So, some friends asked for a demonstration of how I'm using a tablet as an online whiteboard. So my preferred, the application I know best is Illustrator, so I'm going to use that. And one of the things I like about it is it can natively read vector graphics and PDFs in addition to the fact that I know about it. So I set up a document with some layers and some images beforehand, and this is an image of my workspace, and I'm going to make it a little bit smaller here. Oops, I didn't want to do that. So I have a button on my tablet that does undo. So we'll just leave it at the sides. Really I zoom into about 100%, I'm at 29% here, so this image is too big. So I'm going to lock that photo so I don't accidentally move it, and then I have this layer too that's blank that I'm going to draw on. My favorite tool is the blob brush tool. It makes really nice words. So if I do, for example, I have to give my pen a color, so we'll use this blue here. So tablet demo. So that's a little narrow, so I happen to have a tool set up to change my brush size. I'll talk about that in a minute, it will make it a little bit bigger, so that's easier to read. Okay, so I want to point out the features that I'm using. So this right here is my main laptop, the one that's running what you're seeing on the screen. I have this extra monitor, and my tablet is right here. And I really like having the extra monitor, and then my keyboard offset and my tablet here to try to actually write on this. And the tablet is a Wacom Intuos, maybe something like that pro. It's got a lot of nice features, and it's about the size of a piece of paper. And this is the pen that I'm actually using to write on. And the way I'm capturing the screen is with my second older laptop, and right in here is a game capture device. It's an Elgato that captures, you can set it to do my voice and the screen, and the video of me is coming from that second computer, which is why you're normally seeing me face forward. I'm doing this in Zoom, the video is coming from the large monitor here, so it looks like I'm looking more at the students. So this is my setup and a little bit about it. So I'm going to turn off these layers, and I have an image here that I'll annotate for my supposed lecture. So I'm going to add a new layer on top, which is the one I'll draw on now. I set up the buttons on the pen that you can customize, and so I set one up to go to the pointer so I can drag things around. And then I'm going to zoom in to the image here, click on it here, and then I'm going to fix the image, lock it so it doesn't actually move. And then I have to select the layer I'm going to be on, that's messed me up before, and we can go back to the brush tool. So I have these buttons on the side, and if I hover my finger over one, it points out what different ones do. So let me get a light color, looks like I still have a light tone color here, oops that's too broad. So if I hover my finger over the buttons, you can see one of them is undue. So I can just undo it that way. And then I have this scroll bar to make the pencil smaller. So this is a river, I'm going to undo twice, three times, so I can do it. And this part over here is meandering, undo undo, and this part over here is braided. And they form differently because of different slopes. So I can do a variety of things. So I'm going to zoom in here to the river, I'm going to trace the river channel, it's like one of the things I really actually like about using the tablet is I can do things like trace the river channel. So here's the current river channel. And then we can distinguish that from one of the older ones. It's in here, so that pen tip's too big, so let's make it a little smaller here. So we have a narrower channel here, and you can trace different things. And then if you go back to the layers, you can make that, oop, wrong layer disappear, I can make this layer disappear, and we can talk about the channel morphology. And I can turn the layers back on, zoom out. I forgot which button I pushed to get the negative zoom here. Or I could just fit it all to the window. And then I typically resize to something like this and export what I want to use. So we'll do it to documents here, they did this before. So we can choose the resolution, and there you have it. So this is sort of the way I like using the tablet, and thanks for watching.


Now, the Roma Wine Company of Fresno, California presents... Suspense. Tonight, Roma Wines bring you the distinguished actor, Mr. Ronald Coleman, in one of the great suspense stories of our time, August Heat. Suspense is presented for your enjoyment by Roma Wines. That's R-O-M-A, Roma Wines. Those excellent California wines that can add so much pleasantness to the way you live. To your happiness and entertaining guests, to your enjoyment of everyday meals. Before we bring you Ronald Coleman and our suspense play, here's a brief message from Elsa Maxwell, famed for her great charm as a hostess. When food looks appetizing, it almost always lives up to expectations. When even so simple a main dish as a steaming fragrant bowl of spaghetti or beans, is surrounded by bright green salads, golden rolls or muffins and brilliant Roma California burgundy, the food is more enjoyable, more delightful. And for a summery touch of the outdoors, a vase of flowers. 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Fenniston Road, Clapham, August the 20th, 1945. I have had what I believe to be the most remarkable day in my life. And while the events are still fresh in my mind, I wish to put them down on paper as clearly as possible. Let me say at the outset that my name is James Clarence Withencroft. You must remember that in order to have the full implication of my story. James Clarence Withencroft. I am 40 years old in perfect health, never having known a day's illness. By profession I am an artist, not a very successful one, but I earn enough money by my black and white work to satisfy my necessary wants. My only near relative, a sister, died five years ago, so that there is no one in particular to whom I address this manuscript, only you, who might by chance read it someday. Therefore, because of the peculiar circumstance about which you will soon hear, I have the strong premonition that I shall never live to tell anyone about it. I breakfasted this morning at nine, at usual time. It was no different from any other morning. And after glancing through the morning paper, I lighted my pipe, and I proceeded to let my mind wander, in the hope that I might chance upon some subject for my pencil. The room, though door and window were open, was oppressively hot. And I had just made up my mind that the coolest and most comfortable place in the neighborhood would be the deep end of the public swimming bath, when, when I was suddenly shaken, a feeling swept over me such as I had never experienced before. I attempted to rise to my feet, but somehow it seemed as though I had suddenly been fastened to my chair, my hand went out in an effort to brace myself. And then, before I knew what I was doing, my pencil was in my hand, and I began to draw. It was as though someone had taken my hand and was moving it across the paper, swiftly, in bold strokes. And then, I seemed to take over. My hand, under its own power, began to draw. I soon forgot the oppressive heat. Everything was forgotten in this frantic feeling that the sketch must be finished as soon as possible. My dear, how long I've worked until I heard the clock of St. Jude's in the distance. It was four o'clock, and I had started just after breakfast. Now, for the first time since I'd begun, I actually seemed to see what I had been sketching. I was surprised. The final result was I felt sure the best thing I'd ever done. It showed a criminal in the dark immediately after the judge had pronounced sentence. The man was fat, enormously fat. The flesh hung in rolls about his chin. It creased his huge, stumpy neck. He was clean-shaven, or perhaps I should say a few days before he must have been clean-shaven, and he was almost bald. He stood there before the judge, his short, clumsy fingers clasping the rail, looking straight in front of him. The feeling that his expression conveyed was not so much one of horror as of utter absolute collapse. There seemed nothing in the man strong enough to sustain that mountain of flesh. And then... And then I saw that the sketch wasn't complete, for the man's other hand seemed to be clutching an instrument of some kind, a weapon, but it hadn't been completed. I had made this sketch, and yet I had no recollection of what I'd intended the man to carry in his other hand. I took off my pencil again, and I attempted to fill in the fuzzy outline, but it was useless. It was as though my fingers had suddenly turned to lead. I sat down, and I felt the moisture slowly forming on my forehead. And once again, I was conscious of the oppressive heat. Then I knew that there would be no finishing of the sketch, at any rate not for the moment, so I rolled it up, and without quite knowing why, I put it in my pocket. In spite of my peculiar inspiration, I was filled with a rare sense of happiness, which the knowledge of a good thing well done gives. I believed that I set out with the idea of calling upon Trenton, for I remember walking along Lytton Street, and turning to the right along Gilchrist Road, at the bottom of the hill where the men are at work on the new tram lines. From there onwards, I have only the vaguest recollection of where I went, through parks along crowded streets, always conscious of the awful heat, that came up from the dusty asphalt pavement in a suffocating wave, through the hollow sound of my footsteps as I moved along. Although walking aimlessly, I somehow knew that there was a goal, as something to which I was drawn. I longed for the thunder promised by the great banks of copper-colored clouds that hung low over the western sky. I have really no idea how far I walked when a small boy roused me from my abstraction. Twenty minutes to seven. Yes. When he left me, I began to take stock of my bearings. I found myself standing before a gate that led into a yard bordered by a strip of thirsty earth. There were flowers, purple stocked and scarlet geranium, and great numbers of bees droned over them. I stood looking down at them for a moment, and then, for some reason, I looked up. Over the entrance to the place, there was a board with the inscription Charles Atkinson, monumental mason, worker in English and Italian marbles. From the yard itself came a cheery whistle, a noise of hammer blows and a cold sound of steel meeting stone. A certain impulse made me enter, in the direction of the noise. There was a man sitting with his back towards me. He was busy at work on a slab of curiously-banned marble. Then, without turning, his hammer stopped in mid-air, as he was about to bring it down on his chisel. He held this position a moment before turning, but I knew that he was aware of my presence, and when he turned, I saw his face. It was, although I'd never seen him before, it was the face of the man I had been drawing. Yes, it was the face of the man whose sketch was in my pocket. He sat there on his low stool, huge in elephantine, the sweat pouring from his scalp, not speaking. Then he took a red silk handkerchief, and he mucked his brow. Although this face that looked up at me was the same as my sketch, the expression was absolutely different. Suddenly, the puzzled expression left his face, and he smiled as if we were old friends, and he walked over and he took my hand. Good day, sir. Good day. I am sorry to intrude. Not at all. Everything is so hot and glary outside. This is like an oasis in the wilderness. I don't know about an oasis, but it certainly is hot. Take a seat, sir. He pointed to the end of the gravestone which he was at work, and I sat down. Very hot. It's a beautiful piece of stone you've got hold of. I know where it is. The surface here is as fine as anything you could wish. But there's a big floor at the back. Oh, I don't expect you'd notice it. Oh, I shouldn't think so. I could never really do a good job at a bit of marvel like that. It would be all right in the summer like this. It wouldn't mind a blasted heat. But wait until the winter comes. Winter? There's nothing quite like frost to find out the weak points in stone. Oh.  Oh, I see. Then what's this one for? You'd hardly believe if I was to tell you, but it's for exhibition. It's the truth. Artists have exhibitions, so do grocers and butchers. Oh. We have them too. All the latest little things in ed stones, you know. He went on to talk of marbles, which sort of marble best withstood wind and rain, and which were easiest to work. Then of his garden and some new sort of carnation he had bought. At the end of every other minute, he would drop his tools, wipe his shining head. This heat. This heat's bad. A man's not responsible for what he does. This heat. I said little, for I felt uneasy. There was something unnatural, uncanny in all of this, the feeling that I'd experienced it all before. The oppressive heat, the fragrance of the stocks and the air, the conversation about the marble, the flowers, everything as though I had experienced it before. And yet I knew that I'd never ever been in this section of town before. I tried to persuade myself that at least I'd seen him before. That his face, unknown to me, had found a place in some out-of-the-way corner of my memory. But I knew that I was practicing little more than a plausible piece of self-deception. As I sat there quietly, watching him, he looked up at me and he said, Ah, there, what do you think of that? He said it with an air of evident pride, of a job well done. I could sense that he was experiencing the same feeling I had experienced when I had finished my sketch. Then he got up with a sigh of relief. Ah, hot. Hot in it. I receded in such a position that I was unable to see his work. And for some reason I didn't move. Suddenly, he began to read what he'd carved on the tombstone. He spoke deliberately and with a flat voice. In the midst of life, we are in death. Born January 18, 1905. I looked up at the start. This man had read my exact birth date. He passed away very suddenly on August 20, 1945. That's today. We usually use the present date on these exhibition stones. Do you... Do you usually put a name on them, too? Yes, yes. Sacred to the memory of... jails, claddens, withencroft. Old shudders swept over me and I sat there in silence. The sound of birds and critics seemed loud in my ears as we stood there, looking at each other. Saying nothing. And then he mucked his brow again. I was finally able to speak. Well, where did you see that name? Oh, I didn't see it anywhere. I wanted some name and I put down the first that came into my head. It's a strange coincidence, but it happens to be mine. What? Your name? You're James Clarence Withencroft. Yes. Well, and the dates? I can only answer for the birth date. It's correct. Oh, that's a rum, girl. I made a sketch this morning of you. Of me? But you've never seen me before. No. Oh. Oh. I took my sketch from my pocket and I showed it to him. As he looked, with the expression on his face altered until it became more and more like that of the man I had drawn. And it was only the other day before that I told Mariah there were no such things as ghosts. Neither of us had seen a ghost, but I knew what he meant. Then I spoke to him. You probably heard my name someplace. Yes. You must have seen me somewhere and forgotten it. Yes. Were you at Clacton on the last July? No. No, I've never been to Clacton in my life. Then we were silent for some time again and we stood there looking at one another and at the two dates on the gravestone and the birth one was ripe and it was today. Well, come inside and have some supper.  Her husband introduced me as a friend of his who was an artist and he informed her that I was staying to supper. I spoke, making some comment that I hoped I wouldn't be an intrusion but she looked up at me and she said, You have a pleasing voice, Mr. Withencroft and you're welcome in my home. I'm sorry Charles has not brought you here before. Very little was said during the meal and after the sardines and watercress had been removed she walked over to her cupboard and she took down a thin black book and as she handed it to me she spoke. Would you read aloud, Mr. Withencroft? Puzzled I. I looked down at the book which she'd opened and placed before me. It was a very tiny book. The prophet it was called by an author unknown to me with a strange eastern name Carlisle Gibran and my eyes fell across the page and suddenly I was reading aloud as she'd asked me to. Then Almitra spoke saying, We would ask now of death and he said, You would know the secret of death but how shall you find it unless you seek it in the heart of life? The owl whose nightbound eyes are blind unto the day cannot unveil the mystery of light. If you would indeed behold the spirit of death open your heart wide unto the body of life for life and death are one even as the river and the sea are one. In the depth of your hopes and desires lies your silent knowledge of the beyond unlike seeds dreaming beneath the snow your heart dreams of spring. Trust the dreams for in them is hidden the gate to eternity.  Is the shepherd not joyful beneath his trembling that he shall wear the mark of the king?  And what is it to cease breathing but to free the breath from its restless tides that it may rise and expand and seek God unencumbered? Only when you drink from the river of silence shall you indeed sing and when you have reached the mountaintop then you shall begin to climb and when the earth shall claim your limbs then shall you truly dance. When I looked up Mr. Atkinson had gone but his wife stood before me as she took the book she spoke. Thank you. Then I went outside and I found Atkinson sitting on the gravestone and smoking. He looked up at me. Man's not responsible for what he might do in this heat. She never asked anyone to read aloud before. And then we talked about the sketch again. He looked at it. Likeness is in me all right. What trial? You must excuse my asking but do you know of anything you've done for which you could be put on trial? No, I've done nothing. Not yet. He got up, fetched a can from the porch and he began to water the flowers. Twice a day regular in the hot weather and then the heat sometimes gets the better of the delicate ones Good Lord, they could never stand it. Where do you live? I told him my address. It would take an hour's quick walk to get back home and he stopped watering and he faced me squarely. It's like this. We look at the matter straight. If a boat go back home tonight you'd take your chance of accidents. A cart may run over you. There's always banana skins and orange peels to say nothing of falling ladders. He spoke of the improbable with an intense seriousness that would have been laughable six hours before. But I did not laugh. The best thing we can do is for you to stay here till 12 o'clock. Then it'll be tomorrow, do you see? Yes. We'll go upstairs and smoke. It may be cooler inside. And to my surprise, I agree. We are sitting in a long, low room beneath the eaves. Atkinson has sent his wife to bed. He himself is busy sharpening some tools at a little oil stone smoking one of my cigars the while. And as I look at my sketch before me I suddenly see the fuzzy outline of what the man in the picture holds in his hands. For while I had not been able to sketch it before I am able to do so now. It is a chisel and it is stained with dark liquid. The sketch is completed now. The air seems charged with thunder and I hear it in the distance. It is ominous but... but it carries the hope of rain and perhaps this damnable heat will be broken soon and the day will soon be over. It is close to 12. I am writing this at a shaky table before the open window. The leg is cracked and Atkinson who seems a handyman with his tools is going to mend it as soon as he has finished putting an edge on his chisel it is 12. The day is over and I shall be going home but the heat the heat is titling. This heat is enough to send a man mad. This August heat in which Roma Wines have brought you Ronald Coleman as star of tonight's study in Suspense. Suspense is produced, edited and directed by William Spear. Music for August heat was composed by Lucian Morrowick and conducted by Lud Glusson. Dennis Hoy appeared as Atkinson. This is Truman Bradley with the word the sponsor of Suspense. America's famed authority on hospitality, Elsa Maxwell recently made this suggestion for gracious entertainment. Your friends will respect your good taste when you serve delightful Roma California Touquet. Enjoyable at any time with coffee or dessert with nuts and fruit. I suggest serving Roma Touquet cool. A most timely suggestion from Miss Maxwell. You'll find flame bright with a velvety smooth. Moderately sweet, light yet delightfully rich in color and you'll find Roma Wines always delicious of unvarying fine quality and goodness. June is the month of weddings and the most distinguished way to fate the June bride is by serving Roma California Champagne. It's gold and sparkle and delicious delightful dryness. Tell you that here is a truly Roma Champagne. Next time you plan for a special occasion add this sparkling touch of perfection Good Roma Champagne. Next Thursday you will hear John Payne and Frank McHugh as stars of Suspense Presented by Roma Wines R-O-M-A Made in California for enjoyment throughout the world. This is CBS the Columbia Broadcasting System.


Of course, the executive director of the Wikimedia Foundation, looking fabulous, the one and only, Catherine Mayer! Give her a big hand! Thanks. Thank you. We don't have my slides yet. Okay. Maybe I can show you what our fantastic graphic recorders are, Frida, who is sitting there over in the corner. She is drawing the full three-day event. I noticed that as I walked in. That's incredible. So this is just the panel, and that is from this morning. Very cool. It's super, super cool. And you can actually see here on the screen. Have you guys seen that? You can see on the screen while she is live drawing. Learning for life. Learning for life, yeah. That's goal four, lifelong learning. So I will hand the stage over to you. No, I'll just do a little soft shoe while you wait. Yeah, a little dance. So have you had a great day so far? I have had an incredible day so far. Fantastic. Has everyone here had a good day so far? Yes? I like to refer to these conferences and events where we get together with the global community as my favorite time of the year. It's a little bit like going on holiday, except I'm going on holiday with your family. I go on holiday with 900 of my favorite Wikimedians, half of whom I've never met before. So for me, when I look around, I see old friends and I see new faces. The ability to walk from this venue to the other rooms of the conference is actually, it sort of takes me longer than I expect because of the fact that I'm stopping and saying hello to people and asking them about the projects that they're working on. And I think that's why they call it the hallway track, is because some of the best conversations that you have are often the ones in the middle of the actual sessions you meant to attend. I hope as you look around today in the room and as you've been walking about across the venue, you're having that same experience and hopefully meeting new folks as you go. If it is your first year, I just want to say welcome. Is there any first year folks here in the room? Can I get a big round of applause for the first year folks? Welcome to your very first Wikimania. Thank you for joining us, taking a step into this movement and I hope that we see you for many, many more Wikimanias to come. And if you are in fact here for your 15th year, I just want to say thank you. Jimmy's not listening. Thank you for being here for your 15th year, for everything that you've given and done for the community. As you heard earlier today, we are here from 80 countries, roughly 900 people. And in my mind, this isn't just a conference, it's actually a celebration as well. It's a celebration of community and free knowledge and a celebration of everything that you as Wikimanias have given to the world. It's a moment to look around and appreciate one another for this tremendous gift, which is free knowledge. But it's also a little bit of a call to action because I think every single year that goes by, I view our mission as being more urgent, more clearly defined and more essential, especially in a world in which people aren't sure what information that they can trust or in which so many people and perspectives don't see themselves reflected in conversation about our greatest global challenges. And I think it's a more essential mission because it is also a more inspirational mission as we see so many challenges that seem almost intractable as though we don't know how to surmount them. But when we look at Wikimedia, we see a group of people with so very little in common from so many different languages, cultures, communities, countries, but who have one tremendous thing in common, which is a sense of generosity and faith in one another that when we come together, we can actually build something that changes the world. So I think that this year as Wikimania is actually an opportunity to intentionally seek out and invite more people into our movement, a chance to meet curious, like-minded folks, people who care deeply about building and preserving and collecting and elevating free knowledge for the world. We've heard a lot in the course of the day about the SDGs, of course, and I spent a little bit of time thinking about this before coming in to the conference about what the meaning of the SDGs is for Wikimania. Before I get into that, today the Wikimedia Foundation formally signed and launched a partnership with the UN's Office for the High Commissioner of Human Rights. This is something that recognizes, elevates, and extends some incredible work that's been being done by our colleagues at Wikimedia Argentina. I don't know if anyone from Wikimedia Argentina is in the room. There you are. Okay, great. So Wikiderecho Sumanos is a project that the Wikimedia Argentina launched a few years back, which means Wikihuman rights in Spanish. And it's been adopted very widely across Latin America, across the region. At the core, I think that human rights is something that is fundamental to the way that we think about what Wikimedia actually does. We talk about freedom of expression, we talk about the right to access information, we talk about the importance of privacy. And at the core of the SDGs, you see human rights underpinning a lot of the functions, the core components of it, the right to shelter, the right to clean food and water, the right to education. I think we believe, of course, that knowledge is a fundamental right and that there are all these other enabling rights that make free knowledge possible. As I mentioned, those rights that safeguard our ability to think, to be curious, to seek information, and then to be able to receive it without any barriers or blocks. And in the past, when I used to think about what Wikimedia's role was in the SDGs, their Sustainable Development Goals, I automatically would point to SDG4, which is the goal around education and quality education. And in the SDG4, there is a bit about lifelong learning, which to me felt like where Wikimedia sort of most clearly belonged, a little bit perhaps in gender equality, perhaps a little bit as well in partnerships. But coming into this Wikimania focused on the Sustainable Development Goals, I started to really rethink how I view what our role is vis-a-vis the Sustainable Development Goals. I realized that, in fact, we are in all of them because they are actually in all of us, if that makes any sense. So what I mean by that is that when we think about the life underwater, for example, and when we think about learning, which is goal 14, and we think about all of the tremendous articles that we have about our natural world, or when we think about goal 16, which is about peace and justice, and we think about all the incredible articles about systems of governance around the planet, or if we think about goal 7, which is about renewable energy, and the articles that we have on physics and mathematics that help underpin renewable energy, or essential health information, which is goal 3, and you think about the incredible work that the, oh wait, it's not Wikiproject Med anymore, it's actually an affiliate group now. Does anyone know the name of the new affiliate group? No. Wikimedicine. The incredible work that the Wikimedicine community does in making sure that articles about health are high quality and accessible to all. What I realize is that Wikimedia isn't in one of the goals, Wikimedia is actually an essential part of all of the goals, and we have a role to play in supporting and elevating this priority of sustainability. So my question is sort of how do we start? You know, as individuals what can we do to take on such ambitious challenges, and do we really think that we can fulfill all of these over the course of the next 11 years before 2030? And then I remember that this is actually a community and a room full of idealists who have made this entire community and projects possible by coming together and tackling these enormous challenges, often bit by bit, one edit at a time. So I think part of that is because we're not merely individuals, we're all here as part of what is actually a social movement as Wikimedians, a social movement that's characterized by a desire to see change in the world. It's the thing, as I said, that brings us together despite all of these sort of superficial differences that we might have. And whether you founded a Wiki project or spent the last two days at a hackathon building a new tool, or this is your first Wikimedia ever, as we already found out, there are people in the room, that is the thing that pulls us all together around this common vision and ideal, and that's the thing that should regenerate our energy and joy for our projects as we look around at each other and think about what is actually possible. Because Wikimedians are not strangers to this concept that ordinary people can change the world for the better, because we see it every day in the work that we do, with every edit to every article, every edit-a-thon that you run, every new editor that you bring into the projects. The act of finding and digitizing information is fundamentally a truly hopeful one. You can keep going. Because each of these actions actually creates these ripple effects outside of our communities, outside of the immediate movement. It makes it so much more than a collection of websites and words, but the volunteers, contributors, affiliates, we're all committed to this future that's actually an incredibly aspirational and hopeful future. And as a future in which knowledge allows us to live the lives that we want to live, to live in the societies that we want to live in, and to build the communities and future that we aspire to. The communities doing things that have never been done before in service of knowledge for the world, which in many ways is actually a radical rejoinder to the way that the world has always been. We talk about in the movement's strategic direction breaking down the structures of power and privilege that have prevented people from participating in free knowledge. And that's exactly what you're doing every single day. You're questioning these assumptions of what is known and how that knowledge has been created. The work that you're doing is meeting the insatiable curiosity that makes us all human. I think that's an incredibly aspirational and joy-filled thing to do. It actually changes lives. So I talked a little bit earlier. I mentioned that Wikimedia Argentina has been doing this work and we've had this partnership with the, this new partnership with the UN as Office of the Human Rights Commissioner. And I want to speak a little bit more to that because when I talk about changing lives, I really mean that in a very fundamental way. Wikimedia Argentina has established themselves as a leader in this area of protecting human rights in the free knowledge world. Their program, which was originally known as Wikilesa, was an effort to understand the period within Argentina's recent history of being governed by a military junta that was known for widespread human rights abuses. The Wikimedia Argentina community worked with local memory, institutions of memory, to be able to document this and make this information more publicly available on Spanish Wikipedia. And in a region in which many countries have actually suffered from similar periods, painful periods in their histories, the model caught on relatively quickly. And you saw other Wikimedia communities like Wikimedia Uruguay, Wikimedia Chile taking this up and exploring their own paths and their own history through Wikipedia. Again, as focusing on human rights, but focusing on it in a very wiki way, focusing on references to citations, verifiability, and building knowledge in a really neutral way that allows for people to explore their past and the past of the countries around them. I think that's an incredibly powerful thing, and we've actually seen this model continue and be adopted, and already it's beginning to be remixed a little bit, as countries like Mexico and Colombia and Venezuela have also picked this up. Countries with different histories, but also exploring these human rights challenges. So the Office of the High Commissioner on Human Rights take note of this incredible work that is being done, because they recognize the power of Wikimedia as a platform to help make people aware of the fundamental tenets of human rights. In fact, the representative from the High Commissioner's Office said today that one of the biggest challenges to human rights today is that if you don't know what your rights are, it makes it very difficult for you to claim them. And so what they're excited to do with Wikimedia and excited to partner with our community is to think about how we are able to extend information in additional languages, in contexts that people are seeking this information so that it is more accessible to more people, and they have an understanding of the fundamental rights which we all hold. They're also excited, and I didn't learn this until just very recently, to make their own resources more publicly accessible. I found out just in preparation for the conference that the Universal Declaration on Human Rights, which is the sort of founding text that defines the way that many international human rights treaties have been interpreted and ratified over time, up until recently, I believe up until recently is actually under copyright. So you have something that actually belongs to all of humanity, and yet unfortunately is locked away. It's the power of Wikimedians who are able to have conversations with institutions of knowledge and make them aware of what these limitation, limiting factors actually are in the pursuit of their own mission and in the pursuit of ours. And as a build up to this, or as a sort of follow on to this, I'm also excited to let everyone know that Wikimedia Argentina is going to be hosting the very first affiliate organized conference on human rights later this year. So when we talk about changing lives, we are talking about some very fundamental and transformational ways that we change lives, including the way that we understand the rights under which all of us can live. So the next one program that I just want to talk about quickly is one that I think is really kind of, it's very cool. So it's the Equal Edit Program that Wikimedia Sweden, since we are here in Sweden and hosted by our colleagues at Wikimedia Sweden, have undertaken. The Equal Edit Initiative just is, well, hang on one second. So I don't know, does anyone here aware that Sweden has made feminism part of its official foreign policy? Now you know. So in 2014, the Swedish government decided that feminism would be an official plank of its foreign policy, which I think is really cool, right? It is actually embedding equity into the way that Sweden shows up in the world and the values that it advances. And so it's totally appropriate that Wikimedia Sweden would be doing work around Equal Edit. In fact, I think, and I'm not mistaken, Sweden, Wikimedia Sweden was actually a little bit ahead of the Swedish government in placing an emphasis on gender equity in terms of its own work and program. So as usual, you know, Wikimedia is out there paving the way and everybody else, including the government, follow me. No, I'm just kidding. So the Equal Edit Initiative that Wikimedia Sweden has been involved in, just recently, there was an editathon that they did with a magazine here. I'm going to say, I hope I'm going to say this, right? Historiskan? Okay, close enough. Thank you. What I thought took at the whole model of editing for gender equity just another step further. So everyone here is familiar with how we, a lot of editathons that are focused on gender equity focus on writing articles, biographies of living people about notable women who've been left out of history or notable non-binary people who've been left out of history. What this editathon did was it actually looked for notable women who already had biographies in Wikipedia, but instead of adding to those biographies, in addition to adding to those biographies, they actually went back and looked at the articles about the history of Sweden itself and then rewrote those articles including the history of women and women's contributions into the history of Sweden. So it takes the activity of editing gender equity into Wikipedia one step further, not just creating biographies of women that are separate from the rest of history, but integrating them in such a way, literally rewriting history to make it more equitable, but also, of course, more accurate as well, which is part of the whole aspiration of what we do every single day. I love learning about models like this as we continue to remix the great ideas that our community have and they continue to evolve over time and I look forward to seeing similar initiatives inspired by the Equal Edit Initiative. Of course, and that is goal five for those who are keeping track, which is around gender equality. So these are just a few of the examples of some of the incredible work that this community does and I think the common thread between all of these examples is that they take many people in institutions and collaboration to achieve. All right, oops. In the interest of time, I'm going to skip through a little bit. So this year's Wikimania, as I mentioned, is a place to bring in new partners. It's a place to bring in new voices and it's a place to think about what our future, in terms of sustainability, looks like and just because I promised I would get up and recap and that's why my slides relate, what happened today? I mean, we heard from some really inspirational speakers on the stage listening to different ways in which the SDGs are related to our work. So Professor Somby was talking a little bit about Indigenous languages and in fact, the role in Indigenous language in preserving culture and specifically here in Sweden and in the Nordic countries in general, the role and the importance of the Indigenous language of the Sami people and what the documentation of their work and their culture and their lives does in order to... Sorry, what's that? Sorry, and the acknowledgement and integration and focus on this can mean in terms of preserving really important parts of Indigenous cultures here. Secretary Anika Söder highlighted that the Swedish government has come together as I said, mentioned talking about gender equality but very specifically through the WikiGap project which has been something that has taken place now in 60 different countries or nearly 60 different countries around the world which is again an effort to edit Wikipedia around gender equity and equality so that takes that biography of living people process of editing for women who've been left out of history but it's been supported as part of that feminist foreign policy by the Swedish government in partnership and embassies and other centers around the world. Tyler Radford's talk from Open Street Maps focused on the role and importance of open geodata in crisis environments and in the open mapping community as a whole and how that plays into questions of equity of access to resources and response in terms of crisis and explained I think a little bit to us about why it's really important to have this dynamic knowledge that's available in ways and types of knowledge that are not just about necessarily article spaces but also knowledge that can be used in that geospatial context. So if we think that SDGs are a guidepost for our community which I really do believe that they are and that Wikimedia is a leader in the open movement I think that shows to us what we can do together if we can go a little further Greg, sorry. What we can do together in terms of improving and advancing sustainability in the world but I actually want to ask ourselves as we are here over the course of this weekend one of the things that I've learned at every Wikimedia that I've been to is that the themes at individual Wikimanias tend to resonate in our community for many years to come so conversations at Wikimedia last year were all about bridging knowledge gaps and today as we were talking about before I actually started my talk more broadly knowledge gaps are often conversations around diversity and inclusion and who is involved in the movement and who is creating knowledge. As you heard we had a diversity conference in Stockholm with you years back and I don't know when the next diversity conference is but I think that's a good thing because it actually means that diversity has been something that is very much interwoven into so much of the work the community is doing today so that's a theme from a Wikimania that has continued to resonate across our communities and inform our work so sustainability is the theme of this year's conference one of the questions I'm interested in is what kind of future are we building knowledge for and what kind of role can we play in the Wikimedia movement in terms of our own sustainability the reason I ask that is I don't know the answer to that you know the Wikimedia Foundation in 2017 the Board of Trustees voted to approve a resolution calling on the Wikimedia Foundation and the Wikimedia movement to really consider its environmental impact and understand the footprint that we leave in the world in terms of carbon and other carbon emissions and other challenges to sustainability this year the Wikimedia Foundation completed a report on our overall movement's impact and found that we actually produce about 2.1 kilotons of carbon dioxide emissions every single year that's I don't know how actually quite to visualize that I did try to look that up to try to find slides on how do you visualize a kiloton of carbon it's a lot I mean it's not a lot compared I think to the impact that we have in the world but nonetheless if we're talking about a sustainable future and this is a really important part of thinking about the sustainability of our projects for the sustainability of our world so members of the Wikimedia Foundation are going to present more about the impact of this report on Sunday and I encourage you to attend that talk if that's something that's interesting to you but I want to ask the question to people in the room to think about as you go into the day and into conversations and into the year to come is what can we as a movement do to address questions of climate sustainability what can we as a movement do to think about our own footprint and our own impact and how we can how we can elevate this critical issue for our planet as a whole after all we want our movement to endure well into the future and in order to endure we really want it to endure in the kind of world that we want to live in so oh we're gonna go forward a little bit sorry yeah I think so okay keep going yep sorry I'm sorry yep keep going oh wait wait a little bit more so I'm gonna encourage you to attend a few talks that I'm really excited about the first of which is go go up a little bit sorry I just want to get the sessions right nope other direction okay the first of which is the difficulties of wikipedia is in languages that are not taught in school so there is an amazing statistic or one that really to struck me when I first learned it that if you are in an education in education system and you are trying to learn in a language that is not your native language it's not the one that's spoken at home you actually only absorb about 50% of the information that's taught to you so in learning in general we know that we only absorb a percentage of any information that I'm presenting to you or that an educator a teacher is presenting now imagine that being twice as hard if you're learning in a secondary language so on Saturday morning there's going to be a session talking about what does it mean to actually think about providing knowledge in wikipedia is in which languages are not actually taught in school I think it's gonna be really interesting I want to encourage everyone to go later in the after that same afternoon there's a session so tomorrow a session on encouraging the spirit of new editors this I think is something as we've been talking as a global movement about increased diversity and growing our movement in places that it doesn't exist today what does it feel like to be an editor for the first time what would it mean to view this movement through fresh eyes many people in the room here today have been editors for a very long time contributors to our community and you've seen this movement change and grow but you may remember what it felt like when you first started I'd ask the question what does it look like now to enter into a movement like this and how do we make sure it's as welcoming as possible for new folks and then of course this wouldn't be a talk for me if I didn't mention movement strategy the movement strategy team is running tracks all throughout the conference that are looking at recommendations for the future of our movement for movement structures and governance questions around diversity and community health I encourage you to attend all of those and also there's evening at 9 p.m. if you're still awake if you're a night owl we'll be hosting a conversation at the Clarion Hotel with a member of the Wikimedia Board of Trustees Lisa Lewin talking a little bit about what can we learn from the future what can we see into our future when it comes to movement strategy I hope that you'll be able to attend and I promise I won't have slides it'll be a really informal conversation and I think it'll make it a lot easier so that's it I think what I want to close on to saying is that if you look around this room you know we are talking about the SDGs they're incredibly large audacious challenges for our world and I think if you look at all of them as a collective it's hard to necessarily know where to start and I think tend to think that Wikimedians think of themselves as very practical people people who are doers people who are focused on what is it that I can contribute at this moment in time in order to make Wikipedia better what can I do to edit this article what can I do to improve the citation how do I make this a stronger argument etc etc these tend to be sort of these are very discreet tangible activities that we take but I think that that spirit of tinkering actually hides a tremendous idealism because people who are tinkerers people who are always looking to improve around the edges are actually people who are tremendous optimists they're people who believe that things can iteratively get better over time and it's not just about that one great big idea it's about taking the systems in the world in which we live in today and trying to actually make them better in really practical ways so as we're looking at the SDGs which as I said I believe Wikimedia isn't all of them and they in fact are literally in all of the work that we do in all of the edits and articles that we write what does it mean to take them on in a tinkerers way what does it mean to take them on in a wikipedia's way collaboratively improving them bit by bit knowing that they're always subject to revision knowing that we can continue to add and be additive that we can bring new partners in that each of those incremental changes made by so many people perhaps millions perhaps billions of people over time can actually build the world that we want to be in you know I don't think it's a sunny surprise or any secret I'll close on not a secret sorry it's definitely not a secret I don't think it's a coincidence is what I meant to say that the SDGs aspire to 2030 and that the Wikimedia movement strategy has also chosen 2030 as a goal when you try to think 10 years out into the future it asks you to think far beyond the circumstances of the day to day it gives you freedom and space to imagine a world that looks different from the one that we're in but it's still close enough that it has the same contours and it seems familiar that's what we asked the Wikimedia movement and communities to do looking at our future for 2030 a more diverse Wikimedia community a more global Wikimedia community world in which more people have access to access to knowledge and the SDGs are asking us to do the same thing look that little bit out into the future 10 years away close enough that it feels familiar far enough that it feels like we have time to affect meaningful change as we think about that world that we want to build that tinkerer spirit I hope that you'll bring that to the challenges that we have in front of us literally in front of us and think about how we can take them on and the work to come so again I'm so sorry about the sort of awkward nature of the presentation but I appreciate you bearing with me for it and thanks all for coming and I hope you have a wonderful Wikimedia


The way this project is unusual is that we are actually pursuing a principle. I really believe that form follows feeling and feeling is really what space and architecture are about. Space actually affects people. Design matters. It's why we spend the time making the decisions we do. Those things that we as designers intuit, neuroscience is now proving have an effect. Google created an exhibition that is showing design's impact on our biology. The way that I explain neuroesthetics is really simple. It's basically how your brain changes on the arts. When you have a heightened aesthetic experience like a piece of music, a sunrise, things that really elevate your everyday experiences, they change you.  I called Suchi Reddy and I said, taking the neuroesthetic principles, could you create three different rooms that would evoke different responses? The goal is to see how people resonate with space and to really find out whether what they think they resonate with is what their body is actually resonating with. We respond to the aesthetics of our environments, whether we realize it or not. The band can demonstrate with data from the sensors that actually is happening. Art activity, respiratory activity, skin temperature, skin conductance, we figure out from the data which room is the one that feels the calmest or the most at ease for people. Where does your physiology feel most peaceful? I think it's what people are searching for. The space between the notes, the place where they can come and just be. The interiors where we work and where we live have a deep impact on our well-being. We've always known that and believed in it, but we haven't been able to quantify it, improve it. You enter a space and it's like, I like it, but why? This is about data used as a mirror and back to yourself. Data is just a bunch of numbers and we wanted to make it artistic in its expression. It can be really hard to put an aesthetic experience into words. Suddenly by combining science and technology, we get a new language. Maybe a watercolor can sell more than a thousand words. Technology has the ability to help you know yourself better. The problems of the future are only going to become more complicated. Solutions have to happen in this collaboration of technology, the arts and science.


Two-dimensional, 2D, materials have attracted significant interest due to their unique physical properties such as optical, electrical, mechanical, and magnetic. The combination of these materials into heterostructures has enabled the exploration of novel physics which cannot be accessed in single 2D materials or three-dimensional, 3D, heterostructures. Recent advances in the synthesis of high-quality 2D heterostructures have led to the design and fabrication of various heterostructure devices with remarkable performance. These include tunnelling transistors, photodetectors, and spintronics devices. This review summarizes recent developments in the fabrication, properties, and applications of 2D heterostructures, followed by discussion of current challenges and future prospects. This article was authored by Yen Pinglu, Su Xion, Juni, and others.


Hi, this is Kristen Brooks reporting live on the Green Carpet at the 2018 Stevenson Gala here at Alex Klunk senior men's volleyball Thanks for being here. Of course. So tell us a little bit about this great season you guys just had Well, it was a good year and I'm glad we could go back to NCAA tournament like we did two years ago And I'm proud of the success our team had and you guys captured the inaugural Mac championship title, correct? Yep, yeah, that a Mac championship game go for you guys great. It created great Energy going into the NCAA tournament and we use that for us going forward. It's awesome And how would you describe you and Andy van Thijn the leadership that you guys brought and senior experience with the rest of the Team, how did you guys you know their culture and everything? Yeah, along with our juniors we had the experience in NCAA So we used that going forward with a few of the freshmen that we had coming in and Kind of gave it to them Hopefully leading towards their future and the success that they're gonna have in the future Yeah, so as a senior you've played in many games now Is there a game that will always stick out to you in your mind a team game a game that you really will remember I? Definitely say my last game. That was a fun one being out there with the guys just going at it and I'll never forget it. Awesome. And you guys have some fun long buster. It's one of those like yeah They were long gruesome and We've had some long ones along the years, but it all pays off Yeah, good laughs along the years, but it all pays off in the end because we had a great successful Last few years. That's awesome. Is there anybody that you want to thank really give a shout out to you That's made your students in career. So great. Of course, of course my family friends Lauren, of course and Everybody all my teammates wouldn't be as successful or where I am without them. Great. Thank you. I hope you enjoy your night Yep, thank you