it if the collection is published And we weren't at aren't at a stage, you know, essentially that we wanted to publish our content dm material This is this is something where content dm is serving as sort of a back A background Tool for us to create the data to provide that structure And then we're we're essentially exporting it and bringing it into omeka So the harvester wouldn't work again because it would we could only harvest from content dm published collections Um, so we thought that the the content dm api Would be our answer But and you can imagine that for us Our programmer was very excited the api for content dm is very much about how you can you can publish You can publish content dm and sort of configure the collections through the content dm website And we wanted to use it as a way to really get the the content out in a very automated the metadata out in a very automated way Um, but what what kevin? Thought was a feature in the api actually turned out to be a bug as far as content dm was concerned They're they're working with us now to to help enable that exchange and they've been very supportive about it But they as any organization has releases and things that they need to do so in the meantime What we did was to essentially to screen scrape, uh the the metadata To bring it into omeka um One of the the other uh really important things to mention here, too Is the fact that we we really wanted to have persistent identifiers and we wanted to have uh, if you can imagine We're having uh material live in three different repositories in a sense and content dm in omeka and and merit It's it's not perhaps the most ideal situation But it's the situation we're in at the moment and we'll continue to learn and evaluate as we as we move Forward working with the three services, but having a persistent identifier was really key across those So we uh, we chose to use uc3 easy id Um, and its resolution capacities as well um And that that arc will then be the same throughout wherever wherever it's living in the uh in the repositories um The the last thing I wanted to just really wrap up and this this speaks to this diagram here We've got a couple of things going on But essentially at the top there are two streams The top stream is about the user submissions assigning an arc and bringing them ultimately into the merit repository The same thing is also happening from content dm as well where we're Assigning an arc and then bringing them into to merit Some of this is happening. Some of it is still uh, you know in the the testing phase But the top the top workflow. I really wanted to to speak to in the last few minutes here And that's about the user submission process um We wanted to to again you go back to one of our goals here Which was really to to engage the community in the building of this archive So we decided something that would be really interesting would be to engage the community in curation of the objects um, because one of the things that we've learned from uh, Nick nick maryweather our archivist is the fact that The fans being very creative sometimes will author fake things fake fake posters fake tickets And so something that would be uh, Really a very useful thing would be to engage the community in identifying those those fakes now From a um from a historical perspective the fact that they're fakes is actually very interesting And that's great and we'll we'll preserve it, but it's really important from an authenticity perspective to say You know when the Grateful Dead was the warlocks and they used to play at the pizza parlor in middle of park They probably didn't have a ticket, you know, so when somebody creates a ticket and submits that We we need to know right up front if if it's authentic if it's the real thing so So there when a user submits content, we'll have some we'll have some filters to obviously Catch spam as best as we can and in our FAQ we will indicate You sort of file size limits and the kind of things we're looking for But we plan on having the user submission go live There'll be an arc that's created and assigned to that item so that it'll have its persistent identifier right away The content will be publicly available, but it'll be visually visually different You'll have a slightly different look to it and it won't be able to be socially bookmarked or commented or socially bookmarked but you will be able to comment on the object and It's in that that we Hope to get the user, you know user information about the object Right now We're seeing this curation period is happening for about a week. You know, we might end up It might end up being two weeks We'll see how it goes But once that period of curation is over It will then officially become an object that we want to submit to merit and we'll actually mint the arc Create a Mets object from omeka The Dublin core metadata that came from content DM will be mapped to mods So we'll be submitting a Mets mods object into merit We chose to go that way to try to be as interoperable as possible for the future and I'll just also just make the statement that you know, we we were Looking at Mets and we chose Mets because we know we needed some kind of structure You know, we Kevin and I talked about well with oai or e be something to think about but that seemed a little over the top But uh, so so Mets is the way to go Merit doesn't require Mets, but it was just something that That we thought was was was critical for thinking about future uses Um So let me just wrap up here quickly There's issues that will continue to resolve and think about things about synchronization Between content DM omeka and merit Thinking about redundancy There's ideas to continue to explore You know how we can do more work with crowd sourcing There's there's things to monitor in terms of the content DM community as well We're institutions like simon frazier have done some great work of of integrating drupal with content DM Using the api You know, i'm just i'm just raising that as Would that be something more efficient for us in the future versus omeka? But you know, we'll we'll see how see how all these things Play out Jenny here for a second Okay, so Going full circle going back to the physical This dead central is actually the space that will be dedicated to the archive in One of the libraries on the santa cruz campus We're in the process of constructing it right now and it will open later this spring And one of the things we have received from a donor is this statue of jerry's hand Which now sits on this pedestal outside of dead central and we're hoping it will become something of an For the space and our intention going forward is to really link up the physical and the virtual And put exhibits online as robin has mentioned and showcase the G dow in the space that we have so There's still a lot of work to be done, but we're really excited about it. It's been a terrific project and Fun as well as a lot of hard work. So We'll stop there and and see if you have any questions. I think we have just a few minutes for questions Hi, um, you mentioned that I think three staff had been hired specifically for this project Is that basically all they do is just work on work on? Well, uh, robin and kevin who were hired for the project. Yes work on the project Nick mary whether our grateful dead archivist is He's actually a permanent employee Now so he is a member of our special collections department He focuses on this collection, but he also helps out He works the special collections service desk and and does other kinds of work. He does instruction in fact So and not instruction about this collection, but general instruction for a writing program So he's integrated into the library Right. I imagine there must be a number of other staff who are also heavily involved as well. Oh, yes Yes, yeah, I've pretty much tried to tap everybody in the library Thank you No other questions. Oh julia you mentioned about the the I guess the user created content that they're going to supply to you in terms of Things that they might create themselves that say I was there, but there wasn't anything there their kind of thing But what about people who want to contribute something, but they want to hang on to it themselves? Are you going to Have them loan it to you so that you could digitize it and add it to the collection Or is is that the intent? So, you know, so if I had a ticket from a game and I or from a game See where my head is at Yeah, I had a ticket for an event and I didn't want to give it up yet Could I send it to you to digitize but then send it to you have it sent to you later? Sure, that's a that's a very good question. Um, you know, we're we're, uh Anticipating or hoping that there'll be a lot of digital submissions in a sense of that that that Individuals could scan it themselves and keep their original and send us send us that scan submit it through the website But there there could be circumstances when You have something and you don't have the ability to scan it And you'd like to to do a more sort of manual process and we'll definitely be able to support support that And and frankly, I I think too in in some ways, um, you know, it may end up being that Users submit a digital item and our archivist Will Will decide that he would really love to have the original if it's possible and we'll probably reach out to uh to users To ask them if they'd be interested in that at some point in time You mentioned that um, I actually have two questions, so I may stand here You mentioned that you were interested in crowd sourcing artists Uh photographers those types of things have you thought about whether or not people will start tagging themselves attending concerts? um because From a from a person who likes cutting-edge music. I think it would be interesting to see who attended Different concerts. I remember reading a while back that um the former prime minister of the tech republic attended a concert at the 930 club in dc and Now I feel really special that he and I hung out at the same place So, you know wondering those kinds of things whether or not you're Prepared for people to tag themselves because it might be interesting to see that Absolutely, you know, Lenny Kravitz first concert was the Grateful Dead or something like that. Yeah, absolutely. Um, and I think you're I think prepared is I really you know put that in quotes Because what the volume is going to be is really going to be how what's the scalability of that but but indeed What our what our intent was we developed the name authority file to to essentially Tag Before when we're creating the metadata record and content dm To give us the opportunity to identify those principles the in that are in photographs But to yes very much So open up who might be in those other photographs And I think that that image I showed of the fans waiting outside to go into the film or east in 1970 We don't know who those people are and we really do hope that they they do identify and and I think it's it's going to be really interesting to see how how this plays out You know, you could you could imagine I'm I'm going out there in terms of a visualization, but you could you could imagine people potentially having Sort of seating plans for concert halls and this was my ticket and this is where I was and this is who I am and You know, it's it's it's possible that this get into being really creative and that this might be the kind of thing that users want and I we're thinking about it. What we'll be able to accommodate will be something That we'll we'll obviously evaluate but But it would be it would be really neat to to do that that if you and Lenny Kravitz and the uh the check President all went to the same You might see me there too. Yeah, well, I think and I think too if you're finding a fan base That's the fan base that would get you to that point of of most fans The other question I had was um, have you had other bands? Archives approach you about how to do this because I could imagine Growing up in a family full of Beatles fans My aunt has an amazing archive in her own right of her experience with the Beatles concert tickets and that sort of thing So I was curious if other bands have approached your other institutions have approached you because they have collections similar to this um And and they're wondering kind of how to go about doing something similar because you have had a lot of um press about this so Um, we haven't Because we haven't launched it yet. I don't think we've had um the exactly the kinds of inquiries you're wondering about we have had Casual conversations say with some people who are Attached to the Grateful Dead But who also have relationships with other musicians and bands And they're really watching what we do with this. So I think I think starting this summer when we launched the the website I think that's when we expect to get some More conversations going and of course we hope and because we're Santa Cruz if you don't know california is about 70 miles south of san francisco And um and it is a big music venue So we're hoping that that some of the bands that have played in santa cruz regularly will be interested and will take notice So we'll see Well, we hope it's not So, uh, we've actually run over time I want to let you go and get some coffee or take a break. So thank you for coming this morning


Well, come back, it is still the run-up and we are looking at a statement made by the Governor of Rivers State, Nyesung Wike. He said peace and security will continue to elude Nigeria.  And that statement has continued to generate a lot of back and forth, schools of thought have come up to say a lot of things. But to have that conversation with us this morning is Mr. Lekon Ishola. Good morning, sir. You're welcome. Yeah. Thank you very much. Thank you. Good morning. All right. So you are familiar with the statements the Governor made yesterday. How do you react to such a statement? Yeah, I read the statement, I read it in the news and then just like any politician would try to latch on on popular sentiments. I believe that's what Governor Koumike was trying to do. From the story, he was talking about political marginalization, you know, and if you understand the context of his opinion, he was actually talking about what's happening in his party, you know, the fact that the PPP just seems to be seasoning arrangements and gave their ticket to somebody from the North and all that, and then it's been like, OK, they're not trying to marginalize everybody, and that's what Governor Koumike was saying. For me, that's a political statement, actually. You expect any politician who has lost, you know, an opportunity to get power to say things like that. But be that as it may, we need to examine that statement deeply. Politicians just throw words and fast numbers which they create on their own and all that. But yes, there is marginalization in Nigeria, no doubt about that. But there are at least two levels of marginalization. The first one is, you know, the political marginalization, and then the second one of course is the economic marginalization. The political marginalization, if I were to take it from the angle of Governor Koumike, I would say we'd already studied him that he was wrong. The problem we have in Nigeria was largely, the problem of political marginalization was likely solved by the late General Sanyam Pacha, who in 1995 decided to say Nigeria should recognize six political regions. And that's what we brought into this current political dispensation, six political regions. And ideally, each political region is supposed to have an opportunity to be at the end of a fear of the state of the country. So in that case, if you look at what we have had from 1999 to 2008, you can easily tell yourself that it's only one political region so far that has not had opportunity to be in the political leadership of the country. You all know that. If you do your calculations and do your studies of who and who are really in, you know, from 1999 to 2008, you know that political region that has nothing to do with the center. The question then is, is it the marginalization of that specific political region that has full insecurity in the country? That is the first question you should ask. And your answer would be no, because, again, the word insecurity has dimensions, you know. There is, of course, when we talk of political, you know, marginalization leading to this security, for example, we should be talking about insurrection, we should be talking about said determination, you know, agitation and this and that. Is that the insecurity that is catering to kill Nigeria today? Your answer is that is not it. The one that is threatening to kill this country actually has its roots in economic marginalization. And that is the fact that you have crime, you have banditry, you have kidnappers, you have mutual feelings. You have different activities that will not make people go about, you know, in a tension-less situation. That is not the cause of political marginalization. And, Steve, the politicians, there are just less than half percent of our country. They are interested in capturing power. And any politician that, you know, finds himself out of the net in these arrangements is always coming for us. I think it's a political statement that I have made, but the fact is, yes, we have marginalization. What is fueling our basic quality is not the kind of political marginalization that is being talked about in the statement. It is actually economic marginalization of a large segment of this country. But, sir, you just mentioned two types of marginalization, political and economic. And it was a blanket statement that there was unchecked marginalization leading to insecurity in our country. If you are pitching your tent with the other part of marginalization, economic marginalization, which doesn't have a region, then there must be some credibility to the statement that he made. What can we do to make sure this marginalization, this economic marginalization is checked because he used the word unchecked. So if we can check it, that means there may not be as much crime as there is today, which we have confirmed also this economic marginalization is causing. So what can we do? Well, I don't know. Sometimes any statement that is made by, even you and I, if I make a statement that is against a particular political party, whether my statement is true or not, I will be branded another, the opposition political party. So if I'm making a statement against the PDP, for instance, they will say I'm APC or Labour. And if I'm making a statement against the other party, they will say, I'm in the opposition. Why do we always have to look at every statement made as a political statement? And I think Governor Ike was taking a swipe at some other perspectives and aspects when he made that statement. Because if you narrow it down and call it only a political statement, and then when you read through the story of what he said, he said people who think they have more numbers, they have more power. Rubbing it off on the minorities. It cannot just be a political statement. And then if you read for that, you see where I guess where Liko got that idea from. Because we can mention that he wasn't very happy. And of course, he has always made it known about the choice of the presidential candidates of his party coming from the north and the back and forth that has happened with southern governors expressing how disheartened they are about that and all that. Okay. Well, Liko is still back. Let's see. Sorry, we lost the call earlier on, but we're glad that you're back here. We were trying to make a point. I was asking you what we can do to make sure at least the economic marginalisation which you have attested to that could also fuel insecurity. What can we do to make sure that one is checked? Thank you. Hello. The fact is we have... Yes, we can hear you. Go ahead. The fact is we have a basket of problems on the table, right? The biggest of them today which affects the largest segment of these countries, I've said earlier, is the economic marginalisation. Just like you have asked, how do we go about solving it? The first thing we need to do is for us to have a sincere government. You see, we need to... The government needs to ask itself, why do we have crime? Why do we have banditry? Why do we have kidnappings? Which are killings, you know? What's been turned down? And a lot of things that make people have sleepless nights. It is simply and largely because there is poverty. There is frustration. There is inability by people to have joy in their country. And how do we go about solving it? Just a moment, Mr. Eshola. You raised the point that we need to have a sincere leadership. That is where we can start to correct what we need to correct. And if we are trying to decipher between the economic marginalisation and political marginalisation and set that dichotomy and remove political, how can we have sincere leaders when we have a political marginalisation which you said may not even be directly responsible for insecurity? Because a lot of people have argued that we have the kind of leadership we have now because of political marginalisation where a group of people, because they have the numbers or they are set to have the numbers, dictate who becomes who in our country. So I'm seeing a relationship here. I don't know if you see that relationship as well. Yeah, you see, thank you. As I said earlier, we have a basket of problems. When you are looking at the problems, there will be definitely areas where they look alike, areas where they interchange, areas where you also have some kind of different levels of relationship. No doubt about that. But you have to separate them. When we talk about leadership, the process of getting the leadership is what political marginalisation will solve. It's what you will solve when you attack the issue of political marginalisation. It is the process of getting the leadership. Now, the performance of bad leadership is another thing. It's another thing. And as I have said, there is a template for solving the political marginalisation which has been created since 1995 and which we started implementing up to this point. And that is the fact that power has to rotate. And I said, even coming from Godinowiki and knowing the antecedent of what led him to say that, the fact is he himself is not sincere about solving that particular political marginalisation problem because he doesn't even come from that area that should be shouting. But be that as it may. When you have the leadership properly put in place through a process that addresses the marginalisation concern, the next thing is what is the texture? What is the focus of that leadership? Look, you can have a leadership that solves the problem of political marginalisation of being somebody from any tribe that is shouting and put the person there. The question is, who is that person? What is the vision and mission of that person in relation to the larger concern of the economic marginalisation that is affecting people? Without solving economic marginalisation, you solve political marginalisation. Okay, I don't think he has made this point. The texture, the personality, the profile, the mission and vision of the leadership is key to solving economic marginalisation. Okay. Alright, Jess, we've been able to establish a connection between the economic marginalisation and political marginalisation. But do you see us getting to a point where we're able to scream Uhuru and say, okay, we've come to the point where we now have a balance between the economic aspect of things and the political aspect of things and everybody is happy? I mean, I'm asking this question based on what we've seen in the past, the current situation of things politically in the country and how 2023 is looking to everybody. Do you think there is ever going to be a point where we are going to get it right and make sure that everybody is satisfied? Yeah, you see, I am an optimist. I see it and I pray it works. But let me tell you the truth that we have to take. Going to 2023, you need to ask yourself, where do the majority of the strength of this country, the future strength of this country, where does it lie? It lies in the youth. The next question you asked yourself is, where is the propellance of the youth population of this country aligned to in terms of their political, I don't want to use the word choice, let me say political dream. Out of all these candidates we have, you need to see it, it's clear. The question then, the answer then is, if Nigeria is entrusted in a... Oh dear. ...rest of our strength as a country, Nigeria, as we go towards 2023, should allow the voice of the youths, you know, to count. We should have a leadership that is youth-centric. Not all this, you know, pretenses that we have from the majority of the candidates. There is, there is, you don't need to even have a crystal ball to see. There is a mass movement of youths in support of the particular candidates. And if Nigeria is entrusted in our future and we want to speedily solve the problems, then 2023 should be an opportunity for us to hear the youths, the kind of president that speaks their language, that meets their aspiration and that offers them real hope.  And if you refuse to give it to them, you are only postponing the people that you are not solving the problem. But if we, as a country, are entrusted in solving our problems, I can tell you one thing. Look, I can tell you the scenario that I believe we play up. If, for instance, the youths, the president we have in 2023 is a president that the youths really want. And don't forget, the youths represent over 60% of our country's population. Now, factor in the fact that by 2027, for instance, the average 17, 18-year-old Nigerian would be 21, 22 in 2027. And he is already, or she is already, seeing a picture of hopelessness. And you don't give them people like that opportunity for hope, opportunity for, you know, excitement, opportunity to embrace their country. You can see that by 2027, what we are even witnessing now is a child's play in terms of this effect of economic, you know, marginalization. The youths are angry, not because the president is not from their part of the country or whatever, but only for politicians. The youths, largely, are angry because there are no opportunities for sincere, legitimate expression of their talents, of their dreams. That's what is forming it in their own parts, you understand? And then secondly, there is poverty, mass poverty, mass poverty forming all these things. Now, how do you get out of this mess? The first thing is to give the country to the youths and tell them, this is the country. What that does immediately is that it makes everybody to embrace the country. It makes everybody to love the country and to want the country to survive. And once you have that, once that comes, and look, are you with me? Yes. Just wrap up, please. Okay, so once you have that, you realize that the issues are half solved and the other ones you can solve along the line. You don't solve the problem of the country in one, two, three, four years. You solve part of it, but it's important to start from the most important aspects of it. All right. Thank you, Mr. Ishola, for your thoughts on the issue of this marginalization as brought to us by Governor of Rivers State, Nyesom Wike. Well, thank you so much for being a part of our program today. Thank you very much, Flos Tidasuka. Thank you. Yeah, he made this point. One takeaway from what he was saying is that give the people their choice. I would not subscribe to, okay, just carry it and hand it over to the youths if they don't go out to vote. But if the Nigerian people vote and they see that their votes countered, no matter who wins, they will see that it was the choice of the majority. And much as I want to agree with what you just said, I'm sorry, young persons have, I think, abundantly made it clear that they are very interested in the forthcoming 2023 general election. And in the political process entirely, it's not just about the 2023 elections and the seatback. I mean, they've given a timeline of consistency. If I'm not exaggerating, let's leave whatever happened behind 2020, behind 2020. But from 2020 down, the young persons in Nigeria, who statistics has shown are, you know, consist the majority of the population of the country.  And they've continued to show it. The INEC statement that came out recently says that the number of registered voters for 2023 general election has largely doubled and the more percentage of these people are young women and men, the youths. So I don't think we are at the point where we are trying to get the youth to agree to participate. No, they are at the forefront. What you are saying is, please, leave the road. We want to pass. Yeah, well, my point was just generally that the fact that the youths are making the noise, we know some of the political... I don't agree with the choice of words. Just a moment. Just a moment. How do you say we are not making noise? Let me land. Let me land. The youths are making a point. Okay, yes, I agree with that. Let me not use the noise if I use that. They are making a point. But from his statement, it should not be seen like, okay, because the youths are supporting candidate ABC, the election will just, the results of the elections will just be given to that candidate, ABC, sorry, not ABC. So the youths is also a call to the youths that whatever you're doing now, maintain the tempo, make sure you vote, and let us see that the votes count. So that when that candidate you have anointed wins, we will start to see that, okay, they are restoring confidence in the people and all that. So the work doesn't end here. It ends after February where the elections will come. So maintain the momentum. It actually doesn't end after February because then we have the work of holding whoever it is accountable. Accountable, yes. So then it continues. It's called, it's the run-up. It's our government. That's how it's going to be. Exactly. I'm not saying that as a youth, I'm not a youth. It's our government collectively because some people who are aged like I am will vote for some candidates. And at the end of the day, it becomes a... You aged. It becomes that all of us. Please raise your walking stick. Anyway, we'll quickly take a break now and when we return, we'll come back with our second guest who will be talking to us about what happened in Murtala Muhammad International Airport and what is really happening in the aviation industry. We'll be joined by an aviation expert after this break. Stay with us.


This study investigated the evolution of residual strain in organic inorganic hybrid perovskite, OHP, polycrystalline thin films during the anti-solvent spin coating process. It was found that the residual strain evolved with time and its distribution changed significantly during the process. A mechanical model was developed to explain the evolution of the residual strain, which was attributed to the crystal growth rate and the crystal size. This study provides valuable insights into the crystallization kinetics-induced residual strain evolution process in OHP polycrystalline thin films, which can be used to optimize the spin coating process and improve the performance of OHP devices. This article was authored by Y Sun, Q Yao, W Xing, and others.


today we are going to look at some more traditional case studies like we are talking about the wilbrook experiment wilbrook experiment is very important and is classically known because it mentally retarded children and those mentally retarded children were intentionally given the hepatitis germs like in those mentally retarded children the life germs of hepatitis were induced to see the progression of that disease and parents had an obligation for them that their mentally retarded children can only be admitted in that organization when they sign this informed consent that they will make a part of this experiment for their children when they were not told that what will be the nature of this experiment so this is very unethical and due to this they had to face a lot of viral infection so exploitation of a vulnerable group of subjects was a big question in this research and with holding information from the parents about this particular disease in your child we are intruding and investing in that disease and that progression will be studied scientists have justified it that if those children are mentally retarded then their health can be put at risk and their research can be used to keep normal children healthy but in nowadays we can't do any such kind of experiment another one is the famous one Milgram experiment Milgram's studies which are very famous for studying obedience to authority some participants were given the autonomy that they will give them an electric shock through a liver the experiment was named as how many obedience you have to follow the authority the authority tells you to push the liver the more you push, the more electric shocks the subjects will get in that experiment, the noise and pain of the subjects were heard but by following the obedience to authority they were giving more electric shocks although the experiment was a little deceptive, the electric shock was not that intense but they were portraying that they are feeling a lot of shocks and pain but a human behaviour study was done that a human subject can inflict a maximum pain to the individual but the very nature of the experiment was unethical and the major ethical problem involved into it is that most of the participants experienced very high level of stress and because of that some of them refused to be part of the experiment then Jewish chronic disease this is another important classical case study in which the liver cancels cells but injected into a saline patients the patients of very old age population the researchers believed that the cells will be rejected but still they tried to attempt that with old age population and without informed consent they did this procedure and used a vulnerable group of individuals so that experiment is also a classical case study which is still questionable the Zimbardo prison study is also very important and in this situation when Zimbardo planned a study that he wants to see a specific role playing effect he wants to see a simulation he wants to see a labelling and he wants to do a social experiment he was a participant he put them into an unpleasant situation like he said that you need to behave like the prisoners and at night he used to sleep in his bed take a seat he used to be very abusive with them he was in a situation where the simulation was a prison like he was locked up there which has definitely hampered their self respect their basic human rights and his ethical setup was not that he was treated this way although they were the students of psychology and he was experimented with them after that he was debriefed that this was just an experiment and he wanted to see that in a social setting how an individual feels but still this experiment is very much questionable because he created a lot of distress in the participants so such type of unethical studies are no longer being used into practice these days any research which creates an emotional discomfort which gives participants any type of psychological or physical harm such type of research is to date now we don't practice in fact we refer to these old experiments that what could be the possible implications of all these things which are being done into a social setting


Hello everyone, I'm Katarzyna, I work for Red Hat and I work in QE department. I'm not a software developer, I'm a QE person and I will talk how we test our system and it's not about every Red Hat program, it's only about my team. So it's only about Red Hat Enterprise Virtualization Manager, so this is downstream version of Ovid. So this is tool which helps you to manage your virtualization. So on which level we are, you mentioned that you are a developer, you develop your application, it passed all your unit tests, it passed all your functional tests, it was already built, so you have RPM or in our case it's RPM, maybe you have another packages, you want to distribute to user, but before you do that, you want to test if everything is okay, so you want to test how it will work on real system, in real cases and so on. So you give it to us and what we do, we develop your application on real environment, we try to do it on as production system as possible. So for example, this is system for virtualization, we will run what we can on bare metal machines, not on virtual machines. We will use official APIs, we will not take a look on your code at all, almost at all. We will simulate user, more or less we will do what your user will do and we will test both negative and positive cases, but we will do much more positive, it's like okay, there is a problem if something is broken, but it's much bigger problem if you cannot do some case. So what are problems in such situation? First of all, we touch environment, actually we break this environment and we do it on purpose. We want to test how the system will behave if we break network connection, if we break a disk, can it recover? So the problem is you have to maintain this environment and it's hard. What else? It takes time, you have to set up this environment, it takes time, it takes, it's not a fraction of seconds, it's minutes, sometimes it's half an hour. Then you have to run your test, it's quite short usually, and then you have to clean this environment and because this test may fail at any moment, you have to have this clean up quite well, you don't want to reinstall everything starting from the operating system every time, okay, and of course we want to automate it, we may do it manually, but imagine that you will have to do it every week, the same, install everything, click on it, click on everything, so why we want to use Python? First of all, it's easy. Quite a lot of people in QE departments are not software engineering people, they have some background in IT, quite often they are from admin departments, the only language they know is Bash, and you have to somehow force them to write code, you don't want them to, you don't want to teach them Java or C++ or anything like that, Python is easy, they can understand it. On the other hand, it's normal, match your language, you have libraries for almost everything, and it's popular, so if you need people who really know this language, for example, you want people who will write tests and you want people who will write libraries and so on, and for these people, you want someone with coding experience, and finding someone who knows Python is not that hard. So what one such test does, it must get resources, you don't want to run your test on the same machine on which your system will be developed, because quite often you will want to, for example, reboot this machine and test what will happen, so you have to get a machine on which you will run the test code, you have to get this definition, you usually keep it in a repository like Git, and you need resources, resources like Bermeter hosts or virtual machines or some kind of storages, then you have to install product packages, you have to take them from somewhere, so you have to specify from which repository you want to take, then you have to configure this product, and your test may want to change this configuration, then there's what's specific for the test, this is a setup, because, for example, when you simulate a user and test if you can add virtual machine on your, to your installation, you have to do everything which is required for this step, then you have to run this test, then you need to perform it down, and this part quite often is more complicated than the test itself, because these two parts, setup and running test, they may fail at any moment, and it may leave your environment in a really crazy state, and you want to clean it up, then of course you have to collect logs, you cannot, okay, you don't run this test manually, you run them from Jenkins overnight, and when you come to work in the morning, you have results of this execution, but you cannot assume that you will have access to these machines where you run this test, you have to copy every log which may be important, and you have to copy it, you have to run clean versus sources, because you will run next test, and you have to report results, you keep your tests in some kind of test management system, so you have to take execution of every test and see that it passed on this release, failed on this release, failed because of something, okay, so how we do it? We use tools which we found whenever we can, so for example we use Jenkins, we use Farman, we use Git, the problem is that we didn't find anything which will help us for managing the resources and for leasing them to this test, then checking in which state they are, and leasing to another one, and we have our library, we call it art, and this is library for running this test, so okay, so what this library can do? First of all we use official APIs, we use all of them, so for example in our case you have Python SDK, Java SDK, CLI, GUI, and the API, and you don't want to run the same test for every API, you want to run it once, and do your library, let your library to run it for every API, what else? We don't run a test collecting functionality by ourselves, we use nodes for it, so everything which you have in nodes like tagging, you can use here, and when you take a look on the scope, one test is just a unit test, and usually it's not that long, because everything what is in this test is only, when we go back here, it's only this one test, this setup, one test teardown, or sometimes even without setup and teardown when it's common for a lot of tests in one suit, okay, we have a lot of helpers, we have helpers for pure open Pyramid card, sometimes it's too hard for people when you want to run something quickly, it's a little too complicated, we have tools for managing remote files, directories, and things like that, you don't want your user to run I.M. minus I.F. or anything, some slight mistake, variable breaks, I think, really, really bad, and of course helpers which we use in our tests, you don't want to run I.P. tables every time you want to simulate network connection failure, so we have just the upper split, same for disk simulation, same for load simulation, and multi-fading, multi-fading is hard, multi-fading in tests usually means that you want to do something, and in other fact you just want to wait for some event to arise, and that's it. Fat pull executor is almost easy enough, sometimes it's not easy enough, okay, so, yeah, this was the library which we used for running the test, so when we go back, yeah, so we have this part from setup environment to teardown, but still you have to install product packages, install configure the product, collect logs, release resources, and so on, so getting machine, getting test definition, we use Jenkins, Jenkins can do it for you, we use also Jenkins for collecting logs, we use our SBI case for getting resources, and then for cleaning them, I will go to this point later, but still we have this point, install product packages, install configure, so we have something which we call job runner, and this is actually what is run by Jenkins, and we have something called jobs for every stage of the test, so this is installation, this is running this test, this is for example for upgrade, because sometimes you want to test what will happen with your system during upgrade, and each of such jobs defines its cleanup, so for example, if you have job for installation, it defines what cleanup is, remove all these packages, okay, and it has plugins for getting resources, because sometimes you need resources on this stage, just for installation, sometimes you need it within the test, sometimes you need it also here, so how we, what we do for getting resources, we have, we call it resource brokers, and we actually have two types of resources, some of them you can just create on demand to some level, like VMs or NFS shares, some of them you just have a pool, nothing else you can do, for example, bare metal hosts, and of course when you have bare metal hosts, all of them are not the same, so your test has to specify that it needs to host one of them with such setup, another one with another, okay, and of course when you have resources which you can create on demand, when they return to the pool you just disturb them, you don't try to clean it, but when you have something you cannot create on demand, like bare metal hosts, you want to check in which state they returned, you try to clean it, if you cannot do it, you just reinstall everything, versus why we use Formant, you just mark this host built in Formant and reboot it, so if we cannot fix it, we will not spend time on it, okay, okay, so we have integration with external tools like backtrackers, if you know that there is a bug in, which is found by this test, sometimes you don't want to run this test, because for example, because of this bug, environment may be in such state that you cannot do anything, it may be so broken that it doesn't make sense to run another test, okay, version control system and so on, so my main thing is do you know such libraries, such tools, because as you have seen, we use a lot of tools written by ourselves, and at my previous job, we were in the same state, we also use what was publicly available, but when we still didn't have anything for getting resources, and we also use the same tools, and it's like I don't believe there are no tools for it, because if it happens twice into totally independent companies, it must be a common problem, so if you can, if you know anything which can help, I will be very thankful for any suggestions, so thank you. Thank you, Katrina, so we've got plenty of time for questions, has anyone got a question they'd like to ask? Hands up, okay, I'll bring the microphone. Hey, do you know of any solutions if you have a bare metal server and you maybe need to push a button or, well, anything that wouldn't require a robot like taking out a disk or something like that? No, we don't do things like that. Okay, thanks. Thank you, any more questions? One at the back. I think we can hear you, yeah. So you ask the question, then Katrina, you repeat the question for the microphone. For that, for those times, for managing those kind of tests, just like in the situation, we've been jacking for a month and you have to customize to reproduce the workflow that you have described. Okay, so the question is if there's a package which enables to reproduce this flow and gives you integration with Jenkins and Forman and so on, I don't know about anything like that. If I knew, I would use it. And not, yeah, it's again something. If you know something, please share it. Okay, I hope one day we will open source it. Because it's not true that everything which is in Red Hat is open source. Some of our tools is not open source. I hope it will be open source. But one thing is politics. Another thing is code state. Now I would have not show this code publicly, at least parts of it. Any more questions? Are you doing all this stuff remotely? So you're using Paramico to execute stuff on the remote VMs or servers? Or where do you, like Jenkins runs the unit tests and uses your framework and the SSH to the server or how does it work?  And then when you want to run something on remote machines, because one test usually uses at least two machines, then you do it via SSH. And this is painful. This is, for example, Paramico is not very good. It's not also very easy to use. Is there something better? No. Unfortunately, we use Paramico. We just have our wrappers for it. So it's like, it's just, you write, you specify what you want to run on this host with such credentials, this comment, and you just get output. And it uncopped, of course. Anything else, any other questions from the audience? One thing I was going to say was that I know that where I'm working, we've set up, we've got code to set up, to run IP tables and then tear them down again after the test is finished. And if you, I was going to ask you, if you'd open sourced any of those helpers that you've listed on your slide, but the answer is no. The other thing is that we've recently opened sourced something to allow you to set up network namespaces in Linux. We're running IP tables in namespaces, which might be useful to you, and that's called nomenclature. OK, thank you. OK, any other questions? OK, well, thank you again, Katrina. I'm sorry for mispronouncing your name.


Hey everybody, this is Brian, and today we start our 20th C-Sharp tutorial, effectively what I call the good stuff. It's great to do a console application, but sometimes you need a little bit more like a Windows application. So that's what we're going to dive into today, and we're going to spend quite a bit of time on Windows apps, and then we're potentially going to do services, and then web pages, I know a lot of you want to do web apps. So we have our simple web, or I'm sorry, our simple Windows application.  Why is that? Well, this is actually your window template. You see how you can kind of scale this around and do whatever you want, but none of the actual buttons and stuff work. Why is that? Well, it's because this is a canvas that you can drag and drop tools onto. Now if you click the solutions explorer, you'll see that, let me pin that up there, you've got form one, and that's what this is, is form one. If you expand that out, you see there is a form one dot designer and a form one dot res. The designer, if you click that, this is the actual source code behind that form, and you can see there's a lot of stuff in here that's already pre-generated for you. For example, initialized component, et cetera, et cetera, and Microsoft's done a fairly good job of kind of commenting what this stuff does. General rule of thumb, don't modify this. And then there's this res x. Now what is that? Well, this is a resource file, something you may have covered in other languages. Basically, a resource file allows you to put resources, images, strings, things of that nature in a file. Let's close that, and let's go tools over here, and let's pin that up. You see you have this huge, huge, huge assortment of controls, and we're going to go over a lot of these.  All right, so first thing we're going to do is we're going to put a button on here. You just click, drag, and drop. There's your button.  So let's just throw that kind of in the center here. You notice how it's off-center? Well, you have these positionals. So you can say, we want this, let's see here, centered that way, see if I can get this right. Center horizontally. There we go. Center vertically. There we are. Makes it easier to center things. Now to run, you just click this little start debugging, or you can press F5 on the keyboard. And let me move the window over here, and you see there's our beautiful window with our button that does absolutely nothing. So what we're going to do is we're going to make this button do something. I realize this is a very simple tutorial, but GUI programming may be new to some of you out there. If it's not, bear with me. We're going to ramp up these tutorials fairly quickly. All right, so select your button. You can tell it's selected because you've got these little handles around it. Just double-click it. You notice how it dumps you directly into the code view? Let's expand that. So we're in button one click. This is an event. Windows Form Programming is event-driven, meaning this is called when the button is click. That's an event handler. Notice how there's an object sender, everything in .NETS is object. So they're just saying whatever the sender was, and event args. What are event args? Well event args, or short for event arguments, it's just an argument sent with the event. And you can actually expand that and create your own event args. I actually do that quite a bit in my own programming. But like I said, this is a beginner's tutorial, so we're going to keep it very simple. All you need to understand at this point is when the user clicks that button, this event is called. And we can even say this is called when the button is clicked. My cat is looking at me like I have just lost my mind. Go away kitty. What we want to do is type messagebox.show, and we're just going to say hello world. The obligatory hello world application here. And let's run this, show our window here, click it, hello world. So that is our very first Windows Form application. Not a lot to it, mind you. One thing you should know in the solution explorer here, let me see if I can actually find it, view other windows, properties, windows, here we go. Everything has properties, and this is the properties window.   See like the name even. So we can change the title here, see text form one, let's just call this my app. Notice how the title bar over here changed. Button one, the text, let's just say click me. Notice how it changed. See this little lightning bolt here? That's the events. And as you can see, the click event is linked to button one click, and if you just double click that, it takes you right to it. Pretty simple, pretty easy to understand. Notice how the properties for the code view are not displayed, because well code doesn't have a property, but the designer view does. And you can switch from events to properties just by clicking the buttons. You can group them by category, and you can sort alphabetical. I understand that because this window is so small, it's probably a little cluttered. Yours would probably look much better on your screen. So that is it, our very first GUI application in C-Sharp. And you can kind of stretch this out, modify it, do whatever you want. This is Brian. Thank you for watching. I hope you found this educational and entertaining.