started. Good evening, everyone. Welcome to our program tonight with Dr. Jacqueline Francis and Virginia Smiley in conversation about Sergeant Claude Johnson in conjunction with a new exhibit at the Huntington in Southern California. We're going to get started in just a minute, but before we do, I have a couple announcements to share. So, I want to acknowledge that the library is located in the area now known as San Francisco, which is on the unceded ancestral homeland of the Ramaytush Aloni peoples of the San Francisco Peninsula. As the original peoples of this land, the Ramaytush Aloni have never ceded, lost, nor forgotten their responsibilities as the caretakers of this place, and we recognize that we benefit from living, working, and learning on their traditional homeland. As uninvited guests, we affirm their sovereign rights as first peoples and wish to pay our respects to the ancestors, elders, and relatives of the Ramaytush community. We also, as the African-American Center, honor the gifts, resilience, and sacrifices of our Black ancestors who toiled the land, built the institutions that established this city's wealth and freedom, and survived anti-Black racism despite never being compensated nor fully realizing their own sovereignty. Because of their work, we are here and we will invest in their legacy. We acknowledge the exploitation of not only our labor, but of our humanity. And through education and outreach, we are working to repair some of the harms done by public and private actors. And you know what? I don't think I introduced myself. I'm Shauna Sherman, manager of the African-American Center. And again, so glad to have you here on the last day of Black History Month. We get to celebrate once every four years on the 29th. So, so happy to see you. We have a few things happening at the library now. And through March, first of all, we have the Torta Black Ascetic Exhibit of Kenneth P. Green Sr.'s photographs of the 1960s and 70s. This is at our Jewett Gallery in the main library as well in the African-American Center. And I really encourage you to come see the beautiful portraits of Black women in the Jewett Gallery and images of the African Liberation Day, March from May 1972 that went through the Fillmore. There's some great shots of what Old Fillmore used to be with people on the streets and everything. It's a really must-see exhibit. It will be up at the main library through April 21st. And then on March 17th in the African-American Center, we will be having a panel to discuss the making and meaning of African Liberation Day with Marvin X and Dr. Obatashaka. They'll be talking, they were actually there at the event that that day and we'll be talking about the meaning of African Liberation Day and its ties to the present. And we also have a reading series. This is the second book we're celebrating in the Sister Sci-Fi series and this author, Titulo Tomase will be in the African-American Center on March 14th. And to talk about her book, Wilm City, I hope to see you there. And we also have an African-American Family Legacy Book Club happening with this program is in partnership with the African-American Historical and Cultural Society. And we're reading Reclamation about Sally Hemings, Thomas Jefferson, and the Descendant Search for Her Family's Lasting Legacy. This will be on Zoom on March 19th. And I hope to see you there. All of these programs are listed on our sfpl.org website under the events page. And last but not least, on Saturday, March 23rd, in the Coret auditorium, we'll be having a program in partnership with the Fillmore Jazz Ambassadors called The Spirit of the Blues. It'll be music, poetry, and blues singing from two to five on Saturday, March 23rd, another great program. So here we are. Now we're here for our featured guests of the night. We've got Dr. Jacqueline Francis and Virginia Smiley who are going to talk about Sergeant Claude Johnson's work. He's an important California artist who's had 43 works of which are on view now at the Huntington Gallery. And Dr. Francis is one of the co-curators of that exhibit. I'm going to read their bios and bring them on to the screen so you don't have to hear me anymore. So Dr. Jacqueline Francis is Dean of the Humanities and Sciences Division at California College of the Arts in San Francisco. She is co-editor of Sergeant Claude Johnson, is now the time for Joyous Rage, and Ramair Bearden, American Modernist. She is also the author of Making Race, Modernism, and Racial Art in America, which is available at the library, and is a contributor to Mary Ann Kalo's African American Artists and the New Deal programs. In 2023, she was named to the Uruguena Center for the Arts 100 in recognition of her activism and innovative projects in the Bay Area region. Virginia Smiley is a retired public health professional who heads the San Francisco African American Historical and Cultural Society's Archive Inventory Project. She is a native of Native San Franciscan, a graduate of Lowell High School, University of California at Berkeley, and UCB's graduate school where she earned degrees in African American Studies, Anthropology, and Public Health. She is the author of 100 Years in Action Booker T. Washington Community Service Center. Her location is historian, and she is an amateur genealogist. So I'm going to bring our wonderful guest to the screen right now, and we'll get on with our show. We're in for a great treat. Welcome, Dr. Francis. Thank you, Shana. I'm going to share my screen. And Virginia Smiley. Hello, everyone. Okay. How's the view for everybody? Okay. Looks good to me. Great. Super. Thanks again for having us, Shana. We're so grateful to the library, and I'm so grateful to have this opportunity to speak with my colleague, Virginia Smiley, because of her work, you know, this project that the Huntington was in part possible. And I really thank everyone who are on the board of directors of the San Francisco African American Historical and Cultural Society.  As Shana has previewed, there is an exhibition that opened at the Huntington Art Museum, which is in the city of San Marino, just adjacent to Pasadena in Southern California. And what you're seeing right now are a couple of installation shots of the exhibition at the Huntington Art Museum. You're also seeing at the top left the publication that accompanies the exhibition, simply called Sergeant Claude Johnson, that is authored and co-edited by the Huntington Art Museum's American curator Dennis Carr and me, Jacqueline Francis, located here in San Francisco, and our third colleague, John Bowles, who is an associate professor of African American art history at the University of North Carolina in Chapel Hill. A fourth contributor to this publication, which is out now and available if you go online to Yale University Press' site, is Dr. Gwendolyn Dubois Shaw, who's an associate professor at the University of Pennsylvania in Philadelphia. So we'll talk a little bit more about some of the objects that you're seeing here on the screen, which are made by Sergeant Claude Johnson. And some of you may have seen Johnson's work not only here in San Francisco at the African American Historical and Cultural Society, at San Francisco Museum of Modern Art, at the Oakland Museum, maybe even at the African American Museum and Library. And that's because Sergeant Claude Johnson was probably the best known and the first recognized Black modernist working on the West Coast. That is to say, at the time when his career was really beginning in the 1920s, he was a Black modernist artist who gained national recognition for his work. And in what Ginger and I talk about tonight, maybe you'll see why. So I can't underscore enough the importance of the stewards of Johnson's work over the decades, such as the San Francisco African American Historical Society. They have opened Ginger and her colleagues have opened up their archive to me and I was able to examine objects that are in the exhibition, such as this letter by Sergeant Claude Johnson to his daughter Pearl in the 1940s. The Historical Society also holds a self-portrait of Johnson done at the end of his life, which you see as the middle image here on the screen. And the Society also has reproductions of photographs of Johnson taken during his lifetime. And the photograph on the right is of Sergeant Claude Johnson, his wife Pearl, and their infant daughter also named Pearl in front of their home in Berkeley, California sometime in the 1920s. And so again, I want to underscore how important it is to have institutions like the African American Historical and Cultural Society here in San Francisco that really keeps these historical objects in good shape and available to scholars and curators and all kinds of curious audiences. Ginger, let me give some space to you. Thank you, Jackie. It's been a pleasure getting to know you and you've been so helpful to me in the work that we're doing. I'm doing it at the Society. I came to the Society only since about 2013 when I was doing research for a book I was writing and subsequently have been working with them off and on and have been on the board. And I've taken on this inventory project, which is a passion of mine, to inventory every item that we have in our archive, including our artwork. And the Historical Society started around 1955 with two groups coming together to preserve and to educate folks about African American history, art, culture, and literature. And at the same time when they came together, Sergeant Johnson was well known in the Bay Area, particularly in the San Francisco community, and was invited in 1967 to an open house with him as the honored guest. And you see right here the invitation card with either a reproduction of a painting or a drawing. We don't know what it is. We don't know where it is. We don't know the name of it. I call it lovingly the hands. And you can clearly see Sergeant Johnson's who has written their signature in the year. And we can go on to the next slide. Our collection and we did very frequently, the Society very frequently did have formal exhibits of Johnson's works. There's a list here, but also very frequently the Society loaned the same items out to other institutions that were mounting exhibits. And since the last time we did so was about 40 years. So we're really welcomed the opportunity for the Huntington to show these items and to try to create some interest and support for understanding Johnson, but also other artists of the day that are contemporary with him. We can go on to the next one. We also held a permanent exhibit in our 680 Devisadero in 1447 McAllister Street offices and this was in the 70s. And as you can see proudly exhibited behind a glass display case were some of the very same enamel portraits on steel, one that we don't know what the name of is that's prominently there in the middle on the top. And the mask is there on the left. The letter unfortunately it's not a great photograph but the letter and below that a sketch and over to the right to additional sketches and then another painting that we're not really sure where that be long. In the photographs on the other side proudly shown were the sculpting tools that Sergeant Johnson used and were donated to the society along with tubes of paint which is on that bottom shelf. And we can go on. I think that's it for now. Yeah. I'm going to hand this. Currently these are some examples and you've already seen self-portrait at least twice in this very brief presentation. And these are some examples of the items that society is holding. And both the ones all these three are being shown in the Huntington exhibit and we hope that we'll be able to show these in our own gallery sometime in the future. And I think there's in one more slide. On the left is a reproduction of a photograph that was used in one of the many exhibits that the society had on Johnson. And on the right again is that beautiful and precious letter to Pearl from Dad, Sergeant Johnson. Actually he signs it from Sergeant Johnson, your dad 1945. But that it's it kind of gave you a little bit of an insight into his relationship with his daughter. And that's a beautiful photograph by the way Jackie. Thank you so much for that. I do want to mention that the society received these items from Pearl Johnson. She succeeded her mother and father. And I don't believe she ever married. She did not have any children. So all of these items came to us from her. I believe some of the items at one time may have been also other items that are in the collection may have been loaned by previous society members. It's unclear because I'm doing this inventory of documentation and haven't quite got to all the acquisition documentation at this moment. We I do want to point out. Okay, I think I think is there another slide Jackie after this? This one. Yeah. Again, these are items that we have in the exhibit. And on the right, we do have this lithograph of Lenox Avenue. One of maybe I don't know how many there are several around the nation. We also have several other drawings and sketches that have not been exhibited ever. One being black and white, which is very similar to another sketch that has been shown called Divine Love. And I think there might be a picture of that somewhere later on. I think that's it for now. Great Ginger. So by now you might be wondering a little bit about Johnson's life. As you saw in the introductory slide, he was born in 1888. And in fact, he was born in Boston, Massachusetts. His mother and father were had relocated to Boston from Virginia where they married and met. His father, we think was a Swedish or Swedish American man. And his mother was a woman of color of both African and Cherokee descent, according to the family's records. We say about his dad that he was Swedish because we're not sure if he was born in Sweden or if he was a descendant of someone who had come from Sweden and was born in the United States. And it's been quite the challenge to track Johnson's family history. But do read the exhibition catalog essay by our colleague, Gwendolyn Dubois Shaw, whose name I mentioned early on. She is a real specialist in tracking the history of the Johnson family and Johnson not being an extraordinarily rare name. You can imagine all the Johnson's trying to separate people out. So Johnson was born in, like I said in Boston in 1888, one of several children born to this couple, this interracial couple, who moved from their home in Virginia, where they unlikely face discrimination as an interracial couple and the wife as a woman of color and went to Boston. Johnson's father died in the 1890s, and then his mother died later on in that same decade. So he was an orphan by the turn of the century 1900. The children were split up. Some of them went to boarding schools, including Johnson. For a while, he lived with his aunt and uncle. This is his mother's family in Washington DC. And his uncle was married to this sculptor, May Howard Jackson, who was quite well known from the late 19th century and early 20th century for her realistic academic sculpture. And I'm just showing you an example of May Howard Jackson's work, this bronze sculpture that was made in 1899, but later cast long after her death in 1988. And so you might start to think about the relationship in terms of the work you've already seen by Johnson in sculpture and think about what it meant for this young man to live with this working artist who already had a reputation, certainly in Washington DC as an African-American artist when he was just a young boy. So Johnson, we know, lived with May Howard Jackson and her husband Sherman for only a short period, probably less than six months in Washington DC. And then subsequently, he returned to Massachusetts. We think that he went to a boarding school in Worcester, Massachusetts that he studied art and music at this school. And we also think that he might have studied art at the Worcester Museum as well. Again, the records are not completely persuasive around that early part of his life. And we found no early photographs of him, much less of his siblings and his parents. So Johnson comes out to San Francisco sometime in the mid-1910s. And we think one of the reasons he comes here is because it's a place where there's an international exposition being held, the Pan-Pacific Exposition. It's an opportunity for artists to see not only crafts, mechanical goods, but of course, visual fine arts that are being displayed in the city. Artists like Johnson and some of the people that he would study with were very interested in seeing what were the national trends in terms of artistic production, as well as the international trends. So I'm just showing you here a chromolithograph from that period of 1915, advertising the Pan-Pacific Exposition in San Francisco. And it's a really interesting kind of allegory in terms of the ways that the continents of North America and South America are portrayed as women's bodies that look back at each other. Johnson studied at the California School of the Fine Arts as it was then known. And here's a photograph from mid-century of what was later called the San Francisco Art Institute. And usually in the last couple of months, I've been able to say the long gone but not forgotten San Francisco Art Institute, because some of you might remember that it closed its doors a couple of years ago. But lo and behold, across my text messages and my email today, there's a story that Loreen Jobs Powell and a group of investors have bought that building at 800 Chestnut Street and are planning to open another art institute, whether it's a session. I know it's like not never gone and certainly never forgotten the San Francisco Art Institute. So I don't know if it will become the newest iteration of the San Francisco Art Institute or will it become something with a new name and a new mission. But it looks like it's up and gonna be running again sometime soon. And again, please put any questions you might have or many kind of comments you have about what Ginger and I are saying in the chat. You don't have to wait until the end of the program. I'll say a few things more about Johnson. So he studies art, we think as early as the pre-war, pre-World War I period at the California School for the Fine Arts. And by the 1920s, he's gaining recognition in the San Francisco area. I'm showing you on the left an image of a sculpture by Johnson called Pearl, which we think is a portrait sculpture of his infant daughter, also named Pearl.  And I'm showing you the presentation of Pearl next to another sculpture that we do know where it is because it's right here in San Francisco at SF MoMA called Elizabeth G. And Elizabeth G is another sculptural bust, a portrait bust of a child. And Johnson was well known for his portraits of children. Elizabeth G was a Chinese American playmate of his daughters in the Berkeley area in the 1920s and 30s. And what you see in terms of this glazed stoneware presentation of this young girl is this sculptural style that some might say, oh, it's very much like what we would expect of Chinese Buddhist sculpture. And yet there are some deviations from it as well. Johnson, as I said, you know, starts to gain local recognition for his work in the 1920s and increasingly national recognition. So I'm showing you another SF MoMA work here, one called Chester, which is on the cover of the Huntington Art Museum's exhibition catalog. And interestingly enough, it was on the cover of a publication that came out in 1931 that was produced by the Harmon Foundation, which was a philanthropy that supported the work of black artists and other black creatives and intellectuals from the 1920s up until the time that it closed its doors in the 1960s. And it's very interesting that this New York Foundation, the Harmon Foundation, found out about Johnson's work, exhibited his work, put his work on the cover of their publication of this exhibition of 1931, and subsequently in their traveling exhibitions of the work of what was then called Negro artists, meaning black American artists, his work was a constant in their traveling exhibitions of the work of African American artists in the 1920s, 30s, 40s, and even later. I'm juxtaposing the work of Chester next to another one of Johnson's better known works, which is Forever Free, which is a paint and wood sculpture, painted wood sculpture that is in SF MoMA's collection. We can talk more about the different kinds of styles and hear more from the audience about how they would characterize what he's doing in terms of his decisions of how to make figures, perhaps during the Q&A. And again, another opportunity for the audience to look at three different kinds of depictions in terms of representational decisions that Johnson makes in terms of his representation of women. And of course we see a really abstract work here on the left, that's in the Smithsonian American Art Museum, and then another work from SF MoMA, and you've already seen Forever Free. Johnson was well known both in the 1930s and thereafter for these copper masks that he starts making sometime around 1930. And what's really interesting, of course, is that we might look at them and think that they are African masks, but they're not because they weren't made for uses in ritual purposes in West Africa. Johnson made them for art exhibition in museums such as the San Francisco Museum of Art, as it was called back in the 1930s. He also talked about that he had studying African art, and yet what he was trying to do was sort of make his own interpretation of African art, kind of styles, and yet make it his own in terms of these figures being informed by people that he saw in his everyday life in the San Francisco Bay Area. At the same time that Johnson was doing this work in sculpture, he also was producing work in two dimensions as well. That is to say works on paper. You're looking at a lithographic work here on the left called Dorothy C, which we think might have been inspired by someone he knew in San Francisco, an arts administrator named Dorothy Cahill. And on the right, I love this drawing that is in the collection of the African American Historical and Cultural Society. It's untitled. I'm not sure about the date. We think it's the 1930s. I can't wait for us to take it out of its frame and look at the back and really find out. But I find this work again another kind of female suggestive form, not unlike the sort of sculptures that we've seen already, and certainly not unlike Dorothy C in terms of it being figuratively abstract, and perhaps not only influenced by African art, but even by North American indigenous art hence the title that we sometimes use to identify it, calling it totem. So Johnson was a public artist as well. That is to say he entered competitions and opportunities to make large-scale artworks. You're seeing one of his important early ones done in the 1930s at what was then called Aquatic Park. It was supposed to be a public bathhouse, and it was undertaken under the auspices of the works project administration by a team of artists. So Johnson made some of the mosaics that you see here on the second-story porch in the building. This is the rear side of the building. And then on the front side, you see these sculpted Vermont green slate facades that he also designed, which are beautiful. This building is now the Maritime Museum. If you're in San Francisco, go down to the Fisherman's Wharf area and do see it. It's fantastic, and it's open, usually limited schedule Thursdays through Sundays. I think my very, very favorite public art project by Johnson is this one called Athletics, which is at George Washington High School here in San Francisco in the Richmond area. And what I love about this work is that it is an astonishingly monumental work, more than 185 feet long and 12 feet high, and it's placed in this amazingly beautiful, beautifully sighted football field. At the other end of the field opposite the frieze here called Athletics by Johnson is a beautiful view of the San Francisco, the Golden Gate Bridge, the San Francisco outer edge of the city, and of course the headlands. And even if you're not a football player, I think you want to strap on a helmet and play because of that incredibly inspiring view. This is a newspaper photograph that was done in the late 1930s and published in one of the San Francisco newspapers of Johnson at work on a clay model for the Athletics frieze. And here you'll see a detail of the sculpture, getting a sense of him making this work in 1942. There's no Olympics in the 1940 schedule or 1944 schedule, of course because of World War II. And what we see that's also interesting in terms of the Olympic theme here is that we're seeing both men and women competing. So this is long before Title IX that Johnson is portraying athletes who are both female and male at the height of their prowess, albeit in a years that there is no Olympic competition because of war in Europe across the United, across the world as well. The last one I'll show is this one that is in the Richmond, California. So city of Richmond here is not Richmond, Virginia, which is probably better known as the Richmond in the United States, but the Richmond here in the Bay Area. Again, look at this strategy that Johnson makes for this sculpture that's called American Pride and Purpose. He creates a map of the Bay Area, specific of course, making large representation of the city of Richmond, situating it in the sort of Bay Area. And then these figures here as if they are kind of explorers crossing the country to come to this West Coast City as either married couple or brother and sister and these sort of idealized youth of a white American imagination in the 1940s. Ginger. I think I covered many of the things earlier about the society collection, but we are very grateful to have recently had these items returned. I think earlier I showed you in the display cases, the sculpting tools that were on display in the permanent exhibit that the society held in the 70s. Well, these were recently returned along with one of the briefcases that Pearl Johnson used. In fact, her name is written on this briefcase. And if you notice the photograph there on the left, I've added the photos that had been taken of the display cases and arranged the tools in the same order they're found in that photograph there on the left and then a little bit of a close-up there on the right. Jackie tells me that were we to work with a bona fide or institution that the materials that are still on the sculpting tools could be analyzed to tell us what kind of materials he was using and a lot of other information that's not accessible unless we do that analysis. But to have the tools back to know that these were touched by a fine artist, African-American fine artist living in the Bay Area, working in the Bay Area is to me very thrilling and is invaluable. There's no price that could be put on these items that represent the fine work and standing that Johnson had not only in the art world, but also in the African-American community in the Bay Area. He was very well known. He was very well regarded. And many African-Americans who could afford it, these would be professional people, doctors, lawyers, educators, purchased his pieces of his art. And this art is at home somewhere very likely the original owners are long gone, but their children may very well have these items. And as we saw my earlier photographs, quite a few items that were displayed and that we know about are missing. We don't know where they are. They must be in the hands of citizens. So we hope that those will come out. And Jackie has already told a story to me that some, because of the Huntington exhibit, numerous items have come to the surface. So this is always a mystery. Working in archive is always like you're an investigator and then you're trying, if you're lucky, you meet up with people like Jackie who help link you to others. And we do this in order to get a full story that we can tell you as we exhibit these items. So I think that my last one, Jackie, I think we go back to you and then the commission. I'll just go here now. The society also is fortunate to have many, many other pieces of art done by local African American artists and craftspeople as well as nationally known artists and craftspeople. And just on this little sample, you have a Eugene White, you have two Tom Feelings, Charles White in the mural, and the carving is a local artist, Montford Cardwell, who also came early in the 20th century to San Francisco and made this his home. And much like Johnson, he was multifaceted. He not only did carvings, but he was a painter, he was a sketch and he did many other things. He played the organ, a man of many, many talents, and shared them freely with the African American and the broader San Francisco community as Johnson did. That's it. Go on, Jackie. So the last thing is just thinking about how artists come in and out of view. And Virginia just talked about how Johnson had a reputation, was known. We saw that he was the guest of honor at a 1960s open house at what was then the Negro historical and cultural society. Now, of course, the African American historical and cultural society, how his work was part of the invitation, and he was recognized. We're so fortunate that there were many, I think, California art historians who kept his work in view. I definitely want to name Evangeline J. Montgomery, who was an art historian who was working in the California, up and down California, both in Southern California and Northern California in the 1960s. And she was one of the people who helped organize an exhibition of Johnson's work after he died, a few years after he died in the 1970s. And Ginger mentioned that exhibition in one of the earlier slides. It's because of art historians, and I think specifically art historians like E.J. Montgomery, like Lizetta LaFalle Collins, who organized the SF MOMA show in 1998. Her colleagues, Judith Wilson, also another California art historian, and even Gwendolyn Dubois-Shaw, who was born and raised here in California, and did her doctorate at Stanford. I think one of the reasons that Johnson is kept alive is because of people who care about and study and research and write about California artists and culture and certainly want to curate shows about California art and culture. I wanted to say that, bring out this article, a reproduction of an article that appeared in the New York Times in 2012. And what it is is a photograph of the organ screen that is now at the Huntington Art Museum in San Marino as part of their permanent collection. And I don't know if some of you know this story. What happened was that in the 1930s, Johnson did a commission, another public art commission for what was then called the California School for the Blind in 1933-1934. And it was one of these early works project administration commissions. And it was one that was extended to artists who were already known and had a reputation. So again, here is this bicultural black identified artist being seen as an important artist who would be able to undertake this commission for the School for the Blind. And I'm showing you a black and white photograph of this organ screen that you just saw on the previous slide in situ at the California School for the Blind in the 1930s. And here it is now in the Huntington Museum's collection. You might ask yourself, well, how did that happen? Well, the California School for the Blind was in Berkeley. And then the campus of this School for the Blind was taken over by UC Berkeley. And some of the aspects of this California School for the Blind commission were kept. Here's another part of the commission done later, a second part of the Johnson did in 1937. Here's a photograph of him, of his backyard in Berkeley where he was working on this wooden screen. And here's the finish screen that is still in the collection of the University of California at Berkeley. However, the one that is in the Huntington's collection now in 2012 was actually in the surplus collection of the Berkeley campus. It had been taken down. The School for the Blind was no longer on what is now the Clark Kerr campus at Berkeley. That school went out to Fremont, but some aspects of the commission by Johnson from the 30s were kept at Berkeley. But this particular screen was unidentified. And so it was part of a surplus sale. Some of you might know that colleges and universities sometimes sell surplus desks and file cabinets and other things that are in campus buildings. And people who are students or who are staff sometimes buy them because they're sturdy and still useful. So, and now the lights go out really eerily. But this screen was not known to be by Johnson. And that's why it was in surplus. And a sort of antiques dealer saw it and found it interesting and purchased it and then realized that Johnson's name was written on it and researched him and discovered that Johnson had been a very famous artist during much of his lifetime. And then subsequently the Huntington bought it. I'm showing you also another object by Johnson that the Huntington has acquired, this beautiful glazed stoneware piece called Head of a Boy, done around 1928. So I'll stop there with those last images from the Huntington collection. And hopefully we have some questions and some points of discussion that we can all engage with for the last minutes of tonight's program. Hi, this is Shauna. There was a question at the beginning about whether or not you thought the exhibition might come to the Bay Area at some point. Please lobby for it to do that. We don't have right now any partners who have offered to host the exhibition, but it would be fantastic. I think if more audiences had an opportunity to see this astonishing work by Johnson, some of it which has never been seen altogether. And it has certain resonance for us in the Bay Area. The African American Historical Society is a lender to the exhibition. The African American Museum and Library in Oakland is a lender to the exhibition. SF MoMA is a lender to the exhibition. University of California Berkeley is a lender to the exhibition. The School for the Blind now in Fremont is a lender to the exhibition. And former San Francisco private collectors are also lenders to the exhibition. So it just seems right that it should have a place here in the Bay Area where this work is shown because it's not only important to all of these institutions, which are all care holders, stakeholders and caregivers to this work, but also because he made his career here. Also, the society is considering holding a very small exhibit in our gallery at 760 Fulton with the pieces that we do have. And because they have not been seen for many, many years, and we hope to bring more people in. We understand the building is going to be retrofit. So this will be our last opportunity to do an exhibit of this type for quite a few years. So we're looking at doing that and also doing several other programs related to Johnson. They're in the building or via this digital format. So look for that. Go to our website. Look for that. Everything is in a planning stage. Okay. Al Williams is noting that there was a program on KALW today on EJ Montgomery. So you may want to go to their site to see if you can hear that story. And I don't know if any other people are reading the chat, but the letter to Pearl from Sergeant Johnson was indeed done on one of the, was it four trips that Sergeant Johnson made to Oaxaca and Mexico? We're pretty sure we can document one and we think that there were more than one. Yeah. And we are also very anxious to take that piece out of the frame, as well as totem, what we're calling totem, because we think there might be additional information on the part of the piece that's under the frame and also in the back, but we want to be very gentle with those frames because they've been on there for over 45, 50 years. I'm trying to scroll to see what KALW had to say about Evangeline Montgomery today. I hope it was something inspiring and informative for us all. She really has been an incredibly important curator of African American art, not only here in the U.S., but also shows that she curated for the State Department that traveled abroad. Jackie, someone is asking for more information on Sergeant Johnson's later life, so probably late 50s through the mid-60s before he died. So, Johnson, as we talked about, we know traveled to Mexico in the 1940s. At that time, he and his wife had actually separated, and he had left Berkeley and returned to San Francisco. We know that he had a studio on Grant Avenue where his friends John and Marjorie Magnani lived and had a work-live studio. And we know that he also returned to take classes at San Francisco Art Institute in the late 1940s, early 1950s. So, if you do your math, he's almost 60 years old, and he's still wanting to learn about art making and some of the work from that period is rather abstract. Both works that were metal sculpture as well as works that were enamel paintings, like you saw a couple of examples of that in tonight's presentation, which I think is Johnson thinking about what does it mean to not only work with this interestingly industrial material of enamel, but also with a sort of abstract tactic of suggesting forms, but not delineating them realistically and naturalistically. And we have several of those at the society, as well as reproductions of others that he did elsewhere. So, we hope that we can bring those to the light. And interestingly, all of those enamel polychromes on metal have a wood frame that I would suggest that Johnson himself did, and it's also painted to correspond to each of the items. If you recall the portrait, the self-portrait, that has a blue painted frame. Some of the metal and the enamel on meadow, the painting scheme is carried out onto the frame. Very interesting technique. So, those are really, I find those extremely interesting and I'm not really, I'm just as a person who's not trained in art, I find it quite interesting that he would go to the lens of building a frame and then painting out over the frame the same images and designs consistent with what's on the inside of the frame. Yeah, for sure. Johnson was a frame maker. It was one of the jobs he held. Like many artists, he was a gig worker in part as well. And he worked at a time when people were still having frames made for artwork. You didn't go into Blick or to other places and there's a pre-made frame manufactured and mass produced. Artists made frames for themselves and for other artists. And that was one of his many skills. He was a frame maker. And those frames tell us so much, not only about his own craft and his own aesthetic, but also about materials in early and mid-20th century America. So, the historical and cultural society has done a great job of keeping those frames around those artworks.  Let me take this old one away. Those frames are extremely important as historical artifacts and they are also very valuable. Thank you, Jackie. We have that explicitly written into our inventory. Do not remove. Do not! Max is asking whether Johnson had any relationship with Diego. This says Diego Garcia. That is a fantastic question and you are absolutely right to read Diego Rivera's influence on Johnson and on many artists during the 1930s.  In the 1930s, he did a big mural on Treasure Island and he was doing it as part of the sort of programming of that exposition. That is to say, artists as well as audiences came to watch him paint and we are almost sure that not only did Johnson see Rivera painting, but he probably conversed with Johnson. Johnson also had a commission on Treasure Island for that exposition in 1939. He did two large sculptures that were supposed to be allegories of the Incas and so Johnson most almost certainly encountered Rivera there and maybe even later on in Mexico. I think in the book, Sergeant Claude Johnson, the companion to the exhibit, there is a comparison of an image that's there on the Washington High freeze of a woman diving and looking very similar to the same type of image that's in the Diego Rivera Pan America, whatever that very long title is of that piece that he did, which is now in view at the S.F. MoMA, but it originally it actually resides at San Francisco City College. Correct, correct. Yes, so there is a decided resemblance between that backward diving figure, which Rivera based on a champion diver named Helen Sestkiewicz and that's part of Diego Rivera's Pan American mural. And then we see that same diving figure in the George Washington High School freeze by Johnson called Athletics. And Mr. Williams is noting that one of the last things Johnson was working on was the sculpture of a man with arms raised and carved into a fallen redwood. He thinks it's a redwood tree that was in an open area at Webster and Golden Gate streets. Do you know anything about that? You know, a lot of people have talked about that object. We have not seen it. It has been moved. We're not sure if it survived being something that was outdoors all these decades, but it's something that's often been noted in the literature about Johnson, but it's whereabouts are unknown to me. Okay. It was destroyed. Meaning that Mr. Williams was destroyed. Meaning like it was destroyed like or just kind of disintegrated because it was outdoors. He might be typing. Waiting for the answer. Yeah. It's like a game show. Tick tock, tick tock. Well, I, you know, I invite all of you to come and visit us at the society. You may not be able to see the paintings. But coming if you want to find out anything about San Francisco, African American history, please come by, check us out, go to our website. And thank you, Jackie. And thank you, Shawna. Yeah. So many interesting objects. So many manuscripts, ephemera, and of course original artworks that the society has been the steward of for many decades and long may it continue. We are calling your debt Virginia and your coffins as well. Yeah, there's so many great things that the that the society holds. It's definitely a treasure in the city. Thank you so much for this presentation. Dr. Francis and Ginger, I what a great way to end the Black History Month, especially with the theme African Americans in the art in the arts. We have a copy of Sergeant Claude Johnson by Yale Union at in the library. You could check it out or you could find it. I think probably on the web someplace, Yale University. Yes.  Yeah, Yale University Press. I won't say that other name. I know it's like here it is. There it is. I don't know. We're still waiting for our copies, but we have a lot. So put a hold on it and get it first thing when we get it in. Once again, thank you so much for this conversation and we'll see you next time. Black History Month, keep going. Yes. More than a month. More than a month. Bye all. Bye, everybody. See ya. See ya.


So thank you very much, everyone, for coming here. Konnichiwa. I'm going to be talking today a little bit about the Zephyr project. And some of the results, I've been managing open source projects for about 20 years, roughly, right now. And Linux Kernel, well, the new two compilers, and Linux Kernel were some of the early ones. And so I was there when Linux was younger, I guess, than we see today. And I was not a developer. I was a manager. I managed the development team. And trying to understand, OK, what are the practices and learning what the kernel did made a very strong impression on me. And so when I ended up working at the Linux Foundation, I had various opinions and had worked with things in terms of, OK, how can we make an open source project be successful? And one of the obvious ones that has been successful, that's probably the most successful right now, is the Linux Kernel. So what I'm going to show you right now after this is what's happening with Zephyr today. And then I'll go a little bit through how we got there and what the statement is at the moment. So I will encourage people to ask questions. Anyone who asks a question can get a Zephyr kite, OK? I also have a lot of Zephyr stickers with me. And so if people want Zephyr stickers because they're working with Zephyr, just come up at the end and let me know. No problem at all, OK? And so let me start in. So OK, just a quick show of hands. How many people know what Zephyr is today? There's a few, but there's a few that don't. OK, so I'll just let you know that it's an open source RTOS. And we started the project aiming to get safety and security going. And we also wanted to get a wide range of hardware enabled. And we wanted to be under neutral governance and with the license people were comfortable using and integrating into products. So it's very modular, which means for an embedded RTOS, you can get down to about 15K, OK? And then you just bring in with the device exactly what you need. So you're building up an image bit by bit to what you actually need and want. So that's kind of what we're doing. And right from the start, we knew we wanted to go after certifications with this. We focused initially on security, and now we're starting to focus on safety, as you heard this morning. So this is the stats. I went to GitHub on the 1st of December. And just a second, let me show you the method. Oops, sorry. This is a methodology. You can go and do this yourself to prove my numbers here, OK? All I did was manually go to the project. I figured out, OK, what are the total number of commits? How many contributors? Oh, and over a month period, how many people have contributed to the project and what's the rate for that? And so as of December 1st, we were sitting at 1777, which when you do that math is about 2.45 commits per hour. So we have an embedded OS here that's seeing roughly about a quarter of the speed of the Linux kernel in terms of velocity and commits and interactions with the community. And so when you actually go back and you can see without the thing, the next closest one, these are community ones. They are the ones that are the most active. So the next closest is NuttX. And you're sort of seeing that we're about five or six times in terms of the last month, how many contributors. And you can sort of see it's around that sort of level, if not more, in terms of the commits. So the question is, how has it become this active? What have we done? And are there other things we can do? Is this lessons others can learn and try to work from? So that's what this talks about today. And like I say, I do welcome questions. 2.45 commits per hour as of December 1st. And as you see, average number of unique contributors is increasing each month compared to the other RTOSs that are out there. The developers are coming. They like the community. They like the code base. And as a result, they're sticking around and figuring out they just need to do a little bit more for things to be effective for them. And we see also the average number of commits per month is going up.  It's a pretty simple formula. We had, we launched the project. So it got launched in February of 2016. And as you see, it went down and then it went up steadily. And in that, where it goes down is where we were looking at, okay, which processes and what things we wanna change in the project and do anything else other than be under neutral governance. And part of it involved listening to the community. So we've been running annual surveys, getting feedback, and then that goes into our TSC and they work on issues. So it's a very inclusive community in that sense. But more and more people are working on using GitHub Clones and using unique visitors. We're seeing high stats continuing to increase year over year. There's about, you know, 880 unique clones a day. And there's over like 1200 unique visitors. And when I looked at this six months ago, it's had a nice significant increase since then. But it's on a steady ramp up. It's nothing terribly dramatic, but it is there. And if you'll notice, for GitHub stars, for anyone who considers that a valuable metric, they are increasing, like say, the developers like working in the code base. And since it's developers sort of decide the policies or they set it up so it's things they wanna do. So we see now more contributors coming in each release. And roughly about 30%. So each of our new releases is bringing in about 30% new contributors, which is what is fueling this growth. And the existing ones are sticking around and participating.  How does this all compare with Linux? Well, I also work on like the real-time Linux project. And I also look at the Linux kernel and help with things there. And especially on the embedded Linux side. So I see this sort of information fairly closely. And so if you look back at the 6.5 release, there was about 1,900 contributors from two 18 organizations over a six-week period. And there's about 7,000 lines of code daily, 1,945 lines modified, about 1,200 lines removed every day. And that also goes to about nine changes an hour. So while Zephyr is at 2.45, the Linux kernel is at nine. In fact, the Linux kernel is the most active open-source project out there that I'm aware of. And there's various stats to prove it. In fact, the Kubernetes community, every year, a couple times a year, does a velocity analysis in terms of the most active ones. And they plot it on a logarithmic scale. And Linux is always at the top of it, okay. But Zephyr is actually now the fifth most active project in the Linux Foundation. And so given it would just started back in, it just was open-sourced in 2016. We've had a tremendous amount of growth in this period. So what was Linux like when it started though? Okay, there was a mixed fragmented ecosystem out there. And there were all commercial distributions. There was Minix, there was BSD and so forth. And over time, they've all sort of slipped away. They're not as active as much anymore. Some of them are still active and have a very good unique place in the ecosystem. But at this point now, Linux pretty much dominates most of these markets, including the embedded systems market, which is interacting with Zephyr a bit. But most of the other places, it's, this is one of the slides that the Linux Foundation's won. So I just pulled it up to sort of show that there is, Linux is still the dominant one in the embedded as well. But there are places we've learned that Linux just won't fit. It's too big. It doesn't get smaller than about three megs right now as an image. And when you're working with a sensor and an actuator on a car or in some other agricultural device in the field, whatever, size matters and power matters for that matter. And you want to be able to work within the constraints and be as efficient as possible. So that was the reason we started working with Linux. Now, as you saw that dip went down in 2016, after we launched it, part of this was okay, whatever the lessons we should look at from Linux. And we were experimenting a little bit at the start with the release cycles and we've so resettled into our cadence like the Linux kernel has. But short release cycles are important. This actually all came out of a Linux kernel developer report. These were pieces that were written up back then and we looked at it. So tools matter. Developers like to work with tools they're comfortable with. So work with that flow. The kernel is strongly consensus oriented. So you don't feel like people are getting shut out. You've got certain goals that the communities agreed to. And there's related factors, the no regressions rule. Don't make things go bad. We've adopted that certainly in Zephyr 2. And quite frankly, corporate participation in the process is crucial because corporates have interests and they will put in resources to the janitorial things. If you're doing this as a hobby, you don't wanna do these things that you don't like doing. However, the corporations that participate see the value in getting something that is stable across a range. And so they add that into this ecosystem. When we just finished doing the Zephyr developer survey, we actually surveyed the upstream and the downstream developers that wanted to respond. We had about 400 responses. About 85% of our community right now is being paid to work on Zephyr. But 15% is doing it as a hobby because they like working on it. And the Linux kernel, when you actually sort of try to go into the stats there, is around the same percent these days. And so there also should be no internal boundaries within the project. And so we've been working to do that. You can go and work in any part of the code you want in the kernel, okay? It's up to you to decide where you wanna work. And we've been trying to emulate that in Zephyr 2. Some other lessons learned through looking at open source projects from the kernel are vendor-neutral environments are important for decision-making. There's a reason that Linus and Greg worked with the Linux Foundation because it's not one company dominating and saying, I'm not gonna pay you your salary if you don't do what I want you to do. Having a mix of companies and individuals, working on advancing things that are interested. What are the new ones? The person who's working on PicoLib is doing it as a hobby. He likes it. He likes doing small libraries. And so there'll be a tech talk, I think, tomorrow or the day after, actually, that Benjamin will record with Keith Packard about that. And so people have things that they think are interesting and they want to advance. And this is a forum for them to do it. The Linux kernel has been a forum for them to do it. And this is another one so they can just put the things on. Making it easy to put things upstream. CCO process, that's been a major part of the Linux girl's success. You don't have to basically sign a CLA. You don't have to transfer your copyright. These are things that are useful and also having things being public and reviewed by. These tags have been useful in the kernel as well. Consensus-oriented decisions. I should probably say nowadays it's not really email or in person. It's really if all of our stuff mostly is happening on GitHub or in Discord or occasionally in the TSC meetings. Most of the stuff is just flowing through reasonably well right now. We have a hierarchical developer model like the kernel. And so we are signed off buys. There's no internal boundaries, tools matter. And short predictable release cycles with fixed merge windows and it's stable. So one of the lessons we learned in the kernel is when developers get frustrated with the status quo they come up with solutions. Creative solutions at that. And so we tried to listen and make sure we could listen to the Zephyr developers and help support them to adjust it to be a co-base they were comfortable with. And so what happens when we apply those lessons? Well, our vision right from the start was to be a best in the class RTOS for these connected resource constrained devices to be able to be safe and secure. And so Zephyr's developers decide the technical directions. You know, when we launched it, we had K config and K build. We use that same technologies from the kernel. And basically K config was retained and K build moved over to CMake. Initially when it was launched, there was a nano and a microkernel because that was what was there at the start. Discussions happened and they once said, no, we're just gonna go to a unified kernel. There wasn't enough value for the overhead as far as they were concerned, anything. Our infrastructure was initially on Garrett and Jira and we've moved to GitHub on issues now in 2017. And so other areas like our APIs in our house have been reworked, the modularization, the device tree support got incorporated. The release and the LTS processes were refined based on the input from the developers here. And as a result, more developers like to work with it. And so basically as you see, everything is publicly documented. We've got the hierarchy, we've got our maintainers files. We've got, you know, everyone can contribute. We've got our release cycles and we've got a long-term support. I think the long-term support has been key for his effort to get adopted for products because as things are shifting all the time on tip, the people doing products, they wanna put a product out and just leave it.  And so the LTS has been very useful for that side of adoption. What? How long is the LTS? Two years, it's a two-year LTS and we do an overlap of six months and we do an LTS every two years and we overlap the zone so that we have some support through that period for the back ports. And the rule is everything goes upstream first and then gets back ported into the LTS just like the kernel. We took that lesson as well. Now, if people were setting products out, you know, I can talk about the security minutes of the things that I meant, but if people are putting out products, they're just gonna wanna patch their own kernel with whatever gets back ported, okay? But, you know, there's a stable code base and that's the important part here. So right now, Zephyr is effectively supported on all the major architectures. We have ports in the repo and the architecture repo side so you can go look at that in the code base. If there's an architecture that someone wants to contribute that's not on here, certainly the community is very welcoming. The IE stack is pretty comprehensive between having a basic sort of scheduling in the kernels and the management and so forth. There's architecture interfaces, there's various low level services for, you know, typical things like watchdog timers and so forth, as well as a whole connectivity stack now above it that's been implemented natively. So we also have the thread and low line pan and CAN buses and Z buses and so forth. So most of the connectivity that you're looking for is already out there now for Zephyr. This makes it very easy for people to say, okay, I want to, and it's all integrated together and it's all been tested together. So it's not like you're getting a library like a kernel as its own image and then bolting libraries together with it. It's sort of all in one and it's been a unified test environment. And that's what's making it powerful, I think for people because it's very easy to take it. So you're close to what you've got. You might want to make some changes on one board or make some changes with, you know, the configurations you're doing through device tree or other things and then get something just up and started quickly. And I'll give you more stats about this stuff later, but what about Zephyr security? Well, again, right from the start we wanted to be secure. And we actually had a security committee start meeting right at the start of the project. We open sourced it and they started meeting. And they've been meeting every week or every two weeks depending on what was going on. And this was actually, this diagram was actually created back in 2015 before the project even launched, trying to figure out how can we get it so we can be safe and secure? Well, the key was to, you know, if you're changing here at about 2.5 commits an hour, that's gonna be really hard for people doing products to keep up with, hence the LTS. And so going to the LTS support was there. And then a subset of that is what we're doing the analysis on to take it out to work with the certification authorities and so forth as an audible set. And we came out with this diagram and that is what we've been working with until now. Still seems to be relevant. So LTS as I've mentioned is product focused and security updates are the focus for it. It's compatible with the new hardware. So if people wanted to put a new board into it, it's not an automatic no, but new functionality generally is. You put new functionality in tip, you don't put it into the LTS.  And we've already released, we've sort of retired our release one already, our LTS one that we first came out with. We had four releases for it. We had the CVEs fixed for it and so forth. And we fix and we delivered to that as we wanted to. And we're working on the second one next, this next year, 2024, we should be getting our LTS three out. And that's going to, and then we'll be retiring the LTS two. And so right now we're basically maintaining the LTS two. The audible co-base is a subset of the LTS. And we try very hard to keep the co-bases all in sync. So if you go onto this after site, you'll find there's a lot of information about project security documentation. We basically built around security development, security design and going after security certification so we could go way up to it or not put any blocks in for people to do it. We haven't done it as a project because our members haven't funded it yet to do us. There's been no consensus and they've been doing it for themselves. However, it's something that's within our scope. And so you can pretty much go to our documentation to read the current overview and then read all the threat information. Then we've got a threat model and so forth. And one of the things that Zephyr's got that I'm personally very engaged with is you can generate an SBOM by just changing, invoking your build a certain way. In fact, you actually generate three SBOMs. You do a source SBOM for your Zephyr sources, you do a source SBOM for your app sources, and then you do a build SBOM that connects the actual images to your .As to exactly which source files made it into your .As. And this comes out of the build automatically. So you've got a very high quality SBOM there. I was talking with Greg earlier today and he's working on things like this for the kernel, but we've got it today already in Zephyr for this stuff. So anyone who goes and builds something with Zephyr with the West Tool and CMake is getting this. And you've got, you know, it's working with the latest versions and so forth. And it basically is using these relationships to say, okay, this A, the app A is sitting in that elf image. This .C is sitting in that elf image. So you're being very precise, which when you have vulnerabilities coming into versions, if you know the file isn't there, you can say, I'm not affected. I don't need to do any work and prove it to people. So you don't have to update things unless the vulnerability is present. And if the vulnerability is present, then you have to update it and fix it, obviously. But we learned this lesson from Amnesia 33, which was an Fnet vulnerability a few years ago. And realistically, the Fnet, it hit all the R tosses, okay? Fnet was being used visibly and they gave us a version. But when we actually looked at the source files, it wasn't even in our tip, but in our LTS it was. There was some FNS code there. However, when we actually looked at the code, files with the vulnerabilities weren't even present. So we didn't have to do anything. However, at the time, the only thing we could do to tell people that was to write a blog post. So if you go look in our history, there's a blog post sitting there. But this is part of the reason I've become a very strong believer. We need things like VEX to signal you're not affected in a consistent way that's automatable. So I'll show you a link to a dashboard later that you can go look at. The other thing we did in early in 2017 is we worked with MITRE to become a CVE numbering authority. So we actually have our own security incident response team, a P-Cert. And we issue our own CVEs and we call anything we get sent in to us before we assign a CVE number to it. So we had a little bit of scope of control because we didn't have one company that took over the mission for us. And we didn't have like a foundation that said they were gonna take over the mission, but we wanted to make sure we were doing security best practices. And so I think you'll see probably the next kernel is starting to go in some of this direction, maybe doing something similar to this next year if we'll see. But it is important to actually stop noise out there. The other thing we did is about the same time as F was launching this core infrastructure initiative launched their goal best practices, their badging thing that OpenSSF is now taking over and maintaining. And we initially started to pass. That was our first goal. So we were passing and then as they added higher levels up to gold, we figured, okay, let's go for it from the security side. And so we've actually had gold status where I think we're the fifth or fourth or fifth since February of 2019. And on a personal note, I was rather pleased that we got it before the Linux kernel did. They got it shortly thereafter, but nonetheless, you know, it's like, okay, let's race to do the best things we can possibly do. So you can go in and read it. The thing I kind of like about this project, the program is occasionally when our infrastructure changes over, we stop getting you being gold and then we have to go fix it, fix the documentation and, you know, get ourselves back to gold. And that's happened twice now for us. So it sort of tracks certain things and checks out at least certain things haven't gone stale. And when you have that checking going on, I start to have more trust personally when it fails things. So we fixed it a couple of times, but yeah.  So we listened to what was being needed. And we initially just had a 30 day or 60, it was a 60 day embargo window associated with the project with phones. And we sort of pointed out that, you know, the people doing products need time too. They only do 60 days. And they're wider. So we've been taking a view of trying to commit to having vulnerabilities fixed within 30 days and then give vendor 60 days before we make the CVE numbers public. Well, make the issues public. And, you know, this was that Nisha 33, I was referencing and you can read the blog about it. You know, from 2020.  So we had to figure out how to do that. And hopefully now we'll be starting to use the VEX as a way of signaling this type of thing, but that's something for next year. So I guess in summary, you know, we're using the core infrastructures, the OpenSSF's best practices badge. We are doing weekly covariate scans and doing Mr. Scans. And then we're also doing SBOM generation. So these are some of the best practices that we see in the industry. We're trying to apply it in this project. And I would encourage any project to look at at least these to actually try to get your security posture up as a starting point. So what's all this about Zephyr and safety? A lot of the people want to work with a process that's VMV model. It's been typically difficult to map a stereotypical open source project development with VMV model. And so getting this evidence pulled together and getting it coherent has been sort of something that the project wanted to try to go towards because of the pressures it wants to use and places it wants to use. So we've actually done a fair amount of analysis of what the safety analysis is, who gets access to it, who's managing it, so forth. And we've been working on these documents in the background. Some of them are private, some are private to the members, others are public for everyone. Anything that's to do with the code is pretty much public and we're also gonna be making the requirements public here. Some of the, and we're linking, most of the input of the information for coverage is gonna be in the code. So a lot of it's gonna be public, it's just gonna be a formal doc. So I think our members are doing it because it is not inexpensive to go through safety certification. We've been, we have a functional safety manager that the project is contracted with for the last couple years. And she's been getting us ready and we've actually signed a contract with Tooth Seed and they've reviewed our processes and they think it'll work from their perspective. So we are getting everything assessed and we're trying to get everything ready for our next LTS to be able to be certified. So our initial scope of focus, like I said, auditable is a subset. The subset we're gonna be looking at here is the kernel interfaces. We're gonna be going after 61508 cell three. Yes, the root three, the SC3 with root 3S. And we actually have the option for going for 26262 with that with some additional tables on work and additional fee, of course. But we have things that way. So we're likely to go after that as well next year once we're getting close. Because there's a lot of people that seem to want to have that ability to know that it can be done. So we're gonna look at, the idea of what we're gonna try to do is do this all in the open and have as much of this linkage of the code to test, so the requirements to code to test and have the requirements open, the code open, the tests open. So people can see the pattern and oh hey, if they wanna start working on this component and have this component in their system and get it done, maybe they'll contribute it into the project. The same way people contribute code and maybe we can get requirements coverage contributed into the project. That's the experiment we're trying this year to see if we can get it so that people can scratch their own itches when it really matters to them. And that's what's not been out there publicly up till now. And so let's see if the experiment works. I'm hoping it will. We're working with StrikDoc in the Zephyr project. And so we're basically looking at connecting up all the requirements we've been generating from looking at the code and from talking to our man pages and so forth. And we're looking at capturing them there and the StrikDoc stuff is gonna work on generating SPDX and importing SPDX. So that we should hopefully be able to create this stuff in one tool and have other tools imported. And then that way as things move throughout the ecosystem, it'll be useful. So what's happening right now? We've got a safety committee that meets from just as members and they basically control the scope of what is in scope for the talking to the assessors and paying the money for. And then the safety working group is working on the qualifications and looking at the evidence and setting up the requirements management so forth. This one is open to anyone to join. If you care about safety, it meets every two weeks and help is always welcome to start hooking this all up, okay? And so what are the results who are applying these best practices? Well, we've got over 5.4K forks in the wild on Zephyr at this point in time. And it's always fun to see where I find you things or other people point message at them. We have a lot of end user products now on Zephyr. Because it's open source and they don't have to tell us they're running with Zephyr, it's a bit of a, how shall I put it? Treasure hunt to find these products. So if anyone knows of a product that's running Zephyr, please come tell me. I will happily give you a kite. And we will try to investigate and reach out to them and let the essence let us know we can use their product in their pages. There's over 550 boards in the repo right now. Okay? And there's over 170 sensors integrated already in. So there's a pretty good chance what you're going to work for. You've got a starting point, at least. It may not be as polished as you might want or something like that, but there are things there to work from and please contribute back. And so we've got a wide range of connectivity options now. As I saw, I've talked about a little bit earlier. We have a native IP stack that works in most of the modes including the TSN support and the BSD sockets API. We have Bluetooth host and mesh we work with very closely with the Bluetooth SIG and we have a working group that's between the two groups that uses Zephyr to prototype the specs before they come out. So as soon as the spec becomes public, it's in Zephyr. We can turn off the hide it flag. And so Zephyr is keeping pretty close to the tip of a Bluetooth work, which is very useful for the project as well as the low energy controller. It's compliant for the 5.3 spec right now. There's a active USB device stack sitting there and it's supporting a wide range of families. And we've got native emulation on Linux with this stuff as well. Power management, we want it as little as possible. We've got to take the scheduler and it's handled by the kernel and can be customized through the device tree parameters and so forth. Device tree, as I've said, is here. And so there's device tree in Uboot. There's device tree in Zephyr. There's a device tree in the kernel. There was a really good talk at Linux Plumbers about some of the differences and subtleties of the different uses and implementations of device tree. But we're trying to use that modularity and pick what you need and work from there. And obviously we need security. So secure boot and managing devices and updates. So we work with the MSU boot project and we also have customized the over the air updates as well with some of the other higher level communication protocol stacks. And there's cryptography APIs and trusted firmware is already integrated now. And we've basically built on POSIX. So some of the interfaces available and we can also run on top of Linux for emulation which is mostly where we spend most of our time doing tests, like most of our testing and automated testing is done that way. And then there are people that have boards and so forth that will test their specific things that they care about. And so we've started trying to start to get a handle on our benchmarking. This is some initial preliminary data with using one of the cores and with the context switches and so forth and threads. And more recently in the last year we're seeing more and more graphical user interfaces getting incorporated. The LVGL stuff came in recently and various interfaces and device drivers are there for you. And so with the inter-process communication we've also got the Z bus now in there and we have support for tracing and debugging. So most of what most developers want to use is mostly there now. And if there isn't, you know, start the discussion and we actually are building up finally a vibrant ecosystem which was one of my goals for doing ecosystem enablement right from the start with this. So you'll see that there are people that do have tools with it. We've got multiple compilers. We've got multiple tracers and debuggers. Emulation and simulators are there. And this is a weak point. Training is a weak point for us but our members are stepping up. Goliath and Nordic have made training available for free to people. Once a month type of deal, things like that. So you can basically get some training that way and there are people that are building free courses for it right now. We'll see when they get rolled out. There's also people that will help you deploy for your stuff or thing if you don't have the developers that want to work on it. And then we have the security stuff for the MLTLS and we'll have FSL is integrated as well as a lot of these sensors are on the edge and they need to do some filtering. They need to do some analysis as to passing signals forward. The noise, you know, all the information coming in from these sensors. What's significant to pass forward. So some of them are starting to use the TensorFlow Lite or the tiny edge in Pulse and so forth for having trained training data sets and there's examples in the repo right now with that. And we're working with the MicroPython J script and then the REST. Also, sorry, the ROS folks, sorry, my bad. And there's some sound open for aware of the science libraries there and then Memphal has some other work that they're available. Remote management is a key use case here. So we've got a variety of options, including some of the ones that have a specific security focus like sturdum and then we're looking at the robotic stuff. And these are all integrated that we've seen and found from the community. So the ecosystem is becoming much more vibrant in the last probably two years, I'd say. Just like the kernel and so if you want to see us bombs at scale, I go to this dashboard here and I would basically just go and look at it and anything that says built or passed or generated, if you click on it, you can download them and you'll see the elf image, you could run on the simulator if you wanted, but you'll also see those three S bombs I told you about. And so this gets run on commits periodically, I guess every day, every other day, by the renote, by the micro folk and they use this to test their simulator. So they're using this to test the simulator but they're generating these things as a byproduct which is how easy it is to do it. And that's much more accurate than a tool going in and trying to figure it out. Because the information is known during the build. So that I'm getting close to my time, I suspect. And if you're interested in learning more, come join us. Yep, the five minute mark. I'll also point out we've got over 8,000 developers on Discord right now and we have a lot of channels. So there's likely to be a community for the things that you're potentially interested there right now. There's mail lists, the codes there and there's an overview is up on the webpage. So feel free to join in where you're most comfortable and look around and kick the tires a bit. And so that's I think pretty much what's going on with Zephyr and as you can see, we've used Linux lessons to try to make Zephyr a good place for developers to work. And it seems to be paying off because they are seeming to enjoy working in the community. And with that, I will say does anyone have any questions? Go for it. Just mine, probably. Here. Do you want to take? So about the hierarchy of maintainers. Who's at the top? Is it an individual? Is it a group? Is it TSC? TSC, sorry. TSC? Yeah. Who pulls it all together? So it all gets pulled together in a TSC. And this is one of the things that's different from the kernel. There was a very strong passion in certain projects to have like one person at the top. What we decided to do with Zephyr when we formed it and wrote the governance up is we made it such that it was an electable position by peers, okay? So realistically, the TSC chair is as close to someone like that as possible. And so he sets the agenda for the TSC meetings and then rallies it around to have a discussion on these issues when there's problems. And then we actually formally vote. And it's publicly voted. And these TSC meetings tend to be public for everyone. There's one or two, sort of like, if you're voting to let someone new come into the TSC, that's from the community, some of those types of votes might happen in private to avoid hurting people's feelings. But the TSC has public, basically has members from, basically the TSC is composed of representative from members as well as represents for the community. And to get into the TSC from the community side without being a member, you have to have contributed to the community in a significant way. And that's kind of how we're running it. And it seems to be roughly working for us. So that's it. Does anyone else have questions or does that answer mostly what you're looking for? Yeah, good. Okay. Any other questions? Please. Would you like a kite? Okay. Okay.  Is there a portal that aggregates security rule for developers? I'm worried because we have a lot of new developers. So I'm also convicted. So I'm worried that I don't understand it properly. So we have a security working group that's open to the public. And that is where anyone could come in and ask security questions. And that's where they're working towards some sort of occasions. But that's where our security architect sits. So if there's things that are unclear on the security side, that's where to ask the questions. And hopefully if things get clarified for you, you'll contribute the upstream to the patch to the documentation to make it clear for everyone. So we've got portals, we've got places. We also have the ability for anyone who's making a product and can show to us that they've got, product was effort, that we will add them to the notification list for vulnerabilities for free. They don't need to be members to be notified. They just basically let us know that they've got a product. And that's where we go. You're looking for it? Okay, thank you. Any other, one last question. Okay, go ahead, Lukuchi-san. Thank you for the talk. And so my question is very similar. Do you have a maintenance in the project? And my question based on the background is, is the background is, so the, in the ZIFR project, there are many tasks other than coding for testing, making, making a sperm and checking safety and so, so, so many activities.  So the TSC is about 40 members. I think something like that right now, I'd have to go and double check the numbering account, but it's getting around the 40 count. And then in the maintainers, the maintainers follow the public. And we have some spots whether if we don't have a maintainer and what's a known issue. So it's not perfect, but we also have been introduced the concept of having co-maintenors. So that is not just one, burdensome just falling on one person. That's one of the experiments we're doing. So we are using the hierarchy structures. We're using, you know, maintainer hierarchies and we're using sort of like, okay, certain maintainers have to start on things. The challenge for us becomes is when things cross multiple subsystems or we're doing a massive change, those sorts of discussions sometimes end up in the TSC. Uh-huh. Does the maintainer also do the testing and making it, you know, other people? Yeah, we actually have a test team as part of the project. And they're the ones who manage the CI. We've also got, we've actually got, so we've got actually a full, we've got someone who's monitoring our CI. And then we've got a test team that basically is working on involving the test infrastructure. And so that's already part of the project too. Okay. Thank you. Would you like a kite? Oh yeah. Okay. Thank you for the questions. And thank you very much everyone. Thank you.


I think we give it to us more kills No, no kills don't matter this Both of you stand in front of me both when both of you stand in front of me ready.  You gotta tip it and grab it three two You got it He's he's ramps he's ramps he's ramps Nobody close us on site on site on site on site on site I think they're all there She's close close close close close close close Peking I'm gonna try to flash her Are you ready everybody's expecting I'm about a style of this guy. I'm watching the sides turn.


Think historically? What's that? You may have heard the term, but been puzzled by it. We're all familiar with historical stories. We learn them from our textbooks, popular histories, movies, documentaries, and grandparents and neighbors. Historical thinking is the reading, analysis, and writing that's necessary to tell these stories. It's not only what we know about the past, it's how we know it. Because the past is hard to retrieve. We can't travel back in time to see what happened at the Boston Massacre or at Wounded Knee. To hear so junior truths words or understand how Cesar Chavez and Dolores Huerta mobilized the farm workers movement. But thinking historically helps us get closer to that past to retrieve and construct a more accurate and complete picture of what happened and what it meant. This video focuses on five aspects of historical thinking. Many people think of history as a single account. But in fact, we must use multiple sources to get as accurate a picture as possible of events in the past. Whether we use textbooks, original documents, photos, drawings, or film, teaching for historical thinking demands that students work with multiple accounts and learn to analyze and synthesize them. No single account written from one perspective captures the complexity of the past. Primary sources are original documents and objects created at the time under study and they are vital to reconstructing the past. Historical thinking includes learning how to read, question, contextualize, and analyze these sources as they can tell different stories about the same event. So when we study what came to be known as the Boston Massacre we can read a report from the commanding British officer that says that soldiers fired on the crowd of colonists without orders. We can then read a contrasting account from someone in the crowd who remembers that officer giving orders to fire. But we can't just assume that one is lying and the other isn't. Instead, we have to ask questions about what these two eyewitnesses had to lose or gain with their accounts. What interests were at stake? We consider how soon after the event and for what audience each account was recorded. We look for points of agreement and disagreement between the two contrasting accounts. To be useful in retrieving the past, primary sources need to be questioned and read closely. Okay, you may be saying, wait a minute, this all sounds good but what about my state standards and the fact that I'm expected to cover my textbooks 26 chapters? How does that fit in? Isn't this some pie in the sky way to teach history? Actually, teaching kids how history is known may very well be in your state standards. At least 38 specify this learning outcome. For example, various state standards say students should be using multiple sources and learning to analyze those sources for purpose and perspective, credibility and validity. Analysis akin to what we call sourcing. Sourcing is about identifying and asking questions about the origins of the source. About the author's purposes and perspective. When the source was created and for whom? About its trustworthiness. Imagine your students are working with two accounts related to the 1955 Montgomery bus boycott. The first, a textbook, says Rosa Parks was arrested for refusing to give up her seat to a white man. African Americans heard this and decided to boycott the buses. The second, a letter written by English professor Joanne Robinson in May 1954 to the mayor of Montgomery, Alabama states, there has been talk from 25 or more local organizations of planning a citywide boycott of buses. Even now, plans are being made to ride less or not at all on our buses. This letter was written more than a year before the start of the Montgomery bus boycott. A student who notices this learns that plans for a bus boycott preceded Rosa Parks' arrest and can better understand the boycott and its causes. Alternatively, a student who ignores the date of Robinson's letter easily misses its real significance. The familiar story that depicts the boycott as an impulsive movement, motivated solely by Parks' arrest, is left unchallenged. Sourcing the letter gets us closer to the fuller story. Context is at the center of historical reasoning. Consider these words spoken by Abraham Lincoln in 1858. I have no purpose to introduce political and social equality between the white and black races. I am in favor of the race to which I belong, having the superior position. Historians resist initial judgments to brand these words as bigoted and instead realize that they must ask questions, such as, who was Lincoln talking to and for what purpose? What were the perspectives on race at the time? What political tensions was Lincoln navigating? They realize that to get as accurate a picture as possible of the man, his times, and the event at which he spoke, they have to contextualize these words. And this requires making connections. Lincoln did not live in a vacuum. His speeches and actions are deeply intertwined with what was going on in his own world. Context includes many different factors, from the ideologies of the day to the words that came before those under investigation. But in the big picture, historical context is about locating events and sources in time and space and asking questions to do so. Taking a page from the math curriculum, we can say the coordinates of history are space and time. These sources are not free-floating items that speak for themselves. Their historical context matters. When we write histories, we tell stories and answer questions. To be called history, these stories must be supported by evidence. Sources, like the Lincoln speech and the Joanne Robinson letter, provide evidence for claims made about the past. History isn't fiction. We can't change the story to create a more intriguing or satisfying plot. Truth claims in history need to be supported by evidence. That is how we distinguish plausible claims from Balderdash and good history from pure fiction. These five elements of historical thinking are all integral to understanding how we know what we know about the past. But of course there are more elements, concepts like causation, significance, and change over time. Reading strategies like corroboration. Historical thinking is complex and it is vital to helping students become better readers, thinkers, and citizens. It's not separate from the content we want students to learn. Instead, it is the vehicle that will help them master it. Explore the Clearinghouse to find teaching resources that will help you bring historical thinking into your classroom. It's a gift your students will use for the rest of their lives.


Now, former National Chairman of the All Progressives Congress, APC, Senator Abdul-Lai Adamo, and former Governor Abdul-Lai Omar Ganderjee of Kansas State have, the North Central Eddards of the All Progressives Congress have thrown their weight behind former Governor Abdul-Lai Omar Ganderjee of Kansas State as the next National Chairman of the party. Led by Major General Lawrence Onoja, leader of the North Central Eddards Forum, the elders at the press conference in Abuja argued that Ganderjee has the will with all to administer the party. We as representatives of elders of the party from North Central Zone are here today in continuation of the series of endorsements of Abdul-Lai Ganderjee. We represent different elders groups of the party in the zone. Of the series of endorsements, ours is one of the most significant because we are from the same geopolitical zone with the former National Chairman, Abdul-Lai Adamo, who resigned recently. We are concerned with merit, quality, and continuity in leadership for our party, where in no doubt Dr. Ganderjee will play that chairmanship role very effectively in an acting capacity. For these reasons, we hereby collectively endorse him to chair our great party and to continue where Abdul-Lai Adamo stopped. Abdul-Lai Adamo stopped is tearing the ship of the party onto its offensive. Leadership positions are filled at the next convention in line with the party's constitution.


Good morning. It's me again. My name is Valentine and this is why in the morning the ladies prefer show in this Heartown in this year's city and it's a small small cold Mr. Jui by reading that package in a CC, but we shall over come So do you see Konomi's just enough by the day I Should then a ganitana, but we got some juice We got some sauce for you right here on a wine morning It's a beautiful Wednesday and our hashtag of the day is WCW or why in the morning? How are you feeling about ladies in politics? How do you imagine ladies this? Oh, Neza imagine Bogew Astana I make out to Mahali. I love when I discuss politics is does that work well with you? I'm a I'm a to Nakopima. Just let us know at what perform Facebook why two five four channel on Twitter why five four underscore channel on the gram Okay, so now we are coming into another segment But we have small small interview with a someone who's doing something very very good somewhere Somehow in this country. All right, so I thought about it with details, but in the meantime let her introduce herself. Hello Oh, hi, I'm fine I'm sorry, but I'm a Santisana Please don't worry. I'm okay. I imagine I'm a carol in Ambali and I talk a nail a western kakamega Nilly is a little girl. Nilly girl. Oh, come on. I don't make a summer. Oh, but I need to come to Nairobi Yeah, okay. All right, so first forward a little bit when you're making Nairobi. Yeah, you said you've started an initiative What is that initiative about? Okay the initiative is about supporting young girls young young ladies in slums We support young girls by donating pads every month. Yeah All right, so do you do it in a specific area help walk me through where you do it? And why you do it in that particular area?  So, me ficawangak. Had deo leo, me ficawatu kuminatano when you tunawak naopamoja Lekine, most of them, hawanatakazi Nii lei, mu tua ana toa kila kidawue Nya konayo na mimi na touchen yeni konayo tunawak a pamoja tunerakumara fiki Wonatu saidiya, diotuna tunakamelisha hiyo Dani kila muezi Okay, all right, so Okay. Okay. I don't know if you can see me, but I know that I have a partner. What does being a partner mean? Being a partner and a man, I don't know if I can stand by. For example, if you have pads that you don't like, if you don't like it, you can share it. I don't know if I can stand by. I don't know if I can stand by. I don't know if I can stand by. I don't know if I can stand by. I don't know if I can stand by. Partner and volunteer, is it the same thing? Yeah, yeah. It's the same. So if they had the ability to ground now, they would have given you money. Is that possible? If the viewer is not aware, they would have given you money to ground now. But the economy is a little bit, but they would have given you money. Is that okay? It's okay. So how do you get in touch with them? You will get me through this phone number 0720. 0720 876691. One more time. 0720 876691. That's your line directly. Amma, it's just you and any other partner. Yeah, that is my number. But I have a till number again. If you can contribute, even 10 Bob, even 20 Bob, 50 Bob, it's okay. I think it's the school and the youth who will help us. Yeah. The school and the youth, even 20 Bob and the youth will help us. We will help you to do the work. We will make a shout out. We will help you to do the work. We will help you to do the work. I am the one who is going to give you money. I have a son. I am the one who is going to give you money. But thank God, it's okay. doing well all right would you like to give us your till number best yeah the till number is nine thirty one eight zero or nine thirty one nine zero eight one yeah all right so any amount is viable guys just help if you can if you can't promise me please reach out now I'm gonna send a quaground here is fine are you welcoming any kind of talent come up on our photographer I'm a she-da I'm a she-da well go free well go free cook a quagmina CC at the way the photographer at when entertainer come on hours China so you're too pads per care then you work on our she-da no no what nibby to Mingi then you want to it's I do was to know I try to pandis was to know I try to serve only was to know I try to turn a cool foundation So in future I'm planning to come up and I'm planning to come up and I think that's a very wonderful initiative you're having. Thank you. Thank you. All right. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay okay. okay We're going to take a very very short break but remember you can find us at 1250 on Facebook, 254 channel on Twitter. Hashtag is white in the morning.


My name is Louise Jackson, we are live at Alchemist for the Fancy Fingers album launch. Now there are so many artists who are going to perform in live. We have more than 20 artists in the house. So we have Fancy Fingers here. We are launching the album. We are going to teach you how. I just want to show you how. This is the set and the bar and the tray. Yeah! What's up guys? I hope you are waiting for a new live album. It's right here on Espeambas. If you are at home, you know Espeambas got you. My name is Miski Pinchie and this is Louise Jackson. Subscribe! Subscribe!