Hello, we'll give everyone a few minutes to join and we will start the webinar very shortly. Good afternoon. I'm Keith Webster, the Helen and Henry Posner Jr. Dean of University Libraries and your host for this event, featuring Dr. Sam Landlay, the Special Collections Curator at Carnegie Mellon's University Libraries. Let me begin by thanking you all for being with us. I know that we have a number of trustees, members of the University Leadership Team, members of my Dean's Advocacy Council with us today. I'm grateful to you and everyone for taking the time out of your schedules to learn more about Shakespeare. 2023 is the 400th anniversary of Shakespeare's first folio. And this webinar starts a year of celebrations for all of us at Carnegie Mellon. The folio, properly titled Mr. William Shakespeare's comedies, histories and tragedies, was printed in 1623, seven years after Shakespeare's death. And we are very proud to hold a copy of the first folio in our Special Collections, one of only 230 globally that remain in existence. That first folio is joined in our collections by two copies each of the second, third and fourth folios. And you'll hear a lot more about these rare documents in today's program. Our folios are held by our Department of Special Collections, our repository for rare books, manuscripts and early scientific instruments and pre-digital calculating and computational machines. The copies are in our collections thanks to the generosity of donors past and present. Charles J. Rosenblum gave us both the first and one of each of the second, third and fourth folios. And we have copies of the second, third and fourth folio in the Posner Foundation's Posner Collection. And we are very grateful to those and to everyone who supports the work of our Special Collections department. In my acknowledgments, I also want to thank my colleagues, Sarah Bender, Sonja Wellington, and Morgan Wahlbert, and everyone in the External Relations team for helping us pull this together. And of course to Sam, who I will thank again at the end for giving his time and expertise in pulling this event together. Sam joined us about two weeks before the start of the COVID-19 pandemic and had the unenviable task of moving into a very hands-on job at a time when libraries were closed. Sam came to us from the University of Virginia where he did a PhD in English Literature, and he also holds a master's in library information science with the certificate of concentration in rare book and Special Collections librarianship. Sam has become something of an internet sensation at least in the rare books world with his YouTube presentations, and these are available on the CMU library's YouTube page. I especially encourage you to view Fine and Rare One, the equivalent event to today's that we held last year, where Sam gave a general overview of some of the treasures from our collections. I'm delighted to welcome Sam, who will say much more about Shakespeare and his folios. I'll come back later to have a discussion with Sam and to share your questions with him. So please think about questions, comments, feedback, drop those into chat, and we'll try to get to as many of those as time permits. So with that, over to you, Sam. Good afternoon, everyone. I'm Sam Lemley. I'm the curator of Special Collections in Carnegie Mellon University Libraries, and welcome to the second episode of Fine and Rare, which is a series in which I share some of the many treasures that are held in the collection here. So the last episode, I gave you a sort of overview of the many things that we have in the collection in different subject areas and different disciplines. But today, this time, we're going to do something a little bit different in that we're going to focus exclusively on the seven books that you see here. So these are all copies of Shakespeare's folio, and I'll get into what that means in the later segment. But it's significant that CMU has a copy of the first folio, which is the first time that all of Shakespeare's plays have been gathered into print in one volume. That's amazing in itself. There are only 228 copies that survive, and we have one here. But we also have two copies of the second folio. That's here. Two copies of the third folio here, and two copies of the fourth folio. So the second copy, and I'll repeat these dates in a minute, but the second folio is printed in 1632, the third folio in 1663, and the fourth folio in 1685. So in looking at each of these in turn today, this is going to be sort of a preview for a pair of exhibitions that CMU Libraries is sponsoring and organizing and that I'm curating. Both of those exhibitions will be open on the 1st of April. One will be downstairs in the lobby of the Hunt Library, and another will actually be at the Frick Art Museum in Pittsburgh, and that's where these books will be on display. And that's to celebrate the 400th anniversary of the publication of the first folio, 1623 to 2023. So this object in front of me, the first folio, is in fact as of this week, 400 years old. So like I said, we're going to be looking at each of these in turn, and I hope that you leave today with a sense of why these books are still important for 100 years later. Why we still are interested in keeping them in a collection like special collections in the libraries, and why it's important that we provide access to students, scholars, and faculty in this space. So we'll start with Shakespeare's first folio, and that's open in front of me here. You could probably recognize the title page. It has this iconic engraved image of Shakespeare's face. And that's significant because it's really one of the only confirmed likenesses of Shakespeare to survive to the present. So because of the first folio, we know more or less what Shakespeare looked like. So we'll look sort of down the title page starting at the top. The full title, it's known as the first folio, but the title itself on the title page is Mr. William Shakespeare's comedies, histories, and tragedies. So it's dividing Shakespeare's plays into those genre categories that we recognize still today. And then at the base of the page, underneath the frontispiece portrait, is London, was printed in London at the print shop of Isaac Jaggard in 1623. And then Edward Blunt was one of the publishers responsible for sort of funding the project. So one question that I often get when I talk about the folios is what is a folio? It's sort of a fancy term of art, but it's really simple. So folio means that the sheets of paper that made up this book were only folded once before they were bound into a volume. And it's a Latin term. There are other terms like quarto and octavo, which are smaller in size. But the important point that you should take away is that folio was in general the largest format, the largest size of book in the period. And the fact that Shakespeare's plays were published in this format was quite unusual. This is the very first time that a folio book was dedicated exclusively to plays, dramatic texts. So from the get-go it's sort of an unusual project, an unusual production. Why is the first folio so significant? So it's significant this year, of course, because we're celebrating the 400th anniversary. But it's also significant because it publishes a prince 36 of Shakespeare's plays. He's known to have at least collaborated or written entirely 39 plays. So it's not every play that Shakespeare had a part in writing, but it's the vast majority. And 18 of the 36 that are in this book were published in no other format. So the implication is if the first folio had never been printed, if the first folio didn't sort of survive to the present, Shakespeare's canon of plays would be reduced by half. We would have lost those 18 plays. And they're not minor plays. They're plays that we would have read in high school English, or would have seen maybe like Macbeth, The Tempest. These are major plays that really owe their survival to this particular book. So I think that's kind of the first theme of this evening is how print can sort of cause or affect the preservation of really important works of literary art in the period. And that theme of preservation, that theme of sort of gathering all of Shakespeare's plays into one book really attends the first folio from the get-go. So I can't remember if I read this earlier, but underneath the title, Comedy, Sisters and Tragedies, there's this claim that they have been published according to the true original copies. So on the title page, very beginning, there's this sort of claim to be sort of faithful to what Shakespeare actually wrote. And true copies, true original copies, there's some scholarly debate about what that means, but in general it's either an earlier printed version of the play or in fact a manuscript either in Shakespeare's hand or a manuscript that would have been used in the playhouse, the Globe for example, where Shakespeare's plays were performed. So the printers would have gathered these copies, these exemplars of Shakespeare's plays and then printed this book from them, right? The point is the editors are really clear in saying we're trying to be as faithful to Shakespeare's original writings as possible. And that continues in the preface. So I'm going to sort of page through the book and you can see just what a 17th century book looks like. This is fairly typical of the folio format. You have this beautiful woodcut headpiece here. There's this dedicatory epistle, dedicatory letter to sort of aristocratic patrons of this project and patrons of the King's Men who were Shakespeare's acting troupe. The third leaf paging through, you get this address to the great variety of readers. So this is the editors and that's John Heming and Henry Condol who are both actors and friends of Shakespeare. They're the ones responsible for gathering the plays together to be published. So they're addressing the potential buyers here, the potential readers of the first folio. Let's see if I can really quickly find it here. So I'll just read briefly because I think this section of their letter to the reader really kind of drives home that interest in preservation and accuracy. So they write, it had been a thing we confess worthy to have been wished that the author himself had lived to have set forth and overseen his own writings. But since it hath been ordained otherwise, he died before the first folio was published. And I don't think I mentioned that, but the first folio, 1623, Shakespeare dies in 1616. So this is published seven years after his death. He's not involved in its publication.  But since it hath been ordained otherwise, and he by death departed from that right, we pray you do not envy his friends, the office of their care and pain to have collected and published them and sort of published them as were before. You were abused with diverse stolen and surreptitious copies maimed and deformed by the frauds and stealths of injurious imposter. You can tell that these are actors writing this. But the point here they're making is the previous versions, the previous printings of Shakespeare's plays are inaccurate. They're not up to the snuff that you see in the first folio. They in contrast are taking care with Shakespeare's plays. And I'll skip down a bit, but see they say we want to offer them to your view cured and perfect of their limbs and all the rest absolute in their numbers as he conceived them. So there again there's this promise at the very beginning that they've taken care to edit and gather the plays in a way that they think Shakespeare would have approved. And I really love that the first folio begins under that heading because it's proven to be true in history, right? As I mentioned earlier, because of the survival of the first folio, we have these plays, we can read them, we can study them and we can perform them. And that wouldn't have been the case without the care that Shakespeare's friends John Heming and Henry Condole took to gather them together like this. So I'll turn this back around and just page through briefly. So the format of the book, you have the layout of the book. You have these sort of dedicatory letters that you have a number of poems, again by Shakespeare's friends, kind of praising his plays. And then you have a catalog of the several comedies, histories and tragedies. It lists all of the plays again under those generic headings, comedies, histories, tragedies. And then you just sort of jump in to the tempest. It's the first play. But I'll leave this open because this is typical of what an opening of the first folio looks like. It's 900 pages, so there's a lot of text here. But you have two columns on each page kind of lined or bordered by these rules, printed rules here. And so that's a typical opening of the first folio. I want to talk briefly too about the history of this particular copy. This was given to the university by Charles Rosenblum, who was a major entrepreneur in Pittsburgh. He died in 1973, so this came to us after his death in 1974. And the story there is kind of amusing in that he was Yale alumni, alumnus, and the agreement he made with the Beinecke, which is the rare book library at Yale, was that they would get all of his books except in the cases where they already had a copy. So because Yale already had a first folio, he said, then all the rest go to CMU. So that's because Yale had a duplicate or a first folio already, we ended up with ours. That's pretty surprising and pretty exciting that we ended up with that. So I think I've touched on everything I wanted to mention with the first folio, but what I want you to keep in mind as we look at later folios is how the framing of Shakespeare's plays either stays the same or evolves and changes through each edition. So we'll move on to the second folio, which was printed in 1632. And in some sense, the second folio is actually the least interesting of the four. And one reason for that is because the first folio sold relatively well, 1623 to 1632. It's only nine years, and that might seem like a long time, but if you print a thousand copies, as there probably was about that many copies of the first folio, if you can sell a thousand copies in ten years, you're doing pretty well in the 17th century book market. So the first edition sells out. There's still demand for Shakespeare's plays, so it's essentially reprinted. And it is exactly that. It's basically a sort of unproblematic reprinting of the first folio. The plays are in the same order. You have the same kind of introductory material. You have the poems that Shakespeare's friends wrote, reprinted. The title is the same. There's Shakespeare's face again. But there are a couple of things that are changed. And if you look at the imprint, which has like the name of the printers and the publishers, you notice that will have changed, right? So in the intervening about decade, there's a new kind of consortium, I guess we can call it that, of publishers that come together to reissue the folio in a second edition. And the reasons for that are interesting. I can't really get into all the complexities. But one thing I'd like to point out is in the 1630s, certainly in the 17th century, copyright didn't really exist. So when Shakespeare was living, he would have brought a play if he authorized its printing to a publisher or printer. And then the publisher would pay him a flat sum and then they would then profit on that project going forward. Shakespeare wouldn't receive any royalties from the printing of his plays after that first transaction. And because of that, you ended up with this sort of chaotic situation in which individual printers, individual publishers throughout London's bookselling district held the rights to individual Shakespeare plays, right? No one person, no one publisher owned all of Shakespeare's 36, 39 plays. And that's partly what makes the first folio's publication so astonishing. It's kind of miraculous that enough publishers were able to collaborate to sort of pool their resources, to pool their rights to Shakespeare's plays, to print them all together. And it didn't happen easily. Again, I can't get into all the details, but there was quite a bit of bickering between the publishers. And in some cases, they were holdouts. So one publisher didn't want to have a particular one play that he held and it only came to the project, to the table quite late in the project. So all of which is to say copyrights in the period, such as they were, traded hands pretty regularly, right? So if a publisher died, it might pass to his widow or his apprentice or his son. And then those rights could be sold, right, as a commodity in the book trade. So in the intervening ten years, nine years between the first and the second folio, you have new publishers and a new printer responsible for its publication. And that's kind of the reason for that. The rights have changed hands. But otherwise, as I said, it looks really similar. And that'll be a kind of recurrent theme. But you see here right under the title and you have that phrase again published according to the true original copies that it is marked as the second impression, right? So the second edition. So I'm going to turn, though, because what I think makes the second folio most interesting, at least from kind of the perspective of literary history, is some other poems have been added in Praise of Shakespeare. And the second poem on this page, even though it's not attributed, you don't have the name of the poet, we know that this was written by John Milton, who if any of you have taken an English class might recognize that name. John Milton is probably the second most important poet-writer in the 17th century after Shakespeare, certainly the most important in the later 17th century. But he was only 23 when he wrote this poem, so very young. And this is his first poem that appears in print. So I think that's really kind of an amazing example of how the English literary canon kind of assembles itself in this period. And it's evidence that John Milton was an avid reader of Shakespeare. And I'll point out some of my colleagues, Claire Bourne, her name is, she's a professor at Penn State University. She's recently discovered at the Free Library in Philadelphia that their copy of the first folio has annotations, handwritten annotations in it that she was able to prove were John Milton's. So the Free Library in Philadelphia has John Milton's first folio. It's really phenomenal, a bit of scholarly sleuthing. But the point there is that there's a connection between that copy of the first folio in Philadelphia and this poem on this page is when Milton was young, he obviously was reading Shakespeare in depth and in detail. And that's what this poem is about. He's praising Shakespeare's art. And he's also saying, I won't read it in full, but the gist of the poem is Shakespeare doesn't need a massive tomb, some monument to his memory because the folio functions as that monument. The folio functions as a lasting monument. That's a phrase that he uses. So that's a really kind of amazing idea. And it goes back to what I was talking about with the first folio where from the beginning there was this interest in preserving Shakespeare in the form of a book, and I think Milton understood that. So as I said, it's really comparable to what's in the first folio, so I won't leaf through it. But I do want to show you all the binding of this copy. This copy of the second folio came from Charles Rosenblum as well, who gifted the first folio in his will to the university. But this is a spectacular copy of the second folio because it's an original binding. So this binding dates to 1630s, certainly, maybe not 1632. But it's more than likely that the original buyer of this copy took it, had it bound, and it's been in this binding ever since. But it's very typical style of mid-17th century binding. This is calf. It's kind of animal skin, cow skin basically. I don't know if you'll be able to make it out in the video, but it just has very simple lines kind of etched into or stamped into the boards. And then the spine originally would have been completely empty. The Shakespeare on the spine and the date were added quite a bit later, probably even 19th century. But this is what a second folio would have looked like in 1632 on someone's shelf, so that's pretty amazing. The other copy of the second folio, which I have here, this is from the Posner Memorial Collection. So Henry Posner Sr. was another sort of entrepreneur in Pittsburgh, major collector of books in the 20th century, and he acquired a copy of the second, third, and fourth, which are now held by the libraries in the Posner Memorial Collection. But just in point of contrast, right, if you look here, it's a spectacularly beautiful binding that has guilt edges. The boards are decorated in these sort of arabesque and sort of plant patterns, flowers all in guilt and gold on this lovely dark blue leather. Obviously this has been rebound to fit the tastes of probably a 19th century collector, right, because all the folios have always been incredibly valued by collectors. So they would have their copies taken out of these original kind of ugly basic bindings and have them rebound in this kind of opulent style. And it is a beautiful piece of art. I mean, the binder did amazing work here, but you can see what's lost here. This is quite a bit thicker, hopefully you can see that. So when a book was rebound in the 19th century, they would press it. So it would lose a lot of its heft, a lot of its weight and size. So we're lucky to have copies that do survive in these original bindings because we get a sense of their original dimensions. So we move on to the third folio, which we have, as I mentioned, in two copies. On my right is the Posner Memorial Collection, and on my left is the Charles Rosenblum copy. So I mentioned that the second folio, to me at least, in some way is the least interesting of the four. I think the third is the most interesting, and that's true for a number of reasons. To begin with, the 1640s and 1650s were a fairly chaotic time in English society. There's the English Civil War and the 1640s, and then in the later 1640s or early 1640s under Oliver Cromwell, the theaters in London were actually closed. So attendance to plays basically went to zero. And the effect of that is that when people went to plays, they sort of fueled demand for plays in print. So when that goes away, there's much less of a demand in the bookseller's stalls for printed plays. And I think that explains in part the gap between the second folio, printed in 1632, and the third printed in 1663, right, 30 years. The third folio is also interesting because it's the rarest of the four. So I mentioned earlier that there are 228 copies that survive of the first folio, and 80 some of those are in the Folger Shakespeare Library in Washington, D.C., which is a separate story. But there are only 180 that survive of the third folio. So kind of an interesting boast that because we have two copies here, there are in fact more than 1% of the surviving edition at CMU of the third folio, which is pretty great. The reason for that rarity, right, why are they so much rare than the first folio? So something happened in London in 1666. There was a massive fire, particularly in the districts around St. Paul's Cathedral. And that just so happens to be where all of the book shops, print shops, bookseller's shops were concentrated in 17th century London. So when the fire tore through the city, it destroyed a lot of unsold stock of books. So this is printed in 1663. Not many copies are going to sell in three years. So we can assume that a lot of those copies actually burned in the fire, which again explains its rarity. The third reason why I find the third folio so kind of odd or interesting is that it exists in two versions, two states, as it's called in bibliography. So the first, on my left, this is from the Rosenblum copy. It was issued, as you can see on the title page, it has 1663 as its data publication. And it's basically just like the second folio to the first, an untroubled reprinting of what was in the second folio, same number of plays, and you have the change, a very basic change on the title page where it's marking it as the third impression. A year later, seven more plays were printed and included with unsold copies of the third folio. And I think the reason for this is because maybe it wasn't selling as well as they had hoped, so they needed to find some way to differentiate the third folio from the second to the first. They wanted to convince buyers that, no, you're getting something more by purchasing this particular edition than you would have if you bought a second folio secondhand. So this is the second state of the title page. You can see the difference here. The engraved portrait has moved to face the textural content of the title page. And you have this advertisement basically saying, and onto this impression is added seven plays never before printed in folio, vis-a-vis, and then it gives a list of the seven titles that are included. The irony here is that only one of these plays is actually by Shakespeare, and that's Pericles, Prince of Tyre. And we, the scholars, Shakespeare scholars, are fairly certain that he only played a part in writing Pericles. It was probably a collaboration with another playwright. So the choice to include these six other apocryphal plays, not by Shakespeare, is kind of an odd one. But again, I think the motivation was commercial, trying to convince buyers that, oh, there's more in this edition, so you should go ahead and buy it, if you have the second folio already or the first folio already. So a fascinating example of how the Shakespeare canon, what plays were accepted to be by Shakespeare, kind of fluctuates in the period. And that's right here demonstrated on this page. So the last thing I'll mention about our two copies of the third folio is just pointing out their bindings. So if you look at them, they look almost identical, which I think is really amazing. And just like one of our copies of the second, I think that these are actually the original bindings that would have been put on or commissioned by the original buyers. But you'll do a close-up here, so you can see that they have the same sort of pattern of two lines on the edge of the spine, two lines around, and the edges, the fore edge, which is the paper itself, is kind of speckled or painted in this kind of blotchy red pattern in both. So I don't really know what's going on here, but my theory is that these two copies were purchased really close in time to each other, and they might have even been brought to the same binding studio, the same bindery in London, you know, by separate buyers. And when they commissioned the bindings, you know, being in the same shop, they would have used the same tools, the same materials, and that explains why they look so similar. So because of this, because both of our copies of the third folio survive in their original bindings, they really are spectacular copies. You know, it's hard to find a third folio that's in this kind of state and this condition elsewhere in the United States. So we'll end with the fourth folio, which we have in two copies. This is the Posner copy closed on the table here, and this is the Rosenblum copy open in front of me. So interestingly, the fourth folio is in some ways the most deluxe of the four. It's printed on paper that's of a higher quality, and you can't really put them side by side, but you might remember that the paper in the preceding folios is a little bit darker, maybe thinner, you can't really tell the thickness here, but this is just very white and very tall for a folio. There's a sense in which the publishers of this edition kind of win all out to make it into this sort of deluxe object and artifact. It's also interesting because it's the first time that the title page actually emphasizes the words plays instead of comedies, histories, and tragedies, which are still at the top and still large, but maybe the reason for this is those generic categories, comedies, histories, and tragedies are becoming less important than the more broad term of plays. But otherwise, moving from the third folio to the fourth folio, it's basically just a reprinting. Again, you have the fourth edition marked on the title page, and interestingly, you have the inclusion of those seven plays that were first introduced in the reissued version of the third folio, starting with Pericles. It's funny too that on the title page, it says it claims that it's never before printed these seven plays in folio. We know that's not true. Those appeared 20 years before in the third folio. But again, booksellers, they're excellent at marketing their products, and I think that, again, was trying to convince people to purchase this particular edition. So you still have the image of Shakespeare, the plates, the copper plate that the engraving was made on has been modified slightly over the decades. We've covered almost a full century, going from 1623 to 1685. So this plate probably took a lot of damage and wear and being reprinted, so it had to be retouched. But otherwise, it's essentially the same, and I'll open it so you can see that the format is consistent. You have two columns of text underneath the heading of the title of the play. Because of that, I actually wanted to focus on something that doesn't really have anything to do with Shakespeare at all with this particular copy. And to do that, I'm going to page to the beginning inside the binding. We see a couple of things going on. So first of all, we have Charles Rosenbloom's book plate. That's the most recent. He's the most recent private owner before it came to CMU. But we also have underneath his plate a book plate for Belton House, which is a sort of aristocratic estate in Lincolnshire in England that was owned by the Brownlow family in this period, in the 1680s and 1690s. But if you look across at the facing page, there's something really interesting, I think, going on. And that is there's a signature for Alice Brownlow. And Alice Brownlow was the wife of Sir John Brownlow, who was the owner of Belton House. But there's also, if you look here, it looks like someone started to write Alice but then has changed to Margaret Brownlow. And the reason that's significant is that Alice had a number of daughters, one of whom was named Margaret. So this is a really beautiful instance of a mother kind of maybe instructing her daughter in handwriting. The first Alice or the second Alice here seems to be kind of trying to imitate the Alice down here. So, you know, you can sort of spin all kinds of stories about what's happening here. But I think this is a really wonderful window onto how Shakespeare's folios existed in a domestic setting at some point, right? I mean, it was always kind of an elite object. It was always expensive. The first, second, third and fourth would not have been affordable to most people, which explains partly it's kind of noble or aristocratic provenance here. But nevertheless, right, once they were in these kind of elite settings, these elite homes, these books became educational objects, right? Maybe Margaret, the daughter of Alice, learned how to read from, you know, the fourth folio. They maybe they read the plays together. And also below this, I'll point out that someone, maybe Margaret has written out measure for measure, which is a play title of one of Shakespeare's plays. So, that's just an example of the kinds of evidence that book historians and bibliographers look for to study the provenance, right, the individual history of books. And I think we're really fortunate that this evidence survives in this copy because it could have easily been kind of torn away and replaced when it was rebound if another, you know, buyer chose to rebind it. So, amazing little window into the past. And now this book's history includes not only Belton House, but CMU Libraries. So, we'll end actually with something that's not a book at all. It's this strange looking object behind me. This is actually the first thing that I purchased for the collection when I started in March 2020. It's a Hinman collator, and you're asking, well, what's its relevance to the first folio? So, this was actually designed and invented by a scholar, a Shakespeare scholar named Charlton Hinman in the 50s. And he designed it to compare multiple copies of the first folio kind of simultaneously. And that's, you know, collator basically meaning to compare two things. So, the way that it works, it's really quite fascinating. You put one copy of the first folio on the left side, on the cradle there, another copy on the right side, and then you set it to oscillate. And if you look through the eyepiece, and press this button down here, the blinker goes sort of back and forth, basically revealing one copy after the other. And when you look through the eyepiece, what happens is your brain is sort of tricked into seeing both copies simultaneously. And the value of that is that any difference, right, if there's, you know, a different spelling of a particular word on the page in this copy, that'll show up, it'll kind of shift in the eyepiece. You'll be able to see it much more easily than if you were to sort of look at both simultaneously and go back and forth by eye. So, the reason that Charlton Hinman built this is that he wanted to look at as many copies of the first folio as possible. And he actually ended up looking at 55 of them. He was working at the Folger Shakespeare Library in D.C., which has that many copies, in fact, more. And what he revealed in his research is that no two copies of the first folio are actually identical in any way. So, each has a unique form of the text of Shakespeare's printed plays. You know, it might vary, as I said, in some minor spelling or in some other way. And the reason why that's valuable knowledge to Shakespeare scholars is that, knowing that, you really have to look at multiple copies to decide what is the most accurate or most correct version of a particular scene or line, right? And there are a lot of examples of this variation. I mean, one of the most well-known, one of the most extensive comes in the final act of Othello, where Desdemona is singing a song, and the full line is actually changed. And I'll try to show that on screen here. Just give that a second to play. So you can see how the line actually is changing, and some copies of the first folio have one version, and other copies have another. So that's an example of something that Charlton Hinman uncovered by using the Hinman collator. Interesting historical point is that Charlton Hinman, before he turned to working on Shakespeare's early printed books, worked during World War II as a crypt analyst. So he was actually working to break mainly Japanese encryptions during World War II. And I think, you know, the theory among scholars is that he used a lot of that knowledge in not only designing this particular device, but also in the approach that he took to studying Shakespeare's plays. So this object is going to be on display in the first floor of Hunt Library in the exhibition that starts in March, and will be open officially in April. So I'd encourage you to come see it. Take a closer look. It is totally fascinating. It's an example of, you know, the space age meeting book history. And I'll end by pointing out that this tradition of using technology to study early printed books is alive and well, even at CMU. I'm part of a project that's headed by Professor Chris Warren, who's in the English department here, that's actually using computer vision and machine learning to look for a lot of the same kinds of evidence that Charlton Hinman was looking for on this device. So it's a fascinating history. It's a fascinating tradition. And that'll really be the theme of the exhibition that's on the first floor in Hunt later this year. So I want to thank you all tonight for attending this look into all seven of CMU Library Shakespeare Folios. And I want to invite you again to come to the two exhibitions that the libraries will be sponsoring. One in Hunt Library on the first floor and one at the Frick Art Museum in Pittsburgh. Those are both, they will both be open on the first of April. I look forward to your questions at the Q&A and thank you again. Well, thank you, Sam, for a wonderful presentation. You always entertain and inform us, and I can see from the questions that the audience very much is engaged with what you've shared with us. I also think it's fitting. I was waiting for you to pivot to your right a little bit and show that not only do you have the Hinman collator, but pretty much adjacent to it are our two enigma machines. And I did wonder if you were going to make that connection. So you mentioned at the end the two exhibitions coming up. Firstly, the one in Hunt Library. Secondly, the one that we are partnering with the Frick Museum to host later this year. Could you tell us a bit more about what we could expect when we visit those exhibitions? Yeah, happily. First of all, thanks everyone for attending, and I'm really looking forward to answering your questions and getting into a conversation with Keith. So very glad to be here and glad you're all here. Yeah, so the exhibitions, it's a major event, the four centuries of Shakespeare's first folio. So basically anyone, any collection that has a copy of the first folio will be marking it in some way. So what makes CMU's celebration the first folio unique is this partnership with the Frick Art Museum, which is in Pittsburgh's east end in the Point Breeze neighborhood. So the exhibit there is actually going to be installed in their Jacobean room, or their English room, which is really exciting because that room, it's sort of octagonal, is actually paneled in 17th century carved oak that was brought from England by the Fricks. So it's going to be a really nice example of the venue, the exhibition venue, kind of reflecting the historical events of the things that are going to be on display, right? All the folios that are in the libraries here. So the theme of the Frick exhibit is really, but I talked about in this, in the pre-recorded section, how do the folios relate? How do they diverge? What makes each copy, what makes each addition unique and significant? And then the Hunt Gallery, which is on the first floor, which is right there and right now, is, as I said, going to focus on kind of the surprising history of technological invention and innovation that have been prompted by research into Shakespeare folios. I mean, it's been called, the first folio has been called the most thoroughly studied early modern book, which is true. So much has been written about the first folio in particular and the later folios as well. And I think scholars were always eager to find ways to make that research more efficient and effective. So, you know, the hymn collater, which is right behind me, is really the origin point of this tradition and the exhibition in Hunt is going to sort of trace that from, you know, the 50s when hymn starts his prototyping all the way to the present. And I'll point out that the gallery, the exhibition in Hunt will really feature some fascinating ongoing work at CMU. I mentioned the project that I've been working on with Professor Chris Warren in the English department, which is basically using artificial intelligence to, you know, find new evidence in early print books. That'll be represented. There's also a project headed up by Professor Stephen Whittock, also in the English department at CMU called Shakespeare VR. And basically what that is, is a model of three-dimensional interactive virtual reality model of a Jacobean playhouse that, you know, students, anyone really can put on a VR headset and interact with and kind of navigate through. So that'll also be on display. But yeah, the general sense is the Frick display will be focusing on the history of the folios, their cultural and literary significance and the display in Hunt is going to be on the technologies that have been prompted by research into Shakespeare's text. So I really hope you can all make it. As we had anticipated, the most asked question from our audience has been about gloves. People surprised that you're not wearing white gloves, worrying about damage to volumes. I know we've talked about this many times, Sam. Please give us your perspective. Yeah, I mean, it's a very common question and I'm glad when we receive it because, you know, to me, that suggests that, you know, you all watching are concerned about the these books and want them to be well cared for. But the consensus among conservators, you know, people who treat, you know, ancient books, rare books, is that you're far more likely to damage paper if you have gloves on because, you know, all of us almost every day, we turn pages in books. So as your hands are clean, you have much more, you know, tactile accuracy, right, as you're turning them. So, you know, if you put it in contrast, if you have a white glove on that might be kind of loose, you're more likely to snag a corner and actually pull it and potentially tear the paper. So, yeah, the consensus is the best way to handle rare books is just a clean pair of hands without gloves on. But yeah, I'm glad it came up. There was also a question early in the showing of your pre-recorded material about handouts, because some of the images were not terribly clear. I'm not going to ask you to prepare handouts, but you might like to point people to the digital versions that we have of the folios. Yeah, and I'm happy to share a link to that, but we have a digital collections platform in the libraries, which is where we put all of the books that we've scanned up, you know, accessible freely. And all of our, it looks like so many just shared the link, so that's great. So, all of our folios are at least one copy. Each of the second, third and fourth are currently available and we've successfully scanned the first folio and other copies of the second, third and fourth. So, those will all be launched on our digital collections platform kind of in conjunction with exhibitions. But if you go to that link that was just shared in chat and, you know, search for Shakespeare's comedy histories and tragedies, you can see high-resolution scans of at least one copy of our seven. A question from our friend Ed Galloway, just on the road at the University of Pittsburgh. When were the folios first called? First, second, third, fourth. Probably when the first one was published it wasn't called the first folio. Do you have any sense of the history of the numbering of the folios? That's a really good question. I mean, I think really early on, as soon as there were two of them, you know, they might not have been referred to as like the second folio or the first folio but certainly the second edition of Shakespeare's plays in folio, right? You get mentions of that even pretty early on when people are recording the fact that they bought a copy of the second folio. They refer to it in that way. But in terms of the sequence of four, I think we really owe that to some of the earliest editors of Shakespeare's plays. So the period that I've read the most about this and as really the 18th century, you know, Samuel Johnson who's, you know, lexicography edited and put to compile Johnson's dictionary in English language. He was an early editor with George Stevens of Shakespeare's plays and they write in a lot of their commentary and I think in some of their prefaces to the plays they edited about how the first folio is really the best and in fact the second, third and fourth are really just, you know, mere imitations of the first. There's this great phrase that George Stevens uses where he refers to the later folios, the second, third and fourth as quote, mere waste paper. Right, so there is I think pretty early on this hierarchy in the sense that the first is the best and the later folios are lesser, you know, follow-ups to it. You know, just to kind of wander into the world of antiquarian books and the sort of collectors market briefly, that's basically stayed consistent to the present. I mean the first folio is certainly still the most desirable but, you know, you see a lot of people now finding more interest in collecting the later folios just because of the reasons that I went through in the video. I mean they are still significant documents, each of which has, you know, some unique feature that I think makes them worth having, worth owning. Yeah, that's a really good question but I, yeah, I think probably the 18th century is my best guess when that would make sense to say first, second and third folium. We've got a number of other great questions but I'm afraid we are pretty much out of time for questions. I would maybe invite you, if you could give a quick answer to one that really catches my eye what technology was used for the printing. That may not be that's a brief question but. Yeah. Yeah, so actually two technologies so I mentioned the engraved furnace piece so that was actually made from an engraved plate so the lines were actually incised into a plate of copper and then that would be, have been run through what's called a rolling press at very high pressure but the text itself was printed on a common press which is, would have been, you know, in the 16, 16 20, 1630s essentially equivalent to what, you know, Gutenberg was working on you know, a couple of centuries century and a half before so but the technology itself basically amounts to individual pieces of type which each carry a letter and then those letters would be inked and then a piece of paper passed through the press pressed with a lot of pressure again and when you take the paper away having made an impression you have a complete sheet that then be folded and then bound in. That's a very, very quick answer. There's a lot of scholars that have worked on what presses and press technology look like in the 17th century. Right, well thank you very much, Senem and this brings to the end the Shakespeare part of this afternoon's program. Thank you all for joining us. This is as we've said a couple of times the first in a series of events to celebrate the 400th anniversary of Shakespeare's first folio I do hope you'll have an opportunity if you're in Pittsburgh to come to Hunt Library and to the Frick Museum to look at the exhibitions. Sam also mentioned some fascinating research being conducted at CMU that will expand our understanding of Shakespeare, of the publications and of the literary world of the age. If you've enjoyed this event please consider supporting the libraries with a gift to the Special Collections Acquisitions Fund your donations help Sam acquire collections that make possible transformative research and scholarship and support programs that bring students, scholars and members of the public into the Special Collections and Kanagamelon's libraries. We also invite you to join us at a couple of events later this month and there is a QR code on the screen if you would like to open our events page. Next week I'll be hosting an event as part of Kanagamelon's Faculty Dialogues series on the topic of open and automated science at Kanagamelon very different from today's Shakespeare event. I'll be joined by a panel of CMU experts for a discussion about open research, open science and automated science and the ways in which data sharing and reuse can accelerate scientific progress. Later this month I'll host an event called Citizen Science and Community Data inspiring engagement between Kanagamelon and local communities full details on both of those events at the events page. So again thank you Sam so much for sharing your expertise with us thanks to my team for helping us. Well thanks to all of you for joining us this afternoon. I hope you have a great evening. Enjoy the rest of the day.


Hello Adam Olinger Fued Nation, I'm here to try out for one of the one of the roles in the 2016 Ghostbusters film looks at the wantons Okay, I'm just looking for a reasonable ratio of wantons to soup. This is madness. Oh That's that's a joke. That's like a joke in the film. I Don't know how to make that funny light them up bitches Okay, so I'm running away and the the ecto one comes out slimmers driving it and there's a female slimer in the passenger seat what? Boo yah emphasis on the boo. This is like the chest. Do you want me to go lower still? Picture me in a comical hat and wig The hat was too much right? What's the hat or the wig? I mean this is what it says This is this is the joke I don't know if I'm supposed to play this seriously now because this isn't funny I could write a joke at the caliber of that one off the top of my head. Here we go Keep in mind.  Oh, did you want to say you mean who's who's gonna say the line? Let's go What a comical screw-up we just made may the power of panty compel you Except for when we film I'll do it like way more obnoxious Super over the top. I guess he's going to Queens. He's gonna be the third scariest thing on that train Lines funny.      Oh Shit alright, so I'm playing Aaron Gilbert zero personality to this character from what I've gathered. I'm gonna try to okay Why am I operating the untested nuclear laser? Was that too much? Try again Why am I operating the untested nuclear laser? Better you have the longest arms. That's where I saw the weird sparky thing. What was it? Baby if I knew what it was I went to call it a weird sparky thing I'm just a no-nonsense black woman subway operator.  I'm a stereotype cliche in a movie That's not supposed to be about stereotype cliches. It's about woman power. I have one wanton I have a tub of soup and one split wanton. I'm sorry. You're having a soup crisis There isn't even any meat in there. That's just a carrot Still supposed to be funny.      This isn't hard to come up with this isn't a new thing Charlie's angels one in two the scream franchise mostly female protagonists every disney animated princess film has a strong Female lead for the most part besides cinderella who's a little bitch, but she's still got hers. Okay. She's still got hers Annie Curly sue how about mad max fury road if you think that charlie sterone wasn't the lead in that then you have Another thing coming buster sister act pitch perfect the terminator Why do you have to pander to an audience of morons to try to sell tickets to a movie that doesn't need to be made? Like we have no remakes already everything's again a reboot or a remake. We're sick of it I don't want this role And it looks like you don't want me to have it anyways Hello adam olinger View nation I'll be trying out for the part of kevin mcallister in home alone kevin's gonna be a boy, right?


Tom here from Lawrence systems and this is a box of game-changing cable actually literally This is the name of they call it game-changer cable So I thought this was clever marketing and it's by page data comm solutions connecting you to more cool slogan they got right there on the box and That's 200 meters that you see right there. That's 200 meters and I have a unify HD access point being powered over a 200 meter run and this is something I wanted to raise some awareness of because I was not aware so I imagine there might be a few other people that aren't aware I was unaware of this product until I Had some people commenting on my video where I talked about the transceivers in distance and someone says tom just use the game-changer cable and I'm like How did I not know about this? Well, sometimes I don't know about things. I'm not afraid to admit it Now I have not obviously installed any of this game-changer cable. This is a demo box This is not in any way endorsed or sponsored But they did send me this demo box that I have to send back It's actually it's a really fancy wood box to send up for their demos And I wanted to test this cable out and I also took the time I've actually had it for a couple weeks because I was waiting to hear back from installers Because I have not installed it myself But I figured I'd reach out to some of the trusted friends I have that do structure cabling and say what do you guys think of it? Overwhelmingly positive and it's a great solution. I think to having your back pocket So I wanted to talk about it to raise some more awareness of this particular solution Now here's how this works and right here is the Page they have for the game-changer cable go two and a half the distance What this is is cable that instead of being 24 gauge 26 gauge or 23 gauge. It's 22 gauge now one great thing about the whole game-changer cable They have a lot of documentation their website is actually well a wealth of knowledge We'll talk about a couple of things in there. It's actually popular amongst a lot of different technology partners It's supplied by a lot of the major vendors. So there's not anything Secretive about this and by the way because this is not at all sponsored or in any way affiliated with them other than me Reaching out to them. I don't have any special offer codes or discounts for pricing on it. Sorry You have to contact whichever vendor you buy your cable from Back here to the game-changer cable. The first question people want to ask is does it cost more goes further? But does it cost more? Yes, of course it does. You can't use higher density Larger diameter cable without more expense. That's just going to be the nature of it But I do like that they took the time to put a third-party analysis in here And I'll leave all this here and leave links to all these things But let's talk about this from a solution standpoint when you're planning structure cabling When you're doing a warehouse, for example, like we do and we have a main distribution frame So our comm room where it all starts, but what if that warehouse exceeds the run is going to exceed the 100 meter limit? Well, the solution is we're going to stick an IDF there Which of course means calling out an electrician to run power to it And then we cable up to that to get those extended runs But what if they only want two things on the far side of the warehouse? Well, they still have that solution Which adds a lot of expense to the project Well, this is kind of where that's Option right here and this is why I wanted to make sure people were aware of this because this is something We're not adding to our product line for you know a solution when we have a warehouse run or any Distance run that's a little bit further and that's because came changer cable because of it being The 22 gauge along with imagining probably some nuance the way they do the twisting to avoid certain levels of interference and Etc they are able to go 200 meters at one gig without a problem And this is something I think is really cool because now cool if I need to put that camera Especially this is popular in the surveillance industry as well on that far side of the building That's a little bit further. I don't also have to sell them an IDF now Obviously some people are going but I make money selling more IDF So I'm like well you do but I also are you trying to make the most money out of the project Or trying to save the customer money and you're going to run into bidding against people who are going to know about this product and go Yeah, I can just run one extra cable So it's not like the cable you do the entire structure cabling project with But in the circumstance of those further runs, this is a solution that's good I think to have in your solutions list because it solves that problem And this is a couple times you've run into this where we have just a couple runs out of like 200 like three That are of that longer distance and as long as that distance doesn't exceed what this can do a way you go Let's talk about some of the specs and some of the details in here. So they break down that type of you know job costing When you use game changer for that they also talk about termination And I think this is something that Shouldn't be overlooked is game changer cable conductors are 22 gauge just like they say and that means even though the Cat 6 spec goes from 22 to 26 More vendors are going to be on the 24 23 side. Therefore in some vendors are you know, 26 But that means not all jacks were Designed with that in mind. So they do list jacks that they have that will work with this So it's not like you're gonna find anything special. Um, they detail it out And yes, there's jacks that are shielded It seems the pull through ones that I've talked about before the ones that where the cable comes true to be cut Are the ones that work best for this, but this is something important of note You can't just get the cable unless you also have matching Things and it's not like they're special. They're just ones that also Accommodate that type of cable. So it's not like these are super hard to find and now I do not have a fluke tester that will Do the full certification on this cable When we certify cables which doesn't actually come up as much as people seem to think it does Depending on the type of jobs you're bidding and working on We just either rent or I'll work with another company to get them certified But they do have one that they've done all the testing and certifications with So yes, it will pass if you have to have your cable certified and they have all the specs and all the details here Next thing people ask you about is voltage drop. Yes, due to the laws of physics voltage drops So if the voltage Over distance drops too far obviously your poe devices won't work But once again by using a heavier gauge cable that solves that problem as well in a detail out the voltage drops And all the comparisons there and then they have just dive into every detail spec you want I was actually just really happy to go to their site and be able to learn so much about it And I did spend some time talking to their salesperson and matter of fact We ended up getting off topic just talking about technology and the long history They've had in the cabling industry. They're not a new startup at all They've been around for a very long time and they have a lot of talented people that are very experienced in the manufacturing cable Now it will go further than the 200 meters There is a length at which and it's detailed out in here where it will only do at 10 as opposed to one gig So if you have some type of device that's even further away Yes, it can go that extra distance But you will have to adjust the switch to force it to probably 10 Either way, all the details are left on their site I think they've done a great job of answering like every question, especially for those who are Want to diving into technical details I reached out like as I said several installers who have used this for a little while and were surprised that I didn't know about it But said they have had excellent luck with it. It solves that problem of those far further distance runs I'll leave a link to this Site of course and you can dive through every technical detail that I didn't want to make an hour video Covering and reading and talking about it because it's some of of the electrical engineering stuff I'm just not as smart on I'll also leave a link for those of you wondering about cabling standards with Dan Borreira and the upcoming changes in cabling standards That I just did I'll leave those videos down there below because he does Understand cabling because he sits on the boards for ta and iso And contributes his electrical engineering knowledge to the understanding of it So for those of you that want to go into full nerd mode I'll leave links to those videos for those of you just want a solution that goes a little bit further I'll leave a link to the page eight economy. Like I said, it's sold at all your major cabling vendors and I've got no special links. You're affiliate and this was not sponsored or endorsed by them. Thanks And thank you for making it to the end of the video If you like this video, please give it a thumbs up If you'd like to see more content from the channel hit the subscribe button and hit the bell icon If you like youtube to notify you when new videos come out If you'd like to hire us head over to laurance systems.com fill out our contact page and Let us know what we can help you with and what projects you'd like us to work together on If you want to carry on the discussion head over to forums.laurancesystems.com Where we can carry on the discussion about this video other videos or other tech topics in general Even suggestions for new videos. They're accepted right there on our forums, which are free Also, if you like to help the channel out in other ways head over to our affiliate page We have a lot of great tech offers for you and once again, thanks for watching and see you next time


And so the title of my presentation is kind of that health inspectors, which I am, I'm a health inspector in Alberta, in Canada, I live in Edmonton, and I sit, oh thank you, in the house, represent, oil money. Okay, so Canada has health inspectors and we're nationally certified and so this is my opportunity to tell you about us. We, we're important but you know this is a new trend, this is a trend for us, we're kind of new on the scene and what I can do is, yeah sure I'm a regulator in my little province but at the same time I can speak to health inspectors across Canada and help them help you in a way, right? And I think that should come through in my presentation is how to do that and I met Paul Reeves who's someone similar to me but in the States here, hopefully we can help our profession understand you, which should lead to a better experience for operators and owners. So we don't know, we don't know, I don't, I don't think we're going to get any argument from the group that health inspectors don't know anything, right, so the only really, I wanted to point out, if you can see where I'm pointing there, is that Alberta had a standard for sensory deprivation tanks, it was published in 1996 and in 1996 I was just barely out of high school, I didn't know anything about it but our province had a standard for this stuff and it was actually probably, you know, decent for its time but I've taken every step I could to get this removed from the internet so if you're trying to find this or you have a copy of it good for you but I tried to take it down off Google because it doesn't really represent where I think your industry's at. Has anybody seen this before or aware of it? Yeah, so just because I'm from Alberta, this is not a live document in Alberta, we don't enforce legislation using this standard anymore and so you should know that. I think the big thing that speaks to is things like chlorinating your tank and you must have a 5 ppm of chlorine and, you know, I also don't want that or I think we can do better than that so, you know, I try to get our legislators in Canada not to use this as a reference and as this trend of flotation is growing in my city and in my province and across Canada and North America we do the same thing you do with Google stuff and we say like what's going on? What resources can we get? And this, I thought this was really interesting that, I think this is a float on kind of resource, right, where you can get materials that help you kind of navigate your way through the health department because you're entering pretty much an unregulated area yet health departments seem to love you or hate you. I think they love you. They love to be involved with you but I thought this was interesting because I take a lot of ownership over my profession and I am heavily involved in my profession and I, when I see something like here's some tools to help you educate the health department I thought you know there's a need there to build some resources on my end like on health inspector and probably like the quintessential health inspector reference for you. Has anyone ever seen a movie goes back a few years ago about, it's called Ghostbusters? And there's this guy named Peck, Peck, his last name is Peck from the EPA and he walks into that ghost containment unit and he doesn't understand it and he just feels like there's something bad about it and he says I don't care about your opinion just shut the thing down. I feel like you might think that we're Peck, right, so next time the health inspector comes to your place just kind of mutterpecker under your voice and we'll know what you mean and honestly I'd rather see something like this you know kind of a gentle call up for help than what we typically see signs in the door saying you know get lost health inspector or worse but you know I think what's valuable from this note is we get a little bit in health we get a little bit throw the baby out with the bath water we lose the forest for the trees because we in flotation is a good example of that because you've got this was you just heard this potentially groundbreaking way to keep people healthy in a mental way and health inspectors are worried about some poop particles floating around in the water and I think you know as extreme as this might be it's really what we have to keep in mind when you're a health inspector is the greater balance or the greater idea of health so what can you do to kind of pick up on that resource and kind of educate the health department I think let's have a quick talk about what what you are and what you're not because what I do now is I inspect tattoo studios tattooing piercing nail salon and I would call those in wherever you live you probably have a standard for tattooing like you open your door to be a tattoo studio you must be inspected and here's the rules same with make nail salons and these services and then there's something else where you live likely where they've defined something called a health service and the health service is something that is designed to like protect or promote health you probably see how you're probably more like them and not the other now we talk about health services they regulate some health services you can't just do surgery on people you must they call those restricted activities where I come from so not everybody can do a surgery on someone you must be belong to the College of Physicians in my province to do stuff like that but there's this kind of open area where there's unregulated health activities going on where you live and where I live okay there's also unregulated personal services and these personal services like I said tattooing and piercing are the regulated ones there's all these things I see and you can come ask me afterwards what all these words mean but these are like the unregulated go to any mall and you'll see a lot of these services well maybe not suspension but dermal rolling there's a lot of that going on in aesthetic salons lasers big one everywhere it's generally unregulated this is all for like cosmetic purposes right like there's no health effect to this there's no health component to laser hair removal you just don't want hair threading it can go on and on so establishing some ground here that there's some unregulated personal services and there's unregulated health services and that's okay the reason why we regulate is to take some freedom away from the operator and say look for health reasons we need to we need to make sure you're doing it under these under these rules and the list goes on so we've established here we've got like regulated and unregulated personal services which are kind of the cosmetic effects and then we've got regulated so your restricted health services and ones that are not and I think that you're most likely here because really what you're doing is offering something that's for health for health reasons not for cosmetic reasons I mean your skin feels great when you come out but it doesn't you're not going in there for that purpose right so I think knowing who you are like why would we talk about that your ultimate job is an owner in it when you have an unregulated health service is to make sure that you're not hurting anybody really and that's that's what health inspectors really want to know is is this service gonna hurt somebody and in my promise we call that a nuisance but in where you live you might call it a health hazard but as long as I think ultimately what you have to do to the health department is kind of prove that you're not creating a health hazard and that's maybe advantageous so what else aren't you this is a swimming pool that I inspect to in my city called West Empton Mall this is the water park in West Empton Mall it's like the one of the largest indoor water parks so I think it's important to to separate yourself from swimming pools so you're not you're not personal services and you're not swimming pools and this is why you like no other pool have an opportunity to make sure that every person gets a shower I wish I could do that at this big place but I can guarantee you all those kids just ran right in grabbed the tube and jumped in your patrons the people who use your pool tend to not be the type who poop in their diapers and leave it in there right like you they tend to be like have their have their faculties about them and then you also get that one on one with every floater and I think talked to a lot of you about the importance of that and how you get to say to to every patron like I need you to have a shower and this is how you do it and take your clothes off all these things you get to do I think that's very valuable and we don't get that in swimming that single user I know there's multiple users in flotation but that's rare single user in a pool at one time a pool of water is different than this right so you're not this and of course what's different is circulation filtration is not happening while you're floating I think the biggest thing to like poop scares health inspectors you call that the fecal oral route so when you tell me your anal about health I'm actually kind of ticked off but what I want to stress is you know have that discussion with your health department like what what are they upset about and if they're worried about the ingestion of fecal matter it's likely not going to happen I floated and I know if I get that water in my mouth it's coming right back out and I know that if I have a cut and then it's going to sting and I got to get out and shower it it's not going to get in my eyes or you know I know this this is in your favor you know this is why you're not swimming it's because you get all this these safety factors already built in so we talked about that in the workshop and I can kind of formulate kind of why you're not a swimming pool you know you're not a pool and I think you need to really be clear on that distinction or else you're gonna get lumped in with pools so what else can you tell the health department I think just generally and I've seen a lot of great designs out there the other thing about my presentation I'm sorry I've only seen like four studios in my whole life so I haven't seen every pod and tank and room and cabin and so the pictures I'm showing are not meant to show anything bad necessarily just just so you don't have to read words all the time but some really the basics of your system are going to be you know the pump through a filter and this flow of water inlets and out and some sort of outlet taking it back to the pump you know you should have those basic components and you all view and where I come from we don't really say it must be done like you can have these kind of home put together jobs but or you could have something a little more formal but there's some of the things that we talked about in the workshop little tiny things that it's gonna do it better every time you make a new version of your pod I've seen some of the maybe some tubing clogs up so what can you do to fix that and I've already heard some really good advances on that putting your chemical in after the filter not before we'll get you more results in terms of killing germs I'm just gonna fly through some of this stuff is you know but from when I did this to now from what I see is out there things have really improved I want to talk a bit about turnovers I know turnovers came up and it drives people crazy but turnovers are really meant to be how much time does it take for all that water in your pod to go through the filter and come back out and it's almost an imaginary number for me in flotation because you can run your circulation and get me theoretically for turnovers but then when I shine my flashlight on the surface there's still hairs floating around so I know that not all that water got in there so I just wanted to talk about the importance of skimming and whether that's you should ask yourself in your pod is the water actually being skimmed off because the dirtiest most infectious water in your pod is right on the right on the surface there and so that that's got to get off somehow either manually or through like some suction action of the filter in your pod and I just made a note here to say like we kind of want what you want you know we want to tell the public this is safe you know I've talked to many people who've asked this is flotation safe and they they come in with this face it's like it's gross and then I'll say no I know I've been to many of them I floated myself they have filtration circulation they have some sort of disinfection strategy and you turn that frown upside down they go oh yeah I'm gonna try that so you're doing that I'm doing that but if we're both doing that and then you know they go and look at your water and there's hair floating around I think that that's not helping either of us right so flotation I want to just yeah that that bit about so I'll go back a bit about skimming and turnovers I think that we should keep discussing that and I know that you know entrapment isn't really a concern in my mind the common sense would tell me that you're in there and there's no circulation going on but the entrapment of swimmers and entanglement of hair and swimming pools is a big issue I think there's an opportunity to speak to that with with pods and cabins and things like that I mean what I would do if I was you is put the baiters feet at this end that's one thing you can do to prevent their hair from getting caught I think anytime you look at your pod after a floater's been in there you should always look at your suction outlets and make sure that covers in good repair and not broken or jagged so no one can get caught in it emergency call buttons are great I mean you have all of these things you can do is almost like six or seven layers of protection you can build in you know to kind of meet the intent of what I would call that VGB study in legislation but what we ultimately want is safe water and we talked about this in the workshop and so all of these parameters you can tell me about but they don't really mean a ton to me as a health inspector nothing on here really tells me if you if you're keeping track of temperature and specific gravity and alkalinity that doesn't tell me that no germs are gonna grow even the presence of peroxide alone you're probably running into a lot of pushback from health department saying that's that's not enough that's not good enough what we really want and what we love are like residuals and numbers and so I think we talked about in the workshop maybe the potential for measuring millable so in Alberta in our swimming pools we moved away from like telling operators to put a bunch of chlorine into the pool what we'd rather you tell us is show us that you can keep your millables your oxidative reduction potential of the water high and if you if you can do that then I don't really care what disinfectant you're using ORP rules so if your ORP is high you're gonna kill any germs that are in the tank but we're gonna need to talk about that because your water is a little different I don't know how the salts gonna match up with the probes there's lots of work to be done there if you must use chlorine or bromine potentially maybe you can ask to use less because again in Alberta 0.5 ppm is the minimum residual for swimming pools that's really low that's almost similar to drawing a bath for yourself you're gonna probably pour that much chlorine into your into your bathtub or have a shower in that much chlorine so that's a really low level of chlorine and at the right pH it's very effective at killing germs I think ultimately what you can do is test water and I know it depends where you're at where you live your access to labs and the labs capabilities but proving that nothing's growing in the water is really valuable and then the horizons might be something like ozone ozone I don't see a lot of that in swimming pools but ozone can kill germs and I've it's been shown to kill you know pseudomonas and what we're worried about in in float tanks and emitson but there's that indoor air quality concern so be prepared for that discussion with your health department ultraviolet and peroxide together I think is the you know on that on the horizon is such huge potential but right now what I what I don't get when I inspect is you know there's no measurement of the transmittance of UV so the intensity of that light killing the germs through the tube it's gonna cost a little bit of money it's gonna you know be a next-generation thing but we got to know how much UV light is getting through that tube does the presence of a UV light doesn't mean it's working and that you know matched up with the presence of peroxide is gonna be I think ultimately where you're gonna be happiest if you don't want to use chlorine so again just kind of moving through this peroxide and UV thing just look for the summary of that discussion because we talked about it a lot but if the health department's a little worried about peroxide and UV and that being some sort of carcinogenic activity just remind them to go to their nearest strip mall to the teeth whitening kiosk where they put that peroxide gel on your teeth and then shine a UV light on you it's the same technology right so that that's gonna kind of be one of those real world examples that makes it seem a little less risky and ozone like I said good potential to use ozone there I'm not looking you know by any means a chemist but at the same time I think there's potential to kill germs but that it's just that air quality issue we got to talk about and pseudomonas is like I call that your target organism pseudomonas aeruginosa if you if you were at the workshop you'll remember what when I would lay there and say what it what could infect me and where it could get into me pseudomonas I worry about a little bit and so that's your target organism I really think like chlorine does work but maybe you could use less peroxide and UV if there's potential there ozone is as well I think that would work and then just borrowing from this study done at at the float lab you know I don't think pseudomonas does very well in in the in the float water you take flow water out to put some pseudomonas in there and day later you have a three log reduction that's significant and I think we you know we're obviously gonna have to do more studies but I think that that's very very you know appealing me as Alpen specter and keep in mind if I get pseudomonas on me do I fall over on the stage and die probably not we again pour pseudomonas into our bathtubs we let it shower all over us this morning when you had a shower there's there's pseudomonas kind of all around us so we can tolerate some it's just how do we let it grow do we let it set up shop and that's really your as an owner your job is to make sure it's not so what do I tell other health inspectors I got like a minute here so sorry I'll move quick I say don't use that old Alberta documents and none of you should be using it either okay I don't mean to do this to cast dispersions but let's get rid of that thing because it's too old and don't copy just because like the next door state or the next door province made a regulation don't copy it you know make your own learn about what this industry is that before you make a regulation go and do an inspection and understand each system specifically because everything's different your source water is different the pods are different the technology is different and then if you're going to take a sample make sure you take more than one one sample tells you nothing you have to look for a trend okay and you have to like read and we have to react to the different results you get and this is what I what else I tell and it was this is act this presentation is perfect timing considering what we just heard we really should be when you talk about the total thing about health look there's just so much positive out there versus nothing negative like I can't find any sort of like outbreaks related to float tanks yet we seem to think there's going to be one one day right so we have to keep this balance in mind that's what I tell health inspectors I hope you would agree with that that's my Twitter if you ever want to check me out I tried to put a bird on it but I couldn't and I think that's it so I'll see you


So we will have a couple of questions and then please make it brief and concise and then we get the speakers to address them. Okay, thank you, Mr Chair. My name is Hong. I am working at the CIM in Vietnam. I have two questions to address the Brazilian presenter. Mr Emilo Laros, right? I have two questions. First one is from your presentation and also from my experience. It seems that for developing countries the state plays a very important role in the energy sector development and also energy sector operation in general. So do you think that to implement the role of the state in developing countries the state usually plays a triple role including the role for formulating the law on the energy sector development and planning. The second role is to be as the owner of several energy companies and the third but not least the state is also the kind of the price regulator of the energy. So do you think that sometime it could lead to the kind of misleading and make the kind of distortion of the energy market in general? And what is your opinion about that particularly from the Brazilian case? The second question relating to the fiscal reform on the fossil fuels. In many developing countries as you know that the subsidies to the energy particularly the electricity is very huge including Vietnam also. And in the context of the development trend focusing on green growth. So I think that there is the debate about the removal of the energy subsidies. So what is your opinions about the removal of energy subsidy from the developing particularly the low income countries? My question goes to Douglas. That regards the notion of clean energy. One is whether you because we didn't release the statistics because of the technology failure. Whether you consider natural gas as one of the sources of clean energy. And secondly is whether you see the trend towards more emphasis on renewables as potentially replacing the demand for hydrocarbons. And what that means for the economies of hydrocarbon dependent countries. Can we have the next question? Thank you very much. Channing aren't with you and you wider. I have a couple of questions. One for Doug on increasing PV penetration. And you're getting power as you mentioned when the sun is out at low marginal cost but not necessarily when you need it. There's the issue of storage and meeting demand. I wonder if you could talk about that. You also mentioned electric cars. I was wondering if you could elaborate a little bit more on the timing potentially and the scope. How big is this in terms of electricity demand? And then Emilio, I didn't know Brazil had that high but hydro power output at 80%. Could you just talk briefly, is there seasonal variation? Or how do you handle like if it's been a dry year or whatever. Is that an upper limit? What are the scopes for dealing with that? Those were my couple. Can we have any other question? Maybe we address this once and then if you have any additional ones then we can take them later. So we can start from you. Emilio. Thank you very much for your questions. First I'll address the questions by our CIEM colleague. On the first question I think that actually there are always pros and cons of state involvement and I think the lessons that we learn not only from Brazil but other developing countries and also from the UK and other countries where the reform was done is that the important thing is to strike the right balance between state and market forces. And I think that for the first role you mentioned for the state, the formulating law and the planning given the specificity of this sector energy is well known for the invisibility of the investments and the long term construction times and returns on investments so very huge upfront costs. So these are difficulties for the private sector to handle it properly and the Brazilian case illustrated that dramatically. So I would say that there is for sure a strong role for the government in the long term planning of the energy system. The second role of the state you mentioned, owner of enterprise, I think this is not very specific to a state role. You have the property, the private ownership by the market, the business and the private sector. And the important thing is the regulation in this case. You have to enforce laws and regulation in order that the private sector can deliver the country's general goals. So for instance avoiding the predatory use of the natural resource. It was the case in Brazil due to the reform and living the market force alone to tap hydropower potentials in the water basins. This didn't work properly at all. And so the third role of price regulating, that's where maybe the experience has shown that the good balance is what was called in the previous presentation to be at arm's length. That means that independent experts in federal and regional regulatory boards because otherwise if you leave it entirely in the hands of the state you come to your second question, the temptation of artificially subsidizing electricity and fossil fuel prices which of course leads to a lot of distortions. So getting to your second question, I can't agree more with you that actually a number of reports have been shown in studies that have recently released a report by International Monetary Fund again quantifies the huge amount of subsidies to fossil fuels. In Brazil this is not very high actually compared with the average. In the country we have subsidies being very important for the penetration of renewables from sugar cane and also wind through a mix of feeding tariffs and tending system. But the important thing is that even the subsidies for renewables should be temporary and decreasing over time, otherwise you can't convey the right signals to the market. And so anyway we have for instance now an election in Brazil and to illustrate your point to the presidential election you have now the inverse policy of subsidizing gasoline prices to curb down inflation. And this is of course means distortions and hopefully after the election things will go back to normal that means reflecting the true price of international oil barrel. And in terms of your question Channing about hydropower in Brazil why is it able to deliver 80% of overall electricity demand because still counts upon a lot of huge reservoirs that were built in the hydropower plants built in the 70s and in the 80s. And at that time there was even a pluriannual capacity of water storage that means that you could keep water and this would be the buffer point of the system to have the seasonal fluctuation. You have a dry season and you have a wet season. Of course the country is huge and the grid is being extended so you have an inter-connected system so there are complementary season abilities as well between the Amazon and the south of Brazil. So this also helps. Now with wind we have a huge problem because wind is much more intermittent than hydro. In Northeastern region there is complementary between wind seasonality and hydropower but not in other parts of the country. And the big problem now is that due to environment concern the remaining hydropower potential to be tapped is in the Amazon and Brazilian society does not allow anymore the power sector to build very large reservoirs. They are simply not accepted. There are no environmental licenses to that. So we keep doing very large hydropower plants and actually run off the river with bulk turbines and this has considerably affected this capacity of hydropower to deliver and to overcome the seasonal variation of supply. So we count upon some thermal complementary. So we are in a transition from a hydro system to a hydro thermal that means that natural gas will provide 20 to 30 percent in the future and that's more or less the prospects. Thank you. I'll try to get the last two. But let me also comment on the first question. I think because there are many different institutional approaches toward the development of power and or the broad energy sector that are applicable in developing countries that can be learned elsewhere. So for example, the U.S. took a very different approach than a state-owned enterprise. They offered monopoly service districts that were then regulated. Those monopolies became quasi, well, fundamentally private companies but they were guaranteed service revenues and rate of return returns and therefore could go to the private capital markets to raise money which many consumers, residential investors actually invested in through bonds. That was a very different model than a state-owned model. It was a regulated model with a monopolized service territory. The ability, I think frankly today, of rethinking what that paradigm is or multiple paradigms is I think very important because there is ample private sector money that's interested and willing to be put toward investment in infrastructure and particularly energy infrastructure as long as there is appropriate rule of law and a surety of the revenue streams that could come back to them over many decades and that's proven out now much more substantially than I'll call it the prior paradigm of a state-owned enterprise that had to invest in that infrastructure. So I think that's worth some definitive rethinking. Let me come to the other questions really quickly. Natural gas is not included in the definition I was using before. That's all renewable energy technologies, maybe energy smart technologies as well so smart grid and things like that as well. Natural gas would be considered part of the fossil part of that equation. So the 53% that I talked about in terms of market share is mostly wind and solar, a little bit of hydro, a little bit of biomass, a little geothermal. Natural gas and coal are in the other 47% with a little nuclear. There is a really interesting question that you did pose about the implications for hydrocarbon countries and export countries. And I think one has to look at probably two perspectives. The first is kind of related to Channing's question about electric vehicles is what happens in the transport sector. Even if you look at a massive expansion of the electric vehicle markets over some length of time, it's still from a very, very small base and very likely to get to substantial amounts of the overall new car market. And the new car market is a very small part of the overall automobile, medium heavy-duty truck market, etc. So there is a very long tail for liquid hydrocarbons going out for many, many decades going forward, even in the most optimistic set of assumptions for electrification of light-duty vehicles. That's a different set of equations in the power sector where coal and gas have frankly now near-term competitive options in many countries, not every country in many countries. And it bodes to the other part of that equation around sustainability, water and climate change. And therefore there's a real imperative, I think, for those exporting countries and those companies which are in those fossil fuel industries to really think about what does their future look like in a carbon constrained world and whether or not they should be investing more vertically rather than just thinking about them as a pure BTU or kilojoule supply country or company. That's one piece of it. And then on the intermittency, if I can just go to Channing's question at the end, as mentioned, wind and solar, foldable tacks in particular, both very intermittent, we have done hundreds of studies, not only ourselves and our colleagues around the world, about how the system itself, power system in particular, balances out when you think, even with much more intermittency in it, because of the natural variability in load and the ability to control load, but also the geospatial diversification of sources. So sometimes the sun is shining in one place but not in another. That smooths it out. The wind tends to counterbalance the sun sometimes, et cetera. It very, very high penetrations of variable renewables or intermittent renewables. One does need more flexibility from the thermal or hydro generators as well as more flexible load. And it's really more about ramp rates and more technical details in terms of how the system operates versus it being, quote, infeasible. Again, it's just a change in paradigm, I think, from always supply, meeting load to perhaps load and supply being much more dynamically balanced. Thank you very much. Any other question? Okay, as you think, let me use the privilege as a chair to ask Emilio perhaps one question. When I look at the statistics that you posted on the pre-reform and the post-reform, one sees that the average per capital consumption, I think, was 442 kilowatts per year during the pre-reform and it became 499. And then when you also look at the percentage assets, it doesn't look like there was that big change. However, the tariffs had changed significantly from $98.16, $98 to about $178 or $179 if I'm right. So how would I, when it comes to renewable energy, developing countries are very fascinated about the achievements of Brazil. Suppose I want to sell this to the government of a developing country that while everything else will not change significantly but there will be a big increase in the tariffs, wouldn't this be a very hard sell? If not, could you please throw some light on it? Yes, you rightly point out to the insufficient progress of the reform in extending access of electricity to rural areas and also the heavy financial burden of the reform on the low income classes. And that was why the following government that was more socially oriented has changed that and the reform of the reform, the other figures, you see that this access of rural households has jumped from 74% in the year 2000 to 90% of household access in rural areas and urban areas is nearly 100% already. So makes Brazil compared with other upper income class countries by far the most electrified today. Now, in terms of the affordability, the reform of the reform has taken the approach of actually finding who are the real poor and this was done in the context not only of energy poverty but also of a number of other indicators and using local authorities. And now there is kind of negative taxes that go direct to the household chief, normally the woman. And so they have this so-called fellowship, it's called the Family Fellowship Program and the secret is based on you have really the record of who is who and who is really poor and there is social control over there. So instead of subsidizing, for instance, LPG for the rural women to cook, you now have true prices of LPG and putting an end to distortions because also in cities some taxes were running on LPG which is very dangerous because LPG was cheap. So this kind of distortion does not exist anymore. LPG has a real price but the rural households have access to lump sums of money, lump payments that go straight into the woman because she knows better where to spend the money for the family. So this coupled with a very strong enforcement of utilities that they have to connect their households up to next year universal access, that's the law. And of course huge also public funding that makes life easier for utilities to meet that target. This was then the result of this reform of the reform, making it possible to strongly improve the performance that you just mentioned that was the performance of the reform in the 90s with just privatization and the market forces alone. Thank you very much. I wanted to give the opportunity to... Okay, then let me give you the... Sorry, I just want to make a very quick comment relative to the last question and I think it's really important to recognize that the question or the answer to the question does not reside in the fact that Brazil has a significant amount of renewable energy technologies in their generation mix because predominantly it's mostly hydro. And the situation from their reforms through the reform of reforms to today, it's a very different question in most countries outside of the fossil fuel subsidies that may exist. Renewable energy technologies as our competitive option to build infrastructure and to supply power today when they weren't necessarily five or ten years ago. It's a very different infrastructure. It's a very different equation. The companies, the banks, the multilateral banks and the private sector are also very familiar with them, much more familiar today, and comfortable lending into those technologies, into those infrastructure projects. And there's still a challenge, I think, thinking through who invests and owns the distribution of power, i.e. the wires. Is that a monopoly in a private sector-owned company or is that some kind of government entity, again, that's regulated and overseen? I think that's where there's some really deep thought that needs to be put in place in terms of what is the role of a system operator and a regulator, but not necessarily the generator and how that comes to be, and that takes some other questions. Okay, I think we've come to the end of this session and you will all agree with me that this has been very excellent and brilliant talks given by these renowned researchers who have been working on this in this area extensively. So join me in giving them a hand of applause for the excellent presentation. Thank you very much. So we bring this session to a close.