Good afternoon. Howard Wake, Code Green, Think Tech, Hawaii. We've got a hazardous show coming up today. Speaking of hazards, we in Hawaii have enjoyed probably the most blissful summer that I anyway have ever experienced and I was born and raised here. But the rest of the world was either burning or flooding. The effects of climate change have come to us in a big way and we know we ain't going to be invulnerable. We're not going to have summer after summer after summer like this. So we need to get prepared and how do we get prepared the national organization that prepares us for mitigating the effects of hurricane tsunamis so forth is called FEMA, Federal Emergency Management Agency. And the local branch of FEMA is TAIIMA, Hawaii Energy Management Agency. And it gives me huge pleasure to introduce to you the State Hazard Mitigation Officer, Ms. Teresa Wuznick. So welcome to the program, Teresa. Thanks so much for joining us here. Thank you, Howard. Thank you very much. We have a lot of material to cover. So let me dive in and dive in deep. That's what I like. I like this. Take it away and I will ask some questions. Go ahead, Teresa. Great. I work in Hazard Mitigation with Hawaii Emergency Management Agency and what we deal with or what we work with is the emergency management cycle. So I work in mitigation and what we start our emergency management preparedness and planning is on a local level. So here, my job, I work on a state level and then I am in between local and federal grants. And today I would like to discuss BRIC grants and how I can use your help in getting out that message of better building codes and building code effectiveness, so that if we adopt these, then we can be more competitive with FEMA BRIC grants. So shall we start with what BRIC grants are? Yes. And first we will define BRIC. Yes. So BRIC. BRIC is an acronym of many acronyms that we have and it is building resilient infrastructure and communities. So it's BRIC. 2020 was its freshman debut and currently we are in our sophomore version of this grant. So it's brand new with FEMA. And again, it's building resilient infrastructure and communities. So in this grant, it's a competitive grant. And in the competition, we're at 90% competitive and 10% non-competitive. Unfortunately, this iteration of BRIC, our Hawaii emergency management has closed our notice of interest, but it is never too early to start looking at your county and state plans for mitigation actions that you can make project applications for. So bringing up project ideas, the best time is to start now. So with BRIC applications, it starts in fall and it ends in the winter. But we have more than just one hazard mitigation grant program available to us in the next 18 months. So if our audience is interested in that, they can check out our website at haima. And also we will be sending out emails and messaging out the next opportunities for submitting notice of interest in project applications. And Teresa, I understand that nationally, there's plenty of money out there and it would be so nice if Hawaii could snag just a fraction of it, which would still be a big amount. It's very true. The amount of BRIC funding available, for instance, in the freshman iteration, it was up to $500 million. That's still a lot, but on a national level, that might be a little thin. This year, this iteration, it's up to $1 billion of available competitive grants from the federal level to the state. And then the state, we introduce and connect the local level counties with the federal level. So just to make sure we know who all the stakeholders are in this case. Now, the BRIC program for last year, haima submitted 13 competitive grants, but none were considered for further review. None of the projects made it as far as to generate a technical review report. And the technical review report was something that our team was really looking forward to, because we wanted to use it for lessons learned to strengthen our application process and our application projects for this iteration for 2021. So here's the lessons learned that we received from FEMA. With FEMA, they informed us that we lost major ground in statewide building code adoption, because we were not up to the most current codes. The next part that we missed a major amount of points was the building code effectiveness grading schedule, and that we lacked participation in this program. So this program also has an acronym, and it's E-C-E-G-S. And I like to pronounce it E-stakes, but I may be incorrect on that. So if anyone wants to give me a better pronunciation, please share it with me. And Teresa, let me say I just happened to be the chair of the Hawaii Building Code Council. And I am proud to announce that all of the major building codes are current. They're the 2018 codes. And that's at the state level. The trick is now we're a homeroom state to get that down to the county level. And it's the counties that fill in this B-stake. Yeah, exactly. It is so important. Now, let me just add in this little bit. Has your mitigation, one of the stipulations is it has to be cost-effective. So in hazard mitigation, when we make a dollar investment, we expect to get a $6 return over a certain amount of time. So ideally, we want to get that return within 15 years. Okay, definitely within 20. But if $1 that's spent on code adoption, it has $11 return for every dollar invested. And that's by the National Institute of Building Science. So we've got some economists and some science and some math persons that are helping promote building better and stronger is an investment, but it's always a good investment. And the investment protects lives. And our lives is where we live our homes and where our communities are. And that's important to everybody. So I'm so happy to hear that the building codes have been adopted. And in that, we will receive in our brick applications to the federal level, those points. Okay, so that's at about 20 points. Our next part is we don't know if we're going to receive these points. And that's with estates or with building code effectiveness grading schedule. Currently, we don't participate with estates or with building code effectiveness grading schedule. And we would like to make a change on that. And we would like to message out that we want to participate. So let me describe what these takes is. It's a nation, it's a national program that assess that makes an assessment of community building codes and their enforcement with a special emphasis on mitigation of loss from natural hazards. So mitigation means to reduce the severity of something. And in this case, we're talking about natural hazards, such as severe winds, rain, and let's say hurricane type events. In general, ISO or insurance service office mitigation, ISO mitigation, they provide participation in the b-stakes program for most all the nation. But of course, Hawaii, we are different and we are a bureau state. So Hawaii Insurance Bureau runs b-stakes program for us. And currently, Hawaii is one of five bureau states where b-stakes is run by an independent agency at the state level. So Teresa, when we were discussing this, I learned that which I deal with the county building officials all the time. I learned that the b-stake form is pretty long and pretty complex. Is there any way that HAIMA can assist the counties with training on how to fill out these forms? Okay, so we're working on that. If any of the counties need help on filling out these forms, we are here to support that because that is going to help the whole state of Hawaii be competitive on this national level. And that is our goal. Our goal is to be competitive on a national level. So yes, we will assist. Now, when we're speaking of training, I don't have that kind of information yet. But if there's that interest, then we can bring that to leadership and request if we can, a lot that that time of training hours and what we can do with our resources in order to provide that service to the counties. So I am very interested in that as well. Let me intervene and say that I'm the energy codes person for Hawaii within the state energy office. And something I do, we do is when a new code gets adopted at the state level, then a consultant and I go from county to county to county to county and provide training. And that includes a lot of Q&A. How do you do this? How do you do this? How do you do this? And we have found that that training really, really, really ups the level of compliance, the adoption of the code and the level of compliance with the code. So I'm looking at that type of training possibly for all the other codes. It makes sense and to have more education and to share that knowledge on a group level, I think would be very crucial into leveling up our building code effectiveness with helping ourselves educate and to apply what we're learning. So I agree. I'm just not quite sure how we would move into that space, but I'm very open to that education and to sharing that information. Absolutely. One thing I don't think I know you would learn in providing such training is where the county people are getting stuck, where they just can't figure out how to fill out this form. Yes. If you didn't have all the answers, you could take it back to national or to your bosses and say, here's the crucial, crucial questions that need answering. Yes, I agree. And that is the part that we play at the state level, is taking county concerns on their risk assessments and planning tools and boiling that down and bringing it to a federal level or to the state agency of Hawaii Insurance Bureau and ask for their assistance. And they've actually been very helpful to us in that. So this is what I would like for the counties to know is that these states or I will just say the whole word, the building code effectiveness grading schedule will hold Hawaii counties to a higher building code standard than in turn this strengthens the community resilience to impacts of natural hazards. It also demonstrates that Hawaii counties are implementing their building code enforcement requirements. Participation with these days classifications is our proof that building code criteria are being met or exceeded. And ultimately, it directly correlates to lowering insurance costs and participation with these days gives the insured credit and benefits to the policy holder who's carrying that insurance policy. So ideally it will reduce their monthly costs or yearly costs. However, that is paid out. So in comparison, a lower catastrophic related damages means insurance rates would reflect a lower risk. And that's where we want to be. We want to be at a lower risk and have more resiliency in our communities. Compare that to non participation in these days or the building code criteria means that insurance rates would reflect the higher risk which may result into into insurance premiums. Let me posture a metaphor for that and see if I'm on the right track. This would be in the medical field. We read stories about the fact that homeless people do not take care of their health. And it very often they go into a hospital emergency room and they are in really bad shape. And it may take hospitals are obligated to treat them. It may take tens of thousands of dollars to treat this person. And then he goes right back on the street and he's unprotected again. So if we were to train or not to train but to ameliorate the health conditions of the homeless so they didn't have to walk into the emergency room and cost all this money, all insurance premiums would go down in the medical field. Is that a good analogy? Yes, yes. I kind of like to think of it in comparison to car insurance if I was making an analogy but we don't need to be in such bad health or we don't need to be at such a high risk to consider avoiding future damages and future loss. We could start today so we could improve our health today. We could improve our risk today. And sometimes it's just making that plan and getting educated and reaching out to our stakeholders and to our community to lift us up and say, okay, we want to be healthier or we want to reduce our damages or our risks in the future. So let's do it together. And with what we do here at Hazard Mitigation in Haima is we use our state plan as our tool so that we can move forward in reducing damages because of natural hazards. So do you do a lot of outreach, Teresa? Well, I have just started with Haima last December and I have entered into a COVID environment. So we don't meet many people face to face but we do have a lot of meanings. So I've met many of the county points of contact and emergency management and our stakeholders via Zoom or teams or virtual teleconferencing applications. So that's how we connect right now. Hopefully it won't be forever but it'll end soon. And I mean virtually that I can meet people in person. But outreach I think is key, is a key component to socializing these ideas and to making our project applications and our plan stronger. So if I could, the state of Hawaii Hazard Mitigation grants and our participation with beast eggs, we're requesting for the counties and for persons who are interested in building clients and building code enforcement to help us to be nationally competitive in brick grants. So Hawaii counties need to have a beast egg score of between one in five. Ten would be the lowest score in this case. So one in five is our goal, but we would like to initiate participation with beast eggs. And in that case, you can reach out to the Hawaii Insurance Bureau and our point of contact who's been such a help to us is named Stacey Sugamora and he works at the direct business connections and that's an administrative service for Hawaii Insurance Bureau. So if you go on to the website on ISO Mitigation, ECEGS, you can download the application. After you download the application, you can reach out to Hawaii Insurance Bureau and Stacey Sugamora will happily assist you, but also you can reach out to our office as well at Hawaii Emergency Management. You can look us up online, search Hazard Mitigation, and it will give you our emails, it'll give you my phone number, and our team will be happy to help you with that application. And I know, Teresa, from working with the counties all the time that virtually every county is pretty gosh darned short-handed. Yes, especially in the building department and I know that they would love to fill out this specific form, but they have to ask the question who in the world is going to do this?  And that's where the help comes in from yourself or from Stacey to reduce the number of hours because you people are very familiar with it. You know what the answers are and you can help the county with that. That's my hope there. Yes, yes. So we are here to help along the counties and to move forward in stronger building code. So do you want to quiz me on some information, Howard? Yeah, let's see. I think we've covered things. Oh, some counties have pre-existing B-Stake scores. Scores, yeah. Yes. This is true. The county of Kauai and the county of Maui have a score of eight, but that was 20 years ago when the program started. So we can update that B-Stake score and hopefully we can get between one and five. And you can do that by assisting the counties as we discussed. Yes, very true. Do you have to pay to participate in the B-Stake program? No, participation in B-Stakes is complimentary. It's at no cost and it is free. So just fill out the application and go through the process. And a low B-Stake score will increase insurance rates? Okay, this isn't true, but I guess when we're talking about a low score, one through 10, 10 would be the lower score. It's counterintuitive. Yeah, it's a little mixed up. So B-Stake scores are used for insurance rating and underwriting purposes. So on the contrary, participation could reduce the amount of your insurance because you're reducing your potential loss to natural hazards. So the concept is pretty simple. Well-enforced codes should result in strengthening structures which would reduce future damage and insurance should correlate to that. So there you go.  One good example of strengthening codes is one of the building codes. It's called the building code and it covers just about everything for commercial buildings and a structural engineer is very active in this and he looked at the national code and said this for tsunami resistance. The national code says to resist tsunamis, you will have x, y, z structural strength components and he said, no, that's not enough. We need to do more. And one measure that he argued for was in Hawaii, we normally have open parking lots anywhere or parking spaces within buildings. Keep the parking spaces at the lower floors and have them open on both sides so that the tsunami wave will just rush right through it and you build that up to the anticipated height of the tsunami wave and then you have your living and office type of space up above that and you harden the whole structure even more. I think that's a good example. You sound like a natural born hazard mitigator over there. It's me and I appreciate getting that good word out. Yes. And we did the building code council did pass that strengthened amendment by the way. So we have a really good building code. This is music to my example that I would like to give is rather close to home, namely my home where I have a single 2000 square foot single family single wall older residents and I put strong ties that join the rafters with the walls and that goes on those iron devices go on to every rafter around the house and the idea is that if the hurricane force wind is going to try to lift up your roof, it's going to try to lift up the entire home, including the foundation and that's a slightly stronger task and a continuous load path. It is very important. Yeah. And you were saying something about sheer walls. Can you explain what sheer walls are? I am a big fan of sheer walls. So sheer walls goes from now I'm not I'm a science ban. I'm not an actual hardcore scientist, but this is how I understand it. Sheer walls goes from foundation all the way to the rooftop. So those walls are the strongest components in that structure or let's say in your home. So if you're looking for the best available refuge area, you want to look for that sheer wall and stay in that space if you're in a high wind event or if you're in a public or private structure. So that that would might be another podcast as well for us. And we are just about to bid fond adieu, but I want to close my personal story with the fact that I talked to the installer and he said, by the way, you will find that your home insurance rate is going to be reduced by $200 a year. And sure enough, I looked it up boom, days after I'm going down by $200 a year. So you were talking in terms of payback. That's a wonderful payback in addition to your house surviving, hopefully through a hurricane force wind. So we just about have to say fond aloha Theresa any phone or any words of wisdom as we close off. Well, we are about to update our 2018 state has a mitigation plan to the 2023 has a mitigation plan. And we are incorporating elements that include Hawaii 2050 sustainability plan. And we want to include studies and analysis of a broader scope of hazard landscape to include how how is climate change perhaps affecting severe weather weather events and fog and wildfires. So these are going to be elements that we're going to include in our plan. And our team is very excited here to set that up moving forward. And if the vast audience wants to Google something to have access to this, what should they Google? They should Google state of Hawaii hazard mitigation plan. That will take you to the haima website. And you will see our page. And we have best practices of what hazard mitigation has has achieved and how to apply for project applications or how to search for your own county hazard mitigation plans, which I highly recommend. Make sure to look at your hazard mitigation plans in your neighborhood and then see if there's a way to reduce risk. Very excellent sales lady, Teresa. Thank you so much. And we just barely began this discussion. There's so much detail we couldn't be going into. So maybe down the road sometime, we will have a follow up to this. Meanwhile, we bid fond of your from Teresa and Howard, cold green, sink tech, Hawaii September 27th, 2021. See you next time.


In a moment, you'll hear James Stewart as the six-shooter, just one of the many fine programs brought to you Sundays on NBC. Later this evening, listen to the NBC Star Playhouse with one of your favorite stars. Here, stroke of fate. What happened if fate had reversed historical facts? And be sure to keep tuned for the dramatic story of Last Man Out. It's a wonderful lineup of great programs, all of them heard only on NBC. James Stewart as the six-shooter. The man in the saddle is angular and long-legged. His skin is sun-dyed brown. The gun in his holster is gray steel and rainbow mother of pearl. His handle unmarked. People call them bull, the six-shooter. The NBC radio network presents James Stewart as the six-shooter, a transcribed series of radio dramas based on the life of Britt Ponsett, the Texas plainsman who wandered through the Western territories, leaving behind a trail of still-remembered legends. The rain sure was coming down that afternoon in Petersburg. It started all of a sudden, too, just after I left Scar at the livery stable and headed up the main street toward Dark Early's office. Real cloudburst. The wind was from the north and strong enough so that the water was beaten against the building, slam-wise. The way the wheel ruts in the street were turning into puddles. Rain barrels were sloshing over the sides. It was like the whole town had been pushed under a leaky sieve. The closest cover I could spot was the front porch of the Jackson Hotel. The minute I sort of shook myself off like a half-round pup, then I noticed the young fellow standing beside me. I didn't recognize him, though, not at first. Britt Ponsett?  Yeah, yeah, that's right. I saw your gun. Now, I guess you don't remember me, Mr. Ponsett. Calvin Plummer? Oh, I sure remember you, Cal. Say, you really sprung up, haven't you? By George, you're taller than I am. How'd you manage to do so much growing so fast? I wasn't so fast, Mr. Ponsett. It's been six years since you were in Petersburg. Six years? Is that long? Right after my 15th birthday, that's when you left. Six years since I was here, huh? See, I must make you right about 21 years old, isn't it? Yes, sir. Oh, 21. Well, that's a man's age. It's supposed to be. Too bad everybody doesn't realize it. Well, sometimes it takes a while for people to get used to the fact that you've grown up. I guess so. Now, you're folks, huh? You're Mon Paul, aren't you? Didn't you know, Mr. Ponsett? Uh, died last summer. Oh, well, no, I hadn't heard that. I'm sorry, Cal. I'm awful sorry about that. He was a fine man. Yeah. At least I thought so. Well, everybody thought so. You know that. Did they? What do you mean, Cal? Nothing. Looks like it's letting up. You staying in town, Mr. Ponsett? Just over night, I kind of twisted my hand while I was branding the calf the other day. Swelling wouldn't go down, so I thought maybe, dark early, ought to have a look at it. If he's still practicing here, is he? Yeah, yeah, he's still here. I expect you've been moving around quite a bit, huh, Mr. Ponsett? Oh, more in my share, I guess. You ain't never been to a place called Elk Point, have you? Somewhere out in the New Mexico Territory? Oh, yes, yes. I was out there in Elk Point two waters ago, I think was. The kind of setup is a Quincy Ranch. Would you mind telling me? Quincy? Yeah, it's supposed to be one of the biggest outfits in those parts. You sure it's near Elk Point? Well, ain't it? I don't know. I don't know. I never heard of a Quincy Ranch around there. You're certain, Mr. Ponsett? Yeah, of course. That doesn't mean that there isn't. Yeah, I know. Well, goodbye. Say hello to your mom for me, Cal. She's alright, I trust. Sure. She's fine. I reckon your father was... Well, I must have hit her pretty hard, huh? He had a real fast recovery. What? Ten months ain't very long to mourn, is it? Not even a year. Just ten months. Bye, Mr. Ponsett. Cal Plummer had done a lot more than just grow up since the last time I saw him. Strange way he was carrying on, I sure couldn't figure out what caused it. When I talked about his mother, like Kara, Ned Plummer, was just about as well as soon as any two people I ever met up with. But you couldn't even think about one without thinking of the other. They must have been married on close to 35 years. Cal, he was their third child. He was the only one that lived. She, Ned, sure thought the world of him. Uh...Petersville wouldn't be the same without Ned. Oh, it's... Rain had stopped now. It even started to warm up a little, and the mud puddles out in the street were giving off little whips of steam. So I went over to Doc Early's office. It was just around the corner from the hotel. Britt, it don't look like you broke a thing, but it's a real bad sprain. The one you was even able to ride in town today. Yeah, well, it wasn't any too comfortable. I'll tell you that much. What you been doing for it? Well, it wasn't much could do, Doc, out the ranch, you know. Well, some hot-water nets and saws might be a little help. I'll put the kettle on and get it warm. And with the darn chili during all that rain, I built me a little fire in the stove. Good thing that ain't your shooting hand, Britt. Well, I haven't needed a shooting hand much lately. Yeah, you never know. You never know? No, things look quiet enough around Petersville. Yeah, yeah, they're quite all right, considering that Sheriff Jay is out of town. Oh? Yeah, he had some business, took him over to New Mexico territory. He's taking up on some fellow there. Oh, well, that's kind of a coincidence. What do you mean? Well, I just ran into Cal Plummer on the way up to see you, and he was asking me about New Mexico. That wasn't no coincidence, Britt. Why? You see, the reason the sheriff went to Roswell, well, of course, officially, he's picking up a prisoner. But the reason he went himself, instead of sending somebody else, is so he can do a little inquiring about Cal's new pop. New pop? For sure. Cora was married again, didn't Cal tell you? No, no, it didn't. Well, I guess maybe he was just too ashamed to mention it. Well, by the way, that doesn't seem possible. Cora Plummer remarried. No, he was all mighty surprised. Nobody ever figured she'd look at another man much less take a new husband, especially so soon after. Well, it was less than a year. Oh, ever Quincy, that's the fella's name. Quincy, huh? Well, when did it happen, Doc? Well, I've seen him about a month ago. Maybe five weeks? Five weeks and three days. And it's as plain as day he married her, because she's got a little money. Ned left her a pretty well-fixed ranch, and all in Cal. What about Cal? Oh, he came in some money, too, enough for a good start in life. And Cal's a hard worker. He'll get along. I feel kind of sorry for him, though. You know, he just worshipped his paw. And Cora getting hissed again.  Yeah, that ought to be hot enough for you. Now, what kind of a man is it, all of her Quincy? Is that his name? Yeah, that's his name, all right.  Oh, here we are. A real poor plucker. That's what he is. You can spot him a mile off. Dresses like a dude use a lot of fancy words. Move that stuff. Now, there, there, let me see. Now, just stick your hand in here. Right here. Oh, ow, ow! All the way, Britt. All the way. He's good for spring.  Folks, that's hotter than a further stop. Well, that's what draws up poison. You'll get used to it in the minute or so. It draws out the what? He claims that big grand is somewhere near Elk Point. Cora says he's worth more than she is. Well, maybe he's got her convinced, but he ain't fooling nobody else. She's not hot. It could be the truth. If he's so well off, why are they living on Cora's property? Just answer me that thing. I see what you mean. I guess that water's cooling off. Maybe I ought to pour in some fresh. No, no, no. That water's fine, Doc. That's just fine. It doesn't need to be a bit hotter. And the hand's feeling better already. Yeah, well, you leave it in a little while longer anyhow. It's feeling better. I reckon even Cora will get her eyes open up when Sheriff Jay comes back to New Mexico. He'll have the truth about Oliver Quincy. Of course, it's going to hurt her some. A woman don't like the idea of finding out she's made a fool of herself, but it'll be better for her to find it out now than later. Well, I just don't see how this concerns the sheriff, Doc. Man who tells a widow woman a batch of lies and finagles around so he can get control of her property, that concerns the sheriff, don't it? Tell her who knew that. He might do a lot worse, Britt. He might do a whole lot worse. You just marked my word. All right, let's have a look at that hand. Oh, sure. All right. Oh, now don't let the redness worry you ain't scalded. Well, it has gone dynamite. Well, I'll just wrap it up real tight and in a day or so it'll be good as new. I swear, I don't know how I'd get along without epsom sauce. Seems like there are remedy for almost everything. Put old Lady Murdock on him last year when her liver was acting up four or five doses and she ain't had a bit of trouble since. Why, she was even at the barn dance last Saturday carrying on like she didn't have no liver at all. Now, if you'll just hold out your hand, Britt. After Dawk early got through with his bandage and my hand did feel a little better. At least some of the problems seemed to go away. So I left his office and I wandered over the hotel. The time I got there, they were serving supper in the dining room. Not family style either. They had a real fancy layout. Separate tables, flowers on them. Two waitresses wearing little checkered aprons sort of matched the tablecloth.  Well, you can figure on pan a little extra for your food when they have a place. Now, for instance, the steak I ordered, it was going to cost 35 cents. That's what it said on the menu, 35 cents. There you are, mister. Oh, thanks. Looks like you're going to have trouble cutting it. What's wrong with your hand? It's nothing serious. It's just a sprain. I guess maybe I should have ordered something I could spoon through. You want me to slice up the meat for you? No, no. No, no. I'll manage. I'll just get this thumb out of here. I'll be all right. Well, if you want anything, just holler. Oh, thanks. Thanks, man. I don't know. I'll give me the toughest steak in the whole kitchen. That's 35 cents. Ah, party, Britt. Oh, Doc, are you eating here tonight? No, Britt. I was looking for you. For me? Cal Plummer just came right in. The town says his mom's been shot. Been shot? Car. That's what Cal says. He don't think it's too serious, but I'm going out the ranch. Not if he doesn't do far. Oh, of course. Sure. Cal told me to bring you along. Me? What for? I don't know. He just told me to find you for good and bring you. He did, huh? That's funny. Oh, Britt, you coming or not? Well, I sure don't see where I figure in this thing, but Cal wants me. Sorry to drag you away from your supper. Oh, that's all right. That's all right, Doc. I'm afraid I was fighting a losing battle with that steak anyhow. We'll return to James Stewart as the six-shooter in just a moment. Every day, every one of us Americans has the satisfaction of knowing that right now we enjoy the highest standard of living in all history. And we've only begun. For it's a fact that our standard of living will rise still higher. And while we've made ourselves stronger economically, we've retained all of our basic freedoms. We work where we choose. We bargain collectively, contract our own affairs, and profit from our inventiveness and enterprise. That's the American economic system. And I'm for it. I'm sure you are, too. So let's keep things that way, friends. All of it. Now, act two of the six-shooter, starring James Stewart as Britt Ponsett. The Plummer Ranch was about half-hour ride east of Petersburg. Real big outfit, too. Maybe old 50 square miles grade land and all. The main ranch house just off the road was built to size. Two stories tall with giant, big windows face now. I remember hearing folks tell how Ned Plummer had to send all the way up to Chicago to have big enough for those windows. There was a couple of lamps burning somewhere on the first floor. You could see little lights going through the draperies. The rest of the place was dark. Oh, boy. And we left our horses in the yard, Doc and I. And he grabbed his statue as a medical instrument, and we walked up to the car of Mahogany door, the front door. Just a minute, just a minute. Yes? Oh, Doc, early. Even. Just what can I do for you, Doctor? Well, Cal said that Ms. Plummer, I mean that Ms. Quincy, your wife, she was hurt somehow. Oh, I see. Well, it's nothing serious, just a scratch. My gun went off accidentally, and bullet grazed her shoulder. But Korra's perfectly all right now. Matter of fact, I think she's already gone to bed. Is it Oliver? It sounds to me like she's still up. I guess I was mistaken. Oliver? It's Doctor, dear, and... My name's Ponsett. Brett Ponsett. Brett Ponsett? I'm sorry. That's right, Mr. Quincy. Well, I suppose you might as well come in, Doctor, and Mr. Ponsett. How you doing? This way. I told him there was only a scratch, dear. But as long as Dr. Early rode way out here, I suppose you might as well have a look at you, just to be on the safe side. Hello, Korra. Brie. Well, what are you doing in Petersville? When did you get into town? This afternoon. Didn't Cal tell you? Well, I don't know. It must have slept his mind. But even Korra... Let me see you here. No, Doc. You shouldn't be troubling over me. I'm all right, really. Well, of course you are, my dear. Of course you are. Bullet barely grazed her skin. I'm afraid the good doctor doesn't approve of my bandage. No, no, no. It's perfectly satisfactory. At least it appears to be. I'd like to take it off, though. Make certain there's no danger of infection. You want to step into the other room, Korra? Well, I... Go ahead, my dear. Go ahead. I'll see you before you leave, Brie. No, sure. I'll wait around until the doctor finishes up. Nice of you to write out the doctor early, Mr. Fonsett. I imagine he appreciates having the company. Well, it wasn't his idea, Mr. Quincy. Oh. Now, Cal asked him to bring me along. I'm afraid I don't understand. Mm-hmm. Well, I reckon that makes us even. Whereabouts is he, anyway? Calvin? I don't know. He hasn't been here all evening. He wasn't around when the shooting took place. It was not his shooting, Mr. Fonsett. It was an accident. Well, whatever it was. And Calvin was not here. I met up with him while I was riding into town to get the doctor, and he offered to save me a drip. Oh. I guess I was under the impression you said Korra didn't need a doctor. No, she doesn't. But at first, I didn't know how serious the wound might be. Then, when I got back to the house, I saw it didn't mount anything. Uh-huh. By the time you and Dr. Earley showed up, I'd forgotten the whole thing. That's why I was surprised to see you. For a moment, I couldn't think what you wanted.  I was going to clean it. I thought it was empty. I guess I don't know too much about fire. What mic do you carry? Oh, I... He doesn't carry any mix. But I do. I hadn't seen Cal coming on the front hall, so I didn't know how long he'd been standing there. He was holding a 45, using it to cover his stepfather. The gun wasn't moving either. Cal's hand was as steady as his eyes. Steady and cold and determined. It wasn't the first time I'd seen a man with a look like that on his face. Now, not the killers look exactly. At least, not the look of somebody who wants to kill. Or like somebody who hasn't got any choice. I was wondering how you'd lie out of it, Quincy. The kind of story you'd tell. You weren't very convincing either, considering all the practice you've had. Cal, listen to me. I know how you feel. You haven't got this slightest notion how I feel. You did you the left town like I told you a couple of hours ago. Yeah, take it easy, Cal. I gave him warning, Brit. I gave him fair warning.  I don't know what it is he's got against me, Mr. Ponson. I suppose I don't measure up to his... Measure up to him?  Well, now you're going or not, Quincy. Because if you're not, this time, I ain't here to get in the way. But was that what happened before? Is that how she got shot up? It was his fault. He's got us all mixed up. She doesn't see anything straight. She thinks he's fine to her the way she is to him. When she saw the gun, she ran forward yelling and screaming the way she grabbed my hand. That's what made it go off. I never meant to fire. At least of all, I never meant to hit Ma. If you're Ma's all right, Calvin, the bullet hardly touched her. I don't believe... Is that true, Mr. Ponson? That's right, Cal. Of course, fine. Doc Earley's in there now, just making certain. All right, Quincy. Start moving before she comes back. Now, now, hold on. Hold on right there now. This isn't any way to settle things. He's your mother's husband. She's got a right to know what's going on.  That he never cared for you? You think I want to break her heart? Well, what are you talking about, Calvin? I never lied to her. I never in my life... Then where's that big ranch you're supposed to own and all the money you're supposed to have? What? Tell Mr. Ponson about your holdings. He's been to El's Point. And I ain't no Quincy ranch. Oh, you're not making any sense, Calvin.  Now, put that away, Cal. Not until he leaves. He gives me his word. He won't be back. And if he don't keep his word, Cal... You don't think you're in this, Mr. Ponson? You got me out here. It was my idea. Well, nobody's keeping it. This bandage isn't on my gun, Ham, Cal. He's got you fooled into being on his side, too. I didn't say that. Look, ain't there nobody that sees him for what he really is? All he's trying to do is to get his hands on what my father left. Dad worked hard. And when he was dying, he told me to look after Ma. Told me it was my job. Well, I'm gonna do my job, Mr. Ponson. And nobody's... Calvin? You've made enough trouble for one night. I'm sorry, Ma. I didn't want you to be here. I didn't want you to find out. Find out what? Did my son turn into a lunatic? I'm only doing it for you, Ma. For me? Do you think you're helping me by carrying on like this? I've got my own life to live, Calvin. You've got to let me live it as I see best. Ma, he's no good! I was trying to get him to leave before Sheriff Jake and back from Roswell before the whole thing came out. I guess it's too late now. I guess you'll have to know. No, Pa. He hasn't got a ranch. He ain't got any money. If you don't believe me, ask Rick Ponson. He only married you because of what Pa left you. Now, all I said is that I didn't know about any Quincy ranch near El Point. That's all I said. I haven't been around there for a couple of years. Maybe by now. I ain't no such ranch now either. Here's their Quincy. Oh, no, no, of course not. There you see, Ma. Calvin, listen to me. He's admitting it, Ma. Why don't you face facts? Everybody else has been on to him. Everybody but you. It's all my fault. I should have told you in the first place. I know that Oliver isn't rich. I never thought he was. You could never thought. Ma? Well, it might be dark night, not a good day. No. No, I'd like you to stay a bit. Calvin is right about one thing, though. I've been making a fool of myself. What's worse? I've been making a fool of Oliver, too. Oh, Cora. You see, Calvin? I've known Oliver for a long time. Your father and his aunt. Well, we were all friends back in Kansas. All three of us. Of course, that was before I married your dad. You've known each other all these years? Once. Oliver asked me to marry him. But I chose your father. And I've never been sorry. I made that choice. I guess you know that, Ollie. Sure, sure, Cora. But after Ned died, well, it was like part of me had died, too. And I felt all hollow and useless, lonesome. Not a very romantic way of putting it. Lonesome, but that's how I felt. It's like I couldn't go on by myself. Oh, you did your best, son, to keep me from thinking about your father and about myself. But it wasn't enough. And I kept remembering what your father said when he first took sick, and he knew he wasn't going to get well. He said he'd take it as a compliment if I had to marry again. That it would mean our marriage had been a good one. But more than that, I think he knew I wasn't kind to live alone. So I wrote to Oliver, asked him to come out to Petersburg just for a visit. And then, well, us getting married was my idea. Your idea, Cora? Ollie was afraid of what folks would think. Me having a ranch and him not worth very much. He's afraid they'd get the idea he was marrying me because of my money.  Why, Cora? Well, I was just trying to make it easier on him, but he wouldn't leave me. Embarrassed, uncomfortable. Of course, Oliver didn't know what I was up to. Well, you shouldn't have done it, Cora. I'm sorry, Ollie. But I'm not sorry, I married you. Oh, my. He's got to understand, Calvin. It's true, I'm an old lady in a foolish one. And it's true, I don't feel the same way toward Oliver that I felt toward your father. And you only feel that once in a lifetime. And some folks aren't even that lucky. But it's better for me not to be alone in this time that's left. I think it's better for Oliver, too. You should have told me, ma. Yes. Yes, I see that now. But I wasn't sure how you'd take it. Too bad you were dragged into this bit. You and Doc, but I wanted you to hear it all before you left. Sure, Cora. You knew Ned. You were a good friend of his. He thought a lot of you. I sure hope so. What do you think? How would he feel about my marrying again? Oh, it's pretty hard to speak for somebody else, Cora. But Ned loved you. That was plain to everybody. So I guess he'd want you to be happy and content. That's what Ned would want. Thank you for your time. Well, Doc, there's about time we're getting back to town, isn't it? After that, I guess Cal and Oliver started hitting it off real well. Anyway, the last time I was through Petersville, folks were all talking about how much Oliver Quincy had done for the Plummer Ranch. Practically doubled the size of the herd. And I was building a house down on the south pasture for Cal to live in when he got married. As for Sheriff Jay's story about Oliver not owning any property around Elk Point, well, the people just wouldn't believe that. The Sheriff just hadn't done enough shackling or so. A man like Oliver Quincy, why, he just had to be rich. He was written all over it. The six-shooter is a transcribed NBC radio network production in association with Review Productions. It is based on a character created by Frank Burtz and is written by him. Mr. Stewart may soon be seen in the Universal International Picture, the Glenn Miller story. Others in the cast were Virginia Gregg and Jean Tatum, Robert Griffin, Parley Bear, and Bert Hollins. Special music for this program was by Basil Adlam and the entire production is under the direction of Jack Johnstone. All characters and incidents were fictitious and any resemblance to actual characters or incidents is purely coincidental. This is Hal Gibney. Tonight here, Margaret O'Brien in the NBC Star Playhouse on the NBC radio network.


Okay, so I would like to welcome you all to this ICB Virtual Computational BioGIS seminar series. Today we have the pleasure to host several speakers. Claire Cliva, Marcie-Alphonse Carr, Sarah Schultes and Simon Gabet. So I will go briefly through the bio. So Claire Cliva is head of Digital Humanities, plus at the ICB, the Swiss Institute of Bioinformatics. She's leading the DH research project such as Mark 16, the ETOX or the H2020 Desire project. She's publishing research at the crossroad of the New Testament in Digital Humanities. She's a member of several scientific committees and editorial boards. And she's co-leading a brief series called Digital Bi-Bike Health Studies, sorry. Regarding Simon Gabet, after a master's degree in romance, philology in Paris and groups, he defended the PhD in Latin philology at the University of Amsterdam and is currently working as a postdoc fellow at the University of Michelin, where he's now carrying research on the 16th, 17th century French manuscripts and digital philology. Sarah Schultes is part of the DH plus intergenerational team with Claire Cliva here at the ICB. She has published several articles on the Arabic manuscripts of the New Testament and Digital Humanities and defended her PhD thesis on the Arabic manuscripts of the Letters of Paul in 2016. She's currently publishing a research on a Greek Latin Arabic manuscript of the New Testament and the Digital Platform Humareg as well as working on the EU project Desire. And finally Marcel Sancar studied biology and computer science at the University of Paris set. He obtained his master's in proteomics and bioinformatics at the University of Geneva in 2007 and was enrolled in the company GeneBio, a doctoral solution company for proteomic-based biomedical application. He joined the IBM S in Strasbourg in 2009 as a data scientist in cancer genomics and he then defended the PhD at the University of Lausanne studying various kinds of morphogenetic phenomena through data analysis and mathematical modeling. And in December 2014, he joined the Vital IT Group here at the SIV to work on the mega-cloths and digital humanities also at that time. So today, the four of us will tell us more on how the field of humanities is benefiting from bioinformatics practices and how these practices are contributing to the development of digitized humanities. So I want to welcome you again and the stage is yours. Thank you. Okay, today it's a special SIV virtual computational biology seminar series because we are not going to talk about computational biology or bioinformatics. We are going to talk about digital humanities. And we are going also to introduce you to our new group, DH Plus, for digital humanities plus. The group is led by Claire Cliva. For the moment, it's a small group. There's two people. There's me and Sahab. We will be joined in April by Mina Monil from UK. And we hope that Simon Gabet, who is here today, will also join us this year because he just deposited an ambition project to work on its own project ID under the umbrella of DH Plus. So I will start with a short introduction. And then each one of us here are going to present you a product or an ongoing project where it's involved. And finally, Simon is going to show us what he's doing, what he's working on in Neuchâtel and maybe we'll give a few words about his next project. But first of all, I would like to start with a small story. It's the story of the blind monks and the elephant. The story starts with a group of monks who wanted to know the shape of an elephant only based on their feeling when they touched. Why? Because they are blind. And so one of them is going to touch, for example, the task of the elephant. He's going to say, yeah, it's sharp. Maybe it's a sword or a blade. Another one is going to touch the body of the elephant. And he's going to say, yeah, it's strong and solid. So maybe it's a rock or a stone wall. Another one is going to touch, for example, the leg of the elephant. And he's going to say, yeah, it's vertical, it's strong, it's maybe a tree trunk. And for us, it's easy, actually, because we can see the shape of the animal. But for them, they cannot see, it's more complicated. What they could have done, for example, is simply talking with the neighbors, exchanging ideas and hypotheses regarding the shape of the animal. And you can imagine each of these monks to be of science, like mathematics, informatics, humanities, biology. And that's what we are doing here, actually. We are trying to enable the crosstalk between bioinformatics and humanities. And bioinformatics, by the way, is already a crosstalk between biology and computer science informatics. And this is more a biological network representation we are maybe more familiar with of what is a crosstalk. So you have two components, the I for bioinformatics, the H for digital humanities. And we come back to the question mark just after defining you what is humanities. Humanities is defined by Stanford University as the study of how people are processing and documenting the human experience. And since humans have been able, they use tools, we use tools like philosophy, musicology, theology, religion, arts in order to understand and record the world. It's a definition that I like a lot because I find it very complementary to what we are doing in life science, for example, where we are aiming to explain life systems and being able to predict it using, for example, mathematical models. And more and more humanities is going digital. So we are talking and going towards digitized humanities. Why? Because humanities is going through a massive digitization of its raw materials leading to a huge amount of data and some needs for tools, computational tools, statistics, methods, and visualization, for example. And you can compare it to what happened to biologists 30 years ago with the advantages of sequencing technologies which tries to emblematic database, such as EMBEL database or Swiss Pro, and also tools like BLAST. And in vital IT, that's what we did during this four last year, actually trying to exchange our experience from bioinformatics with colleagues from humanities. In terms of methods and tools, mining, visualization, and technological knowledge, but we noticed that there was one fundamental differences between science, biology, bioinformatics, and science like humanities is that the nature of the data is different. So we are more used to deal with quantitative information and more and more with next generation sequencing technology and high throughput technologies, whereas humanities, it remains qualitative mostly. That's the data we have in humanities. So for example, it's manuscripts. The one on the left is from Codex Arabicus. The other one is a trilingual manuscript, Greek, Latin, and Arabic from the Martian Library. And for some people here, you can say it's images. So it's a big matrix of cell intensity values, right? But it's true because depending on the question, for example, if you are interested to character recognition or to automatically detect the limit, the limitation of the verses, that's the way you are going to use it using numbers and matrices. But the question that humanities researchers are asking is lying at the core of the manuscript. They are interested by the meanings of the verses, the meanings of the words that they are interested to the purposes, they are interested to the historical context, and all these aspects that are really related to human experience. And this is something that, in my opinion, is really present in the work of bio-curators, curators, or more in biomedical, for example, the work of experts like pathologists, maybe. But to score skills, they are valuable. And big companies like, for example, Google, they notice that, and they are bypassing the traditional academic channels to create a new discipline that makes humanity skills with data science. And data science is already a mix of skills. And why they are doing that? Because they noticed the importance and the role of intuition, purposes, meanings, for decision making to help human make decisions. And I invite you to read this article. It's from a fast company. It's a famous tech and business journal in the US. More concretely, what we are doing in DHS, one of our products, is the e-talk. The concept of the e-talk was developed by Claire Cliva and Frédéric Caplan, five years ago in a PFL. And it was deployed here in vital IT before arrived, actually, by Nicolas Labudin and Ioannis Inarios. And it looks like that. So you have the images of the slides. You have the speeches that is written. And you can hear the author's talking. You can hear the author's speeches. And this is an example from SID, from Frédéric Caplan on personalized medicine. And one of the features that we are proposing with the e-talk is the possibility to cite each part of the author's speeches with cross-link and references. And during the last four years in vital IT and now in the H Plus, we have a series of five series of e-talks with 22 distinct e-talks for a total of 28 e-talks and almost 800 minutes of recorded speech. Nice achievements. And last year, for the context of the course, we used Docker and virtualization solution in order to package the application and make it use by students and people in the workshop. And we also released a complete training on the e-talk that is available on Daria Teach. Claire is going to talk a little more about Daria just later. But this technology, Docker and this kind of virtualization make us think about kind of new editorial model, maybe, where you can chip the e-talk application that is encapsulated inside the Docker image to any user, can be students, can be scorers. They can edit their own e-talk in front of their computer. They can do whatever they want to publish it on Amazon Cloud or whatever. Or they can simply come back to us for review or editorial validation. It's not just a concept idea. It's something that we are experimenting and developing into several collaborations, for example, with sculpture. And we are still using it internally, actually you and Claire developed two different e-talks on Mark 16, one in French and one in English. And she's going to tell us about this project now. Thank you, Marcel. So now, Mark 16. Mark 16 is a three-mar grand project, so five years. And what is the classical enigma of Mark 16-8? Potentially, the Gospel-agreting to Mark could finish with the sentence in 16-8. So the woman went out and fled from the tomb for terror and amazement as size then. And they said nothing to anyone for they were afraid. If it's like that, it means that the second Gospel in the Bible could finish without the appearance of the resurrected Jesus. So it puzzled researchers since centuries, I can say. Although more that we have different manuscripts at the end of this Gospel with, as you can see, it's a list of different endings. So it's a recurrent enigma in New Testament textual criticism. Now, with digital humanities, we face a very important epistemological term for humanities, and I can show it for this project. Notably, we can look at the manuscripts online and it changes deeply the field of the textual criticism. We are attentive to the material of the research. And so, for Mark 16, we have no preparatory surveillance of it, no attestation before the fourth century. And Mark 16 ends in 16-8 only in three manuscripts, the two oldest ones, 01 and 03, and the manuscript, 03, 04, 12th century. So according to Keith Elliott, the manuscripts of 01 and 03 were aware that the ending of Mark was disputed. And thankful to the wonderful Codex Vaticanus, we can now see online and even download images. We can check it quite directly, because as you see here, there is a full empty column at the end of the Gospel, according to Mark, normally used to show that this Gospel puts an end here. And we can share with Keith Elliott that it is not a phasardus because all the other Gospels or other texts in New Testament finish with a not empty column. You have the other Gospel directly written on the last third column, for example. So it's time to come back to this enigma, and I totally share the opinion of the French historian François Hartog. Is it possible to write history from the point of view of both the losers and the winners, or with some French words nevertheless, alors que l'histoire des vainqueurs ne voit qu'un seul côté le sien, celle des vaincus doit pour comprendre ce qui s'est passé, prendre en compte les deux côtés. Une histoire des témoins ou des victimes peut-elle faire droit à cette exigence qu'on porte avec elle le très vieux mot d'historia? So what I want to do with Mark 16 is to show the diversity of the manuscript. That means the diversity of opinions in early Christianity about the end of these texts. And so we are building a new research model in humanities, a virtual research environment that hopefully will be launched at the end of 2019 to start the platform. It could look like that. Thank you to Marcial for the mock-up. It will be in my mind a reference portal on Mark 16 with as much as possible, depending on the copyrights, the material necessary for research on it, a manuscript tools with several volumes of Mark 16, an interpretation tool, it's a new tool, I will come back to it. And also, data map visualizations, we have several collaborations for that. For example, for the data map, we collaborate with Pelagios, who is an important product in UK, and we rely strongly on our scientific committee to get input, to have feedback from users, students, colleagues from other places. In this VRA, we will include multimodal scholarly productions and it is something really new to want to get also multimodal material, because usually we quote on the articles and books. It's very interesting, for example, here in this video of the Bible of DC project, to compare what the scholar is saying by oral, with rhetorical, pathos, ethos, and the stuff, and in a written article. So it belongs to the research to try to integrate all the intellectual productions about Mark 16. 2013-2023 has been code by Candela Castelli and Pagano, the VRA's decade. So Mark 16 is exactly coming at the five years of this decade and they give the following definition of the VRA that fits perfectly for Mark 16. It's a web-based working environment, tailored to serve the needs of community of practice and expected to be in contact to provide services to this community. It's very important and flexible for its lifetime and it promotes fine-grained control sharing of both intermediate and final research results by granting ownership, provenance, and attribution. So we are following all this important further of the VRA in Mark 16 and going even beyond that, notably thanks to the Swiss National Foundation that has established, as you know, the good practice to have a data management plan for the new submitted projects. And so we are in touch with Humanium for their service Nakala and Al and we are figuring to deposit our data at the end of the project on their open depository. So it belongs, though, to the VRA spirit to go until the data curation, data preservation on a long-term point of view. So our interpretation tool will be something to compare efficiently the different opinions in the projects. And of course, in the middle of the opinions, I will develop my own hypothesis about Mark 16 as well as our postdoc who arrived in April. But the main point is we need to show the diversity and to allow to the users to go in the material and to build their own hypothesis about Mark 16. So you have here the team and we are looking forward to welcoming them in April. That's for Mark 16. Now the H-2020 project this year. So this H-2020 project is led by Daria, the Eric in digital humanities, and the CIB has been involved since the beginning in it to lead, notably, as far as possible the Swiss candidate here to become a full Daria member under the umbrella of the Swiss Academy of Humanities and Social Sciences, who has started a consortium at the end of October, Daria CH. So we are working on a firm basis at a Swiss right toward the direction of this integration. This year is led by 17 partners and we are very pleased to have welcomed the University of Neuchâtel with Mathieu Néger and Simon Gabet on the road. Its purpose is to strengthen the sustainability of Daria with several initiatives and projects, and notably by organizing events, dissemination events, and we are precisely on the road to continue that. And six countries like us are accessing countries in this project, Israel, Finland, Spain, the UK, and so on. And so we try to go in the sense to go in Daria. And the idea is also to disseminate all the useful tools that Daria is providing to researchers and for infrastructure research. We have opened, thank you, Martial, a great DH plus desert blog where you can find all the news, what was happening in the past. For example, a very great... So Daria has become a partner in November, an important point, and in Neuchâtel, happened the Daria CH workshop led by Mathieu Néger and Simon Gabet and the team. And it was really an important event with colleagues from all the Switzerland, from Europe, also political implications. And we are trying to be strongly in touch with the European research for digital humanities. Why does it matter? Why does it matter for Switzerland to be in strong link with the European research? I take the example of all access publications to answer to this question. As you may have heard, the Coalition S at the European level has started a plan, Plan S, to hopefully get open access for all the fields as a reality in 2020. So it's a very ambitious program and the Swiss National Foundation supported and would like to try to get all the publications produced by the researchers at SNF in OR at the time. But of course, it's so huge evolution that all the partners have to be involved in. And notably at the governing board of the European Association in Humanities and Social Sciences, we are preparing a round table with publishers, those important actors of the question, researchers and different associations, and we propose a draft answer to the Plan S. And of course, at the European Association of Digital Humanities, it's also a topic of discussion. So for Switzerland, it's absolutely crucial to be in strong relationship with the European level as the European research, not only for digital humanities, and so we are happy to foster our relationship to DERIA. And now I come to the current Désir project at the Sib. We will be giving a lecture with Simo in Paris in May. And now I pass the word to Sarah who will speak to you to the DIMPO project. So a few more words about DERIA and the Sib involvement. One of the workgroups of DERIA is DIMPO, namely the digital methods and practice observatory. And this workgroup aims to develop and provide an evidence-based account of the emerging information practices, needs and attitudes of arts and humanities researchers. And we had a first survey released in 2016 and a second is now in preparation and as an active partner, we propose in collaboration with the University of Zurich to extend the inquiry about the digital practices in humanities in Switzerland by focusing on one particular group in the humanities, namely the Theology and Religious Studies field which is my study field. It will be interesting and innovative to focus on one group and we will be able to compare the results with the European results to ask specific questions regarding, for example, the digital use of religious scriptures and in this way to underline specificities for the field of Theology and Religious Studies. Now let me present another project of our team, the project Humarec. It is a SNF project that's run over two years and it is in some aspects still ongoing. The purpose of this project is to test a model of continuous publishing for the humanity and for that the project focus on one particular object that Marcia already mentioned, a manuscript containing part of the Bible and written in three languages in Greek, Latin and Arabic and we study specifically the pages containing the letters of Paul. The idea of continuous publishing is that we wanted to make each step of our research available online and for that we have developed several focus areas. First of all, we have worked on the best visualization option for the manuscripts and its text also. Secondly, the research work on the manuscript itself was published on our website little by little through regular blog posting and although the continuous publishing concept relies on the possibility to change and to correct the data and the result after an interaction with the readers and for that we have a forum on the website, although we communicate on Facebook and on Twitter in addition to the usual talks and papers at meetings. And finally we have created a format that is more like a book-like, the so-called web book. This is where the research done during the project was and is still communicated in a more synthetic way and the benefits of the web book is that in contrast to, for example, to a e-book, to a static e-book it has been designed in relation to our project website and in relation to other online resources and it is also integrated the continuous process. It was started and made available already during our project and I am still now updating and writing in the web book. And although we keep the different versions of the work and the versioning aspect is available for the readers as it is something that is quite interesting for a book. And finally we are collaborating for the web book with an established academic publisher, Brill, and they will organize at the end of the process a peer review and in case of positive review we will become our publisher and host the web book on their website. And this last aspect is very interesting because publishers particularly in the humanities are normally quite reluctant to new model and we are very happy that they consider our project as a valuable model. So that's all from me and for you Marat and I give the floor to my colleague Simon Gabet who will tell you more about Manuscript. Thank you so far. So I'm going to talk about projects about Manuscript and the Divinier starts with something that is quite famous which is the exhibition of Française once again and say another one. French people tend to do things very differently for some reason than the rest of the planet and for 17th century French text is particularly true. First things that when they did text they rarely look at Manuscripts which is a big problem but also they're not helped because there is no catalog for such documents so from which do we take the original text if I want to edit something? The second thing is that they completely normalize the old spelling and they make it like comprehensive French and therefore they are rarely studying what is the original text. The third thing is that they are usually forgetting what the philology is and thus not realize the two aforementioned points. So I would like to use digital philology as a way to go back to philology which is the science of the text in part really the science of studying Manuscripts and try to reread 17th century French text through digital philology which is philology. So I'm here to talk about the Néphanes project that has been funded in 2015 and 2018 and is now continuing with a new position at the University of Neuchâtel co-directed by two professors Marques Colant just a specialist of 17th century French and Alain Corbélary, professor of Mivon literature and there were two post-op to me and one that I think and who yesterday but the last version of the website online and we decided to test this idea about philology and 17th century French Manuscripts on Madame de Saint-Gigny which is one of the most famous writers of the Grand siècle to give you an idea of Manuscripts like that and the first step which was the most complex was to try to identify Manuscripts which were scattered everywhere on the globe and luckily I've been able to find new Manuscripts, unknown Manuscripts and also Manuscripts that had been seen except in printed versions which is the case of this one. This is very interesting because finding new Manuscripts helped us read them differently. For instance here, if we have a look we'll see that in the upper part of the Manuscript the letter is written by Madame de Saint-Gigny but in the lower part Manuscripts is written by Haudhosa, Madame de Grignan which is very interesting because until now the entire letter has been considered written by Madame de Saint-Gigny which means that we can re-attribute who wrote what in the letter which is interesting in a way that we can interpret more precisely what is in the text. The other interesting thing is that going back to the Manuscript helped us provide valuable graphic linguistic and literary evidences that helped us read the document once again differently. If we have a quick look on this Manuscript we will really see that in the upper part and in the lower part we have two different graphic systems two different ways to write French. The other part we see the word OVE which is written P-A-U-L-R-E and SUGES S which is a long S-U-I-E-T both times they use U rather than V and I rather than J which is a pretty ancient way to write. If we look at the lower part we see that DUN the apostrophe UN that we would write in French is written with the U at the beginning when her mother would use a V at the beginning because the V is always at the beginning and the U is always inside the words. Same thing that we see the apostrophe that the mother would never use. So we will be writing and reading the Manuscript. We can see that there are two parts in the way it writes the form of the letter, the hands that we call it and also the spelling system, the letters that are chosen rather than others and these help us understand that it takes better. Because we are doing digital philology not only philology, we try to transfer all this information into code and the most famous way to do it for digital editions called TEI as we can see here where we have chosen to go for a pretty high granularity where each word is encoded tokenized, lemmatized all start with more information about people that are incentivized to IDs and also handshifting paragraphs which help us to carry research at a level that is impossible before both at the same time on the old version but also on the modernized version because you can see in the code that sometimes you have a markup choice that helps you choose between original version and regularized version. So website now is online it's a beta version the last one was published yesterday we hope to publish the final version beginning of February and then we will slowly start slowly to publish more and more documents the ID looks like that so it's the exact same information that we've seen before it said that no we can read with many information with like the manuscripts and the macfax symbol on the left but also information on the right color when there is a problem in the correction purple when an abbreviation has been expended but also green when text has been added and we can precisely if the document where I did in the margin above or under the line which once again help us understand better documentation but what is more interesting is that not only finding documents but we have to find the history of documents so this letter was written from Paris to Grignan in 1690 when it moved out then we know that it was given in Monaco by the senate of Madame de Sévigny to someone called Madame Rosenhagen the letters start moving slightly more south which is a tragic a logic way for a manuscript to move on the map because rich people at the end of the 18th century are on the Riviera and they start collecting photographs and they meet other aristocrats and they ask do you have a manuscript of this person or this person they start collecting things then the manuscript keep moving it becomes the property of British politician Harry Grebe Bennett who died in 1836 in Italy but it's most likely problem that the manuscript stayed in London because it was sold in 1904 by Sophie then the manuscripts start moving more which is once again very interesting because I can see that no collections are well established and that London becomes a hub for manuscripts where all the manuscripts of France and Italy start being acted and you can still find many many documents in London and Oxford which help us find manuscripts because we know how they move so we have the idea where to look for them but the history of the document once again does not stop and in sold in 1904 it was most probably both by an American poet called Amy Lowell who when she died in 1925 bequived to the library of Harvard who will manuscript which is why now the manuscript move overseas and in the U.S. which is once again another way to help us find documents because we know that they move to the U.S. and actually we can find the manuscript of Madame Washington, Cleveland, Harvard, Boston and many other places in the U.S. and around Europe this is very interesting again because when you start looking for manuscripts in the history of document you try to document this history but when we have a catalogue of sale documents you have many documents that have been sold and sometimes you find another document of Madame de Sévignier and when I was in London looking at catalogs I found this document which is very interesting this is an autograph art in literature it's a sale catalog it was sold in 1932 in curse the problem that catalogs are scattered around the world and not probably collected so it was easier to access it in London and we see that there is a rare less inédite a son homme d'affaires relative à sa terre du bureau la terre du bureau being her land that she owns in Brittany and luckily enough with the talk with the catalog we had the facsimile of this letter which is Madame de Sévignier you will never find it which shows us that history of document help us to locate manuscript but also new manuscript that help us understand things but also retext that we had never seen and that editions can always be improved so documents have not been published online on my blog on which I try to publish documents that I found pretty much anywhere in the world you will find new letters of Pierre Bale you will find letters of Madame de Lafayette that has never been seen before and which leads us to two circles that I think that are very interesting is that the idea of reconstructing the history of manuscripts help us find new manuscripts but also that improving the quality of edition 40 is us to find new manuscripts which in its turn help us improve the quality of documents and there is a virtuous circle that is held by digital philology and like locating documents so now what are we doing and what are we plan to do the first thing is connecting our cell camera database to our edition should be done in June we are working on it and it is going to be published in the summer and also enlarge the scope the various authors of 17th century should have said Madame de Sédigny was only a test case if it works for Madame de Sédigny connecting history of documents, publishing documents it can be enlarged and as many other authors like Beau Suet, Racine, Boiseau and many others and the third thing that is very important is to provide tools for digital analysis of non-normalised 17th century because as I have said most of the texts are normalised which means that we don't have digital tools like lemmatization post-tags and many other things that prevents us from studying from the digital point of view the language of the 17th century and I hope that I will achieve that in the following month or years if I have the project that Martial mentioned at the beginning and then I probably give you the possibility to answer the seminar so thank you very much for listening to us and questions


Hello, hello, writers. I'm Christine Kiefer, author of fantasy fiction and creative writing resources. And you are listening to the Well-Sturried podcast, where I share insights, encouragement, and actionable advice designed to help you craft sensational novels and build your best writing life. Always in 30 minutes or less, so you can get back to writing, of course. Ready for the show? Let's get talking. Hello, writers, and welcome or welcome back to the Well-Sturried podcast. I'm your host, Christine Kiefer, and today is March 31st, 2017. Today's episode is titled How Fiction Writers Can Pen Strong Opening Lines, and if you'd like to read along as you listen in, simply visit well-sturried.com slash opening lines. Now let's dive in. Whether you're writing the first line of your book or of one of its many chapters or scenes, penning opening lines can be tricky.  Opening lines are your bargaining chips, your siren songs, your bait. If you fail to capture readers' attention, then they might just set your story aside. Or, at the very least, find themselves struggling to care what happens next. No good, right? Fortunately, we can glean quite a bit of inspiration for this task by analyzing popular opening lines from literature. But first, how do opening lines capture readers' attention? In preparing this episode, I began to consider the many reasons why opening lines might grab readers' attention. Four particular reasons stood out. Firstly, opening lines peak readers' curiosity. Two, opening lines create an emotional connection with readers. Three, opening lines provide entertainment, often via humor. And four, opening lines provide shock factor. Curiosity seems to be the most common type of hook, and for good reason. By planting a question in readers' minds, authors encourage them to keep reading in search of answers. Take these lines, for example. Kel wore a very peculiar coat from A Darker Shade of Magic by V.E. Schwab. It was a bright, cold day in April, and the clocks were striking 13. 1984 by George Orwell. First, the colors, then the humans. That's usually how I see things, or at least how I try. From The Book Thief by Marcus Zuzek. These opening lines ask questions like, why is the coat peculiar? And striking 13, how is that possible? And wait, is this narrator not human? What's going on here? Many popular opening lines in literature, while peaking curiosity, also hook readers with the use of humor, shock, or emotional connection. Take these additional lines, for example. It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife. From Pride and Prejudice by Jane Austen. Lolita, Light of My Life, Fire of My Loins. From Lolita by Vladimir Nabokov. And late in the winter of my 17th year, my mother decided I was depressed. Presumably because I rarely left the house, spent quite a lot of time in bed, read the same book over and over, ate infrequently, and devoted quite a bit of my abundant free time to thinking about death. From The Fault in Our Stars by John Green. While posing questions is a key component of successful opening lines, making an additional effort to captivate readers in other ways can lend to the strength of your hook. Next, let's talk about how strong opening lines set the scene. Mood is the atmosphere or vibe you'd like readers to feel when reading your book. Introducing mood early in each chapter, often within its opening lines, can help captivate readers by immersing them in the atmosphere of your story, that is, transporting them to another time and place. When penning opening lines throughout your book, consider the mood you'd like to convey. Do you want readers to feel a sense of hope or foreboding, whimsy or terror? How about peace, trepidation, or adventure? Try distilling this atmosphere into just one or two descriptive lines. Often, writers use mood rather than curiosity to immerse readers in new chapters when existing conflict or tension remains unresolved. After all, one doesn't need to pique readers' interest when they're already tearing through the pages to find out what happens next. Take a look at how V.E.Schwa masters mood in this opening line. The city looked positively bleak, shrouded in the dying light, as if everything had been painted over with only black and white, an entire palette dampened to shades of gray. From A Gathering of Shadows, chapter 5. Of course, not every new chapter needs to open with a strong descriptor. Writers most often employ this method when chapters open in new settings or when the mood shifts dramatically between scenes. Let's talk about crafting opening lines that pack a powerful punch. As I've often said, every aspect of your story must serve a purpose, and that includes its opening lines. The more an opening line can introduce or reveal to readers, the better. This may include character. There was a boy called Eustace Clarence Scrub, and he almost deserved it. The Voyage of the Dawn Cheddar, C.S. Lewis. Theme. In my younger and more vulnerable years, my father gave me some advice that I've been turning over in my mind ever since. The Great Gatsby, F. Scott Fitzgerald. 3. Conflict. The shudders swinging in the storm winds were the only sign of her entry. Crown of Midnight, Sarah J. Maz. 4. Setting. Ironically, since the attacks, the sunsets have been glorious. Angel Fall by Susan E. And 5. Worldbuilding. There is one mirror in my house. It is behind a sliding panel in the hallway upstairs. Our faction allows me to stand in front of it on the second day of every third month. The day my mother cuts my hair. Divergent by Veronica Roth. You can also introduce multiple elements in your opening lines, such as these examples do. Not for the first time, an argument had broken out over breakfast at No. 4 Privet Drive, Harry Potter and the Chamber of Secrets by J.K. Rowling. Many years later, as he faced the firing squad, Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice. 100 Years of Solitude by Gabriel Garcia Marquez. In my earliest memory, my grandfather is bawled as a stone and he takes me to see the Tigers. The Tiger's Wife by Taya O'Brett. How do you choose which elements to feature in each opening line? Often it takes writing a scene to understand how best to introduce it. The best opening lines are typically honed in revision. Finally, let's talk about framing your opening line. With an understanding of how you'd like to hook readers in place, it's time to determine how you'll present this tantalizing bait. Will your opening line feature one dialogue? I've watched through his eyes. I've listened through his ears and I tell you he's the one. Ender's Game by Orson Scott Card. Two. Action. When he grabs Mama's wrist and yanks her toward the wall hanging like that, it must hurt. Bitter Blue by Kristin Cashor. Three. Internal Narrative. The way I figure it, everyone gets a miracle. Paper Towns by John Green. Four. External Narrative. When Mr. Bilbo Baggins of Bag End announced that he would shortly be celebrating his 11th birthday with a party of special magnificence, there was much talk and excitement in Hobbiton. The Lord of the Rings by J. R. R. Tolkien. And five. Description. Stately Plump Buck Mulligan came from the stair head, bearing a bowl of lather on which a mirror and a razor lay crossed. Ulysses by James Joyce. No particular framework is better than another when it comes to presenting your opening line. In fact, you may enjoy writing different versions of your hook to see which is most effective at snagging reader's attention. Feeling overwhelmed by all the possibilities available to you? Remember that opening lines are often honed in revision, like any other aspect of a good story. Strong hooks require thought and care, and penning them is a skill that's often developed in time. Consider analyzing the opening lines in your favorite books for inspiration. Then go ahead and dive in. You'll never know what incredible opener you'll create until you try. Thank you for listening to today's episode of The Podcast Writer. I hope you found it helpful to your writing journey. If so, make sure to subscribe to the podcast so you never miss a new episode, and to give the podcast a quick rating or review. Doing so goes a long way toward helping the podcast reach new writers and lets me know that you're enjoying what I'm creating. You can also give me a shout out directly on Instagram at christen underscore keeper. For additional guidance as you work to craft sensational novels and build your best writing life, be sure to head on over to www.well-storied.com where I share blog posts, workbooks, e-courses, and other helpful resources for writers. Again, that's W-E-L-L-S-T-O-R-I-E-D.com. Thank you again for tuning into today's episode, my friend. Until next time, happy writing!


Hello everyone, this is Amit Dan of amitdan.com You are watching On Art Music Travel videos and today I am taking to the majestic Karnak temple, the largest religious building ever constructed on earth. Located on this bank of the Nile River in Luxor and covering 200 acres of land, Karnak temple is the largest religious building ever constructed on earth. It is a huge complicated site with 4 courtyards, 10 pylons, many buildings and sacred lake. Construction started 4000 years ago and then continued until 2000 years ago when the Romans took over Egypt. Each Egyptian ruler left his own architectural mark by adding a new piece to the temple. Karnak temple has 3 main sacred areas honoring 3 different gods. The central part taking the largest space of the temple is dedicated to Amundra, the chief god of Tebs and one part for the goddess Makht, wife of Amund and then another section for Montu, an ancient local warrior god. The great temple of Amund is Karnak's male temple building where most visitors spend the most time. Colossal columns, mammoth statues, oversized stonework covering a dizzying amount of intricate carvings are just a few of the things that make the great temple of Amund the world's most stunning man-made architecture or structure. If we had to see the full temple, I believe it would take about 1 to 3 days at a slow pace but we had to complete our tour only in 2 to 3 hours. So it had to be fast, concentrated mainly on the main temple building and had a glimpse of the rest. Thank you for watching this video. There will be more Egypt videos coming up so I'll see you shortly. Thank you. And the great granite from Ashram. From here, 200 or 300 kilobits. So. So. Any idea about it? Okay. In the presence of the God of Amund men one more time. In old or un-old the world, you'll find the pictures of the God of Amund men, the God of the great temple. Everywhere you'll find him. Okay? Can you make a mistake for me? It's everywhere. But of course nothing's over. All of them. Right now, I'm going to explain to you how did they cut the stones. What were the ways to cut the stones? He made this paper. He cut the paper. And then it goes in. It's like a rip-off. What he did monument. What he converted. Temple gold. Cute.


Hi everybody, I'm Doug Chalmers, I joined SEI US and Davis about a year ago and I'm here to tell you about my experiences so far which have revolved around restoring in-stream flows in California, recorded here for my home in California. California is a state with a big reputation, famous for beaches, movie stars, fabulous cities, tech industry, as well as some of the most productive farmland in the world. So what's the problem? The problem is that the farmland really looks like this and a lot of the water has to come from the Sierra Nevada mountains where snowmelt feeds into reservoirs which then need to be transported sometimes hundreds of miles to the cities and the farms through a network of aqueducts and pipelines. And with the most variable rainfall in the United States, these reservoirs don't always fill up every year and we could be seeing more empty reservoirs in the future due to reduced snowpack from climate change impacts. In California it really was settled on a history of water scarcity. Early American settlers in the Gold Rush era had to claim water rights for mining and agriculture and back in this wild west era a lot of the settlers were really able to claim as much water as they could use and the state has difficulties this day because these early water rights are exempt from a lot of state regulations still. As California continued to develop, more than a thousand dams were built to supply the growing cities and agriculture. Until about 1980 when we see that the reservoir storage in blue remains flat while the population in green continues to grow because most of the reservoir projects had already been built out. What's more is that it was often overestimated how much water these reservoir projects could really provide meaning that more water rights were handed out than could be fulfilled. And so today we see a problem with over allocation where there's water rights on many streams for more water than actually flows through it. And this creates a lot of pressure for fish and aquatic habitat as many of the streams are sucked dry to fulfill these water rights. And this creates problems for the fish as the number of extinct species has been increasing and healthy species have been dropping. So this is where a lot of my work comes in is helping to leave more flow in the streams to help protect the fish habitat. And one tool that water managers have to leave more flow in the streams is to develop minimum in stream flow requirements. And these are requirements to leave a certain amount of flow in the stream to protect the fish habitat. And we're doing this with the state of California with the California water action plan to actually develop these flow requirements. And to do that, we're using the model WEAP, which SEI has developed to quantify water rights, Unpermitted Cannabis, which is common in this region of California. And then we're testing different in stream flow requirements, which the state is then using to set what they actually will be in real life with the goal to balance fish habitat with water rights. One tool that water managers have to help leave more water in the streams for fish habitat is reservoir re-operation. And we're doing this with the Valley Water Utility to help develop re-operation schemes so that the reservoirs can leave better habitat for the fish downstream. To do this, we've developed a WEAP plugin that can use stream flow parameters to quantify fish habitat suitability, which we can then use to quantify the effects of different reservoir operation schemes on fish habitat. And right now, a lot of the changes to the reservoir operations involve operating the streams like a more natural system, and this involves higher winter flows when fish passage and reproduction are important, as well as large pulse flows that simulate natural storms that further help with fish passage. So that's what I've got. Thanks for listening. I'll take your questions.


In today's exercise, we're going to be talking about our shock absorption system, and having your shock absorbers in play when we canter is really important, but I think the best place to start is at the trot. Now the shock absorbers that we have are going to be our hip, our knee, and our ankle. We would like to have them in the middle of their range of motion. Both our shock absorbers are in the middle of the range of motion. They can both come up and down. So I'm going to exaggerate that a little bit, and I'm going to really let my shock absorbers go. So if you look at my knee and my ankle, you can see there's a fair amount of movement in them, and as I come past the camera here, you should be able to see that. So you're going to allow there to be some looseness. Now the hip is a shock absorber as well, and when we sit the trot, our hip needs to absorb the shock. In order for our hip to be soft and supple, we have to have a strong core. Otherwise, what ends up happening is when we absorb, try keeping our hip soft and supple, and try to have it absorb the shock, it ends up being locked because it feels like it has to do the job of stabilizing. The core is actually our main stabilizer. So when I sit here, what I'm going to do now is instead of being loose, I'm going to think of having some tone in my core to allow my hips to open and close. So it's important we have a little tone in our abdomen so that we can allow the hip to stay soft and supple. If I try staying loose here, what ends up happening is my hip can't do its job, and you can see my horse didn't like that so much, and the tone in the abdomen causes you to feel like you're riding the lift. So I think about the up, up, lift, lift, lift, lift.