So AAAF is a set of open standards for delivering high quality, attributed digital objects online at scale. And this is the first in a series of events exploring and showcasing AAAF and how it can be used in cultural heritage. It's going to begin with an accessible introduction to AAAF. We realise that some of you, this might be the first time you're coming across AAAF. So we hope to tell you a bit more about it and what it can be used for. And then there'll be some demonstrations of AAAF in action at some of our RAUK members. So Alison will tell you a bit more about what's been happening at Cardiff. So our first speaker is Glenn Robson and he works for AAAF consortium as the AAAF technical coordinator. He gives training and lots of advice. I'm so grateful for Glenn and all the advice he's given me in assisting the community in implementing AAAF. Before he joined the AAAF consortium, he spent 13 years at the National Library of Wales and is joining us from Aberystwyth and Latterley as the head of systems. And Glenn started working with AAAF in 2013, implementing the standard at the National Library of Wales for its newspapers, photographs, archives, map and crowdsourcing systems. So he's got lots of information. And then after Glenn, Alison Harvey will be talking and she's based at Cardiff University Special Collections and Archives. Alison is responsible for managing the digitisation workflows and supporting the teaching of digital talk humanities and visual culture. Alison has recently completed an RAUK AHRC funded fellowship that reviewed free low infrastructure tools for creating and using AAAF images for digital archives exhibitions. Thank you so much, Glenn Alison. I'll pass over to you. Brilliant, thank you. So it's a great pleasure to talk to you today and give you a short kind of introduction to AAAF. So as Claire mentioned, I work for the AAAF consortium. So this is a number of organisations which kind of pay a fee to be consortium members of the AAAF consortium. And it employs a number of staff members so that myself, who's the technical coordinator. There's also Caitlin Perry, who's the event and community coordinator. And we're currently looking for a new managing director for the AAAF consortium and applications for that closed yesterday. So my main role is to help people implement AAAF. So I work with people that are just starting on AAAF. I work with vendors, so people that are providing systems at sport AAAF. We run online training sessions and I'll talk about that later. And then I mentioned funded by the AAAF consortium. And as Claire mentioned, I've worked with National Library Wales. So you may recognise quite a few of the examples and some examples I'm going to give. But I'm going to give a very basic kind of introduction to what AAAF is. And the first way to look at it really is to look at the acronym. So it stands for the International Image Interoperability Framework, which is a real mouthful. So everybody calls it AAAF. And that has been translated into a number of languages. But what I'm going to do is I'm going to use the training. So I mentioned that we do this training and this is an online session. And I'm going to use that and I can share the URL in the chat. So we have a number of different kind of workshops. We have some kind of basics. This is a five day training which I'm going to use. We also have a making use of AAAF. So this is if you've implemented a AAAF, what can you do with it afterwards? And then some custom training for different kind of users of AAAF. But if I start with the online workshop. So we run these for this year, we're going to run four different sessions of this. And you can follow the link here to register to one of the sessions. And they're all at different time zones because the community is quite distributed. And so we run them at different time zones to make it accessible to different people. But I'm going to cover the what is a AAAF session and you're welcome to follow along. So I'll put this into the chat. But the best way to look at AAAF is to look at the acronym and just go through it and see how it works. So the first I in AAAF is for international and this was something that was really looked at when we started AAAF was to make sure that it wasn't just based in one kind of locality. And that it was as an international as possible. And so when the first meeting started, they were kind of oscillating between North America and Europe. And now we kind of go to different places trying to spread the message of AAAF. When it first started, it was very much the kind of national institutions which had the funding to be able to implement AAAF. There wasn't a lot of software available at that time. And so you had to kind of make your own software to implement the AAAF standards. So we had large institutions like the BNS Library of Congress, British Library, Austrian National Library, National Library of Wales in Scotland, Oxford and Cambridge and kind of larger institutions. But we also work with aggregators. So this is some commercial like art store or content DM. Some other types like the Internet Archive implement AAAF and also Europeaner. So Europeaner in particular are able to harvest AAAF content and show it on their website and work with others to implement AAAF. And then also it's always been based in kind of university research. So a lot of the initial collections were to do with research, particularly kind of manuscript research. We had a large research institutions. And then also we've gone into museum galleries. So National Gallery of Art in the US and the UK implement AAAF and plus the Jay Paul Getty Trust. One of the things we've done is we've created this map, which is kind of all of the AAAF implementations that we know about. So if you're not listed in this, please let us know so we can have that. Sorry, I don't call. But you can see in the UK there's quite a large implementation across the UK in different institutions, large and small. Nowadays there's a lot of software that's available. And so it's very much off the shelf. So small institutions can also implement AAAF as well as larger institutions. And there's also commercial providers, which can provide hosting if required. The second eye in AAAF stands for image. And this is kind of the use case that AAAF was invented for. So if you think back to before AAAF existed, and I worked in National Library of Wales when we were doing this. And when we provided access to the digitised images, we'd provide access to a thumbnail copy and then a reference web copy, which wasn't a huge high quality, but it was fast enough to be able to download on the internet. But what we found out that whenever researchers wanted to use our material, they were really after a higher quality to be able to look at handwriting, to be able to zoom into maps. And so quite often we would send them the archival TIF quality of the image. And what we really wanted to do was be able to provide a zoom level experience so that they could zoom into the particular part of the image that they're interested in. And so one of the standards that AAAF provides is this ability to zoom into images. This is just an example from Stanford University of a Japanese tax map. And you can see the scale of this. So this is Wayne, who's six foot four inches, and he was involved in the scanning of this particular map. And so you can see kind of the size of this particular image. And if we open up on the Stanford website, you're able to zoom in and really kind of look into the detail of the image. And the way that AAAF kind of makes this happen is that it means that you don't have to download the full quality image, only the particular parts of the image that you're looking at as being sent to your screen. So it means it's really, really fast to kind of zoom around and look at the different items. In this particular map, the idea was that you'd kind of stand in the middle, you'd be able to look around at the different areas to be able to interpret it. And so you can kind of recreate that with this kind of zooming experience. You'll notice there's a star next to the image. And this is because the more recent versions of AAAF now support audio visual as well as images. But unfortunately, it was too late to change the name. So we did look at maybe renaming it IXIS, but again, that's even more of a mouthful to be able to pronounce. So we stuck with AAAF. So whenever you see image, also think audio visual. So this is just an example of a video resource, which if you click play, you'll be able to see it in the same kind of view as you would an image item. So I've made it full screen. I'm going to zoom in slightly as well. Doesn't that helps? Let me know if you still can't see it. So the next I in AAAF is for interoperability. And this is more complicated to kind of define and it can be looked at in a number of different ways. So the first one is interoperable viewers. And again, this is kind of one of the early use cases of AAAF in that you if you implement the standard, the promise was that you'd be able to open up in different viewers. And there are a number of use cases of why this is important. So this is an example from the National Library of Wales. It's a manuscript from, I believe, French poets. And you can see that you can open it in lots of different viewers and they all had different features. So this is an example of the item from the National Library of Wales. They're using a viewer called the Universal Viewer, which has some strengths in translation. It's also a good kind of general purpose viewer and has all the metadata about the item on the right hand side. And you're able to kind of browse through the different images and do all the zooming that you can really expect. Another type of viewer is Murdo. So this one has got some more functionality. So it's got some side-by-side comparison. So I can open up the same item twice in two different windows and you're able to do kind of detailed side-by-side comparison. You can see there's a problem with the National Library of Wales at the particular moment, but you can also see all of the metadata that's available in the Universal Viewer in Mirador. But this is much more for kind of an academic use case. This particular viewer is called a curation viewer. So this is a viewer from Japan. It has the same functionality of being able to browse and zoom into images. You can also see the metadata by clicking on this one. So the same metadata has come along with the item, which is one of the benefits. And this particular viewer has some features to do with reading Japanese characters. So it has some machine learning and built. So you can take an item and open it up into this viewer and then be able to kind of run some automated processing to be able to do some OCR on those characters. Another viewer, this one is called a Nona from a place in America. Again, you can see all of the same metadata information, browse it. This particular viewer has functionality for kind of guided storytelling. So you can load a set of annotations and it will kind of guide you through the different images. It's good for kind of telling stories. Clover, this is from Northwestern. This is a newer viewer. So the same item again, all the metadata. I think this looks a nicer viewer. It's quite a clean viewer and it also supports audio visual as well as the Universal Viewer and Mirador also support that feature. So that's a really kind of useful use case that you can take your triple life item. And as an institution, you can choose which viewer kind of fits your collection better. So you might be more at a research institution. You might want to go for Mirador. You might be at a national institution or kind of have a more read-only interface. And you can do that with say the Universal Viewer or Clover. And it gives you the flexibility to chop and change. So the Universal Viewer might be the most kind of featureable viewer at this moment. And then later on it might be Clover and you can just drop in a different viewer because the data stays the same. And that's one of the features of triple life. Another way of looking at interoperability is with interoperable images. And this is a great use case. This is from the bayonet. No, sorry. This one is from America. So it's a manuscript which was owned by somebody called Otto Edge. And what he did is he separated the individual leaves, the pages and he sold them to different institutions across the US. So physically at the moment this manuscript is distributed around different institutions in America. And this use case is they've digitized each of the individual images in the different institutions and they made them available as triple life and then they've been brought together as a manuscript to be displayed in a viewer. And you can view the manuscript here. And in the background it's getting all of the images from the different places dynamically and kind of bring them into a single presentation. So this is Mirador and you can browse and zoom just as if it's any other item but actually all of the images are coming from different places. And so in this item it's kind of been digitally reconstructed so even though physically it's in different places it's been kind of digitally recombined into this manuscript. Another example is the same sort of recombining but instead of four pages, this example from the bayonet is where the illustrations were cut out and the illustrations are actually held by a separate organisation both based in Paris and both of them have delivered them over to AAAF but you can go to Mirador and you can click to add the miniature in which again allows you to digitally reconstruct the manifest manuscript and also zoom into the items. There are a number of use cases of this kind of recombining but also layering of images. So you might hear more about this in the next one from Joe from the National Gallery but it's possible to layer different images on top of each other so if you've got an X-ray or infrared of these different images you can layer them and kind of use this interface to change your opacity so you can kind of go between different versions. So there are a couple examples of kind of interoperable images and I'll just reload this. So for interoperable collections this is again looking at being able to take content and opening them in different viewers. So this is a blog by Ben Arbrton from Stanford University and he was interested in bringing two copies of Trousseau's Canterbury Tales together and so he's been able to recombine two versions of the manuscript from two locations. So the one on the left is from the Hunston Library in Los Angeles and the one on the right is from the National Library of Wales. Both of them have been made available as AAAF and he has opened them into Mirador and has got the side-by-side comparison and you can zoom into both at the same time and they're both coming dynamically from the two different institutions and you can really do kind of serious research to be able to compare the two manuscripts and it turns out that these two manuscripts are thought to be written by the same scribe and this blog by Ben Arbrton talks about the difficulty of doing it. Pre-trip LAF where you had two different windows, two different interfaces and being able to do the comparison is really difficult whereas if you can bring them into Mirador you're able to do the side-by-side comparison which makes it a lot easier. I mentioned earlier that it's possible to bring to use these different viewers and one of the advantages of that is that the user can do this so the user can go to say the National Library of Wales collection they can say I'm really interested in this particular manuscript and they can get access to the manifest and then they can open it up in Mirador and then they can kind of combine that with different manuscripts in different locations to be able to do that. And we'll give you an example of that in a second. And then the glue that makes this happen is the standards that AAAF provides. So there are two core standards. So the first one is the image API and that's all about zooming into images. So when you saw me kind of zoom into that map that is all controlled by the image API and there are a number of ways to implement that but basically it's kind of choosing mostly an open source image server and using that but there are also commercial providers which will provide the image API. The presentation API is all about providing enough information about the item so that a user can understand what they're looking at. It contains things like metadata about the item, the order of the images, the pages, the table of contents, links to external metadata. That's all based in the presentation API and it defines something called a manifest which we'll look at next, which is that kind of core information which you can take from one viewer to a next. As well as these core APIs, there are a number of other ones that the community provides so content search which allows you to search annotations. So it's a bit like if you open a PDF document and being able to search within that, you can do that through the content search. Authentication API is about protecting resources so username and password potentially charging for access. You can do that through the authentication API. Change discovery is about sharing your content with aggregators like Europeana. So being able to let them know this is all the content we have and if this bit's been updated, please re-harvest. You can use change discovery. Content status is a more complicated one. It's about sharing the view of what you're looking at. So it could be that you have two manuscripts over from side by side. You want to share that with a colleague. Then content state API gives you kind of a method for that. Then there's been a few maps extensions. So one is Navplace. So if you've got a photograph, you can kind of geolocate it to a point in the map to be able to say that this photo was taken from this location. And there's also a georectifying extension which is if you've got a historical map, you can put points on the historical map and points on the modern map and it will warp the historical map so it matches the modern map which can be really useful for comparing two different maps from two different places. And that's a really recent extension. So I'm just going to give you a quick kind of hands-on guide about how this works. So I mentioned this concept of Manifests which are kind of mentioned in the AAAF presentation API. And if we just take an example of going to a particular AAAF institution, taking that manifest and opening it in a couple of viewers and you're welcome to have a go at this at the end of the session, all of the instructions are here. So one thing that we maintain in AAAF consortium is this guides to different institutions that support AAAF with very kind of brief instructions about how to get a AAAF item. So I'm running short of time so I'm just going to quickly choose the Folgerish Shakespeare Library. I'm going to go to their collections. I'm going to search for Wales which is my kind of one that I always search for. Media available online. I want to restrict images and then I've got an item which when it's load is it will be a AAAF item. So the instructions on this page tell you how to get the AAAF manifest URL so it's linked there so I can go to the top. I can right click and do copy link and that's what I'm doing is I'm kind of copying the link to this manifest and that's the thing that I can open up in different viewers. So if I go to Project Miradol this is kind of a demo version of the Miradol application. I can click trial live demo. It opens up on side by side comparison. I can just close these. I can click start here and it's got a list of kind of demo objects are available in Miradol. I can paste this URL into here. It's the link to manifest and click add and then I can open up the item in Miradol. I can do all of the zooming but all of the images coming from the Folgerish Shakespeare Library. I've got access to all of the metadata that's available with the item and I can also do the same with other viewers so this instruction is here for being able to open up an universal viewer as well. So feel free to have a go at that. It's just kind of a nice way of being able to see how you can take resources from one place and open up in a different viewer but I'll just quickly go back to presentation. So there are some more examples of using AAAF including with crowdsourcing annotations but I just want to say kind of add the next steps. So there are many ways that you can get involved in AAAF and there's a large AAAF community which you can see from the AAAF website. We have a very active Slack channel where you're welcome to ask questions and just try and use AAAF as much as possible and if you've got any questions. The community is very open and welcome to questions and I'm happy to take questions at the end of the session. So I better pause there. Thank you Glen and yet please do pop any questions in the Q&A and we'll pick them up at the end of the session and now I'm going to hand over to Alison and tell you a bit more about what she's been doing with AAAF. Thank you Claire. Okay, is that looking okay? That looks great. Great. Oh yeah, thank you Glen for kicking us off with such a great overview of what AAAF is and everything that it has to offer. So I'm going to talk a bit today about my own experience with AAAF and show you lots of examples. And in case you want to follow anything up but I've added links to everything that I'm going to mention to an open Google doc and I'm going to share the link to that at the end. Yeah, it is very appropriate that I'm here with Glen today because my own journey with AAAF started when I attended his training course that he mentioned at the start of the pandemic and it's where I had the realisation that it didn't matter that we couldn't physically access collections at that time and it also didn't really matter that we didn't have a digital repository because others did and because others were using AAAF their content was interoperable and reusable and that meant things like our book history workshops about marginalia or illustrations could still be delivered by using content from the 100 or so worldwide institutions that use AAAF and I also discovered about the existence of free tools that could create teaching materials using AAAF objects and a couple of those I'm going to demonstrate later. So, basically at that moment of global crisis that we all found ourselves in AAAF was a lifeline. It allowed us to support research and deliver our teaching commitments throughout that really difficult year by drawing on the resources of the global academic community and since then Cardiff University has become the first university in Wales to implement a AAAF-enabled digital repository of its own very much in that spirit of wanting to contribute our own content to this community and allow it to be reused. So, this is Armour Digital which is in addition to our library management system Armour from Ex Libras and Armour Digital makes all our content available through AAAF and is interoperably reusable under a Creative Commons license by anyone, anywhere for any purpose. And since Lord Ching Armour Digital investment has continued in this area so last year we were able to use quarter of a million in grant funding to purchase digital imaging equipment and establish dedicated digital studio. This studio is equipped with everything from fast book scanner kiosks that anyone can use all the way up to a high end phase one camera system that allows our photographer to capture our most fragile and challenging items. And it's fair to say that AAAF helped us get to this point. Our journey really started by using free tools to just experiment and play to turn ideas into actual websites and exhibitions and digital collections and student assessments that allowed us to show the benefits of AAAF in proof of concept models rather than just describing them in theory. So this process has been instrumental in advocating for and developing our business case for investment. So I just wanted to highlight a few of the benefits of AAAF today before going on to demonstrate some of these tools. I'm going to do this quite briefly because Glenn's covered it in a lot of detail. I will just say this firstly and possibly most famously you've got its deep zoom for examining objects in minute detail and you've seen this example earlier of this amazing restoration of a manuscript that once had its illustrations cut out and those objects are now held in different institutions. So you've got these opacity sliders that let you choose to view one object or another or see both of them reunited. AAAF can be used to enhance images in the browser without altering any original files. So this is an example from the Internet Archive where you can edit brightness and contrast and polarity to help bring out details that might be difficult to see. AAAF viewers allow comparison of multiple objects in one browser window even though they're held in different countries. So as as Glenn said this is fantastically important for research and makes people's lives so much easier. And something we're going to be talking about later is annotation. So this could mean overlaying images on top of each other. This is a tool that lets you layer maps to visualize spatial change over time. It could also refer to transcription. So turning images of text into actual text that can be searched and then laying that text over the image. And it could refer to curatorial commentary like this interactive annotated version of the Garden of Earthly Delights by Hieronymus Bosch. So I saw examples of all this functionality during Glenn's training. But until then I had no idea how it worked or to be honest what relevance it had to me as somebody working at an institution that didn't have access to an infrastructure that could support AAAF. And as I mentioned in 2020 we didn't even have a digital repository because we recently retired one. We were in the process of procuring a new one when the pandemic shut everything down and all I had is thousands of files that had been extracted from the old repository and stored on one drive. So given the circumstances I was very grateful to have them but it was far from an ideal solution to finding the exact image that I needed for teaching or to respond to enquiries and obviously it was very difficult to make available to others for browsing. And this led to my first unwitting introduction to a free AAAF tool the internet archive because my early lockdown days was spent uploading all of our files here and I will explain shortly how the internet archive supports AAAF but even before I discovered this I thought it was fantastic. There are no limits on how many images you can upload here. It can group books and images into collections. They are easy to search. You can browse them with filters all the text is OCR for free. So books can be searched super accessible. They can be downloaded in different formats and all their metadata is visible to search engines as well. So even if people have never even heard of the internet archive if they search for the title of a book on Google they will find it there. And as if this wasn't enough the internet archive is also now able to be used as a free AAAF image server. And I discovered this during the training that Glenn mentioned. As he said the documentation of this is freely available online and you can work through this independently or you can sign up for the five day course to benefit from lots of support from Glenn and the team. And I would really recommend this training. We each built up a personal project throughout the week and each day sort of developed what we'd learned the day before and then demonstrated what we'd made to the group at the end. I love to learn by doing. I really benefited from this very practical approach. It was so satisfying as well to see everyone's projects develop over time. But if five days to sound like a lot Clare and myself will be working with RLUK to run a very entry level practical training session on the 1st of March. If that sounds more achievable at this point in the year. And we began in the training by getting started with image servers. These basically perform a set of processes on digital images that make them compatible with the AAAF framework. For instance, dividing them into digital tiles. That is what makes large AAAF images like this one load very quickly and it's also what allows them to be digitally segmented in order to annotate sections of an image. Because many of us on the training course didn't have access to an image server other institutions Glenn taught us this trick to make our own AAAF images using the internet archive and all you do is upload your image and then take its file name whatever appears after details in the URL and insert it into this string to create what looks like a URL. But rather than opening a web page is actually code. But you don't need to understand it all you know is that it packages up three things into what's known as a manifest. So it contains all the links to the images that make up that object. It contains structural metadata that tells you how the images are ordered and presented and it contains descriptive metadata about the object. So the manifest is really the key to bundling up everything a computer needs to know about your digital object so that you can share it with others and use it in different tools. So this internet archive method might seem a bit clunky but it really represents a significant development by allowing anyone to explore the potential of AAAF for free. Well here's this manifest that I just made from the internet archive loaded in a AAAF viewer called Miradol. So the viewer fetches the images from the links provided in the manifest and the code tells it how to organise them. The metadata on the left was also pulled in from the manifest and in that way it always stays connected to the digital object. So a AAAF image can never be orphaned from its original context. So you might be thinking what does this achieve? The object is already online at the internet archive so you can already share a link to it. But what you can't do without AAAF is easily share a particular section of a particular page. So if you take these medieval cats for instance I might want to share this specific detail of this manuscript for any number of reasons. So I might be an archivist who's providing research assistance to a scholar of medieval cats. I might be a researcher who is citing a new medieval cat discovery in an academic publication or I could be a PhD student of medieval cats working on my supervisor or maybe a curator planning an exhibition on medieval cats or a conservator debating potential repairs to an image of the medieval cat. But my point is there are so many use cases for AAAF in heritage and higher education. And someone receiving a link to a detail like that can open it up in any AAAF viewer. So as Glenn said there are a few different kinds available. They all have different layouts and functionality and everyone has their own preference. This is an alternative to Mirador called Universal Viewer. It shows thumbnails of the other pages and the object on the left and it lets you see the metadata at the same time on the right. Whichever viewer you choose they all have huge advantages over sending someone an isolated screenshot of a detail. All of them let the recipient see the detail in the context of the wider object and also see the full bibliographic details including the location of the original. One of Mirador's advantages is being able to open up multiple manifests from digital objects all over the world and then export them as a collection as an interactive workspace. You can go back to your workspace at a later date or you can share it with others to work collaboratively. And again, this is not just a collection of images but it's more like a map that traces paths from images to their objects and then back to the repositories in which they were found. So I could go up to the top right image for example and scroll through the rest of the pages or click a link that would take me to the BNF catalogue to see what else they have. These images don't exist in isolation. So so far we've used AAAF to take a local JPEG object and turn it into a global AAAF object and next we're going to transform it into a whole new object enhanced with annotations. So we've seen this done in the example of the Garden of Earthly delights earlier how an image rich with weird and wonderful meaning has been enhanced with an interactive commentary. And that example was probably put together by a developer but it's possible to make something similar to free with no coding knowledge. This is an example of an annotated painting by Manet which has been made using a tool called stories. This is free and anyone can use it. It works by just uploading an image, zooming into details and adding text to any area of interest that you want to highlight. And this is the final result. It creates a presentation that just moves through the annotated areas in order. This is the editing interface. It's really nice and simple. Stories can only edit a single image which would be great for exhibitions and teaching or as a close reading exercise maybe for students. Perfect for art history but it could be used for any discipline really that requires image analysis even something like anatomy or botany. Very, very easy to get started. You can either paste in a manifest that you've found or made or upload a regular JPEG. And this is stories big advantage. It will make a triple A F image for you from your JPEG. It works best if the JPEG is very large. If the file is too small you won't be able to zoom in far enough to make useful annotations. It just won't look very good. So in this example I've loaded a manifest map of America of giving it a not very imaginative title. I could add an author a description or some credits if needed but those fields are all optional. I do need to provide an email address but this is only used to send links to the finished presentation. Stories is web based. You don't download anything or even login but because it doesn't maintain user accounts the links that are emailed to you are the only way to get back to your presentation in order to view it share it or edit it. So this is the editing interface. It first loads up the entire image and then all you do is zoom in pan around until you find a detail that you want to comment on and then click add new to add an annotation. And then you just repeat this process for all the notes that you want to make. When you click submit the annotation gets saved to the section that's been zoomed into. So I've annotated some states here just as an example but you could use this with an image of anything and annotate it for any purpose. You can go back and edit the annotations. You can delete them. You can drag and drop them to reorder them as well. And when you're finished you can use preview up in the top right and corner to see the results or links to copy those sharing and editing links. If you want to make something similar but with multiple images you could try exhibit. Exhibit works with multiple images and even with multiple objects but unlike stories it has to be used with an object that's already available by a triplef. If you don't have one you could use the internet archive method that I mentioned earlier to make one. Exhibit was developed during the COVID pandemic to assist library and academic staff tasks with delivering remote teaching with rare books and archives but even now it continues to be invaluable as a free tool for creating very professional interactive presentations and quizzes for engagement and education. Like stories it is free web based and easy to use and this is the editor again it's nice and simple. You just start by choosing your template from those options. The kiosk plays pre-timed images on a loop scroll lets you move through images from top to bottom so more like a web page. Slides move left to right like a PowerPoint slideshow and quiz lets you create multiple choice questions. The presentation needs a title and author and description you can format the description text as well which is an improvement on stories which is plain text only. You can also password protect the presentation which you might want to implement if the tools are being used for student assessment and allow duplication option is also useful for assessment scenarios so a tutor could load up a load of digital objects in advance and then share a template with their students. Each of them could then add their own commentary to it in a fresh version of the presentation and then password protect it for submission. Once those fields are completed you have a blank canvas on which to start building your presentation so you can click add item and paste in your first trip playoff manifest add it and then repeat that stage to add multiple manifest. Once the manifest is loaded you can navigate to any page or section of it and then zoom into a detail you want to add an annotation to and that will be saved to the area you've zoomed into in exactly the same way of stories. The annotations can be edited reordered and deleted and the results can be previewed with the preview button. You've got share down there as well containing all the useful links that you'll need in the future either to make changes or to share or embed the final version in a website. So if you want to have a go at using some of these tools for yourself I have documented some tutorials in a toolkit called Minimal Digital. I made this during my professional practice fellowship with the RLEK and AHRC and in case you haven't noticed I love free stuff and my motivation was to bring together an introduction to free digital tools for the benefit of anyone lacking access to infrastructure whether that's a digital repository or storage or server. So it features tools tutorials reviews of free online software and workflows to create digital archives and exhibitions. It goes into more detail on the benefits of AAAF but in accessible language and about methods for using and creating AAAF images without an image server infrastructure. It covers quite a lot of what I've talked about today and much much more. So do take a look at that. We will also be running a few more AAAF AAAF events in the next few months including the training session that I mentioned. So I hope to see a few of you again soon and thank you for listening. So yeah we've got one question which is around sort of metadata and I know that yeah that AAAF isn't a metadata standard so I think it's to be useful for people to understand how it interacts with metadata and sort of what you need to do if anything to make your metadata work with AAAF. Glen can I come to you first and then I'll get on to Allison and what that's meant for her. Sure yeah I've been interested here at Austin it's going to practical feedback on that but the intention of AAAF manifest particularly is to have only enough metadata in there that is enough for the user to be able to understand what they're looking at. So the AAAF doesn't require a particular metadata standard it's something that has something called kind of key value pairs so say for example you might have something that says title and title author and author and that's absolutely fine but it might not work in a museum setting so you might have creator and the name of the creator and so AAAF doesn't control kind of what you call your metadata it can be anything so the idea is that it can work with any metadata standard and you just converted to the AAAF metadata fields and it just has to be enough for the user to be able to understand what they're using so in your example from the National Library of Indonesia hopefully you can convert whatever metadata you have into the AAAF manifest and as long as it's enough for the user to be able to understand it doesn't matter if it's not in a standard itself as long as long as it's enough for the user to be able to understand what they're doing then it's probably going to be fine for AAAF AAAF only the only mandatory thing that AAAF requires is the label and but obviously the more metadata you have the more understandable and usable the data is so it should work with any kind of standards all if you don't have standards that should still work Thank you Glenn and Allison how's it been for you so taking what you've got and moving it across to do that that's a really good explanation and yeah the process of setting up a digital repository and not not moving that content from one repository to another but setting one up from scratch involved a lot of metadata cleaning up and and was a really good activity to do actually to get everything consistent and coherent and I just hope that if we do have to move it in future it will be easier but yeah this is Glenn gave a really good explanation of the setup there so it really doesn't matter what you're using in your library system your digital system can be set up by you we had to do some mapping from we use mark in the library system we use Dublin core in the digital system and it just involves some mapping of yeah what metadata we thought the viewer would most need to see when those objects travel around the web it's great that you know you can set them free that they always stay linked to their metadata they always get connected to back to the library catalog as well so in the viewer because you will come back to the catalog ultimately anyway Thank you and one of the challenges what we all face Alison when looking at implementing something new with our collections is where to start you know we've want to move and things like that and obviously it was impacted by the fact that you did just doing COVID but yes how did you sort of determine well where do I start with what we would what would be make sense to move into to player. The content that I had well was legacy it had come from previous projects when we had been involved in digital things in the past we had contributed content to other people's projects it was largely the National Library in the context of Wales the National Library would lead on these digital projects usually by Glen and and then would would specify okay we need this kind of content this type of metadata this kind of standard and so that is why that phase of standardisation had to happen with getting everything to what what what's our standard what we want to use and then yeah rather than these things that have been submitted for standalone projects but we did have the benefit of being able to look back on those projects and think what have been successful what have been less successful on what things we wanted to pull forward and then from then on we've really been sort of demand led so when people have come to us and very actively and said we'd love to see this and we'd love to see that and and that is what drives are now tried to just keep that alignment with research needs Thank you and it's great to see what you've done and see the investment that you've got It's been a journey Yes and Glenn I wonder if you could say a bit more about how people can get involved in the community because I know I've really benefited from the support of other members of the AAAF community and being able to go along to talks and hear what others are doing around the world Sure so there's many ways and get involved and it depends how much time or interest you've got so probably the easiest way in the kind of lowest barrier is to sign up to the newsletter so my colleague Caitlyn sends this out once a month and it's great highlight of kind of what's going on in the AAAF community There are also a number of online Zoom session and so we have one roughly once a month where we'll see kind of people presenting about their later software the latest implementation different tools that support AAAF and they're really good ones and then we have different interest groups so we have one on manuscripts archives and museums we've just recently started one on artificial intelligence and AAAF and they're all open so there's a I'll put the link in the chat after I finish but on the website there's a calendar and you're welcome to join any of those calls and quite often they're kind of just demonstrations and people talking through what they're doing we also have technical specifications which are again completely open and that's where we're trying to push the boundaries of the AAAF specification and creating new extensions so one that's very active at the moment is 3D so the AAAF 3D group so at the moment we support images and audiovisual but in the next version we're looking to support 3D models in the same sort of infrastructure and that's a very active group at the moment again you're welcome to join any of those discussions I mentioned the Slack so the Slack channel is a great way just to go in and each of those interest groups have their own kind of channel within Slack and so you can just kind of follow the discussions it's also got a beginners channel if you want to kind of ask questions and there's also a technical channel where you can kind of monitor the latest discussions on on where the standards are going but yeah everything's open you're welcome to join anything and thanks Claire's got the the link to the events so you can see all of the online events there and they're usually two or three different triplife meetings a week for various groups and TSGs so I only joined the ones you want to interested in and I definitely recommend the community call because that's kind of very general purpose the last one we had was on a crossover between bear data on triplife and then we're I think the next one's going to be looking at triplife commons sorry flicker commons and how that topics yeah and for everybody if there's something that was discussed in the past that you're interested in a lot of things are recorded made available on the YouTube but also the triplife community does open notes as well so often you can go along and sort of see that it's all in the triplife Google Drive that you can find as well and their links to the events I think can't they so if you want to find out more you you can dow and you can get in deeper in deeper in deeper as I'm sure Alison and contestify by finding out what is doing and what you would like to copy or steam and I always think that is the highest form of flattery isn't it so seeing what you can take from with and be influenced by others


Hello and welcome to the STM32L for MOOC online training. My name is André Barat and this is the dedicated session for the DAC brief role. Let's have a look at the Digital to Analog converter or in short DAC. It's used to convert digital signals to analog voltage which can interface with external world. The Digital to Analog converter on STM32L products ensures the conversion of 8 or 12 bits digital data to analog voltage. On this session we will learn how to set up and generate code for the DAC brief role on STM32QMX. The main objective is to use the DAC to generate the sawtooth signal and measure it with an oscilloscope or a multimeter. The DAC output signal will be made available on PA5 on our Discovery L4 board. Let's now open STM32QMX to configure the DAC for this hands-on. As a first step we will click on new project. On the new open window we will type our part number STM32L476VG and we will double click on the desired part. Let's start our configuration by going to DAC1 and we will select on out to the connect to external pin only option. We can measure the output waveform on this pin. We will leave the clock configuration as default so we can skip this step. On the configuration tab we can verify the DAC configuration settings. The output buffer is enabled as it should, so as everything is properly set we can just save our project and generate our code using system workbench for STM32 as our IDE. After the code is generated by the STM32QMX and our project is loaded on system workbench for STM32 we will open our main.c file stored inside the source folder. On main.c file you are supposed to see the initialization of all peripherals defined on STM32QMX. In this specific case we can see the system clock configuration and DAC initialization. As a first step we will initialize one variable on user code private variables section for output DAC value named value underscore DAC. Let's now go to the user code section 2 and start our DAC. We will start by setting the DAC output value so we will use the function HAL underscore set value and the parameters will be the DAC handler, the DAC channel number, the alignment which in this case is a 12-bit long alignment to the right and finally the output value for the DAC. Then inside of a if conditional statement we will check if the DAC value is lower than 4095 which is our maximum output value for a 12-bit resolution DAC. If the value is lower than the maximum value we will increment it, if not we will reset it back to zero. We will add some delay could be 1 millisecond in order to have a stable output value and this will be all the code we need in the infinite loop. The code we just typed will sweep through all the DAC output possible values in roughly 4 seconds and then reset it to zero restarting the process all over again. Now we can build the project and upload our code to the discovery board. And if we restart the board and attach a multimeter to the PA5 pin we will see that the DAC output gradually increases up to a maximum output value which is 3 volt. Then it will go back to zero forming a sawtooth wave. This will be all on this hands-on session. Thank you for watching.


Hello there, everyone, and welcome. This is Melissa Armo with a stock swash, and I'm taking a look here at Target. This was a play of the day we did last week, and also I called a putt and it last week. Both were the same day, which was the day of the earnings. So I called the 119 puts in Target that expire this coming Friday, the 29th. And it had a really nice drop today. So when you're looking to do options, sometimes they take a couple of days. Sometimes they go immediately on the same day. Sometimes they go in 24 hours, meaning you take it on a day and then it has to move the next day. Sometimes it takes a couple of days. And remember, this is a short week for the market. Today's Tuesday, market was closed for Memorial Day. And always going back here, this was the day that it fell down through here that I ended up calling it for the day trade and the option. And I called the 119 puts and then it had the follow through here and here. But really the move here today was super duper because of the fact that, again, 119 puts, this moved more than $4 through the strike. So that's a nice momentum. And again, this was a short because it was a put. So could this continue? Yes. Remember though, it's a short week. This could drop all the way down here. Snug as a bug. And this area right in here to 112. But every day when you're in an option holding it, you really do have to have a big continued move because of the fact that you lose time value. So nice move and target. Overall, the retailers have been falling, but this chart is still in enough trend. So I called puts in this, but the chart's in enough trend. This is still a strong stock. It's still holding very, very well. So if you're interested in the gap options newsletter, email me at melissaatthestockswush.com. If you're interested in the next golden gap course, email me at melissaatthestockswush.com. Have a great day everyone.


The Jack Benny program, transcribed and presented by Lucky Strike. Nothing, no nothing beats better taste. And remember, Lucky's taste better, Cleaner, fresher, smoother. Lucky's taste better, Cleaner, fresher, smoother. For Lucky Strike means, Lime tobacco, richer tasting, Lime tobacco, Lucky's taste better, Cleaner, fresher, smoother. Lucky Strike, Lucky Strike. Yes, friends, nothing. No, nothing beats better taste. And Lucky's taste better, Cleaner, fresher, smoother. Here's why. Lucky's better taste starts with fine, light, naturally mild tobacco that has a wonderful taste all its own. Remember, LS, MFT, Lucky Strike means fine tobacco. In addition, Lucky's are made better to taste better. Made round and firm and fully packed to draw freely and smoke evenly. To taste cleaner, fresher, smoother. And say, Christmas shoppers, because Lucky's are so popular everywhere, they'll make wonderful gifts for all the smokers on your list. Your Christmas Lucky's come in a really beautiful gift carton, specially created by the world-famous designer Raymond Loy. As there are only a few shopping days left, get yours now at your favorite cigarette counter. Make this a Lucky Christmas. Give your family and friends, yes, give everyone a cherry Christmas carton of Lucky Strike. Be happy, go Lucky, for Christmas gifts this year. Casting from the Veterans Administration Hospital at Long Beach, California, the Lucky Strike program starring Jack Finney. With Mary Livingston Rochester, Dennis Day, Mark Prosby, and yours truly, Don Wilson. And now, ladies and gentlemen, since our program today comes to you from a hospital, I take great pleasure in bringing you a man who talks like a doctor and walks like a nurse. What? Jack Finney! Well, that's all I've got to say. Well, thank you, thank you, thank you. Hello again, this is Jack Finney talking. And now, ladies and gentlemen, Don, Don. Oh, I'm sorry to break up like this. Jack, with that introduction I gave you, it was so funny, I just can't help laughing. Oh, you thought it was funny, huh, Don? Yeah, you're not angry, are you? No, no. Well, I'm glad you're not, because you don't be anything for a laugh. Yeah. Talks like a doctor and walks like a nurse. You sure you're not angry? Don, Don, now why should I be angry? After you said I, when you said I talked like a doctor, I was flattered. After all, if I'm a doctor, I'm an MD. MD means more deductions, which is exactly what you're going to find on your paycheck this week.  Now, wait a minute, Jack, every time I say something that strikes me funny, you always- Don, Don, Don, Don, don't get excited.  I only said that to stop you from laughing. See, the way you were shaking, I was afraid Terminal Island would sink another three feet. No kidding, fellas, you ever see a stomach as big as Don's? If that thing was filled with toys, every kid in America would be loaded. Hey, Don, if you're such a laughing boy, why is it when I say funny things, you don't get hysterical? That was a pretty good joke, you know. Well, frankly, I fail to see the humor in any platitudes concerning my obesity. What does that mean?  Well, in that case, oh, hello, Mary. Hello, Jack, hiya, fellas. Well, Mary, I'm certainly glad you got here in time for the show.  Well, I'm sorry, Jack, but I overslept. It took me an hour and 20 minutes to drive down from Beverly Hills.  Yeah, I've been up late every night this week. Well, look, Mary, if I told you once, I've told you a thousand times. If you want to remain a big star, you can't stay up all hours of the night having fun. Who's having fun? I'm wrapping Christmas packages at May Company. Oh, yes, the Christmas rush, yeah. Excuse me, minute, Jack. Oh, Don. Yes, Mary. I've got a big surprise for you. Just as I entered the building, I ran into Dr. Comar and Dr. Bohr. No kidding, Mary. Dr. Comar and Dr. Bohr, huh? Who's Dr. Comar? Who's Dr. Bohr? Don, they said that since the operation, they've received honorary mention from the medical society. Ah, gee, that's quite an honor for Dr. Comar and Dr. Bohr. Who's Dr. Comar and who's Dr. Bohr? And you know, Don. Wait a minute. Who's Dr. Comar and Dr. Bohr? Well, Jack, if you must know, they're the doctors who performed a major abdominal operation on Don. On Don? Yes. Gee, I didn't know Don had a stomach operation, Mary. What did they take out? They didn't take anything out. They put in a deep freeze. Now, Mary, Mary, before you came in, Don told me that he doesn't like any platitudes concerning his obesity. Uh, what does that mean? I don't know, Mary, really. I'm quoting. Oh, long fellow, the poet? No fact, fellow, the announcer. Now, look, Mary, we came down to entertain the boys here at the Veteran Administration Hospital. So let's not... Excuse me, Mary. Come in. Here I am, boss. Rochester! Well, bring it, bring it right in, Rochester. We'll set it up here in the corner. Jack, a Christmas tree. That's right, Mary. I bought it for the boys here. Well, Jack, with trees selling for a dollar and a half a foot, you certainly picked out a nice big one. Oh, I picked this one out, Miss Livingston. I returned the one that Mr. Belly bought. Uh, why? Couldn't you get it through the door? Through the door, you could have gotten that one through the keyhole. Rochester, do me a favor. Just set the tree up and start trimming it. Okay.  I sort of made arrangements to play Santa this year. Rochester, you're...  No, Santa, neither. I should have known. I'm sorry, Rochester, but I'm not giving you any time off to go to the racetrack. But, boss! Rochester, don't but boss me. You've been working for me for 12 years, and I've made it a policy never to let you gamble. Mr. Benny is right, Rochester. It'd be different if you were making a decent salary. Why, certainly. Rochester, set up the Christmas tree and start trimming it. Okay. Jingle bells, jingle bells, jingle all the way. Oh, what fun it is to ride the one-horse open sleigh. Rochester. Jingle bells, jingle bells, jingle all the way. If my voice was higher, you would fire Dynasty. I would not. Now, Rochester, just hang the ornaments on the tree and be very careful with them because... Hello, Mary. Hello, Jack. Hi, you fellas. Bob Krugman. Say, Bob, this is the first time you've been down to the Veterans Hospital in Long Beach. How do you like it? Oh, it's just wonderful, Jack.  A hotel? You know, Jack, I ran into a friend of mine who's a patient here and you should have heard him rave about the service. No kidding. Why, he said, all you have to do is just yell and four beautiful nurses rush in and wait on you. No. Yeah. And he said, it doesn't matter when you feel like eating.  Belay Mignon or Crepe Suzette? Well, that is service. I don't blame your friend for raving. Oh, that isn't all. If you feel like a little liqueur or champagne after dinner, why, my friend said, all you have to do is just call the wine steward and... Bob. Bob, why'd you stop talking? Well, that's where my friend stopped. He came out of the ether. Well, I thought he was exaggerating a little bit. Now, Bob, even though Dennis is going to sing later, I think the boys here would appreciate it if you did a song too. How about it? Well, I've got a song that hasn't anything to do with Christmas, but it's a very big hit right now. Well, I'm sure they'd like to hear it. Let's have it.  Now look, Mary. Oh, boss. What is it, Rochester? I'm almost finished trimming the tree. How's it look? Those ornaments I brought down certainly look nice, but Rochester, the tree doesn't look colorful with just the red ornaments. Put some green ones on now. There ain't any green ones. Rochester, I picked out two dozen green ones. How come they're all red? They ripened on the way down. I told you not to use them. I can't understand how those tomatoes could ripen so fast. From Beverly Hills to Long Beach is only 40 miles as the crow flies. That's a 1952 crow. You got a 1910 Maxwell. Oh, stop. Rochester's right, Jack. Why don't you get rid of that old car and buy a new one? I'll tell you why, Mary. That car has been like an old friend to me. It's been with me through rain and shine, through thick and thin, through good times and bad, through McKinley and Coolidge. Very funny, Mary. Very funny. I think that was the cleverest line in the show. Don't you think so, Bob? Bob? Sam. Yes, sir. Everybody has to be a comedian. Well, Jack, you've got to admit that Mary got off some beautiful ad-libs today. I know. She must be trying to impress the girls at the May Company. May Company? What does he mean, Mary? Well, Bob, I can't live on what Jack is paying me, so I'm working nights rapping Christmas gifts. Oh, no. Now, wait a minute. I don't believe that Jack could be that cheap. Well, brother, you're in for a shock. A shock? Yeah, last night I wrapped the Christmas gift he's sending you. No kidding, Mary. What did he get me? Well, I'm not allowed to tell, Bob. But you unwrapped the Christmas package. Save the paper. It's the most expensive part. You nearly lost that joke. I thought she'd never get to the end of that one. I don't mind being stingy, but get to it.  Excuse me. Come in. Mr. Benny? Yes. Mr. Benny, I represent the patients here at the Long Beach Veterans Hospital. I see. We understand that when you did a show at an air base, the boys gave you a propeller with their names on it. Yes, yes, they did. And when you did a program at a naval base, they gave you a life preserve of bearing the signatures of the entire personnel. That's right. So we, too, would like to present you with a token of our appreciation. You would? Yes. On behalf of the patients here at the Veterans Hospital in Long Beach, I'd like to present you with this autographed bedsheet. Well, isn't that wonderful? Gee, look at all the names of the boys here. Wait a minute. What's this name here? It looks like Robert Smith. But the Robert has scratched out, and it says Louise. Yes, the doctors here are as good as the ones in Denmark. Louise, well, what do you know? Well, thank you very much for the gift. You're welcome. What a thing to present me with a bedsheet. Oh, boss. Yes, Rochester. I can't reach the top of the tree to put the star on it. Well, of course you can't reach it. Use the ladder. But, boss, that ladder's all the wobbly.  Give me that star. I'll climb the ladder and put it up myself. There we are. And all I have to do is lean over. Jack, Jack, the ladder's starting to shake. Look out! Hmm. Boss, boss, the tree looks beautiful. What do you mean the tree looks beautiful? I still got the star in my hand. I know, but your toupee blew up and caught on the top tree. My toupee? Yeah, lots of trees have snow, but this one's got dandruff. Hmm.  No, darn it. What do you mean, darn it? Well, the year is almost up, and I haven't had a chance to use my Blue Cross policy yet. All right, just to set the ladder up again, I'm going to put that star up. Well, just a minute, just a minute, Jack. What is it, Don? Well, the sportsman Quartet just came in and they prepared a commercial. I'm sure the fellas here like. Can they do it now? Well, certainly, Don. Tell them to go right ahead. Okay. All right, fellas, take it. Listen, listen, listen, listen. Better watch out, you better not cry. Listen now, Jack, we're telling you why. Santa Claus is coming through town. He's making a list and checking it twice. Going to find out who's naughty or nice. Santa Claus is coming through town. He sees you when you're sleeping. He knows when you're awake. He knows if you've been bad or good, so be good for goodness sake.  Listen now, Jack, we're telling you why. Santa Claus is coming through town. With plenty of luck, he's right on his back. A cardin' or two for Mary and Jack. Santa Claus is coming through town. And you can be sure that Santa is glad. Bring him those luckies to mother and dad. Santa Claus is coming through town. Now Santa knows that lucky strikes are better tasting too. There's nothing that beats better tasting. There is nothing, no there's nothing. Light up a lot, eat better smart now. Open up pack, we're telling you how. Santa Claus is coming through town on Thursday. Listen, listen, listen, listen, Santa Claus is coming through town. It was very, very nice, Don. Gee, I wish I could use that number on my television show next Sunday. Oh, that's right, Jack. Your next TV show is the 28th, isn't it? That's right, next Sunday. Jack, are you having any guest stars? Am I having guest stars? Get this, Mary. I'm having Mr. and Mrs. Jimmy Stewart. Wow, Jimmy Stewart and his wife. Why, Jack, that must cost a fortune. No, no it doesn't, Bob. You see, I made a very good deal. You see, I only hired Jimmy Stewart's wife and Jimmy is coming on for nothing. Yeah, but why would he do that? He doesn't trust me. Anyway, they're going to be with me next Sunday on my TV show. Well, Dennis, it's about time you got here. Hello, Mr. Benny. Hello, everybody. Dennis, what made you so late? Oh, I wasn't late. What? I was here all the time, but my mother told me to hide. Why would your mother tell you to do a thing like that? She said I like to see the old man worried. Dennis, what has your mother got against me anyway? Look what I did for you. I made it possible for you to be on radio. Got your jobs and pictures, television.  While last summer, when I took you to London, I even bought you first-class passage. I'm worse than Mary here. While last summer, I'm going to take that line over again. Last summer, when I took you to London, I even bought you first-class passage. That's why she's mad at you. Why, because your ticket was first-class? No, because it was round trip.  And, kid, if she was listening to the program, I hope she squirmed a little, because I had Bob Crosby sing a song. Who? Bob Crosby. Who? Dennis, don't you remember me? Oh, Sam! Yes, Sam. Now, look here, Dennis. Jack. Huh? No wonder, Dennis says silly things. You get excited. You don't know how to handle them. I guess you're right, Mary. Of course I'm right. Now, look, Dennis, this is the first time you've been here at the Veterans Hospital. So why don't you... Oh, I was here before. Oh, you were? Uh-huh. During the war, when I was entering the service, I had to fill out a questionnaire, and after I got through answering all the questions, they sent me down here for an examination, and three doctors examined me to see if I was fit for the service. Three doctors? See, that must have been quite an examination. Did you have to remove all your clothes? No, they just told me to take off my hat. Well, that I can believe.  Would you like to hear it? Well, yes, Dennis. Go ahead. Well, Don said that I... Just a second. Just a second, Dennis. Are you sure you can tell this joke before this mixed audience? You know, Louise is here. Is the joke all right? Oh, sure. It's a wonderful joke. Well, what is it?  Ha-ha! Dennis, I'm glad you repeated that joke, because if I'm a doctor, that makes me an MD. MD stands for Morton Downey, who may be singing on the program next week. Oy vey. So, watch it. Oh, boss! Oh, yes, Roger. Oh, is that you, oy vey? Oh, yes, oh, boss. Oh! Yes. Yes, Roger. I got the lights on the trees today.  Let's all gather around. Oh, yeah. Let's see them, Dennis. Okay, Rochester, plug in the lights. Yes, sir. Hmm. The wires must be crossed. Well, something must be crossed. The tomato's lit up. Rochester, try it again. Yes, sir. Oh, here's a couple, boss. There's a bare wire right by the socket. Well, don't stand there. Fix it. Oh, me? Yes, you. Boss, I'm pulled around with electricity. Oh, Rochester, imagine being afraid of electricity. Supposing Robert Fulton was afraid, he never would have invented the electric light. Would he? Jack, you're thinking of Thomas Edison. Edison? Well, then what did Robert Fulton do? He wrote, I saw Mommy kissing Santa Claus. Oh, yes. Now, Rochester, please fix these lights. Okay, okay. Now, let me see. In electricity, there's the electrons and the electrodes. Then there's the positive and the negative. But I ain't positive, which one is negative? Hmm. Then there's the atoms. Now, the atoms are supposed to go from the positive to the negative. Or maybe they go from the electrons to the electrodes. Then again, maybe they go from Long Beach to Wilmington. Rochester. Now, as long as these atoms keep passing each other, everything is all right. But when they meet halfway and start fighting, they're going to turn on anybody who tries to butt in. Rochester, I'm not interested in the scientific detail. I just want you to fix those lights. And you've got nothing to be afraid of because while you're fixing it, no one is going to plug it in and no one is going to turn on the switch. Oh, I know, boss, while I'm holding the bare wire, you ain't going to turn on the switch, and Miss Winston ain't going to turn on the switch. Of course not. But way up there at Boulder Dam, there's a little man sitting in the room all alone with thousands of wires around him. So what? How do I know he ain't going to do something just to break the monotony? Rochester, so you can stop with the joke. Jack, Jack. What? Look, the lights went on. Oh, yes. Who fixed the wire? I did, Jack. Well, isn't that beautiful? Look how pretty the lights are. Oh, Dennis. Yes, Mr. Benny? Now that the tree is lit up and the boys here in the hospital are waiting to hear you sing, would you like to do some Christmas carols? I sure would, Mr. Benny. All right, go ahead.


I'm his sheriff's insurance board. If you approve it, stop. Rich, you say? That is good news. I'm the sheriff's board. Fort Richer has no place to live. I found the water in the forest. No need to explain. There's no need to comment. Taxid. He said Prince John gave him the right. Prince John? I spit when I hear his excuse. He said Prince Rick's soon about to die. He'll stay here with us. He'll groom for you, he'll teach you to reign. Good companions, and you won't. I'll see you then. Bless you, running. It's hot, never cool. I'll see you then. Be warned. Your purpose is robbery to Jesus. Frightening the vow of poverty. And your purpose is not robbery. It's why you're strong and narrow. You're the good one.  Not that you are. Crazy am I. See that's good money stream. I wish to cross it, but I didn't know what she was. What's that to me? You, other on Valley, will carry you. I am no man to donkey. My staff will teach you some managing heritage. Puff, you will carry me. I will teach you how to sport to lead. Let's go out and take the bed. Take my clothes. Now I shall see the carriage come with that stream. I may not know that stream. Save the work of it. I'm in the stream. What matter is these? Robin Hood. The bandit? Bless me, I might have been killed. Why are you talking? I have one. I come and go as I please. Well, in that case, why not stay here with us and create one? We are indeed to create one. Motion to a good table. What's your supper? I'm going to have a pie. Fresh baked bread. I'm going to pie. I accept your offer. I'm now working. Well, John, bring it out for me. Bless me. What do I got myself into? That escort. That escort means soldiers. Well, what else? I need to need more time to consider a pie offer. I've lived a quiet life. Meditation, contemplation. Robin, you're all here to share with yourself. Share with nine men? He hasn't the courage to tell you to share. I want to open the castle dungeon. All right, let's prepare. Well, what about me? Here are Swanson, Fawson, Myers, Nascis. What do you mean by that? You're terrified of this banditly called Robin Hood. Shhh. Shhh. He's everywhere in Sherwood Forest. He might be here. I'm under the protection of Prince John. I make no concessions to Stoutwas. The quickest way to Nottingham Castle is through the forest. Yes, yes, Lady Mowell. Only what? I could forget. Annabelle! I told you to stay close. Where's your mistress? Where's Maid Mary? She stopped to fix his flowers. Flowers? Has the child grown simple? I've never done anything. The other men? The other men? I think we should wait for our rear guard to finish up. He's going to be too careful. Coward. No, no, Lady. You misjudged me. It's not cowardice. It's a military strategy. Yes, that's it. Military strategy. Let's wait for the cats and my wife and daughter anxious to meet you. We got it. I'm not sure. I'm sure. Is it an attack? No one would dare. Sherwood sees them. It's a new formation. Here it is. Sherwood and Nottingham. I make it a vow. Your money, Sherwood. The sheriff of Nottingham doesn't carry his finances on a person. A sheriff? Well, that's Prince John. He didn't know money? Whoever hurt such a man? You take it out of him. You wouldn't dare. Blimey on him. No, he gave it back to Willis Tech. Search him. Some ladies. As you'd like. Search him out of him. Mr. Trader? You're protected. He steals from the rich from the poor and now they want to take him. Well, they're mad. Yes, they're mad. The scholar just said you're right. You're right. Search him. He's still very cold. You haven't made an enemy of me, Robin Hood. You will live, Sherwood. It isn't. It wasn't, my child. Did you know this? I don't know. I say I've got the money. Move the boy there. I'm sure he's got the money. Robin Hood. Phew. Little Robert. It doesn't make sense. He again. No other children. You think? I think you're all right now. Sherwood. This is Prince John. I'm the good man here. Lady Merrill has convinced that he will accept Prince John's reward once he's married to Prince George. What? Prince. I swore to King Richard that I would be able to trust him. I said to God I was going to trust him. I said I trust him. Well, here are you. We'll stay here and meet my baby. Is he not reputed to find a structure in the old money? In that case, he was leaving by the mills. I know how to deal with such men as Robin. And Sherwood? Yes, Lady Merrill. You predict that I'm an avid looking outside of a job. Most men with any luck, some noble men, have the best behavior to try not to talk too much. And whatever you do, try not to laugh. Do they have more precious stuff than Salome? You must win my most favorite. She's a great lady. She's powerful. She knows all the right people. If anyone can arrange you a man's real, it's Lady Merrill. What does that mean?  You know my daughter, of course. She looks like all of her Salome depressions. Isn't she lovely, so sweet, so graceful? Have you noticed? She's the only thing she should marry with that laugh. Someday, some lucky man will be Salome. Look if he has weak eyes and poor feet. Be quiet, Salome. Beautiful. Beautiful for nodding him, perhaps. Beautiful and skillful too. Skillful, you say? Indeed, skillful. She makes her own flu. She shouldn't. Are you ready, Miss Malay? There's better be. I hope this works. I know what I'm doing. I'm not fishing the net. It's the sharpware actor. You have mischiefs you're calling. You should be a jester. A jester? A jester's a boon, Malay? Have I said something wrong? Malay, Malay! Life is dead and it isn't spent.  All here. Three cheers for his worship. Let's share every time again. Hit him. Hit him. You may swim for your husband.  You don't want to. But they will. They will. Wear this dress. I'll catch the eyes. That dress? I believe you will. You really like it? I would take up the hand. It's very my choice. Fashion in society. You said you're in marvelous news. Indeed, I do. I do indeed. Lady Malay has decided to leave for the cast of Prince John first thing in the morning. Really? Yes. Isn't that exciting? Off to London Town. As soon as there's your castle done. As soon as we reach to Croats. As soon as we leave. And this must not happen. How can you prevent it? You'll be married to the new king? No. Oh, and for you precious, more marvelous news. Lady Marl says you can come along. She needs someone to care about her personal baggage. Baggage? I wish you'd see. It's a wonderful opportunity. Once you're in the castle and Prince John you'll be able to meet eligible bachelors.  It's a great opportunity. Thank you, our lovely staffers. Hold her. You'll have her attention. Marry in a week. Surely you're not serious, Lady Marl. Have you known me in anything but serious? She must have come or took permission to marry. Silence. I've received word but you're tense. Yes. I'm flattered. No. Seems you tried to escape exhausted and captured and was struck down by a moment. Justices. Now Prince John's planning to withdraw with some question. I don't believe this. I won't believe it. Believe it. How nice. The Lord King Richard married Prince John. The people who are in the rebellion now say better. She was like a father to me. Now is not the time they think he's fathered. It's not the time to be thinking of justice. Never hear a way. Rub a little rest in here. Oh. I didn't tell you. The worst contact. A little wash. You knew these like words you're about to know. Seems the unfortunate Ratsville took the wrong step and she was forced and swarmed into a box. Quick stand. By the time the sheriff's enraged, she knew nothing but a long service. How sad. My poor Robert. Better at school. You're most fortunate. You appreciate me. I don't want to marry you. I'll never marry you. You'll change your mind. It's a habitable. Rest in the haunt of holy tapestries. Slippery like a bear. Thanks to a goblin in the bottom. Curse you. You're surely. You are in danger. What thing do you believe? A few nomads have enjoyed Robin's and my event. Good fire. What does this mean? Robin says you ought to be rescued. It shall be done. Dead. Show me the more recessive thing. I'll soon silence his weapon at home. Lady Merle of Cornwall. She lies. Robert lives? I swear. Why would she say such a thing? I believe I know. If I had thought Robert was dead, I would have no champions and no choice but to marry Prince John. That's why she wanted to leave the castle so I won't discover the truth. I could believe she wishes to rule the land. Perhaps someday she will. For Prince John it doesn't mean that he or she was strong. First things first, we must get you out of the castle and then to show her what's lost. That's not possible. In that castle there are soldiers. You want to escape from this place? In that case you shall have to muster it on the outside. Are you sure you want to have a life equal, lady? What's the matter with you, friar? How can you think of food or something like this? All the drugs and the money are famous for my vitzels. Rope? Did you say good robber would abandon you? Never. Never. I climbed down the rope, lady. All right. How about this chest? My stout belly is ain't enough for any rope. I'm strong in any chest. Let the hand. That's the time we must give up hope. After this clap, John. You're taking a maid man and a lady and waiting. Good people, I can explain. I was collecting officer charity when I lost my way and was thinking for somebody else. I had your tongue without loving a mistake about that. Fine. You should see he's swaying from the gallows. The slow mistake. Before the frosty winter forces your arms by heavily armed troops. Once they get the signal they will rush into the glade and Robin Hood and his merry dance will be a must. My wedding against a prince, John, will be Robin Hood of Sherwood Forest in chains. They didn't even attack. Oh, you see. Your charm is in your hands. This idea is brilliant, chair. You got it. I'm glad you thought it up. Is that why it's right when you have the time? Do not eat or fear. It's a normity. Do I believe you were surprised that your day was over? There's nothing but a forester. Lady. Enjoy your day. Come on, sir. Let me help you. Let's take the out of this sound. That's his pride and soft temper. Would I see you as living with foresters? You have much to be thankful for. Thousands. It's a hundred times one of the finest cast in the world. Hail to Sherwood. Hail to the forest slave. Hail to Sherwood.


The Green Knight is the newest film by 824. So how crazy is it? Let's find out.  It follows Sir Gowen. I believe that's how you say his name. I'm not entirely sure and I'm not great with names. I know there is a few ways to pronounce it. Dave Patel plays the lead character. He's really solid here. Alicia Vikander is also in this. My girl from Ex Machina and Tomb Raider. She actually plays two parts here, which was news to me. We figured it out after the film was done. I went with four other guys and we had a we had a good discussion, a good argument about whether or not she was two different characters and it turns out IMDb set us straight. I was wrong. I didn't...  Acting all around is solid in this. There's always a danger when it's a medieval story that you're gonna have some poetic dialogue, some sing-song-y stuff going on. Not in this case. It's all... I think all fairly easy to make out what people are saying.  It is an A24 vehicle, so at this point in time, I think audiences should know what they're gonna get, which is the unexpected, or something outside of the norm. And I absolutely applaud A24 for that every time.  I really liked Uncut Gems, Midsommar. I wouldn't say I liked it, but goddamn, it stays with you. I could rewatch it again too, so I guess I do like Midsommar. But then there's things like it only comes out at night, or whatever that was called. A ghost story, which was the same director as this film. If you hated a ghost story, I honestly wouldn't even go to this film.  I know I was pretty harsh on my review, but I do believe I gave it a lot of props.  But 20 minutes or so does not make up for everything that came before. There were so many easier ways to tell this story and still get that same impact, I believe.   He refuses to not hold on something for multiple minutes at a time. When we could easily cut back this story, streamline it just a little bit more, just streamline it a little bit, and we'd have a much better experience here. 824 movies, you have no idea, so going in blind, I think, makes it even more fun. It's like, when's the roller coaster gonna drop off? And unfortunately, with the Green Knight, this roller coaster just keeps going like this, so slowly. And because the score is so powerful, the music is so grand and so good, that whenever it gets big, he goes, boom! You expect to drop with the roller coaster? But instead he goes, boom! Oh, just kidding. We're staying up here still. We're way up here, and this thing's never gonna drop. We're never gonna get that sheer adrenaline rush from this film. It is a thinker, though, and even as I'm talking out loud through this, I understand why the roller coaster never drops. The entire premise of this film is set around a particular idea, and I'm gonna be vague here, because I don't wanna spoil it.   And it is one of those movies where you're gonna get out from it what you are willing to put in. If you're willing to think about every little bit of it, I think there's a really pleasant experience there. Not on film, but after the film. The movie itself, watching it, is a chore. It is a boring affair. Even if it's intentional, that doesn't make it any more of a treat to sit through. There's a film like Pan's Labyrinth, or Big Fish, that I think nails it with the, you know, with the cinematography, with the storytelling, and I bring those films up specifically because I went on IMDb after this film was done and after I had a lengthy discussion with my buddies, and I wanted to see what other people thought. And one such individual said, if you like Big Fish, if you like Pan's Labyrinth, you're gonna love this. I disagree. I love Big Fish. I love Pan's Labyrinth. I did not love this. I don't even like this, but I can respect the game. You know, I can respect everything. The acting's good. The visuals are amazing. The music's great. Like, all the pieces are there. And the story's even kind of there.  The ending I thought was a massive disappointment. I was kind of guessing where it was gonna go and how it would play out to make this, you know, kind of like a ghost story where the last 20 minutes starts to rapidly speed up and it could have really salvaged some of the mess. And I don't think it does. It ends just really, really badly, in my opinion. There is some dark humor pepper throughout. It's very tongue-in-cheek. Again, it does add to the overall morals of the film. The commentary on display about manhood, improving yourself and righteousness and what it means to live. There's commentary here about women operating in the shadows, never stepping into the spotlight, but actually having much of the control over man. I mean, there's so many angles to take from this. And they're all there. They're absolutely, it's intentional. IMDb, once again, I was seeing people give this like 1 out of 10, 0 out of 10, I don't know if you can do 0, 1 out of 10, 2 out of 10, and they're just saying, this is horrible, it's boring, it makes no sense, there's no story. There absolutely is a story. It does make sense. It's just, you have to build it. You have to pick up the little Easter eggs and the little nods here and there and put that puzzle together. But the pieces are all laid out for you to do this. I said a lot without really saying anything at all, didn't I? Tread lightly, know what you're gonna be getting into. A very, very slow film. There's no action whatsoever. There's not a single sword clashing. There's no battles, okay? Don't expect any sort of heroics, really. I mean, there's some, but not in that Hollywood swash buckling way.  For my final verdict, I give this film 14 out of 20, Severed Groot Heads. If you saw the film, I would love to hear from you in the comments. I think it would be a real treat to see if you agree with me on this or if I'm way off, if this is just a masterpiece 10 out of 10 experience. It was definitely a shocking experience to go from this to watching Disney's The Jungle Cruise. I'll tell you that. And when it's all said and done, you have a very generic film and a very bizarre, surreal experience. So I mean, I'm somewhere in the middle between these two if I have to choose. I'm right between them. All right. Thanks for watching. Thanks again for watching the video. If you like what I'm doing here, make sure to subscribe if you haven't already. Give the video a like if you had some fun and comment because I think it helps the algo or something. That's short for algorithm. You can find me on TikTok at Adam Does Movies. I'm also on Twitch at Adam Olinger. And I have a second channel called Adam Olinger. So you can find me in various places under various handles. It's quite exciting. It's a fun journey to go on.