I say just coming in every day working like no matter the circumstance I'm going every day like no matter who I'm going against what I'm doing I'm giving it my all. All my effort is buying into the portion every day. Getting where you start in the unofficial contract.  I feel like it's my job and I feel like I got to win it every day because this is the end of it. So every day you come in compete and there's new rookies and new players coming in from everywhere come to take your job so the same time I feel like it's mine I got to work every day to keep it earning it every day. How important is it to process for you as you work? You got to go like Taylor on one side and you got like that on the other side. It's good like to have them vets to have that that work in. They've had great careers successful careers and they still going they year 10 year 11. Now I'm trying to get like them so just having them this and me learn from everything they do on mentally physically overall it's great. Taylor mentioned that he thought you and he could kind of do something. He said similar skillset I assume he's talking about playing at Lesley right? Definitely. Have you guys talked about that and have you I don't know pads will help show a lot of that more but have you seen some of that play out in YouTube playing together? Uh yeah absolutely because our identity is effort speed off the ball toughness finishing that defines both of us that's what we built out for. Basically like how we come off the ball we run it off the ball. Appreciate it.   Uh yeah it reminds me of me. Did you hear what Gravel said about that? Yeah I'm talking in a two-dollar stake that's a great description of myself. What do you hope to accomplish here in camp? In camp uh just to stack every day and just get better every day just fundamentally technique wise conditioning just every single day try to work on something to improve just to be the best player I can be. Buddies with Jayon? Jayon yeah. Has he seen you in the 55 or what do you say about it? Yo I'm not sure I ain't talk to him about it but I remember rookie year I had asked him could I get his number but he wasn't coming up out for us back then so I got it now I haven't got no input from him so far. How important is it getting one day when I try to get him to really show what you're capable of building as an offensive player? Oh it's going to be great this time that's when that real contact come in so and just continue doing what we're doing just cut them shoulder pads come on it shouldn't be no difference like it's shoulder pads man up I still I'm still coming off the ball the same working everything I've been doing when the pads come on it's trying to amp it up a little bit more. I talked to a couple defensive guys just sort of saying they're licking their chops because you know football you are too as an offensive one though.  Almost definitely I feel like as a corner man as a DB you have to play inside and outside so it's really good that I got like experience inside and outside no matter what position they put me I'm just ready to play. Biggest difference just biggest difference for you so far in adjusting to the to the NFL level anything in particular? Um I wouldn't say like it's just a major difference for the SEC like one level under it but it's just like the mentality of like when it feels good like actually being over the guys communication that's more like that's I'll say that's the biggest part the communication part and that's like something I'm just learning getting this experience is just learning the system of the league basically. How'd you like what you did during the offseason in OTA's mini camp and kind of what was your mindset coming into in the training camp? Well my mindset was just to start off brand new like no matter what like don't fall back no matter what learn from my mistakes and everything so I'm pretty catching up back off on OTA's and everything just getting this experience and learning the system and everything I'm just trying to learn something new every day and just improve. And how much I'm sorry I've been asked this sort of but the competition I guess I guess the trailing other receivers how much I'd help you on a day-to-day basis? I mean it helped me a lot because all these guys they're great they got different skill sets and everything so I'm happy I'm experiencing going against these different receivers because you know in the future going to need games and stuff like I'm gonna always go against a quick guy I'm not always going to get some big guy it's just great experience going against them every day at practice. And you a couple of square offs you've had with trailing been pretty physical I mean is that that's kind of your game you think that's kind of his game is that what you think you guys will continue to work with? Yeah most definitely I talk to Trae every day we just trying to help each other get better so we're trying to be more physical this game all about being physical and stuff but there's sometimes when you don't have to be physical but just in that realm like we'll just be in physical trying to get you to get better. And as far as a corner you got to have a short memory I guess you get beat on the play you try to come back I guess kind of vice versa. Yeah that's that's part of the game right there next play mentality no matter what position you play every like every position if you have a bad play you got to go to the next play. And what do you think you have to do to kind of earn play earn a spot maybe earn playing time as a rookie? I really don't know I haven't really thought about it just me like I'm just trying to like improve slowly improve every day and on my web position if I started or not I'm just trying to help the team out no matter the way and just trying to get better. Along the short memory line seemed like the defense bounced back pretty well today how I'm good was the effort on that side of the line. It was great you know some days we weren't great but you know we have the colors on our team like kb that tell us as long as we show effort and everything they don't care about that so we'll have a bad play get on to the next play today we have some good defensive plays and everything so that's the energy that we like no matter what pressure next play that's how we did. Four days in how close has this been to what you expected did anything surprise you though and how you feel like you've been? I wouldn't say that surprised me this is really all fun I'm just like enjoying the experience here everything's just great just actually playing leave playing with the guys you can actually see watching everything but it's just great like communication everything I learned I noticed that that's like a big part in everything and it is great because like we communicate and I feel like long as y'all on the same page everything's gonna be good. What did you do between the time Mini Camp ended and training camp started? I was just like focused on my drills and everything you know the stuff that we did here I just focused on that playing like inside playing outside off-press it's just really every db drills everything just being in shape that's the more thing about being in shape and conditioning. Do you think different styles wise like have you gotten bigger since you've been been here or what have you done anything to change your body for the last couple months? Yeah I'm focused on trying to eat more and eat better so I gained a couple pounds and everything trying to get more weight on me but that's not really a big thing it's just all about mentally with me. Given where you're starting after you look at this this is my job or do you feel like I've got to win this job? Um it's both I mean obviously I'm there I'm in that spot and you're like yeah this is the mindset this is my job I need to protect it but at the same time like I said before we're gonna we're gonna put the best five out there five that will make us win games and we're gonna make sure everyone earns it and that's and I'm making sure they earn and I'm they're making sure I earn it so it's gonna be a constant hey I need to win this job all year long.  Yeah like I said I'm from the FCS so just getting used to the speed and getting used to the confidence that I can build we're getting used to the speed of the NFL so as long as I can do that and have the confidence for that I think that's going to be huge I have full trust in my abilities to then block if I have that confidence so I'm no doubt in my mind we'll get there. Progress so far I'm coming in late dealing but happy with progress so far you know just the weekend. Yeah yeah happy with progress so far we have a long way to go lots to work on lots to correct but so far it's been a good first four days. How much of a difference does it make for everyone? How much will that you know yeah it'll just be the true test of physicality I mean the defense will be able to bull rush one-on-ones we'll get to see where we're actually at when we they have all their moves and their arsenal and we have all our moves in our arsenal when we're doing a-gap power and stuff I mean obviously we're not trying to kill each other's shoulders when we're on shoulder pads on so we put those on it'll be a true test of physicality to see where we're at as offense. How much in health do you want to make for a technique standpoint or maybe a mindset standpoint? Just to be able to walk in on one spot and just pull on the end and focus on that. Yeah I mean obviously being honed in on one goal you're able to focus a lot more on that maybe they'll focus a lot more on that spot but ultimately last year moving around I think to help me understand this offense a lot more so it will take a lot of positives out of that but yeah it's been super helpful just to be locked in at one spot. I'm excited you know I've been here three years left for a year back again it's fun it's cool but I still gotta get back in the system learn things quickly and do what I can if I can help this team. What have you been doing maybe before you got the call to come by to be ready? Staying ready you know working out I got a trainer in Houston and Austin one in Houston Justin Allen and one in Austin Jeremy Hill's and the Collective so they've been getting me right staying in condition and lifting weights coming back from my pecs here just trying to stay every to stay healthy. Man I guess your mission maybe just to kind of find a role on this team and create a role. You can find a role you can create a role whatever way you want to perceive it but uh like I said do what I can to see if I can help this team. You weren't going long but have you seen some changes in Austin and the building? Yeah lots of changes I mean if you look around the building the fields lots of change it feels like I mean whether I'm here or not things are moving so you take that I guess a concept into life and onto the field you just know you have to have you have to have some type of urgency in your life. And how things been for you already in the team? Um different you know uh getting back in a group of things uh meetings you know it's a grueling day it's a grueling day you know you wake up at six in the day it's at eight o'clock uh just get back in a funk of things and coming out here and learning from my mistakes and not to become a repeat offender. What did you hear when you came back in like some guys that were around? Yeah it felt like a family reunion but I mean a family reunion can can turn into a family goodbye real quick so you know can't get too high can't get too low.


Thank you. Yeah, I think it's show time. All right, and everybody over the zoom hear me, please give me a thumbs up for great. Thanks everybody for coming. I'm Dave road. Today we have our spring research talks of our bestie fellows and graduate fellows. Kevin will be up first with the Department of dance will be called by Trevor Smith. They're just in communication. Matt also will be talking about this project of history. John Flynn will be a Marty will be joining us from soon. So without further ado there, please. Thanks a lot, David. I'm just going to put a timer on here so I know I'm at 10 minutes. Thanks everybody. Thanks everyone on zoom. Thanks to digital matters for this grant for this project called nomadic performance technologies for dance making in the 21st century. So this is an exciting collaboration between two colleagues of mine at Virginia Tech and myself. And I will just sort of roll us through what this project was all about. So our goals were to research and develop the assets for an original digitally enhanced dance theater performance and to merge our interests and technologies typically not used in performance with our need to move beyond traditional performance infrastructures. Maybe that will come become clear in a second. So our initial tools and the principal roles here so we were working primarily with two Mavic pro quadcopters drones and to see you know could these be artistic meetings. And so my colleagues are Scotty Hardwig. He is an assistant professor at Virginia Tech he's a movement artist and performer, and Zach do or also at Virginia Tech composer engineer and drone pilot. So why drones. I boiled it down to these three principal ideas of affect vertical space and human drone interactively were seemed to be like the three areas of interest here. And so you know a drone is a moving surveillance technology, and it's physical and sonic presence coupled with our associations and projections can produce an uncanny effect. And so we're very interested in this kind of uncanniness that the drone seems to have on us at least three of us. So. But also many dances happen in theaters with a proscenium arch, and this architectures defined by its overhead open space that is at about minimum about 20 feet high. So nothing happens in that space except light. And maybe if you have a backdrop, like classical ballets use a lot of backdrops for some reason as yet unknown to me in modern dance we don't really use backdrops that much. But most dances remain limited to the horizontal plane of stage four, and we want to explore the affective potential of vertical space. So questions are basic question here was could drones be an artistic medium. Interactivity could be achieved between a dancer and a drone. And what new affects could be produced by distorting how drones are typically used. So our mode of inquiry is called practice based research and this is a heuristic iterative process of discovery choice making and shaping in which the art making context of the rehearsal is the site for emergent outcomes. So there's just like work solving for X on the fly, and whatever X manifests as is part of the performance. Okay, so this falls within the tradition of devised theater, which is a process of collaborative creation, often using improvisation as a way of finding repeatable patterns, meaningful images and actions. Or as I like to say this is a process of working with what is in order to find what is. So our procedures we began Zach and Scotty began in Virginia with some early drone tests, mostly outdoors, working with their onboard tracking system. It was the tracking system of the Mavic that we were most interested in because other experiments that I've done with drones have involved motion capture, which is great, highly, highly expensive and not really portable for what we were trying to do. So, after that they were out here in Utah for five days and we were rehearsing at the Marriott Center for Dance, two rehearsal periods a day, post rehearsal review of recordings, developing documentary footage and sound design development. And then post residency experimentation with the drones and some other materials that's ongoing at Virginia Tech. I'll talk about some of those other materials as we get further. So day one while they're out here is what can drones do, right? We're just discovering this and some of the obvious things they fly, they see, they record, they track, they are loud and the propellers create wind. And that was the big discovery on that first day that we hadn't really thought about. We thought of them as objects in space but we hadn't necessarily accounted for their wind and that became the new question. And this was like the pivot point for us. Like could the wind that the drones produce be the medium by which they affect change? And then the question then was like how could we visualize this change in ways that might be dramaturgically meaningful, right? So, okay, let me see if I can show a little bit of video for this year of this first day. Scotty is under feathers and this is one of the prime things like how we're going to visualize change. So what you can see here is this drone is operating. It's doing a few things, right? I mean it has its own presence but it also creates this mess. It cleans up the mess for the next aspect of the theatrical production and it advances on Scotty at the same time. So we're finding like that compression of space is part of what's contributing, I think, to a certain kind of affect, a certain kind of drama. This sort of this thing that is slowly moving in there. And we'll talk about the speed of the drones in a minute to two, but that was day one. Day two, sorry, that was day two. Day three, okay, we want to work with light and this is Zach's quote, it's a dumb dangerous hovercraft with momentum. And so what he's meaning is that these drones know where they are in space through GPS. Ideally, and that's what happens outside, they lock into their GPS and they're incredibly solid. So with a flying drone or a hovering drone, you can grab it, but you can't move it because it will resist that. It's locked in. When you bring it inside and close the windows, you cut it off from GPS, but it switches to its optical sensors. It's a vision, and its vision is really good. And it also makes it very resistant to change, but very stable.  So basically because its vision sensors are reliant upon light. So we close the windows, douse the lights, and it's at that point that the drone goes blind and it starts to drift, which was both dangerous, but exactly what we want. Because then we could use it as a moving light source. We basically tapped, we taped tactical flashlights to the drones. And because they were drifting now, Scotty, who you'll see was able to play this kind of dangerous game of catch with this drone. And so let's talk, let's look at this. So in an effort for Dancer drone interactivity, so he's able to touch the drone and move it through space and give it some momentum. I'd be happy to share these videos with anybody if they want. So my computer is thinking here. Okay, day four, water. So we were interested in the possibility of the drones making marks, finding some way to make marks. So we attached paintbrushes to the drones via string, use water on the floor to see if there was any possibility here of drones making marks. So here we have drones able to track Scotty around him and drag these brushes through water and then create traces. I'm just going to kind of speed through here because I'm running out of time. There's water, paintbrush goes through it, we drag the mark. So this idea actually didn't work in how we wanted it to. What we have on the stage is calligraphy paper that you can paint on with water and the marks turn black and then they evaporate. So this idea of the gesture of the mark that dissolves was really interesting to us. So what we needed to do is this. We need to go back to wind being really the medium by which the drones create change. So now we can add water to this paper, we're going to leave marks and the drones can push the water around over the over the paper. So the drones leave these marks. And let's continue on. And Scotty leaves marks on the same paper. So again, trying to leave traces because in dance, it's a very ephemeral art form. It doesn't really leave too much of a record of itself, like the artifacts of dance don't necessarily need records, except certainly if you record them, but they don't necessarily leave traces. So just quickly moving through here. So our trial and error collaborative art making process fused all these ways of knowing digital analog biological mechanical physical musical temporal spatial theatrical and mythic ways of knowing. And the process involved working with the drones and ways that they were not specifically designed and misusing the drones led to behaviors that were key to defining moments of this emerging dance theater piece that we're calling data. Dataless dreams. So, and then Scotty had this last insight here we're choosing a particular technology media or model of drone quality of the process and possibilities will be shaped by these containers yielding a unique result for experimentation play in emergence. So if we had different drones, different capabilities, different product would totally arise. So next steps, get some netting to protect the audience from the drums. So I know I'm often safety third but we definitely have to get this get this net. So, then, got to complete the creative process and premiere the piece either in Virginia tech or here at the University of Utah, and then we have to pursue some domestic and international performance venues or either festivals or conferences, such as the conference and graphic interfaces. That is all she wrote. Sorry for taking too much time. All of our questions. Yeah. No problem. Hopefully. All right. Thanks so much. I'm Trevor Smith. I'm a current master's student in the Department of Communication. I, my kind of tentative short title right now this project is Generative AI and creativity, which we will get into a little bit more. And if you attended my workshop about a month ago there will definitely be some overlap as far as concepts but instead of kind of showcasing the technologies I'm going to focus more on my critical analysis of these technologies and kind of the points I want to make in my final project. I understand that this will this project is currently my final master's project which I definitely would not have been able to do without the kind of help of digital matters so I'm very grateful for them so I can take undertake this kind of ambitious project so happy for that experience. So, kind of the beginning the starting point of this project and the inspiration is really rooted in the existing critical literature about artificial intelligence algorithms, especially in social media context and digital spaces. I've been really inspired by the writing about how these algorithms recommend and moderate online media content and how that impacts society politics and culture. So this project is hopefully contributing to that focusing on artificial intelligence that instead of moderating recommending content independently creates content on its own. And part of why I'm excited about this project is that it's, and also why it's challenging is these technologies are somewhat new and definitely understudied and in some cases still kind of primitive. It makes it you know, really interesting but also kind of a challenge but as far as methodology I'm hoping to position this study as a critical textual analysis. I'm focusing on how the texts are related to power culture and society, and we'll get into what the kind of text I'm studying is as that's kind of another conceptual challenge I'm wrestling with right now. But in short, the goals of this project are to conceptualize review and critique generative AI which I will define in this presentation and paper. So, one thing that's been really great about digital matters is having, you know, colleagues and people in this circle who can I can talk to you about, you know, computer science stuff which I am not super well versed in. So what's been kind of the first challenge of this paper is navigating different definitions of what is artificial intelligence, what are the different kinds of artificial intelligence, and how are they different from each other at least as someone who's kind of new to that field. And I'm a very visual learner I always hope to find like a really clear graphic as far as differentiating these technologies and I ended up having to make my own. So this hopefully will help, you know, it's definitely helped me and I hope it helps other people too. But I see the definition of work I'm, I'm drawing from kind of positions artificial intelligence as the broadest category of these technologies. Very simply defined a machine that makes a human cognitive function. So that can be a lot of different things and take a lot of different shapes. Subsequently more narrow is our algorithms, which are a set of rules or processes that automatically attempt to solve the problem. And that also constitutes a type of artificial intelligence, as this graphic indicates. Then kind of getting more narrow into more specific types of artificial intelligence is machine learning, which is essentially a self improving or amending set of algorithms that develops as it runs and gets ideally better and better at the problem it's trying to solve. And then kind of most narrow within those subsets are deep learning, which is essentially just machine learning that uses a really big sets of data to self improve and augment itself, and GANs which we'll get into a little bit but these are kind of the This is the definitional work I've done to kind of use as a launch point for the rest of the project. And that brings us to what I see as maybe the, I guess, first or primary contribution of my project is to propose a definition for these kinds of technology, which I've turned generative artificial intelligence. And very simply, I'm claiming that generative AI can be defined as any kind of artificial intelligence that artificially independently creates a piece of media content. So what that can mean is really, I'm keeping it broad right so any kind of artificial intelligence or this broadest circle could be a generative artificial intelligence. A couple really quick examples of generative AI that are already kind of existing and in popular culture video games very frequently use generative algorithms to produce random landscapes or challenges for the player to solve. Minecraft is a very popular example that's been studied by a lot of game studies people on how you know algorithms create a new challenge and environment for the player every iteration of play. Then getting kind of more narrow are there's really interesting generative machine learning programs that are already available to public use on the internet. I really like this cat does not exist, which is essentially a machine learning program that was fed tons of real images of cats and then subsequently creates synthetic, you know, like polymer pictures of cats that do not exist that are essentially composite and made up by this computer. And then I mentioned I would talk about GANs generative adversarial networks. They're very similar to machine learning programs with the exception that they run a kind of Turing test or discernibility test after they create something that compares a created AI piece of media to a human made piece of media and tries to determine which one is real and thereby gets better and better at making that piece of media. So really fun kind of spooky one is this face does not exist, which asks the human user to discern between two different images, which face is a real face and which one is a composite AI created face and then uses your decision or your guests to independently get better and better at making faces. So, GANs are probably like the most narrow kind of generative AI and maybe the most, I'd say the most frequent kind of generative AI that is currently available. So I'll be talking a little bit about those technologies in this paper. So other types of media I mentioned at the top that discerning exactly what are the texts I'm going to analyze is a conceptual challenge. Furthermore, what counts as media is also going to be a little bit of a challenge with these generative AI examples. I've seen technologies and indexed technologies that include machine creative memes, music images, 3d objects text and narrative social media contact video games and more AI journalism is already kind of something that's being discussed in academia which is kind of spooky as well. So getting to, I thought, you know, for the purposes of this presentation and be useful to talk about some of the critical arguments that I have reviewed about AI in general, and how they might relate to generative AI and then go through some of my own arguments that are kind of unique to generative AI, instead of AI in general. And so one really good and frequent argument about artificial intelligence, as far as its role in our media and information environment, is that it exists under those guise of objectivity that because it is code, because it is a computer, it is therefore objective and fair and non biased. Most critics contend that this is not true, but instead the subjectivity of the creators of these AI is embedded in their very code, which is actually pretty easy to spot when you consider, you know, how AI contributes our information and media environments already. There's really good critical writing about how IRL biases are replicated in the way AI functions online, but in much more sneaky ways in that it's presumably objective robot, but is really also biased. They've also been criticized simply because they've been given tremendous amounts of power as far as shaping our online environments, and that they, even in having that power, they are kind of, they don't really have a lot of stake in the game as far as our information environments as non human entities, but they are the ones dictating those environments. But another kind of goal of my project is to incorporate indigenous and non Western perspectives on AI, I am not an indigenous person, but part of the inspiration for this project was a seminar on indigenous approaches to technology and information. And I think they really, especially in the cases of AI, they help us break out of traditional critical epistemological restrictions and help us think kind of what the different mindset about these technologies. Specifically, in the case of generative AI, I think it's really useful to think about how we form relationships with non human entities, something that has been conceptualized much more positively by indigenous scholars than Western scholars. Many indigenous scholars contend that human non human relationships in Western society are focused on hierarchy control of colonialism in a kind of master slave relationship with us and our artificial creations, which is then replicated in the services they provide us and And then furthermore, very simply, if AI is predominantly created by Western individuals, the content they create as generative AI will be dominantly Western and kind of restricted by that mindset. Some of my unique arguments really quickly. And these ones are more unique to AI that creates media content.  That's, you know, if you feed these machines are print internet environment it will inevitably reproduce that kind of crummy environment. I'm a good example of that is Microsoft Twitter bot, hey, which only took like, I think like six hours to learn from Twitter about racism and really, really bad things and ended up tweeting some really horrendous things pretty quickly. And furthermore, it is clear that our media environment does not privilege all media creations equally and whatever and generative AI will essentially reproduce as equalities. Another kind of interesting argument is that since these AI learn from us on how to make things, whatever they create will inherently see derivative and, you know, a reproduction of existing media rather than anything that's truly new or inspiring, but essentially like a mash up of human creation already. Another kind of concern I have about generative AI is the amount of data and content that they can they can produce and how rapidly that might happen that that data takes up real real physical space and has a cost associated with it. One problem I'm going to coin, I think is the Ouroboros problem that these AI could learn how to make media from other media generated AI, which in turn, you know, could create something totally unhuman and unpredictable, and that they'll be learning from themselves, which is kind of kind of different.  And then finally, I think there's some really interesting I'll just summarize this really quickly. Interesting things to consider about how despite these AI are very primitive now, they could end up being better at making media than humans and where does that leave us right what happens when they produce media that is more engaging or exciting or or desirable and how does that seem to make creations and how does that impact our media environment. And how will that impact there by society culture and politics so the main purpose of my paper is to conceptualize these topics and define them and and also propose, you know, some of my own analysis and that we think more critically about these as they are primitive now they will continue to develop and become more important as as time progresses. So that's it and I'm happy to answer questions at the end. Thank you. No, I'll click there. He's going to join me to talk about his section. Let's just bring it to the PowerPoint, and then we can click through to the website. Okay, yeah. I think the start of the place. Thank you for the invitation to talk through this project. Thank you for my co collaborator to my co collaborator john Flynn for joining me. And thanks of course the digital matters for for supporting this. Thank you for the invitation to it. So our idea was to build a World War two. Omega s website, and it doesn't really want to go through for me. Let's see how do I forward this thing. The big track pattern. So this came out of a National Park Service World War two home front study that I'm the PI for. And as we did this project, one of the goals there's three different goals, one to create a national theme study essay basically that helps park service professionals know about the latest scholarship on the World War two home front. The second goal was to write histories of every state and territory, short ones for a new piece of legislation called the World War two heritage cities. An issue, which I'm happy to talk about but basically you got the drift take 55 histories right 50 states five territories. A lot of work to write these these state and territory histories. And we couldn't go super deep into it. The third is to write some national historic landmark nominations for those that don't know the national historic landmark is basically the highest achievement for a site right as far as national preservation, other than a park. But as we work initially on the state histories as I worked on them with a team of undergraduates and graduates get really interested in what might this look like as a digital project instead of as an analog or as a kind of written project. And as we all know, limits in both spheres but some pretty profound limits with with the written word right that we could potentially get passed with with a digital project. I knew it would take a lot more time to kind of try to figure that out. And thankfully, digital matters and the VP for research stepped up to give me some money to try to figure this out. And as you note here what I was really interested in was kind of an interactive exhibit a website that was modular, right so that could go in, people can approach it from three different areas, at least. That was an archive, and that was also curated with some bling, as I put it in johns the bling. Yeah, I just thought of that. That's an amazing line. You should put that on your Vita. I'm the bling. So johns the bling. And we kind of undertook this project together, kind of talking it through again the help of digital matters. And I said oh mecca s plus, they're going to have to pay me royalties for that. The plus is all the additional stuff that omega s works interactively with we wanted to see if it would work for us right. These are visualizations. Geospatial stuff, etc, etc. All right. What's my next slide. Oh, this thing is. Wow. Man. Loving this interface. Okay. So we look at omega models to think about what the possibilities for a mecca s might be. We came up with a beta beta site plan which is going to be evolving but site plan what if you will. And we began this research on the utahs world war two home front. Yes, we chose Utah, obviously, as kind of our case study on what this might look like, and came up with three different approaches that we wanted to try to follow and bring data through sites, themes and people. I have so much time left. Zero. Tell me when I'm getting close to. Thank you. All right. That's our framing. Now john's going to talk a little bit about our site. How you going? I got you hooked up with this computer. Yeah. So this is the beta site for the utah home front. And as Matt said, we're using omega with some various plugins such as Tableau for data visualizations night lab also has database as well as some like interactive timelines. And of course ArcGIS for spatial. And those integrate into Mecca, typically through an iframe. So the biggest thing we wanted was a map of these key sites because it originally was place based. And so, Oh, Mecca does have its limitation so there's not a super fluid way to integrate GIS with omega. I don't think Rebecca is maybe dealing with this as well. You have to essentially create a map and then embed it on the site and they don't talk to each other. So anytime you make a change that map, you have to re upload it. But the idea is you can click on these sites. And it will take you to the web page for a narrative through. So this is the often defense depot. And what will happen is there'll be these hyperlinks because as Matt was talking about it's this interactive but kind of this journey through and these different ways to explore. So if you see anything that's a link, it'll take you to another page on the site that is related to that. So if you clicked on this, this would take you to something under the themes category. So POWs in Utah. You have a landing page with a timeline. So this is a night lab timeline. And as well as some other categories where we have some visualizations and these are interactive and the ideas you can kind of bounce back and forth. So if you are reading about Ogden defense depot and say I didn't know there are POWs there, you can get this broad overview of POWs in Utah. So the idea is you can go broad to granular and granular to broad back and forth and the most granular I would think would be people where these are going to be biographies and stories and memoirs that are attached to these sites around. So let's take a look. So here's James who actually who worked at Hill Air Force Base. And these will at the bottom is the citation for the full oral history and the ideas as I was saying this is an archive so we're pulling from all these different places and the ideas you can kind of point back to where we got this. And this will hopefully get people to look at local museums around the state as well as the Marriott Library and these other big installations. And then you'll have at the bottom related themes so everything that this particular biography touches on he worked at Hill Field Ogden defense depot. Thematically it covers African Americans on the home front and also medically racial tensions and conflict. And I just going back didn't touch but so themes is the other broad category we have. And these are kind of changing right now but again it's if you're looking at a site and it talks about women in the workforce. You can say why didn't really know much about that click on that theme. Get a broad overview and then go into a deeper dive with the biographies of people that live there so it helps curate this experience of learning about the home front and anytime there's a question you have. You can bounce back to a thematic broad overview or if you want the nitty gritty details in the data visualization provide that. The advantage of omega is that it is really great for archiving these photos and sources. So you can even add a geolocation to it as well and point to where they came from. The limit I think we're having right now with it is it is a bit clunky as an interface right now to have this kind of seamless interaction we want between these. So that's that's kind of what we're working on right now it is a really great template to just load in a bunch of data archives as well as these data visualizations. But I think depending on what the end result would be it might change if they were going to be a large interactive display or something like that. Yeah, it's been super it's been super enlightening honestly working with with John on this and thinking through America as possibilities and its limitations. I'm kind of an imagination person. I'm like this is what I would like to feel like and look like and so on and we've been kind of trying to work with the realities of software and so on. That's still out there and I'm still very excited about it. I do think that the digital provides a really different way potentially of seeing the home front. I'll use one example as I as I wrap up and I'm going to go back to our original point which is geospatial stuff right. So my hope is that you might go to the granular particular place in Utah and you can track either a person or a material. Let's say to uranium and understand the connectivity across Utah across the broader US home front and globally right which really makes the home front a different story. Tracking a soldier does the same thing. Instead of just thinking about this person as a home front person. They become part of that global story of World War two pros and cons there. Same thing for producing a parachute by a rural woman a man time. If you can track that parachute and understand that as part of this bigger story of World War two it's really pretty exciting. Right with that archival kind of half of primary sources and the curated content that we're working on. So it's it's it's pretty exciting. I think it can capture folks. I'm especially excited about trying to make this mobile as well. Right. This is part of the geospatial thing and connecting these museums around Utah, which is the final point here. We've already had some good discussions with. I don't know if no or not there's a new. I know we're back in those a new museum of Utah is emerging up on the capital ground. And we're hoping that they'll think about making this exhibit either via omega s or a different software part of that that museum. So that's that's the exciting thing I might just either live in a digital space for them on their website or it could be a big exhibit wall. For example the big smart wall that you see right here. They were the smart wall. Oh, smart wall back. So something like that right that's that's kind of the hope stuff there. Thank you. Yeah, thanks. Yes. I forgot to mention that our undergrad intern David one with him a can't join us today. So I'm double dipping a little bit here. So the project that I've been working on for, I guess about the past year and a half through digital matters in American West Center is native places. It's an indigenous Atlas of Utah and Intermountain West. And I presented on this before and so some people here are familiar with it and some aren't. So I'll give a brief recap of what the project is, but then dive into the recent developments we've had and updates on the map itself. But I did want to point out this is kind of an old article now, but the importance of contemporary place name so Deb Holland the interior secretary right now. Just put a ban on the word squaw from federal lands or they're going to make this effort to remove the offensive word. There's been pushes for removing racial slurs as place names that are held by the USGS the US Geological Survey in the 70s and 80s and this will be the first time it's really applied to indigenous. So this got me thinking this project is based on this massive amount of USGS data. I wanted to see what place names in Utah had this word so there's about 53 in Utah. And here's a map that I put up of it. The key thing about the recent announcement is it's only names on federal lands so anything on BLM or National Force. I haven't looked at that yet but there is a way with this recent update in the map where you can overlay the land ownership and then you would be able to see which one of these dots are on federal land or which are on private. But moving forward kind of briefly a recap. So this is a spatial humanities project. It's just essentially a map that restores these indigenous place names that have been erased through a history of settler colonialism and the Intermountain West to start. There's potential to move beyond this region but we wanted to self contain area to start with so essentially as explorers came through. They were naming things after your American traditions or explorers and then these became codified by the USGS. And this kind of reshapes the mental landscape and physical landscape and erases ideas of native presence or native history. So this is a response that's kind of a deep colonized effort. How it works is as I said there's this massive bank of USGS names that is publicly available. And we start with that and then through tribal consultation and historical research. We prioritize the indigenous name. And here's a screenshot of one of the pages of there's like 65 pages of USGS data highlighted is in Utah. It's a really huge database but if you can plug it into GS there's a lot of fun stuff you can do with it. Yeah so the spreadsheet that we create is divided by these language groups for these five cultural language groups for Utah. And each dot will have a pop up with the indigenous place name the translation or some notes the USGS or the contemporary name. The actual feature type what it is so if it's a canyon a river or mountain and then a citation. So here's a look at our spreadsheet which is available download on the website and on the map itself. And then here's an early version of what the map looked like. And a lot of stuff has changed RGS recently has a new addition came out about a month ago. And so there's a lot of new tools that you can use and so I was experimenting with some of that. So some updates as we have many more place names we about 550 right now. We went through this publicity push because getting consultation from the tribes and other groups is really important for it to grow. So David helped me produce a video that we broadcast through the Marriott. There's a blog post that came up through UHQ on it and Greg Smoke who is the essential PI of this project and I presented at a couple of conferences this past summer. Some technical updates is I've started adding polygon shapes for rivers and mountain ranges so instead of a single point for a mountain. It'll have a range highlighted you can click on that same for rivers. Some of the dots as you'll see on the map are weird because they'll be way up in Montana, but that's because that's the head of the river. Really the whole river should be highlighted and some going through those polygons to make it a little bit more readable. And then adding a couple of different layers for land ownership and incorporating traditional maps. So there's a lot of maps that have been created throughout history that are trying to identify and place these indigenous groups in these territories and they're these polygon shapes that are really static and unmoving. And by overlaying the place names on that we can tell more nuanced history because we are going based on this history of linguistic presence so it's a lot of overlap rather than like a boundary starts and stops and these two the groups don't cross that. So the great thing about a digital map is there's a lot of flexibility there's a lot of data available online and we can constantly change as we add new data and have these different layers overlay. So as I said rivers and stream this is what it's looking like right now I still have a lot of work to do to map out all these rivers some of these are available through ArcGIS some of them I have to draw myself. And then adding historical maps in so here's a reservation boundaries from a treaty in 1883. And then here is one that I added in so this is contemporary federally recognized tribal land you'll see up in Montana it's really diminished. Even in Utah the even we're right reservation is much smaller now so the idea is there'll be a timeline we can click through these maps and see how they've changed over time. While these dots that are all the place names will remain on top so you can see this shrinking and growing as this history of settler colonials and moves across the West. As well as early maps from explorers that tried to draw these boundaries so here's one from 1863 Indian Claims Commission. And this is added in as an overlay so you can see how well it lines up with the place names that we have so and a brief caveat is. Our data is incomplete as it stands right now so you'll see that we are missing quite a bit of the Ute data so if someone were to look at that and say well I guess there's not really much of a Ute presence. That's just more on our part because we haven't had that travel consultation with the Utes now so that's a big challenge that we're trying to work through now is it can kind of create this skewed perception because of the way the Navajo Nation functions and they have this very organized structure of place name. We have this great wealth of data from them, and it's not the same case with the Utes but if someone were to look at that they'd say oh I guess the Navajos were much more prevalent in this region than the Utes or which we know is not true. So that's a big hurdle we're trying to move past in this travel consultation stage. Briefly show you a bit more in the map here. So as I said, you can click on any of these dots, and you'll see this pop up that has the place name, the language, here's a translation, USGS name and the feature. The spreadsheet is not able to click down here, but there's a tab down here that will bring up the spreadsheet. So you can see all the citations and all of our information in there and it's interactive so as you click through these dots it'll highlight that as well. The legend right here will have our five language groups and this was another challenge because a lot of the ways that these are segmented is through early anthropology in the start of the 20th century. But we had to work with something that was easily readable for people to see the map so we chose five language groups and then they break down into specifics. So you'll see there's Shoshone on here but when you click on the icon it'll have the actual dialect so this is Western Shoshone. As I mentioned, the thing that this does is move beyond these arbitrary boundaries. We do use contemporary political markers on the map just to help orient us as users. But you'll see there's a lot of overlap in certain areas so this tells a more nuanced history of native presence in Utah and the Intermountain West. One feature that I have added in that came with the new update is you can search for place names near certain area based on a radius that you set. So if we do eight miles we can do the University of Utah and it will zoom in and show us that there's nine place names within eight miles of the University of Utah. So this is what I thought a cool feature as people are exploring. You can search for specific place names either based on the USGS name or the native place name or you just say I want to know what's near my house and set it up to like 15 miles. Other than that, of course there's still these tabs here where you can filter by the feature type. So say I wanted to only look at maybe mountains and rivers. Everything that's on the map now is either a mountain or a river and I can do that as well for the language group. So say I only want to know maybe Shoshone and Navajo Mountains and Rivers. This is going to filter through so if you're looking for something specific you can find it that way. There's also a list view that updates. So you know that there's 170 Navajo Shoshone Place names for mountains and rivers and I'm out of time but the site is live. It's nativeplacesatlas.org and so you can go around and explore with it and it's still constantly changing. We're adding more data. There is a tab on the website as well for people to make suggestions and comments or try to contribute. Yeah, so thank you. All right, I'll give you some privileges. All right, Marty, you should be able to screen share now. Okay, can you hear me? Yes, we can. Okay, great. Okay, so thanks. I wanted to thank Digital Matters for the incredible support which helped fund Jonathan Sandberg's time and he's joining us today as well. I also wanted to thank the Marriott Library user experience and web development team, who've been incredibly helpful in terms of building the structure for this website and search engine. So Jonathan and I have spent the last 18 months or so building this public facing website, and the purpose of it is to educate the broader public about artists books and facilitate use of a common vocabulary by scholars makers, community users, and potential users of the objects. Artists books really took off in the late 1960s and since that time these novel publications have become increasingly tricky to describe. The reason that's a problem is that artists books collections are held typically involves a special collection repositories, rather than browsable shelving so better digital tools really are critical in increasing discoverability and access. So artists books can cover limitless topics they really are resources for scholars and patrons across disciplines without accurate metadata and a commonly known or commonly used vocabulary. These material artifacts are difficult to access without assistance from a quote gatekeeper such as a curator and outreach librarian or teaching faculty who knows the collection. In February 2020 at the College Book Arts Association conference I coordinated a panel with fellow quote gatekeepers from Wellesley and Emory, and our discussion further explored opportunities for a shared language between curators catalogers and makers. And as an explanation of the title of this panel the word colophon refers to a statement, often included at the close of an artist book that provides notes on materials and production, and potentially an explanation of or note on content. And this information can really be crucial for cataloging and curation and in turn for increasing discoverability. My colleagues Ruth and Beth represented the perspective of curator and cataloger respectively, and I presented as both a maker and educator, and pose these questions. What can we do as makers to improve access to our work in institutional collections. What can we do as educators to improve accessibility to student work that will become part of collections and that's where one can really be helpful and educating around the use of colophons. What can we do as makers educators researchers to synthesize language with catalogers and curators, and what can we do as gatekeepers of institutional collections to diversify audiences. As a librarian who contributes to the curation of artists books collections and exhibitions, and studies and teachers with these objects, and who creates and facilitates student production of visual book work. I'm really increasingly driven to improve discoverability of these wide range of works. I found that even commonly use contemporary forms are referred to with a variety of terminology. So this structure, for example, could be and is referred to as an oxplow book, a booster feeding or a snake book. For example, and often regional practices and innovations result in a localized vernacular that may or may not apply in other places or in other communities. All these examples by the way are from the rare books collections here at the Marriott library. As you can see that there are also uncommon and new forms for which no descriptive language currently exists, or in common anyway, as well as non traditional materials and practices and new technologies that fall outside of the scope of approved vocabularies used by catalogers. Years ago, Jonathan and I began to gather additional metadata on artists books in the rare collections for the purposes of enhancement of the records in the catalogs, and to identify specific terms that were needed to accurately describe these artifacts. So in July 2021 original cataloger Ali McCormick Interim Associate Dean Todd Samuelson and I submitted an NEH grant that will hopefully fund the record remediation and enhance cataloging practices of both historical illustrated books and contemporary artists books. These improvements to the records, these are some of the records, the spreadsheet, the metadata that Jonathan and I have been gathering from the objects. These improvements would be made to both the catalog records at the Marriott library, as well as to OCLC, which is a global digital resource. This is kind of a snapshot of that aspect of the project so the remediation of the records, and it also gives you a list of the approved sources for vocabulary. So catalogers are understandably very specific about what vocabulary is allowed. And essentially, we found and many others as well that there there just isn't enough vocabulary to accurately describe the objects that are being created now so a note on this final source here the art libraries, whoops, sorry about that. Oh, great. Now I. Sorry, back here. Okay. The art library must look forward, apologies. The Art Library Society of North America has an artist book thesaurus and that process that project was underway in 2012 and then in 2016 the volunteer group found that they just couldn't sustain that site and the site was intended for catalogers to be able to develop an expanded vocabulary. So we have, in a sense partnered with them we received their blessing, and they are no longer working on that project so we've kind of taken their, their data expanded upon it. And then our purposes are for a wider audience. So, this is kind of a early spreadsheet that we were using our table that we were using. And so Jonathan and I began matching terms in common use to approve cataloging terms and when I say common use. We have a wider community of makers and educators around a book art so that terminology was not often included in the cataloging terms so we examined the scope notes for those approved terms and evaluated the term specific applicability to artists books. This is a look at the database behind the website as it exists now. We have the term the OAB the opening artists books are definition, and then related digital sources, or, you know, that we've used we've, we've, we've looked at and we invite the public to look at, and then related terms so these are brought out broader and narrower terms which is often used in cataloging as well synonyms. And then we also developed the term called also called. And that would allow us to be as inclusive as possible so we also have a piece on our website where anyone from the public can suggest terms. And that's coming to a common language necessitates that inclusivity. So the long term goal of opening artists books is of course to encourage the use of this tool and, and to group sources of knowledge by catalogers and makers, as well as researchers. And we'll be working with Beth Shoemaker at Emory, and Ali McCormack at the U to propose new terms to the Getty ATT which is probably the most receptive to expanding vocabulary, and both of those individuals are catalogers so they will have a voice that we would not have. Also exciting is this past week I met with researchers from the University of Iowa, and they're developing a digital tool for artists books for cataloging of artists books, and are doing record remediation at Iowa, and they're really interested in collaborating through link data sets and the use of these complimentary digital tools that we are using so you know right now we're, we're, we feel like the site is at a place where we can start to disseminate the use of the tool and market it per se. And then I also wanted to take a quick look at the site and its functionality. So, the homepage is a brief overview of the site and some acknowledgements. And then, if you click on artists books terms, you can search I'm going to search here for, I mentioned oxplow books earlier. I'm going to be hyphenated let's do the booster access it that way. Of course when I tested this earlier. Oh, I'm spelling it wrong. Here we go. So, that's on that term. And it includes our definition of booster feeding, and then it links to other terms so a synonym that we have identified is an oxplow book, which is what ABT was using for this form, as well as an also called which is a snake so also called don't link to anything in specific whereas a synonym will link to the Arles site where they define oxplow books. And then there's also broader terms so a single sheet book would be a broader term and that links actually to our site. It looks like we need to update that definition it definitely is a work in progress. And then, also external links, such as the Getty. So this gives you information about their definition of the writing system that is associated with this book form, and from which the term was derived. So I think that is it for me. I'm happy to entertain questions when we get to that. Thank you. Thank you for your time for questions. So those of you joining us with them, please feel free to jump in or write the things in the chat box. You can lay your questions to Trevor, I was hoping to ask you, you can provide nice kind of overview. Yeah, I mentioned that's still kind of a problem because I think, you know, you, the main kind of thing I'm wrestling with is you can analyze the media products of these ai right just like you would do any kind of textual analysis traditionally, or you could do a textual analysis of the code itself and the machine itself. And I'm kind of trending towards doing a little bit of both. But I think also, you know, the any critical arguments you can make about the AI technology itself, hopefully should be evident in whatever they're producing right. So I think, you know, by, I guess indexing and taking their media products will have sufficient insights about the AI technology itself. And that being said, I mentioned the variety of different types of media that can be created by these technologies. I haven't run into one that does dance choreography, but I'm sure it's possible. And I'd like to see it, but so I think that's going to require kind of a lesser definition of text anyway, in that I'll be referencing images games, probably a variety of different things I think maybe to narrow the scope of the project. Initially, I'm considering talking about music composition as a starting point, because it's a little bit more familiar and a little bit simpler than a lot of the other ones. Yeah, I'd answer your question. Yeah. I have a question for john, but about the native places. Have you guys received any concern about or desire for what was the first name. Right. That is kind of an originator's claim for sovereign territory based off of language, or place names or anything like that is there been is there been any tensions over that either among the indigenous nations, or among other users. Not specifically that that is a it is a question we're considering I mean there is tension, definitely between, say, like the Navajo and the youth. And so as I was saying, the maps that I'm overlaying in our snapshots from years, this is just kind of like any as it stands right now any site that has a place name from any group. So it's kind of like creates this linguistics present linguistic presence but it also is kind of timeless so we we don't have dates attached to those yet. That is a good point though that we should consider. Because they're, if you're looking, if you're looking in like the Salt Lake Valley, a lot of these overlaps were in one sense saying. Okay, a lot of groups use these areas and they there was overlap, but what you're saying is a really interesting point because we're not exactly saying it was the same time. So yeah, we haven't had anyone specifically point that out what it is something. Yeah, but it's kind of hard to because a lot of these names we're getting are pass out the whole tradition so there's not exactly like a firm date attached to it. And so it might not, it might just be something that wouldn't be feasible and maybe we have like a disclaimer about that. But how this map is presented to viewers that's like and there are a lot of challenges about that and that's one of them right there so. I think at some point, you know this has happened in other places in the US and certainly in other settler nations. Folks start using or trying to use an indigenous name, but if there's five competing names, the tension over which of those names gets used. Yeah, which is often an originator claim. Just curious what you guys have come across it yet and thankfully it sounds like not yet. There's something to be aware because a lot of people have approached this looking for land acknowledgments, and then they want like a simple answer and we're like okay well if you look at Salt Lake, which one are you, you know, going to do, or the same for like the replacing the offensive names like how are they going to go about doing that are they going to use an indigenous. Yeah, one or assign a new name. If you want to rename read your garden. After that indigenous name of the people that were first using it and you come across four different tribal groups will have different names for this space. What do you do. Yeah. Yeah, it's an interesting question. I don't have to solve it. I know I'm going to point out the date because that is something considered like the way this happened. Question for Eric, I guess I should say first of all these are all fascinating presentations really wonderful to see the range of things going on here. My question for you are I was, as I was listening to you I was kind of imagining a spectrum between prop and performer. Prop like a cane that a dancer my youth right to entertain the audience and then the former of the dancers themselves. And this is an imperfect spectrum maybe, but empty heuristic, could you position the drone on that spectrum, or is it external and where does that, where does that drone fit in. That's such a great question. Yeah, and it's sort of like because I've been thinking like, well, what tears say about great drawings. Because I feel like there is. We I think we've heard part of their uncanny misses we don't know who's piloting. You know, we don't know who or necessarily what the purpose is over them, but there seems to be sentience there. So, and the public factor here is like, well, what are some of the theatrical met, like methods of triggering me as a viewer to project sentience into this thing that really has no sense. So, I think that that question is amazing. And I think that we're leaning more towards playing with this idea of it. It's character. And certainly, you know, Scotty, as he's basically improvising within certain themes certain frameworks, you know, he's working with a lot of stuff that the drone is producing. Right. So like it's actual physical location space, speed, the wind that it's producing the sort of like the mess of either like the feathers of the water. So there's a lot that he sort of navigating on the fly. Sorry. In terms of like, what is this drone, where did the drones fall, I feel like, because of how he's responded to that factors into my projection of sentience. So I think that the answer to your question has to do with the directivity, you know, and is he how does he respond to that. My sense is that they are more than props. They are more than these sort of inanimate things because they also create states. You know, with dance, it's all about time, space and energy. Those are our resources and if you start cutting those resources off, like when you cut off any resources like things get intense. Right.  That's basically speed, right, and cut off space. Right. And those things are always related. It's time and space. So when Scott, he's like throwing that drone around. He has to move faster than the drone. So it doesn't crash into the wall. Right. And so it's like, we're compressing space and time and all that action. So I think that we're working with a very basic theatrical building blocks of character. Sure. Thank you for the question. John, maybe think about the kind of just an odd parallel, territorial. I was wondering, Marty, if you talk a little bit about how, and I hope you can give us some of that insight into the backstage drama. Do you find any kind of knock down drag down fights about what names going to go with particular look our objects, or do you find that working the digital medium that because you had a search engine that would place all these names in parallel and you didn't really have to have any disputes about territorialness or naming rights or work without them. We have kind of a primary list of terms on the home page that lets you kind of scroll through terms so that you don't have to come up with these on your own so in a way we have established a hierarchy, but we try to look at as much scholarly writing on the form that that's available as possible and we've also reached out to scholars to try to take into account as many people's perspective as possible, also defaulting to the Library of Congress whenever possible so the list of the resources was a hierarchical list in terms of whose terms we are using. But you know that that is indeed the issue is we want this to be a common vocabulary rather than an approved vocabulary, we are seeking approval from the Getty. So we do need to be very specific and we all the nuances that really make an object what an object is we want to capture that. So things can get a little bit I won't say contentious, but Jonathan and I often will argue over semantics quite a bit. And then we have had email exchange with other scholars as well. And I think that once we have input from the public. When we're doing our beta testing that we probably will have people disagree with us and that's healthy and that's what we want. So that also called box really allows for as much inclusivity and diversity as possible and the more we can include there the better the tool will be really. We have decided that English is the primary language for the site but if there aren't good transit translations we use the original language in which the form was developed. German word for everything. You have time for another question. I'm familiar with both of your projects but I've never seen them presented back to back and it may be think of the possibilities of embedding the map in something like an Omeka instance and adding that extra stories and you know special collections in context is that something you thought about at some point taking the map and moving it into a different environment where you can maybe show more contextual information about these places. The native places. Yeah, we have. I think we're still the initial phase of trying to have it be this decolonize Atlas and put in a bunch of data, but there is a lot of potential in the form of story maps and linking to. So our first step was linking citations but we do want to have a lot more information so having bigger blurbs or maybe sections for each group that would have the contemporary group and then the native pronunciation and on these audio files so there is a lot of room for growth outside of the way it looks now. I think part of that is just waiting to hear back from any age grant that's going to be feasible, but it is like on the horizon, it kind of depends on I guess the funny but that that is a I hadn't considered it in relation to the work I've done with with Matt, but it does. So, linking into these archives because the merit has a huge collection as well and that's where I'm getting a lot of these historical maps as well so I think there is potential to like, at least on the like full website have people be able to explore rather than just the interactive map. Yeah, your project such potential for K through 12 curriculum. There's so much to be done there. Yeah, definitely. Part of the dream right is getting curriculum built up. And the funny thing is we don't have to start from scratch and either project as an old World War two curriculum done by K you we are. And then of course, we shall remain this big curriculum project that we did with Mary off back in 2008 or nine. So there's, there's really cool possibilities about linking things up, instead of just having to do all the work again. Yeah. My understanding is that the military is one of the largest bureaucracies in the country. This was the real dream, right and still is World War two is one of the most data rich moments in our nation's history because the government was so huge and there was so many record keepers, which is super exciting as a possibility. So when I saw John present a while ago on those southern monuments, you know that was place based on like we've got just heaps of data. It's in weird form, but about military production or military personnel or whatever. Or, could we geotag that stuff and make it, you know, much more usable and yet make the website one more thing, which is a research database, not just an archive and a curated presentation. I still think it's got really cool possibilities right spatially it's got amazing possibilities because some of you might know but World War two. The government takes over vast swaths of the US West, which has profound implications for environmental issues, social issues, including racism and so on so yeah that's still the hope could be really cool. And for data visualizations of all that stuff. Yeah, I mean it really there's there's a lot out there there's a lot of statistics that we could do some really cool stuff. That's why Tableau is cool because I would put most of that information in Tableau to visualize it differently. Because when you look at it, I think you've seen the visualizing words blocks. When I do like the amount of money that federal government put into Utah, half of it is steel Virginia steel, and like then everything else is broken down so it's interesting ways of like seeing what they were prioritizing. And I'd love to do like a timeline of the federal government taking these tracks of land and then also the population of military base in the US around the world as a timeline, which would be interesting to view throughout the course of World War two and in the aftermath. Yeah, it's all over the place now 16 spots that are highlighted right now or yeah, I mean all over Utah, there's these little pockets clearfield, wherever clearfield is. You know, like all these kind of small places, POW camps, where POWs worked and or we just all over which I think, again, the goal is to make World War two and look different, or not look different, but be kind of a richer, more nuanced experience of that. And having that data where people can play with that data that's


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What's good y'all it's your boy Ross back again with another video man and yo Smackdown tonight, uh started off electrifying now initially me and Doug we weren't going to stream uh Smackdown tonight in fact I was at my grandmother's uh before the stream started so I wasn't going to be able to you know be back home and set up the stream uh with the homie dub and dub was watching his newborn at the time uh his newborn daughter so you know he was just kind of chilling out or whatnot so we weren't initially going to stream but I checked my instagram one of the homies said holy shit the rock is back and I I didn't want to believe it because I'm like ain't no way but I did see some rumors on twitter uh talking about the rock is backstage because it's in Colorado and he was uh on the Pat McAfee show uh in Colorado they were you know talking to uh coach Dion about the Colorado game versus uh Colorado State so he was there for the morning show so it kind of made sense but you see those rumors all the time like oh the rock is backstage or somebody else's backstage and you don't really see them on the show so when he said that I was like I gotta check this out so I opened up my laptop at my grandma's house turned it to you know youtube tv turned it to fox and lower it just it low and behold it was right there I called him right when he walked out and he's just scanning the scene and the crowd's going crazy I had to call Doug I was like yo bro the rock is back he's like you lying I'm like no the rock is back he turned on the tv I can hear his daughter in the background and there's a little baby girl in the background and bro he got lit too so we started watching that a little bit and then on my way home uh we set up the stream uh the mobile stream uh for you guys so shout out to everyone that was there for the impromptu stream uh I had to you know I'm saying once my grandma was taking care of I had to rush back home uh I was on the live stream in the car you know I'm saying trying to get back to the crib at a decent time to catch the rest of the show but man that was crazy and I was able to go back and watch the actual clip of when he first came out uh Pat McAfee was having a little back and forth with Austin Theory or whatever Austin Theory being the heel that he is disrespecting the people in Colorado and it was cool for Pat McAfee to even be able to kind of set it up for the rock to come out there and when he when his music if you smell crowd went crazy just the atmosphere just turned up to 11 that quickly him in the ring everyone's going crazy everyone's phones out goose bump inducing it was fantastic um Fox um well not Fox but I know WWE they they had a uh uh quite difficult time uh because they had to mute a lot of what the crowd was chanting chanting crowd was chanting holy holy shit they were chanting that uh over and over so the crowd they had to mute the crowd completely um but this was just fantastic bro and unfortunately my boy Austin Theory once again got cooked my boy Austin Theory can't get to break he stayed getting cooked he got cooked and the Rock didn't even have to do too much to cook him Austin Theory about to get into his little heel promo bag or whatever or whatnot he was disrespecting Stone Cold he's like oh you're back once again uh to face uh face Austin talking about himself disrespecting Stone Cold and bro this was so funny and this is why the Rock is the Rock and he's one of the few people that can probably get away with saying whatever on television and who's gonna stop him my boy in mid-sentence told Austin Theory crowd went crazy I was done I was like oh yeah he cooked him and Austin Theory proceeded to shut his bitch ass up that was it he cooked him easily and he started talking about the people started talking about you know what I'm saying if Stone Cold were here he would put the can open the can of whoop ass on you then he started getting the crowd into it he said this side of the arena is gonna change uh chant URA and this side of the arena is gonna chant asshole URA so the crowd started cooking them and they had to meet the the asshole part or whatever so the crowd the audio was going in and out then he's all right this side of the crowd is gonna chant URA and that side is gonna chant an asshole and they went back in for a great moment great great moment Austin Theory human mad or what not and then he proceeds to say all right what's about to happen is in the next few seconds I'm gonna lay up the smack of down on you pretty much and they start brawling Austin Theory Austin Theory started to get a little bit of the upper hand but then of course the Rock starts charging up laying laying down the smack if you laying the smack of down on Austin Theory hitting with a spine buster and you already know the most electrifying move in all the sports entertainment hits the ropes hits the people elbow hits him with the people elbow so hard that Austin Theory shoe comes off when his shoes come off so at that point everybody's going crazy and then my boy Pat McAfee got invited to hit the people's elbow he hits the people elbow elbow on Austin Theory great moment and the Rock proceeds to throw one of Austin Theory shoes into the crowd you get this trash out of here great moment fantastic moment so glad I was able to catch that some of that live that was amazing was not expecting this that was dope it was a if you were there at the arena let me know down below I know some of you guys be at the show so let me know down below how was that atmosphere because I know that was special the Rock hasn't been on television WTE television in quite some time so I know everyone that was there had a special special moment for that so there was another special moment where Pat McAfee is talking to the Rock or whatever and John Cena's behind him or whatnot and he was like oh Mr you can't see me man it's right there so Rock turns around like yeah I can see you can see you smiling and you know they have their history Rock and John Cena crowd went crazy for that and you know they shook hands and hugged each other and that was just a dope moment just to see them there together in the same arena on the same screen and we know their history so I thought that was a good moment so I'm also just going on down the noticeable moments of the show LA LA night versus the Miz it was a solid match enjoyable match for what it was crowd is still very hyped for LA night anytime he's music hits they had a nice promo package set up for this match matches straightforward nothing too crazy nothing too special but the right person won LA night hit his finisher clean one two three got him the hell up out of here and as expected I was hoping it was going to be like this he had a clean decisive win he picked up the microphone and this is where things got interesting he's like you look when I got to smack down lot when I got to smack down I said I'm here for all the gold so if that's the United States Championship in Ray Mysterio if that's the Intercontinental Championship in Gunther if that's the World Heavyweight Championship in Seth Rollins and especially and he looked into the hard cam hard cam zoomed in on his face he's looking dead at the camera and he said and and this is goes especially for the WWE Undisputed Universal Champion Roman Reigns yeah I was like oh I like that he put emphasis on that so as he's walking back they cut to a TV angle and then you see Paul Heyman and and Solo Sokola watching and Solo says do you want me uh Solo's like uh do you want me to handle this LA night problem I was like oh we're getting somewhere we're getting somewhere they're teasing some type of interaction with the bloodline and LA night I am all for that um then they started talking about Jimmy and what's going to happen there and what should be done and Paul Heyman's thing is well it hasn't come from the book from the tribal chief himself from Roman so we can't do anything and Solo said you know what I'm going to take care of what needs to be taken care of tonight and he walks out and Paul's like but Roman didn't say that yet Roman didn't give the orders and I like that that Solo's starting to do things on his own more which needs to happen that needs to be more of a thing and they need to keep building that up there's a lot of little branching story lines that could potentially happen here and I'm all for it so we get to the main event the Grayson Waller Effect uh you knew something was gonna happen because it was the main event of the show uh we got uh Grayson Waller pretty much talking down to John Cena John Cena not being able to get in one single word so John Cena says screw this takes off the hat uh they also did a little jab at um they started off the show um you know whenever I you know we you know I'm talking to someone on a show I like to take my hat off because my mother taught me manners it's kind of a a little little jab at what uh Dion Sanders coach Dion's been dealing with uh with his situation with uh the other head coach for uh Colorado State saying you know when I'm doing press interviews and stuff I take my glasses in my in my hat off because my mother mother taught me manners and it only makes sense they do that in Colorado so I like that little jab but John Cena wouldn't have it through his hat to the crowd took his shirt off he's ready to throw the hands and before he's about to say anything Jimmy Uso music gets so he's like oh brother and Jimmy basically comes out here saying uh I like how he's called Grayson Waller Kangaroo Jack is right over there we don't want you around here John you we don't need you around here that people came to see see me or whatnot and if you disrespect me like that again like you did a couple weeks ago there's gonna be an issue or whatnot so I'm like uh oh all right so he want to run the fame with John John over here then all of a sudden solo music here solo walks down there or whatnot and then Jimmy getting all high yeah that's yeah we about to yeah it's over now and then solo ends up turning on Jimmy and it looks like he's about to give him the Samoan spike to Jimmy Uso Jimmy's like yo what's going on and then boom super kick to John Cena and then at this point John Cena and Jimmy starts to I said John Cena solo and Jimmy starts to jump John Cena Grayson Waller just watching in the back then AJ Styles runs down to the ring or whatnot to help out John and they start getting into a brawl or whatever and solo gets knocked out of the ring Jimmy's about to get the attitude adjustment Paul Heyman's telling solo to save Jimmy and that's what happened solo ends up saving Jimmy from attitude adjustment and then they proceed to back away it seems like they may be setting up some type of tag team match solo in Jimmy versus John Cena in AJ style so I can see them setting that up for next week don't say I got the script it's just it seems like they're setting up a tag team match for next week because I believe I forgot to mention uh Jimmy did cost AJ Styles his match uh AJ Styles had a match with Finn Balor and Jimmy was the reason why AJ lost due to interference and also apparently Finn Balor's on the recruiting page or the recruiting uh uh recruiting wave because he tried to recruit Jay Uso on Raw and now he's also trying to recruit Jimmy Uso to be be a part of the judgment day since Jimmy did help him in his match against AJ Styles early in the night so there's a lot of different things happening there's some interesting things happening uh I know some people in the chat was hoping that the rock was going to come out in a fear I don't know um it obviously didn't happen we will see how things go forward but he was on the show was it a one-off situation I don't know if it's not then it may be leading to something potentially with him and Roman going forward maybe at next year's WrestleMania I don't know but either way seeing the rock on the show was fantastic man and there was a lot of good stuff on the show a lot of good things that I'm looking forward to seeing what they do especially with LA night that has me the intrigue the most so comment down below let me know did you guys enjoy this episode of Smackdown what was your favorite part of Smackdown what was your least favorite part what you rate the show on the scale of one to ten but I appreciate all love and support bro 250k and I am still un-speeding you to the wrestling champ of the world appreciate your cake with me see you on the next one peace


Ssssssssssssssssssssss That's drunk. As you know, Nintendo loved to add the word Super to a lot of its Super Nintendo games, I guess maybe because it was meant to imply that these were better-than-Mere NES games, which had regular old Castlevania Double Dragon and Adventure Island to name a few, but Super Nintendo had SUPER Castlevania, SUPER Double Dragon and SUPER Adventure Island! And yeah, those games were all pretty substantial upgrades in one way or another, whether it was the gameplay, or the visuals, or the music, or whatever. But then there's some games that were given the super moniker that were decidedly unsuper. For instance, Putty is a game developed and released for the Amiga in 1992, so then we got Super Putty for Super Nintendo in 1993, and it's pretty much the same friggin' game. Seriously, this looks like an NES game at best. You play as Putty, who lives on Putty Moon, only one day it gets invaded by an evil wizard named Dazzledaze, and Putty is somehow banished from Putty Moon to the planet below. So to get back home, Putty needs to collect these little bot things to build a huge tower that will reach back up to Putty Moon, so he can climb back up and exact his revenge. And I don't blame him for wanting to get back, because Where He's Trapped Now is the most Amiga-looking game to ever Amiga in all of Amiga Land. Amiga ports on Super Nintendo all have that kind of look to them. They all use the same obnoxious, barely readable font, whether it's Alfred Chicken or Magic Boy or James Pond or whatever. Putty is fittingly enough a blue blob, which puts this game in the direct competition with all the other blue blob games of its time, namely Claymates, which was made by the folks who made Clayfighter. That game has you start as a blue blob, but you eventually change into a mouse, a bird, a cat, and a fish. And there's also Smart Ball, where your blob form can scale and cling to walls and ceilings in a side-scrolling platformer. That game also has an unreleased sequel, titled Jerry Boy in Two, that's actually pretty good. In Super Putty, your blue blob is not a side-scroller, but more of a vertical scroller which coincides with the story. The game starts with a quick tutorial that explains all your abilities, all of which are really simple and intuitive, like stretching and attacking and such, or pressing down to sink into a puddle to absorb stuff, as well as pressing the X button to inflate.  After that, the game starts proper, with the goal of each stage being to find these robot things and carry them to the door, at the end of the level.  You can only carry one robot at a time, and in the meantime, you've got enemies coming from all over trying to get at you, and later on, the bots that you're trying to collect are seemingly trying to get away from you, bouncing around all over the place. There's six total levels with at least three stages each, and unfortunately, there's no passwords or save battery here. You gotta beat this one in one sitting.  For example, there's certain enemies you can absorb and later borrow their shape and their abilities, kind of like Kirby would. There's other power-ups here and there that you pick up as well, like this power-up the manual refers to as Uncle Ted. He comes out and plays an organ and everything freezes. Okay, sure. The game plays fine, the controls are okay, the level design is okay. Normally, I'd refer to this game as a big bag of ordinary, but one thing brings it down, and that's the sound design. I don't know if I'm playing Boogerman or Super Putty, but all the squeaks and squeals and fart sounds really got old after a while. This is one of those games I just mute the TV and put my headphones on. Super Putty did get a sequel titled Putty Squad that stayed in PAL regions, and that one is much more of a traditional side-scrolling platformer, and as a result, it's a slightly more interesting game. It also dials back the obnoxious sound design, which is a plus. To its credit, I will say that if you enjoy the Putty Games, you'll enjoy Putty Squad, but if you don't care for games like this, then you're better off with about a gazillion other platformers. Anyway, yeah, throw Super Putty into the tepid recommendation pile. If I were to make a power ranking, so the best games were you play as a blue blob. Number one would be Claymates. Numbers two and three would be Smart Ball and Jerry Boy in some order. And number four would be Super Putty. It's not that it's bad, it's just staggeringly ordinary with a couple really annoying qualities. It's one of those cases where it's perfectly okay for what it is, but if you went your entire life never having heard of this one, it's not like you're missing out on much. And I want to thank you for watching, and I hope you have a great rest of your day.