Welcome to today's program, Alliance for Response, a public-private partnership for the arts and culture sector. Thank you so much for joining us on the webinar. We're looking forward to discussing some of the ongoing efforts to create partnerships in support of the arts and culture sector in the face of disasters. Okay, thank you for that. So a bit about today's presenters. We're fortunate to be joined by speakers with a variety of backgrounds and experiences. Steve Detweiler is an emergency management planner with the Miami-Dade County Office of Emergency Management. He's responsible for the public-private partnership recovery program and the infrastructure program. He has worked in the emergency management profession for the last 15 years. He previously worked at FEMA Region 9 in Oakland, California and the Orange County Office of Emergency Management in Winter Park, Florida. Kimberly Bergen is the senior registrar of the Wolfsonian Florida International University in Miami Beach. Kimberly oversees all aspects of collections care, management and documentation of the museum's permanent object collection holdings. She established the museum's first collections management policy and recently developed a long-range collection conservation plan for the institution through an IMLS grant. Kim has been involved with the AFR Miami Network since its kickoff forum in 2013 and Kim and Steve are currently serving as the co-chairs of that Miami Alliance for Response Network. We're also joined today by Lori Foley. Lori Foley is an emergency management specialist at the Federal Emergency Management Agency, FEMA, and she's detailed to the Smithsonian Institution. Wearing hats for both agencies, she's the administrator of the Heritage Emergency National Task Force. Lori has been involved with Alliance for Response for over a decade, first as the Steering Committee member for the Boston AFR launch in 2003, as the AFR program manager between 2011 and 2015, and now as a program advisor. And I'm Jessica Unger, Emergency Programs Coordinator at the Foundation of the American Institute for Conservation of Historic and Artistic Works. FAIC is a nonprofit that supports conservation education, research and outreach activities that increase understanding of our global cultural heritage. In my role, I oversee the range of emergency programs run by FAIC, including Alliance for Response and several other initiatives that I'll touch on later in the presentation. So now we've introduced ourselves, we're also going to be joined by a few other folks from some of these cooperative disaster networks who will speak briefly about some of their successes as well, but we did also want to get the chance to get a sense of who is in our audience today. So to that end, we've developed some poll questions, which may or may not produce some technical difficulties, but if it's able to send those over, I'd ask Steve Detweiler, who's at the controls to share the first poll question with the group, we're trying to determine who in the audience represents a cultural institution. If you're a cultural steward, working at a museum, a library, archives, anywhere where you're in charge of protecting and maintaining our cultural heritage, or if you're representing a first responder, our emergency management agency, or possibly we recognize that some folks here might not be from either sector, so we're curious about that as well. So I'm seeing some poll answers coming in. I'm going to let it go for just a couple of seconds more to get more responses. OK, so we're at about 85% audience response. So we're looking at a group here that's about 60% of you are from cultural organizations, identifying as cultural stewards, about 20%. Our first responders are emergency managers, and about 20% are from neither sector. Following today's presentation, we are going to be sharing a survey where hopefully you'll be able to elaborate a little bit more on where you're coming from, which would be really helpful for us. So for those of you who identified as cultural stewards on the presentation today, we had a follow up question. Oh, and I see these numbers are shifting a little bit, too, as we're getting the final votes in. So we're about 55% cultural steward, 25% emergency manager, and about 20% neither. So Steve, if it's possible to start the next poll question, we're curious for the cultural stewards on the program today. If you've ever had the opportunity to reach out to your local first responders or any of your local emergency managers. Not sure if that poll has gone over. There it is. Oh, actually, so we'll do this one first. So for the other side, the first responders and the emergency managers, have you had the chance to meet with your local cultural stewards?  If you had the opportunity to do that before. If you just a few more minutes to respond to this. OK, so we're looking like it's about 50-50 on this question. So for those who are on the program today, about half of you have had the chance to tour your local cultural facilities. About half of you haven't yet. So we're hoping for the half in that second category that today's program will inspire you to change that. So one final poll question for the group, as I hinted at before, we're trying to get the sense of the inverse of this. So for the cultural stewards on the program, have you done any outreach to your local emergency responders?  Have you given tours?  Do you have any familiarity with this other community? So we might have already posted that question. So I'm not sure if it's possible to have the poll go over or not. Yeah, it's not one that's Jessica. OK, well, we'll ask this of you as well in the final follow up survey. I know that some of you did already answer it up at the front end. So apologies for the technical glitch there. But, you know, we are certainly curious to see how much of this kind of outreach has already gone on in our audience. OK, so moving on a little bit about what we're planning to cover today. We're going to start with an overview of the Alliance for Response Program, its history and its objectives. I'll be talking about all of those items on the agenda today. Then we'll zoom in to one network in particular, Alliance for Response Miami, and hear from the network's co-chairs, Steve Dattweiler and Kim Bergen. Then we'll hear from some other representatives from successful networks around the country and the great accomplishments that they have achieved. And then we'll wrap up today's program with some federal guidance on protecting cultural resources. So what's at stake? Floods, hurricanes, fires and other disasters can harm or otherwise destroy irreplaceable cultural and historical treasures. But the institutions that safeguard books, documents, photographs, artifacts and other historical collections can prepare for emergencies to avert or at least minimize damage. One of the keys to preparedness is a relationship with first responders and emergency managers. They are first on the scene at any event that threatens life or safety and they represent a local system for planning, response and recovery that is often overlooked to communities, cultural and historic assets. How do we bridge this divide? Well, one solution is this program, Alliance for Response. Alliance for Response is a national program on cultural heritage and disaster management. The idea is simple. Its goal is to bring together heritage and emergency professionals before disasters happen. A local kickoff forum leads to new partnerships, policies and cooperative planning efforts. So why should members from the broader community care about collecting institutions and historic sites and especially during emergencies? What does cultural heritage contribute? Well, quite a bit in fact. It helps to define local identity. It serves as an economic engine for tourism. And of course it provides a deep level of educational enrichment for members of the community. But beyond that, in the context of disasters, libraries and museums can play a central role. They can serve as recovery centers and then cultural institutions are also key to helping to restore a sense of normalcy following an event. So we wanted to talk a little bit about the way that FEMA conceptualizes public-private partnerships. Because as you may have noticed from the title of the presentation, that's the sort of running theme of how Alliance for Response represents a really successful model of a public-private partnership. According to FEMA, these are the stated goals of these kinds of partnerships. Alliance for Response highlights them in a variety of different ways. Let's look at the first two examples. Enhanced situational awareness and improved decision making. AFR networks can communicate key information about the status of buildings and collections to the local emergency operation centers during events. The next point, access more resources. Members of AFR networks have been known to pool their resources and set up mutual aid agreements. And again, museums and libraries are known community centers and as such can offer up their space to support recovery efforts after disasters. Expand reach and access for communication efforts. Many AFR networks have social media or emailing tools at their disposal. So they're ready to distribute useful information when we have details about events that are coming or immediately following. Improve coordination with other efforts by segments of the private sector and increase the effectiveness of emergency management efforts. Well, AFR networks are successful in both of those fronts because they've been known to communicate and prepare and opening lines of conversation with both private and public sectors. Finally, maintain strong relationships built on mutual understanding and create more resilient communities. As I said before, cultural heritage is key to a community sense of self. So building more resilient communities happens when you look to these types of institutions in your own neighborhood. Cultural institutions are unlike any other and especially in the context of emergencies, there are some special considerations that first responders and emergency managers have taken to account. One, these are often high occupancy institutions especially during their normal business hours. So keep in mind that there's gonna be a lot of people in these spaces. And additionally, they're very oftentimes very unique building layouts. So if you're unfamiliar with how these galleries are set up it's a possibility that there's a lot of people in spaces that are quite unique and different to a standard office building for example. It's also important to keep in mind that staff may be reluctant to abandon their collections. Cultural stewards, we spend our lives trying to protect these important objects. So there's a sense of dedication to them. So keep in mind that that's at play as well. Also remember that there's often hazardous materials and collections and things that are somewhat unfamiliar to our modern worlds today. Chemicals that were used in the past that are no longer. It's good to familiarize yourself with what could possibly be in these kinds of collections. Also keep in mind that a lot of cultural institutions are often understaffed and underfunded. So there isn't a really strong knowledge per se of emergency planning and understanding of emergency management systems. Resources are stretched incredibly thin so that impacts these kinds of institutions in a lot of ways and one of them being that there isn't necessarily a strong structure in place to work on any of these emergency preparedness efforts. And also just keep in mind that oftentimes collections can be fragile and that there are special environmental and handling requirements. So a lot of things to be sensitive to. So how do we educate ourselves? How do we bridge the gaps? Well, it's pretty easy. Make contact, reach out. We have a lot of different suggestions for how these two groups can make contact with each other. We really encourage first responders and emergency managers to go and tour your local cultural institutions. A lot of the points that I highlighted in the last slide can be really easily overcome by providing tours so that you're familiar with the space and the collections and what hazards are potentially lurking in those buildings. Another really easy and potentially fun thing to do is have first responders and emergency managers come and do some of their training exercises on site. Have them come help with your own emergency planning. It's a great way to host tabletop exercises or other activities that are needing to be done at any rate. So why not have them be at your cultural institution? On the other end, it's really great to do what you can to invite your local cultural institutions to take part in disaster councils and local networks and get their voice involved in the conversation. Most important thing here is to remember that once isn't enough. This is an ongoing process. So it's not enough to just give one tour. You have to remember that there's not only several rounds of first responders on staff, but you'll need to make sure that you're doing this year after year and continuing to build that strong relationship. So from here, I wanted to take a moment to explore some of the accomplishments of the Alliance for Response program to date. So these are the existing AFR networks and highlighted in red there are the new ones who are coming online in 2016. Kickoff forums have been held in 24 cities to date. In April, a group will meet in the Mississippi Gulf Coast and in June, a group will meet in the capital district of New York. So Albany and its surrounding regions. That will bring our numbers up to 26. So to help you visualize that impact, these are the locations where kickoff forums have already taken place throughout the country. So you can see quite a bit of regional diversity there. And once our tuning networks come online, we'll have even more pins on the map. But as you might have suspected, 26 is great, but it's not enough. We want to get coverage in as many places as possible. So we wanna make sure that people feel like they're equipped to get involved with this initiative if they're so inclined. So if you're interested in starting a network, we have resources available to help you be in that process. Our forum planning handbook, which is listed in the handout section of today's presentation, can give you a boost in helping to build your group. So in the planning handbook, you can find program agendas and templates, tips for connecting with the emergency management community, project ideas, as well as funding sources. And as I said, you can find all of this available via a free PDF that's downloadable on the handouts list. And it's also available on the Alliance for Response website, which I will be talking about next. So the Alliance for Response website. It's a robust resource with tons of useful information for existing networks and for those who wanna get started. You can find more information about the program under the About AFR tab. I just wanted to take a quick moment to note too that you'll also find in your handout section of today's presentation, a PDF of the PowerPoint that's being shared. And in that PDF, you will have clickable links to all of the URLs that are being shared from here on. So no need to try and scribble these things down. We've made it pretty easy for you. I would really encourage you all to download that PDF and take advantage of those clickable links, starting with heritageemergency.org slash AFR. So as I was saying, you can explore the site and find out a little bit more about the program under the About AFR tab. You can also look under the networks page to see more information about the existing AFR networks, including the content that they've shared on their running blog feed on the right-hand side of the page. The toolkit includes the previously mentioned forum planning handbook, as well as lots of useful links and resources. And Ask the Alliance is a somewhat new feature. It's an online discussion board where network members can share tips and ideas. And the AFR news brief section contains the archives of previous newsletters relating to network activities. I encourage you all to take some time to explore the website. We're always improving this resource, so if you have ideas for how to make it better, please feel free to contact me. I am all ears. So at this point, I just wanted to take a few moments here before I throw it over to Steve and Kim to talk specifically about AFR Miami. I did want to take a few moments to discuss some of the other emergency programs that we run here at the Foundation of the American Institute for Conservation. We're really excited because we hope to connect to many of these initiatives to the work that Alliance for Response groups have been doing in the past and find ways to have more synergy between all of the emergency programs that we run here. So the National Heritage Responders, some of you may be familiar with them, and I think I see some NHR members on the program today as well, welcome. So the NHR was formerly known as AIC CERT, the American Institute for Conservation and Collections Emergency Response Team. We just have rebranded the program to NHR National Heritage Responders as of the end of 2015. The NHR responded to the needs of cultural institutions during emergencies and disasters through coordinated efforts with first responders, state agencies, vendors, and the public. The NHR began in part as a reaction to Hurricanes Katrina and Rita. NHR members possessed the much needed expertise to save collections, but the administrative structure to coordinate the distribution of those skills was lacking. The program has since developed into a cohesive volunteer group of strongly committed conservators and other collections care professionals who monitor disasters as they occur across the nation and respond accordingly. The NHR maintains a hotline, the number is displayed on the slide here, which is stashed by rotating members of the group. When calls come in, NHR members provide assistance by phone and email to collecting institutions affected by everything from leaking pipes to roof damage. On-site assistance, as funds are available, typically is limited to one or two days of assessment, organization, and salvage efforts and recommendations for follow-up care of affected collections. After each event, information is shared, techniques are evaluated and refined by team members. The almost 100 members of the National Heritage Responders come from a wide variety of backgrounds. About two-thirds are trained as conservators in various specialty areas from book and paper to wooden artifacts. Other members include librarians, archivists, curators, registrars, and other collections care specialists. For on-site assistance, a team of two or three members with appropriate specialties will typically work together. All team members undertook a five-day training program that covered incident command system, ICS, health and safety considerations, salvage techniques, and simulations for phone and on-site responses. In addition, team members are required to complete ICS training through FEMA. They have their current respirator fit testing and maintain inoculations for tetanus and hepatitis. There is no set length of time for team deployment, but as I said, typical deployments are usually about three to four days in length with visits to several institutions scheduled within that time. Again, one or two days per institution is normal. NHR teams have trained in assessment techniques and use a specially-developed assessment system. These reports can then be used by institutions to generate an estimate of restoration or replacement costs which can be used to file an insurance or FEMA claim. Another great program that we're happy to support here at FAIC is May Day Initiative. May Day is a campaign that encourages cultural institutions to set aside May 1st to examine their preparedness levels and to take simple steps to prepare better for emergencies. It's designed to spark action by reminding institutions of the ongoing need for preparedness every year while also making undertaking less daunting. Tagline is do one thing for emergency preparedness. The Society of American Archivists, SAA, created the May Day Initiative in 2006 and promoted the idea to its members and allied organizations. The following year, the Heritage Emergency National Task Force and SAA expanded the concept to include all kinds of collecting institutions and historic preservation interests. You can find out more about SAA's activities at archivist.org and you can find out more about the May Day Initiative on FAIC's website. Another program that we're really excited about is the Risk Evaluation and Planning Program. It's a tool that provides cultural institutions with a set of resources to review their risks and build emergency plans appropriately. Again, the link is available here so you can go and check these resources out. The program Site Questionnaire can be used as an institutional self-study tool. Many rep project participants commented on how much they learned about their facilities just by completing this form. It's also a risk prioritization worksheet which can help rate risks based on the likelihood of occurrence and severity of potential damage. The experience of local emergency management agencies and fire departments is incredibly helpful in completing this form. So it's another great suggestion of an activity to help get those lines of communication going. Used in conjunction with the Risk Prioritization Worksheet, the Walkthrough Checklist helps staff identify a variety of conditions that may make institutions more susceptible to internal and external hazards. And finally, the program also includes a collection of one-page documents that help to share tips on preparedness, provide ideas for simple mitigation measures, outline the basic contents of an emergency plan and offer steps for getting started with planning efforts. One final thing for me, I just wanted to touch on some upcoming programming that we have within the Alliance for Response community. During 2016, we'll be holding a series of webinars, aims at equipping networks with practical skills for response as well as discussing some governmental structures that will help the groups to stay strong and vital moving forward. So the topics that we're gonna be addressing include practicing the Incident Command System at the institutional level, setting up a governance structure and creating mutual aid agreements, crisis communications, navigating public assistance after a disaster, engagement at the county level, so how to better build relationships with cultural stewards and emergency managers at the county government level, and best practices for seeking funding. So we'll be sharing more information about the schedule of this program shortly, so please do stay tuned to the heritageemergency.org slash AFR website for details on those upcoming programs. If you have any questions or comments, I would really love to hear from anyone and everyone on today's program, so here's my contact information. I think that we're gonna try and hold off on some of the bigger questions until after we get through another couple sections of the program today. So at this point, I'd like to turn things over to Steve Detweiler and Kimberly Bergen, the co-chairs of the Lance for Response Miami Network. Steve and Kim are gonna talk in a little more detail about how their network has helped to advance the cause of protecting cultural heritage in the greater Miami area, so. Steve, I'm gonna go ahead and hand the controls over to you. Welcome, everyone. This is Kim Bergen from the Lausonia NFIU. We're so glad that you're taking the opportunity and time to join us today. Good morning. All right, good afternoon. This is Steve Detweiler of Miami-Dade County Office of Emergency Management. I'm the public-private partnership planner, so good afternoon and thank you for joining us. Before we, we're gonna be alternating between Kim and myself in terms of talking about our program, but before we get started, what I wanna do is really talk about the public-private partnership here for Miami-Dade County. The Alliance for Response is part of that program, so the public-private partnership really talks about how do we combine our resources from our private sector partners, our public sector partners, and really address some of the issues that we have here down in Miami-Dade County. The public-private partnership actually consists of a number of different components. We have our ESF-18, which is our business industry, that's our response portion. We have the recovery support function economic, which is our recovery portion, and of course the Alliance for Response Miami. The overall goal with this program is to share information and resources both among our private sector partners, but also with Miami-Dade County to lessen or avoid economic impacts from a disaster or an emergency. Like I was saying before, the ESF-18, which is our response portion of the program, is really geared towards sharing information with our private sector partners immediately before and during a disaster. The recovery support function economic really deals with working hand-in-hand with the private sector to recover and get the business community back up in operational post-disaster. The ESF-18 desk has a responsibility for affording a lot of different information out during an activation. That includes damage to road infrastructure, staff debris clearance, airline and marine traffic. Obviously we're a hub for transportation here in Miami-Dade County, so we have to make sure we're keeping up what the airport is doing as well as the port, whether or not curfews have been issued and reentry into impacted areas. The recovery portion of it is much more of a partnership between our private sector and the public sector. We work very closely with our Chambers of Commerce, with our other networking organizations, so we can ask them, what do we need to make sure that the businesses can recover post-disaster? And a lot of the programs they coordinate include the SBA Disaster Loan Program, the Emergency Bridge Loan Program for the state of Florida, and also private foundations. Jessica hit on that a little bit when she talked about the heritage of emergency responders. Obviously the federal assistance and state assistance are not gonna be enough, so we're gonna be probably looking towards private sector foundations to also address any kind of unmet needs for our private sector partners post-disaster. One of the ways we communicate with our private sector partners is our Business Continuity Information Network. This is maintained actually by the Florida International University, and basically it's an online system where we can gather information and also share resources among our private sector partners, so they can actually talk amongst themselves and let each other know what they have available and also what they need in terms of their own businesses. Access to that program is actually limited to just our public-private partnership partners. This is basically a screenshot, so not only does it allow information to be shared back and forth, but it also gives us a quick status. So our ESF-18 representatives here in the Emergency Operations Center will actually view this site on a regular basis, and they can basically be able to tell what the overall status is over our private sector partners. The system also includes a mapping software, so we can actually visualize what's available, what stores are closed, what stores are open, and respond accordingly. So the Lines for Response Miami's mission is dedicated to building a close partnership between the art and cultural community as well as the first responders and emergency management communities in Miami-Dade and Monroe counties. Our goals are most important to facilitate a partnership between the alliance members, the first responders, and emergency managers in Miami-Dade and Monroe counties. This partnership is meant to enhance cooperation and understanding before the next emergency and or disaster occurs. Secondly, to provide preparedness and outreach opportunities for the participating partners, and finally to develop a robust incident command structure for the alliance in order to respond to large-scale emergencies and disasters. Our membership currently includes the following institutions, the Miami-Dade County Cultural Affairs Department, the Wilsonian Florida International University, the Frost Museum of Science, the Sky Museum and Gardens, the Zoo Miami, Rosa Lohinger and Associates Tour Conservators, Florida Connecting to Collections, which is also BAM or Florida Association of Museums, Florida International University, the Bass Museum of Art, the Miami Sea Aquarium, the Frost Museum of Art, and the National Park Service. We're always looking to expand our membership, so if you are aware of anyone or any institutions in our community that would be interested in us, please direct them our way. We work closely with the Miami-Dade and Monroe County Office of Emergency Management. These agencies look to AFR Miami as a source of response, recovery information when emergencies impact cultural institutions. Regarding our steering committee, currently the alliance is governed by two co-chairs, one being my esteemed colleague, Steve DeWiler, sorry, Steve, with the Office of Emergency Management and myself, again, I'm a registrar of a cultural institution. The steering committee currently consists of active members of the alliance, and they provide advice and counsel to us. However, we have created a new set of bylaws, which will be governing the alliance in 2016. These draft bylaws will change the current structure. So the new steering committee will consist of a chair, a vice chair, and a secretary, as well as an emergency management liaison. Secondly, there will be a coordinator who will be responsible for coordinating response and recovery activities, so not like a project manager. And third, there will be subcommittees or standing committees consisting of education groups, communication outreach groups, ad hoc committees, et cetera. Some of the activities we've been kind of undertaking or this past year is one of them was Operation Unseen Terror, which is a virtual tabletop exercise we did in May of 21st of 2015. And this not only included our art and cultural institutions, it also included all of our private sector partners. This is an annual thing we do of our private sector partners. It's a virtual tabletop, so all that's required for a member institution to participate is have access to a phone and also a computer so they can jump on the webinar. The objective of this exercise was to evaluate our accountability system, systems, test facilities to keep safety and security plans, evaluate post-disaster credentialing, and evaluate delivery of disaster recovery systems to the private sector partners. So the exercise actually involved a series of terrorist attacks from ISIS sympathizers with targeted numerous banks, other private sector partners in South Florida, including the Port of Miami, the Port of Palm Beach, and numerous museums throughout the county and also universities. So one of the things we included in the handout is actually the after-action report from that exercise. So feel free to read it if you have any questions. Feel free to contact me and I'll do my best to answer them. The other thing we recently went through is most of you are probably aware of is we had a tropical storm Erika off the coast of Florida. Fortunately, it did not really impact us, but the Miami-Dade County EOC did go to a partial activation to monitor the storm. And as it was approaching, we saw the need to keep our ESF-18 partners involved and also engaged and informed about what was going on. So we were initially thinking about evacuating coastal areas, so we were preparing to evacuate zone A, which is our storm surge planning zone, because of anticipated storm surge and also shutting down numerous draw bridges. So throughout that whole week, we were sending out regular reports, at least one report a day, and to include information on government school closures, the storm track, power edges anticipated. We also activated the business continuity information network. And we also, most of these reports that we sent out were pulling from numerous other reports. So we were pulling from Miami-Dade County EOC situation report, which was being produced, the state ESF-18 situation report, and also we were getting information from the American Institute for Conservation and we were including that in our report as well. The other thing we recently did is we did a survey. We wanted to see what the preparedness level was for our member institutions and also other institutions in South Eastern Florida. We had 17 individuals and organizations participated. We asked a series of questions, such as, does your organization institution have an emergency plan? When you have instituted, do you have a training program in place? The results are actually... are available on our website. So you can actually go on there and see that. But the results were, I'll give you a brief synopsis, is 88% of respondents said they had a plan in place, which is very gratifying. 64% of respondents said they had trained staff and volunteers. 35% had not. But another responder said they had a mutual aid agreement with other organizations and institutions. We used this survey as kind of our guidepost to say, what do we have to do? What do we have to address in terms of our member institutions to move forward into 2016 and 2017? We were also lucky enough to present for the Florida Association Museum's annual conference. So we had two AFR members give a presentation on the importance of creating a preparedness program and work with our... how to work with your local first responders and emergency managers. That presentation is up on our website as well, so if you're interested, feel free to view it. And if you want to, steal it. I don't have a problem with that. One of our most important activities included developing our strategic goals. You can see that you can find those goals on... or sorry, the strategic plan on the links that's included on the slide. So these goals of our plan include to facilitate a partnership between the Alliance members, the first responders and emergency managers, and the Miami-Dade and Monroe County, to provide preparedness and outreach opportunities and programs for both the art and cultural community, the first responders and the emergency management teams, and finally to develop a robust incident command structure for the Alliance to respond to large-scale emergencies and disasters. I've sort of won over these points before, but I can't tell you how important those three are strategic goals as well as having to do with our mission, how important it is to keep these ideas at the core of what we're about and what we want to be in the future. The other thing we're kind of more known for than anything else, we're actually in a quiet competition with AFR New York City, in terms of how many followers we can have on Facebook and social media. We actually have a very robust and very aggressive social media campaign thanks to American Institute for Conservation who maintains our website. We frequently send information to Jessica and she uploads that up on our website. But our social media pages, we keep active all the time. So if you go on our pages, you'll see that it's updated daily. Normally the rules for our pages are they're meant to share information, news, resources, whatnot with not only the art and cultural community, first responders, but also emergency managers. The types of information we include is very varied, mainly its local art and cultural events here in southeastern Florida. Upcoming webinars, obviously there's no shortage of training that's coming out, whether it's from the international, the national, or local. So we always include information on that. Any kind of upcoming exercises, we also include on that. Emergency preparedness messages and also any kind of other science or conservation news that's coming out that we want to make our members aware of. Both of our pages, the Facebook and the Twitter pages, are managed by Hootsuite. So we actually have three social media administrators that go on the pages on a regular basis. Our rule is we have three posts per day. Not to mention other stuff that comes up, we might increase that. Sometimes it's as high as five or six posts per day. But normally it's about three posts a day, so we try to keep active and engage with the social media and climate. During a disaster, we also use this page, this forward information out, to not only our art and cultural institutions, but also our private sector partners. Obviously this is done in concert with what the county is being posted, or what the county is posting in terms of social media. So a lot of times we'll repost information from Miami-Dade Emergency Management and Miami-Dade County Government, and also Monroe County Government. And then eventually when we start to increase our membership to the rest of the state of Florida, we'll be including information from other parts of the state of Florida as well. But the Hootsuite, as you can see up on the screen, behind a couple, sorry about that, it actually allows us to schedule it. So we normally schedule it at least two hours in advance. Facebook has an algorithm that unless you're scheduling out two hours in advance, it doesn't always show that information. So we try to have a two-hour window between different posts. And so far we've been having a lot of luck. We have about 300-plus followers on Facebook and Twitter between the two of them. So that's pretty good. We're hoping to at least push a couple hundred on each page and beat AFR New York and also New Jersey's cultural lines. No offense, New Jersey. But we're hoping that by showing this, it'll give you an idea of what's going on. Obviously, during disaster, it's that much more important to maintain your social media accounts. So when you have, say your museum is closed or whatnot, it's that much more important to continue the post-information to let your public know what's going on. It can also be a vehicle for asking for help for the public. Whether you need volunteers at your institution or whatnot, you can use that as a tool to bring them in and have them help you. We also have our listserver that we maintain on a regular basis. This is done through the Florida International University and we post information up there on a variety of different subjects. So they'll get information about what's going on for the county in terms of public partnership, upcoming training events or emergency management hosting. Also, during disaster, we'll send out information through the listserver as well. But also it also includes information on upcoming trainings, webinars, grant opportunities that we might come across our desks and we'll forward that out to the membership as well. And if anyone has any questions, feel free to contact myself or Kim and we'll be happy to answer them. And with that, what I'd like to do is introduce Lori Foley. Lori previously was the Vice President of Emergency Programs for Heritage Preservation, which is now voted into AIC. So Lori, it's all on you now. Thanks, Dave. Let me see if I can actually move the slides forward. And Lori, this is Jess here. I've just given you the controls. Oh, I don't have a screen to show. All right. All right, hang on. Okay, go ahead, Jess. Back to my screen. No, that's no worries. All right, Lori, you should have control at this point. All right, I'll give a girl. Let's see. One second, actually. All right, give it a shot now. Okay, great. I thought first we might start with a little break to talk a little bit with some of the people who've been instrumental of getting state networks going that really did start from Alliance for Response, city or community-based networks. So the first network that really started as a local community network was the Boston Alliance for Response Network. It has since morphed and expanded to be a statewide cultural heritage emergency network called COSTEP Massachusetts, which stands for Coordinated Statewide Emergency Preparedness in Massachusetts. And this is their homepage. And I am happened to be wearing another hat. I happen to be a member of COSTEP Massachusetts because I live in Massachusetts. So let's see. I'm going to ask if Jess or Steve can... Yep, so Gregor's mic should be unmuted and ready to go. Are we all set? Can you hear me? We can. Okay, as Lori said, we started with our Alliance for Response meeting in November of 2003, and following Katrina and the other hurricanes, worked with a framework that the Northeast Document Conservation Center put together, and we were the major pilot program with that. And it's evolved in a number of ways since then. One thing that sort of was on the side, people mentioned earlier talking about disaster recovery centers, and we've done a project with FEMA to survey public libraries and have them serve as DRCs. And they were particularly used in following the... Enduring and following the floods of 2010, and then Hurricane Irene and the tornado that we had, both of which were in 2011. In the development of COSTEP Massachusetts, we have a set of bylaws, and we've also created an annex to the state Comprehensive Emergency Management Plan. We have been operating under the procedures of R&D, rip off and duplicate. The annex that we created went to... Was picked up by Rhode Island, and then eventually by Utah, and then it's come back to us, and each time it's been slightly modified as it's going along and make more specific. There are a number of things that we've accomplished in the course of this time. In 2011, we were successful in receiving a 5% discretionary HMGP grant, or hazard mitigation grant, from FEMA through MEMA, and ran it for three years, running a series of community meetings and risk assessment and mitigation planning workshops. One of the things that we've specifically focused on has been working with the communities and the emergency managers in those communities with the aim of not adding a whole bunch of stuff for the emergency managers to have to deal with. A couple of ways that we've attempted to address this, we've created what we call our cultural resources inventory form, the municipal resources inventory form, and these are both targeted at the cultural community. The institutions are requested to complete these and hand them to their local emergency manager, and the forms address things like what kind of institution are they, what kind of collections do they have, what would they need in the event of disaster, and also what kind of services they can provide in a disaster for the community, such as meeting rooms, internet access, et cetera. Part of this is also focused on what we call our command and control structure. The last thing we feel is that an emergency manager needs to have happen is for 15 or 20 or however many institutions who may be affected by a disaster to end up calling that the emergency manager for help. So what we've devised is a process whereby the cultural community identifies one or maybe two as second person being a backup of what we call our cultural triage officer or CTO. And the focus of that is that the cultural community, if they have a disaster of some sort in the larger disaster, contact the CTO and that person puts things in priority order and then calls the emergency manager so that there's one person who's the contact. It goes the other way too, the emergency manager can contact the CTO and get information out to the cultural community that way. So the aim being that the communication is simple, it's straightforward, and you're only dealing with one person with a lot, not a lot of extra stuff and ending up on the shoulders of the emergency manager. A couple of other things that we've addressed, we have a large distribution list called the Weather Alert, working strictly and very closely with the National Weather Service out of Taunton, Mass. I am on their email and conference call list so that if there are things that seem to be coming down the pike as it were that could affect cultural institutions, I can then take that information either forwarding on the email or from notes on the conference call and distribute that to some 3,000 institutions in Massachusetts and actually around parts of New England as part of the New England Archives. We have also produced a document which is on the website under resources called Establishing Relations with Disaster Recovery Vendors. This was done in conjunction with Belfort, Polygon, and BMSCAT and the focus is both before, during, and after a disaster. How do you work with these vendors? And it's because it's worked as a joint project, the vendors themselves are very much behind what we've produced here and frankly just take it and work, run with it. We're in the process of developing and hopefully the fairly final stages of standard operating procedures, standard operating guidelines for coast up in the event of a disaster. And this last fall or I should say fall is last spring and then again in the fall we did a major tabletop with the chief meteorologist from the National Weather Service here in Taunton on a major hurricane northeaster that arrived, came up sort of followed the same course as Sandy did except for the north came up and that made a left hand turn at Cape Cod and came across Massachusetts. The slight variation on this was the fact that being at the end of October after the storm went through the temperature dropped and all of a sudden we were dealing not only with a water and wind disaster but also a snow disaster. So those are some of the highlights that we've worked on and we've continued to move ahead. As I said we have bylaws, we have an executive committee that meets on a regular basis and we have quarterly meetings that deal with events and programs that we try to bring in extra speakers for. So I'm happy to answer questions as we move along but that's a quick synopsis of what we're doing. Great, thank you so much Gregor. I think we're going to try and save questions for the end but it's a wonderful overview of the great activities happening up in Massachusetts. So I think we're going to go from here into a little further south and see what's happening down in Pennsylvania. So I'd love to turn it over to Samantha Forskoe of CCAHA. Samantha? Hello, hi can everybody hear me okay? It looks like I'm on. So I wanted to tell you all about a project I've been working on over here at CCAHA which is the development of the Pennsylvania Cultural Resilience Network or PACRIN for short. It's a grant funded project through IMLS and it's kind of the main aim is to improve emergency preparedness across the state of Pennsylvania and we've been doing that in a number of ways. One way has been to create and strengthen the Alliance for Response Networks that exist in the state. You probably noticed on one of just the slides that we actually have a lot of AFR groups in the state but we are trying to make even more. Let's kind of give you a little bit of the lay of the land here. We have a very strong group out of Pittsburgh and out of Philadelphia. We also recently just strengthened the group out of Northwestern Pennsylvania and Erie. They're holding a big spring event here in May. I've also been launching new groups, a suburban Philadelphia group, kind of Lehigh Berks County area, North Eastern group out of Scranton, then a Central Pennsylvania group as well as a South Central Pennsylvania group. We're trying to really kind of cover the state with the Alliance for Response groups so that each of these individual groups or counties and regions have their own networks built up. Another project that we're kind of working on is to create a statewide team which we're calling the Pennsylvania Cultural Response Team. It's a little bit like the National Heritage Response Team but on a state level, something we're very excited about. We're providing training for this group in the form of four webinars and then one day intensive in-person events. We are going to be making the webinars available online after they're aired, so stay tuned for that. Anybody will be able to access them and learn from them. We're going to be covering topics like insurance and health and safety for some of these kind of larger teams. We're also modeling a lot after co-step actually and trying to see if we can get something added to our statewide plan as well so that we have written language in the statewide plan that deals with cultural institutions. We're also going to be improving our online resources so that anybody is able to kind of look at a lot of the materials we're producing for this. The idea is that something like this can be replicable in other states and areas throughout the country. We want to make sure we're not kind of hoarding this knowledge to ourselves and we're sharing it as much as we can. So keep tuned on our website to see what pops up. That's great. Thank you so much, Samantha. We're really excited to see what's going to be coming out of Pennsylvania soon. So one last final network that we were hoping could speak a bit about some of their accomplishments is the Group in New Jersey which has done incredible things just over the last couple of years. So Sarah, Kiritin, are you on the line? I believe that you should be unmuted. Yes, can you hear me? We can. Yay, okay, good. So I'm happy to have the opportunity to tell you a little bit about NJ Carve and New Jersey Cultural Alliance for Response. Really the formation of this group grew out of an earlier coalition which we call C3NJ in New Jersey or the Collections Care Collaborative NJ. This group had come together a number of years ago to execute first one and then a second IMLS grant. The first one really conducted a large survey of collections statewide and came up with a series of recommendations for what the community at large felt were the greatest needs within the state of New Jersey for collections care. And one of the issues that came through loud and clear in that initial effort was a real hunger for and need for training on emergency preparedness and response disaster planning. And that really all happened pretty much before we were hit by Sandy. So when Sandy came along, we not only were validated in those findings from that initial project but we had some real life experience and some real incentive to look at emergency planning and response for cultural organizations and resources within the state of New Jersey in a much more aggressive and organized fashion. So utilizing, as I mentioned, we received a second IMLS grant which we used in conjunction with the Conservation Center for Art and Historical Artifacts in Philadelphia. We used that second IMLS grant to undertake a large and varied series of training opportunities statewide. And that grant then actually provided us a great platform to take that next step with the help of Lori Foley and many others, some of whom were on this call. We were able then to kind of take the next step forward and form NJCAR. One of the hallmarks, I think, of NJCAR has been that it is indeed a very broad and varied alliance of cultural organizations statewide. One of the biggest, I think, of characteristics of our group is that we are not just collecting institutions that have concerns about objects and archives. But we're also really reaching out and incorporating a variety of arts organizations who may not have collections, per se, but deal with tremendous impacts from disasters. So we really formed, through NJCAR, a very, as I say, very broad and diverse group of cultural institutions statewide. And we've come up, we have, as you heard from Massachusetts, we've done some similar things we do have now bylaws, everyone's favorite thing. They're so exciting, but we do have bylaws and we are meeting on a regular basis. But we also have identified some projects and immediate goals for the group. The first of those really is to develop an annex to the state's emergency plan. So that's one of our first priority items. We have, to our great delight, we have now established an excellent relationship with the Office of Emergency Management here in New Jersey. And we are working with them to get that annex developed and incorporated into the statewide plan. I wish that I could report to you that that's already been completed, but it hasn't. We've had a few, as you all probably have had this experience, events do transpire such as the Pope's visit and other emergencies intervene, but we do hope that we'll be able to complete that first immediate goal very soon and get that annex written and adopted into the state plan. The second goal, I would say, is to continue that training that we were able to launch through the earlier grant funds. As I mentioned, we did a varied, or I say we should offer, we offered a varied menu of training workshops statewide related to collections care, including disaster planning. And we want to continue that service to the state. So we are in the process of planning the next round of these training workshops. And then third, in terms of immediate goals, we've undertaken a GIS mapping project. I don't know how many other states face this challenge, but one of the things, even though we're not a terribly large state, we face that challenge of always being a little bit uncertain as to whether we have thoroughly mapped and understood where all our cultural resources really are. So right now we're in the pilot phase of a GIS mapping project we are taking a couple of communities in Ocean County, New Jersey, which was one of the county's most adversely affected by Sandy. And we're doing a pilot mapping project there. We're going to learn from that exercise and then our plan is to expand that statewide so that we can really have a GIS map of the entire state that will identify the cultural resources statewide. That then can be shared with the emergency management personnel at any time, and certainly in the case of an emergency, so that we can identify and get to those cultural resources and they can get to them as quickly and efficiently as possible. I think that's probably the highlights of what we're doing. We do have a website, and I certainly invite anyone who would like to know more about the about NJCAR to visit that website. It is www.njstatelib.org slash njcar. So and you can see that right on the screen now. So I do invite you all to come visit, and of course I'd be happy to answer questions too. Great. Thank you so much, Sarah, and thank you for directing us to an even shorter URL than the one we have on the slide. It's a lot easier to remember. Thank you for that. Great things happening in New Jersey. So with that, I would love to return the controls back to Lori Foley, who's going to talk about things at the federal level. So Lori, to you. Thanks, Jess. Let's see now. Not quite yet. Not quite yet. One moment. There we go. Hold on. If you're having difficulty, I can move the slides for you if you'd like. I think so, because my cursor is not doing anything. Oh, hold on. Here it is. Oh, the same. Let me try. Let's see if I can do that. So don't touch. I will. Okay. Network. No. All right. Go ahead. You're going to have to move them. So in the time remaining, I'm going to talk about the Heritage Emergency National Task Force, a partnership that functions at the federal level, but one that also reaches out to networks at the commuted state, regional, and national level to assist individual cultural institutions. I'd like to start with a little background on the Task Force. In 1994, the Federal Emergency Management Agency, or FEMA, the Getty Conservation Institute, and the Nonprofit National Institute for the Conservation of Cultural Property, or NIC, convened a National Summit on Emergency Response. More than 80 representatives participated, drawn from four cultural sectors, museums, libraries, archives, and historic preservation, as well as from the Federal Emergency Management Community. The summit resulted in a number of recommendations. One was the establishment of a national partnership of federal officials and cultural and historic preservation leaders to coordinate, for the very first time, a national approach to disaster response for cultural heritage. The following year, in 1995, the first meeting of the National Task Force on Emergency Response was held. The Task Force comprised 29 federal agencies, national service organizations, and private institutions. In 1998, NIC changed its name to Heritage Preservation. So essentially beginning in 1995, the Task Force was co-sponsored by FEMA and the Nonprofit that became known as Heritage Preservation. In 2002, the National Task Force on Emergency Response changed its name to the Heritage Emergency National Task Force to reflect a broader awareness of the need to address all facets of the emergency management cycle, not just response. You're probably aware of many, if not all, of all these resources that are slowly populating the screen. These were developed by Heritage Preservation on behalf of the Task Force and these are just a sampling of those resources. In 2015, Heritage Preservation was dissolved. Sharing a similar mission and not wanting Heritage Preservation's emergency programs and resources to disappear, the Foundation of the American Institute for Conservation, FAIC, adopted Heritage Preservation's emergency programs and resources with the exception of the Task Force which required more funding to support it than was available to FAIC. Enter the Smithsonian Institution. One of the founding members of the Task Force and a leader in the protection of cultural and historic resources both at home and abroad. The Smithsonian was also concerned that the valuable work of the Task Force was about to be abandoned. So as a result, the Smithsonian stepped up to the plate and the Task Force is now cosponsored by FEMA and the Smithsonian Institution. Resources that focus on federal actions before, during and after disasters such as the guide to navigating FEMA and small business administration disaster aid to cultural institutions that tiny, tiny screen, picture screenshot on the left are now the responsibilities of the Task Force. A few slides back, I mentioned the emergency management cycle. FEMA has five preparedness mission areas, prevention, protection, response, recovery, and mitigation. And these correspond to the five facets of the emergency management cycle. And national planning frameworks address each of these mission areas. The Task Force works in all of these areas but has specific roles in two of the frameworks. So the Task Force is a support agency of ESF-11 NCH to the NRF. And so I'm going to run that through the emergency management translator to mean the National Response Framework has 15 emergency support functions from transportation to firefighting to public safety and security. Assigned to each emergency support function are agencies and organizations that support an effective response. The Heritage Emergency National Task Force supports emergency support function number 11, protection of natural and cultural resources and historic properties. The Department of the Interior, DOI, in conjunction with federal partners and non-governmental partners manages the planning and response capabilities of ESF-11. The Task Force has a former role in the recovery process as well. The Task Force is a supporting organization of the NDRF-NCR-RSF or the natural and cultural resources recovery support function of the National Disaster Recovery Framework. The DOI is the coordinating agency for this recovery support function. I have to point out that there are only six recovery support functions in total, so having one that focuses on natural and cultural resources is really quite significant. Today, the Task Force is a partnership of 42 federal agencies and national service organizations. Its mission is to protect cultural and historic resources from the damaging effects of natural disasters and other emergencies. Selection of Task Force agencies and organizations is based on their ability to assist us in gathering reports of damage to cultural institutions and their ability to reach out to members or stakeholders to assist in the dissemination of information, whether it be before, during, or after a disaster. Members include the Department of the Interior because its role as a primary agency in response and a coordinating agency in recovery and the Smithsonian Institution because it's a cosponsor. The American Institute for Conservation is also a member because the Task Force coordinates response activities with its foundations, national heritage responders of which you learned a little earlier. Members also include federal funding agencies as well as the two major organizations for emergency management professionals. The Task Force has four objectives that can be framed in terms of preparedness, advocacy, outreach, and coordination. The first objective is to help cultural institutions and historic sites prepare for emergencies. If you're not familiar with these resources, please contact Jessica after this webinar. As I mentioned earlier, these emergency resources and programs and many more now reside with FAIC. The first objective is also to help cultural institutions and historic sites obtain resources when disaster strikes. Resources during response can include referrals for instance to the national heritage responders 24-7 hotline to subject matter experts at the national archives for the salvage of the central records or as another example to the Association for Preservation Technology for a chapter member in the affected region who's a structural engineer with expertise in historic preservation. This objective also means ensuring cultural institutions are aware of the public assistance process through which they may be able to secure federal funds to help recover from a disaster. FEMA used to have a series of policies for private nonprofits referred to as the 9500 series. One addressed private nonprofit facility eligibility, another private nonprofit museum eligibility, and yet another addressed collections and individual objects. That particular policy series has now been replaced by this publication which was released just last month. I encourage everyone to read this guide before disaster strikes so you have at least an overall understanding of the public assistance process particularly where it applies to private nonprofits. It's a much tougher read if you're in the midst of dealing with an overwhelming number of issues and challenges that are generated by a disaster. Alliance for Response Network activities seek to empower and motivate cultural institutions to address their own disaster planning and hazard mitigation needs. But it's so very important that cultural institutions within a community, museums, libraries, historical societies, historic sites and properties, it's important that they be included in disaster planning and hazard mitigation planning at the local level. At the county and state level, it's important that repositories of cultural and historic resources be considered during planning and the same holds true at the federal level. And so I just want to show you some examples. As Gregor noted earlier, the cultural heritage emergency network in Massachusetts, come on, Vlad. There we go. Coast at Massachusetts worked with the emergency management agency of Massachusetts to develop an annex to the state emergency management plan for the protection of cultural and historical resources. Such a document formalized the role of the Commonwealth in protecting its valuable and vulnerable cultural and historical resources. The Utah Alliance for Response Network developed its own version of the annex, one based on a Rhode Island version as Gregor had mentioned earlier that was based on the Massachusetts version. The Alliance for Response Network in Savannah, Georgia called Savannah Heritage Emergency Response worked with its county emergency management agency to develop an appendix to the ESF-11 annex for the protection of natural, cultural and historic properties. When disaster strikes trained Savannah network members may staff the emergency operations center where they focus on assisting impacted cultural institutions. San Diego County is working on a recovery support function for natural and cultural resources and as Steve noted earlier, Alliance for Response Miami is a component of the Miami-Dade County Public-Private Partnership. The third task force objective is another take on cultural resources helping the public salvage treasured family heirlooms, photos and keepsakes keep sakes in the wake of a disaster. Following the historic flooding in South Carolina in October 2015, the task force created a fact sheet. The task force created a fact sheet that provided advice on salvaging treasured family possessions and the fact sheet now exists for salvaging treasured possessions following a fire which was compiled following the devastating wildfires in California last year. The fourth task force objective is to facilitate a more effective and coordinated response. Especially following catastrophic events, the task force serves as a nexus of communication between cultural stewards and emergency managers and serves as a clearinghouse of information. Recognize this hurricane? It's Hurricane Sandy which was the deadliest hurricane to hit the northeastern United States in 40 years and was the second costliest hurricane in the nation's history only after Katrina. In the wake of Hurricane Sandy, the task force prepared a list of resources to help the public and collecting institutions recover from flooding. As funding opportunities arose, useful links were added for affected cultural institutions and artists. A conference call was convened with participants from the task force membership state cultural agencies and emergency management agencies in the affected states and associations that were collecting damage reports. The primary purpose of the call was to ensure that damaged cultural institutions and historic properties were identified so resources could be directed appropriately. In New Jersey, we worked with a joint field office or JFO to compile a master database of affected institutions and historic properties. We drew from damage reported by institutions, reported by state agencies about their constituents, by personnel from FEMA and other federal agencies on the ground, media reports, emails, whatever we could find. Sarah Keratin and her colleagues have to be lauded for their timeless and tireless efforts on behalf of cultural and historic resources. That's when I first, I think, met Sarah. To a lesser extent, the task force did the same kind of activity in New York, but we relied heavily on the damage reports collected by the New York City Alliance for Response. Working with a FEMA collection specialist at the New Jersey JFO, we put together a half-day form to connect cultural stewards with recovery specialists from FEMA and the Small Business Administration to discuss the nuts and bolts of the recovery process for cultural institutions. And to get the word out, we partnered with a number of state agencies in New Jersey, including the ones that are now active in NJCAR and instrumental in its success. Keep in mind, however, that very few disasters rise to the level prompting a major disaster declaration, which is the trigger for federal engagement and assistance. That's why there's such an emphasis placed on cultural institutions having a disaster plan for collections as well as people with staff trained to carry it out. A major disaster declaration usually follows these steps. After an event, local government responds supplemented by neighboring communities and volunteer agencies. If overwhelmed, local government may turn to the county for assistance. If county and mutual aid capabilities are exceeded, the county turns to the state. The state responds with state resources, such as the National Guard or statewide mutual aid agreements, or with a mutual aid agreement between states. But if the state's capabilities are exceeded, a damage assessment is conducted by local, state, federal, and a few volunteer organizations to determine losses and recovery needs. And based on that damage assessment, a major disaster declaration may be requested by the state's governor, who also agrees to commit state funds and resources to the long-term recovery. FEMA evaluates the request and recommends action to the White House based on the disaster, the community that's been affected and the state's ability to recover. The president then approves or denies the request. This decision process could take a few hours or several weeks, depending on the nature of the disaster. So you can see how important relationship building is from the community level all the way up to the federal level. And this takes us back to the beginning, recognizing the benefits of emergency management public-private partnerships. Whether you consider yourself a cultural steward or an emergency manager, I encourage you to become involved in a network or even to reach across sectors to establish one. The tools exist and have been shared in this webinar. You just need to provide your expertise and commitment. If we all work together, we can create more resilient communities, ones that acknowledge the valuable role that cultural and historic resources play in the whole community before, during, and after a disaster. Thank you. Unmuted. Great. Thank you so much, Lori. That was incredibly informative. And I hope that all of the attendees on the program today feel like you've learned something about how these partnerships can function at all kinds of different levels. And as Lori said, are feeling inspired to, likewise, continue carrying the torch forward. I'm going to be sharing with the group now a link to a SurveyMonkey survey that should hopefully be showing up in your little chat boxes. If not, we'll be including this in a follow-up email to all attendees. So this is just a very quick survey which will help give us more information about the folks who are on the program today. And we hope that you'll take just a couple of moments to fill this out. Now we'd like to be able to address some questions from the audience if people have things that they would like to ask about. So please notice that you have a feature where you can raise your hand as an attendee. We can see who is raising their hands and what I'll plan to do is call on those who may have questions and we can unmute your microphone so that you might ask it of the group. So if anyone has something that they would like to ask the group about, let me just go through the attendees and see if anyone has questions. Okay, Jose, yes. All right, Jose, I'm unmuting you. Go ahead. Actually I was, I just had my, I had touched that by mistake. I don't have any questions. Ah, okay. I think you might not be the only person that that might have happened to. So thanks for letting us know. I am calling from the New World Symphony and we're new to this program so we're happy to have joined. Great, well we're happy to have had you here today. Thank you. Gregor is asking a question too. Okay, great. Great, go ahead, Gregor. It's actually less a question than a comment and a suggestion for New Jersey. We've been working with developing a GIS mapping capability for a number of years through MIMA and I think it's now been located on GIS Massachusetts but I'm not sure. But one of the things that we did was work through the respective public libraries because they were able to identify the information that we needed for cultural institutions within the community and the various layers have now been set so that they can be superimposed among other things on the federal flood maps so that you can identify not only what's in the community but also what the risks are in relation to the flood maps and I'm thinking that if they hasn't been done already we'll put them on the coastal ones as well. Great, thank you for sharing that. Were there any other folks that had questions or comments, things I wanted to share? Again, we do encourage people to make contact with any of the presenters today. Lori's contact information is available on the screen right now and of course we do also have the slides available in PDF form where you can find the emails for Steve and Kim and myself. I also just want to have a quick reminder to everyone that a recording of today's webinar will be available on AIC's YouTube channel. The URL is listed there. This will be available probably early next week so keep your eyes peeled for that to try and send a notification to the attendees as well. But if there's folks that you know who weren't able to attend today you can point them to that recording and if there's any lingering questions that come up we encourage you to go to the AFR website or any of the other resources that we've mentioned today to bring those up. Heart of this initiative is all about community building so we want to make sure that we move forward with that from here. I'm not seeing any other hands raised and we are pretty much hitting the 230 mark on the nose so with that again I did want to say thank you to everyone who attended today's program all of your One more question. Oh, one more question. Who is that coming from Steve? That's from Robin. Robin, I haven't muted your line. Great, go ahead Robin. Nope, okay. I think it looks like closing off their microphone. Okay, well Robin if you did end up having a question feel free to contact us and we'll be happy to address it then. So again, thank you to all of the attendees. Special thank you to Laurie Foley, Steve Detweiler and Kimberly Bergen for your all's time in putting this program together and I hope everyone has a lovely Thursday afternoon and or morning. Have a good one all.


We are now the official wiki maker for terraria. That's right We have official status from them and now the wiki the official terraria wiki is with freedom What does that mean to you though? Here it is guys this wiki it gets a hundred and fifty thousand views a day on average Millions of views a month. It's like the 15th largest game of like all time 98% thumbs up overwhelmingly positive on steam just an absolute monster 171 active editors and 4,750 pages wow that sounds like we're bragging, but we're not what we're trying to tell you is that if you look at some of the pages You as a video editor as a video maker will probably notice that I'm just on a random page here It's called sticky dirt bomb and when I scroll through it. It's got a whole bunch of stuff. How do you do it? Here's some tips. Here's your history. Here's a bunch of things that links to whatever Don't see any video in there. Do you though? No?  Why does that mean to you though? Well here it is if this website gets a hundred and fifty thousand views a day And it does well what happens if your video was inside all of these pages or in a bunch of the more popular Pages well, you're gonna get a ton more views.   I'm gonna go to a page called. Well, let's just even go there It's just called black spot and let me show you what the heck I am talking about because he eats great It's one thing to just start jibbering and then it's another thing to well show you an example So that's what I've done. This is the black spot page and Here it is. Here it is.  I'm just doing a demonstration But this person here they've got 55,000 views on this video and they seem like a pretty cool person the video is great Now they're a part of the wiki. So when anybody searches for black spot mount or black spot wiki or black spot terraria This page is probably gonna show up and when they click on this page They're gonna see the video that video is that person's video and they're going to make money on that They're gonna get the sub they're gonna get to view guys It is an amazing opportunity and it is very very easy Let me show you how to do it while I got you here, although I will be doing a more in-depth tutorial in the future Here it is. This is all I had to type in right there this equals equals video and then bracket bracket and then this code and Presto this piece here is just the last little bit of the video YouTube video. So if you go to share like I'm doing here You just take this little piece here command C or control V Control C or command V depending on if you're on a Mac or a PC you type that in here Presto you hit that you hit save and it goes up and all of a sudden You've got a video and if you're not sure if we did it right you can just hit preview and it will show you guys We're not just doing terraria wiki.  We go and while that one loads there goes Coromon wiki.gg You just sign up Curtis Pike. You're logged in and Presto you start making videos Whatever you guys just go nuts on this. This is just media wiki kind of like wikipedia But for a video game instead of you know educational topics But jokes aside guys Coromon's up and running dark deity is up and running Terraria is up and running and we've got a ton more coming And if you guys play a specific game and you want a wiki on that game or a viki and you want to put your content in it Leave a comment in the messages below or just leave a message in the comments. Maybe that's what I meant to say Let's talk about it. I'm big C. I can probably make that happen. Hit me up. Let's start doing this I'm gonna show you some specific examples in an upcoming video, but I just wanted to give you a heads up Thanks for watching. A ton more stuff coming up. Stay tuned. Be back soon


Mae'r Llywodraeth Proto-Celtic yn y Llywodraeth yn Brytyn i'r Llywodraeth 5,000 yng Nghymru. Hei, a fawr i'r Llywodraeth Llywodraeth Cymru. Rwy'n Stephen. Rydyn ni'n gwybod i'r Llywodraeth Proto-Celtic. Mae'r Llywodraeth Proto-Celtic yn y Llywodraeth Proto-Celtic yn y Llywodraeth Llywodraeth yn y Llywodraeth Llywodraeth Cymru, ac yn ystod ar ym 1300-750 BC. Mae'r Llywodraeth yn y Llywodraeth Hulstadion o Oestriach, yn y Llywodraeth Sult-Mings. Mae'r Llywodraeth yn y Llywodraeth yn y Llywodraeth Llatennol, a'r Llywodraeth yn y Llywodraeth 450-1 BC. Rhywbeth, mae'r Llywodraeth Proto-Celtic yn y Llywodraeth Proto-Celtic yn y Llywodraeth ac yn ystod rhai f commun am ddweud i bopingau cynciwnau Llywodraethiamol meditation stance yn Llywodraeth. Mae'sklarrhaeth Llywodraethonyn yn arred a soedd. O'r Llywodraeth yn yr Llywodraeth Proto-Celtic Play Llywodraeth i eisteddfiaeth Llywodraeth o stat is Barry Cynliffe, in his book The Ancient Kells. Cynliffe is the Emirates Professor of European Archaeology at the University of Oxford. I am currently reading this book and it is a fascinating read. It's almost like the Bible of Celtic studies. I will put a link in the video description below to this book. It's well worth picking up and if you use the link below to Amazon, you'll help support this work as I will get a cut of the proceeds. Cynliffe's argument is that the protoceltic language are originated in the Atlantic zone, a region of western Iberia, western France and Britain and Ireland, and it arose as a trading language or lingua franca. What is a lingua franca? Well that's a very good question. A lingua franca is often referred to as a trade language or a link language and is defined as a language used for communication between groups of people who speak different languages. In the modern context, English is often referred to as the lingua franca of the international business community, as Cynliffe writes, given the complexity of the ideas that had to be communicated, it is not unreasonable to suppose that people had developed a common language, a lingua franca that enabled the disparate groups to establish social bonds and engage in reciprocal exchanges, including the exchange of abstract ideas. If we are correct in accepting the hypothesis that the early farmers brought the Indo-European language to the Atlantic coast via both the Mediterranean and the Middle European river systems, then the Atlantic lingua franca is likely to have been developed from Indo-European routes as Cynliffe continues. There would be nothing unusual about the emergence of a lingua franca that fostered communication along the Atlantic seaways. Similar languages have developed in other parts of the world to facilitate maritime connectivity. Swahili came into being along the east coast of Africa after the intensification of trade caused by Arab contact. An early Atlantic lingua franca could have been the base from which Celtic developed. If this is so, then the Celtic language originated in the same maritime region in which it is known to have been widely spoken by the 1st millennium BC. Cynliffe then goes to include the beaker phenomenon. The connectivity established in the Atlantic zone in the period 5500 to 2800 BC played an important role in the next stage of development when there appears to have been an escalating mobility both of goods and of people. This phase, referred to as the beaker phenomenon, is characterised by the appearance of a distinctive type of pottery beaker usually associated with a recurring set of grave goods including knives and archery equipment. If the beginnings of Celtic is a lingua franca lay in the early period, then the eastward spread of bell beaker culture could be the vector by which the Celtic language spread across much of western Europe. What's interesting about this theory of Celts from the west, i.e. that the proto-Celtic language originated in the Atlantic zone, meaning western in Iberia, western in France and Britain and Ireland, is that if you think about geographically, the six surviving Celtic languages that are still spoken today, Irish, Scottish Gaelic, Manx, Cornish, Welsh and Breton and Brittany and western in France, they are still all spoken, these six languages in the Atlantic zone of today, the same Atlantic zone of 5000, 6000, 7000 years ago. Perhaps it's just coincidental, or perhaps the surviving Celtic languages of today are survivors of an ancient proto-Celtic language that originated in the same geographical region, i.e. the Atlantic zone, an interesting thought. Also, when we look at surviving Celtic place names, we see the same concentration in the same region. There may be various reasons for this fact, including the fact that the Roman Empire pushed many Celtic groups west during their conquest of territory controlled by the Celts, most famously Julius Caesar's conquest of Gaul, meaning France, Belgium and that general region. However, it may be the case that the Celtic language predominates in this geographical region of the Atlantic zone, because it was originally founded in that zone. As Cunliffe writes, and he's booked the ancient Celts on surviving Celtic place names, he writes that they are concentrated in Ireland, Britain, France and Iberia, with less dense occurrences extending eastward through the centre of Europe and around the Black Sea and cropping up again in Asia Minor. Another argument that can be made to support the idea of Celts from the west, i.e. that the proto-Celtic language originated in the Atlantic zone of the British Isles, Western France and Western Iberia, can be found in Julius Caesar's conquest of Gaul. I will put a link again in the video description below to Amazon if you want to check this book out. In this book, Julius Caesar documents parts of the customs and institutions of the Gauls. He talks about the Druids and he says that the Druids often went to Britain for their training, as he writes in a section on customs and institutions of the Gauls. The Druidic doctrine is believed to have been found existing in Britain and then imported into Gaul. Even today, those who want to make a profound study of it generally, go to Britain for the purpose, i.e. the Druids went to Britain to be trained in the Druidic doctrine. This suggests that the home of the Druidic doctrine may have been Britain. The Druids, of course, were essentially the priesthood of Celtic societies and the fact that their home during Caesar's time, according to Caesar, was essentially Britain. It may be the case that the Celtic priesthood home was in Britain because the Celts original home was Britain. This, in general, is a fascinating book and, like I say, I'll put a link in the video description below to Amazon and if you purchase it through that link you help support this channel. But yeah, this book, if you can get over the fact that it was written in the third person and Caesar constantly refers to Caesar throughout the book like thousands upon thousands of times, it's ridiculous because it was essentially written as Roman propaganda or propaganda written by Caesar for a Roman audience. But in general, it's a fascinating read. It's got its astonishing that we have a primary source written by Julius Caesar, predominantly focused on his campaigns in Gaul in that general region. But it does give some first-hand accounts from a Roman perspective, of course, which was propaganda, considering the Romans conquered most of the Celts. But he certainly does describe, from his perspective anyway, the institutions and the customs of the Gauls, i.e. the Celts in Europe at that time. So it's a fascinating read if you want to delve a wee bit more into the primary sources in relation to that time period, a time period I'm personally fascinated with. Of course, there are numerous other theories as to the origin of the Druids and the Celts in general. But I thought it was an interesting introduction into the subject matter, discussing these topics. Going forward, I want to explore it more in more detail. Please let me know your thoughts in the comments below as we've touched on various different subjects in the video today. I also want to get out more in the field going forward, so if you like the idea of me getting out to different places in Scotland, please let me know in the comments below. I'm hoping to do this in the coming months. If you enjoy my work and find value in it, please consider supporting me. You can support me through PayPal, buymeacoffee.com and Patreon. All the links will be in the video description below and that's the same for every video I produce. Please also tell your friends and family about this channel and share it on social media and whatever other channels you want to. This is ultimately your content, so as long as you give me credit at Celtic History Decoded, you can literally do whatever you want with my videos. I'm not going to copyright strike you. If you want to criticise them, use them in your own videos or share them in any way, please do so. Anyway, thanks for watching and I'll speak to you soon.


I am Lieutenant Jugre Natalie Bore on the damage control assistant on board the ship and I'd like to welcome you all to the USS Cool. Let's go take a look. All right, so this is our flight deck What makes us different for a flight one DDG vices the flight two is we don't have any hangar base as you can see We do work with mh-60s sh-60s. We can do vert wraps on here packs transfers We can in-flight Refuel a helo if need be they can also land on deck and we can refuel them here as well This flight deck played a very large role after the bombing This was kind of the heartbeat in the hub for the crew this is where they ate and they slept several days in the Gulf of Aden Well, they were still fighting to keep the ship afloat So from here, let's take you guys all to our central control station CCS That's a great crew and this is the USS Cole So it's well known on a waterfront more than probably a lot of the ship But the term and warrior lives up to his expectations. I'm just glad to be a part of it All right, so welcome to a central control station or as we call it CCS As I said, this is the heartbeat the hub of engineering department. We've got our UCCs our universal controlling stations that are able to Control and observe everything that goes on in the plant So our EDO today our engineering duty officer is a GSM one Henderson And he'll be able to explain in more depth of what goes on and what him and his sailors do on a daily basis GSM one Henderson engineering duty officer for the day on board USS Cole due to section five of five I'll be introducing you into the universal control consoles. This right here is the heartbeat of the hull of the ship We have four of these consoles throughout the ship two here one in each main engine room They're factors for the engineering department by being able to allow us to monitor and start stop equipment from CCS as far as auxiliaries electrical controls electrical distribution and Proposal plan they're going to be basically the eyes and the ears for the control console operators for CCS Whether import or underway oxygen right? This way I'll point you around to the DC plates, right? This is like a Google Maps giant poster of the ship each layer of the ship from 05 all the way down to The fifth deck below Whenever we have casualties And we're fighting trying to defend the ship in order to properly see what the watch stand to see because we don't have cameras throughout all Of the spaces we have to be able to navigate and plot through these systems to help assist the watch standards at all times When they're trying to defend the ship this right here is also going to aid us in our damage control efforts throughout the ship This is our damage control console where we start and stop fire pumps ventilation to help these smoke spaces whether we Have to open up drain valves to help be water in case of flooding events and so All of this stuff is controlled in port by one watch stand and that about wraps up everything for the engineering department central control station slash damage control station and Thank you for your time Another awesome piece of coal history that we maintain on board of engineering logs from October 2000 pretty humbling to keep This box here right in DC central and I come here. I'm plotting Directing our sailors where to go. I always have this box to remind myself of our co-heroes who kept this ship afloat And what our job and our mission is to do on board? So from now we'll take you guys to our Hall of Heroes All right, so welcome to the Hall of Heroes as you saw when we entered through the medical P way I removed my cover Tradition on board coal through the medical P way our Hall of Heroes and the chiefs mess P way We remove our covers to honor our 17 sailors This is kind of central location of the blast site It's also the entrance to the Hall of Heroes to get on to the mess decks We have our 17 sailors right here and on the deck. We have our 17 gold stars. We walk past every single day And again, this is another heartbeat central location for the ship and for us sailors So these 17 shipmates of ours they're never far from our minds at all It's a humbling experience to walk through this P way remove the covers always reminds us What we need to do and what our focus is on a daily basis. So from here, I'll take you on to the mess decks All right, so welcome to the mess decks. I want to show some of the significant flags We have displayed on the bulkhead here. This first flag. I was flying on 12 October the morning We were bombed very significant key since like as we had it flying for nine straight days The captain commander look for the time He didn't want to retire the colors until all of our shipmates were recovered the second flag from 9 December 2002 That's when the remains of our fallen shipmates were committed to the sea and that was the flag that was strapped over their casket This third flag here from 9 July 2006 And that was the first time we returned to the Gulf of Aden since we were bombed as somebody who was deployed on board coal And been through the Gulf of Aden on coal. It's a very significant Time whenever you go through that area of the world something that we never forget as as Coal sailors of the sacrifices that our 17 sailors and all of our coal heroes made to keep coal afloat When they were in the Gulf of Aden So also displayed on our mess decks We have a shadow box of Sergeant Darrell S. Cole in the medals he received While in action, but most notably we have got the Medal of Honor and the Purple Heart which he was posthumously awarded I for more information on Sergeant Cole. Here's a short video Sergeant Darrell Samuel Cole United States Marine Corps who was posthumously awarded the Congressional Medal of Honor the nation's highest award for Valor and bravery On February 19th 1945 during the battle with Japanese forces at Iwo Jima 24 year old Sergeant Cole led his machine gun section assured in the assault of the island When one of his squads became pinned down by enemy fire Cole armed only with a pistol and hand grenades crawled forward destroying two gun emplacements with the grenades After the destruction of the enemy positions Sergeant Cole was killed by an enemy hand grenade while returning to lead his squad again Sergeant Cole had also seen action at Quazaline, Saipan and Timmy All right, now I'd like to take you guys to the chief's mess cause Ellis Cove All right before we get to the chief's mess I want to show you guys that this is at the port side of our ship and this is where the blast occurred We had a 40 by 60 foot pole blasted into our ship and the mess ex right here is the central location of that blast The deck beneath us all the way through the overhead was completely destroyed and as we walked past the chief's mess down below We have the general workshop our main one engine room in the oil lab those three spaces were also Heavily destroyed and that's where we suffered our greatest damage and these were For the majority of our casualties were that day. So I'll take you on to the chief's mess As I said chief's mess we call it Costello's Cove named after ETC Costello Chief on board on 12 October 2000 he was eating lunch that day when the blast occurred and for more on chief Costello on our chief's mess like and juice you to command mass chief raise the less Good morning and welcome aboard USS Cole. We are right now inside the chief's mess Which have been dedicated to our shipmate Richard Costello rich joined the Navy back in 1988 and In a few years he was selected to the rank of chief petty officer Oddly enough that is the year where on October 12th The ship was bombed in Yemen and we lost our shipmate chief Costello In our humble grace to remember his memory we dedicate this mess We feel every day the spirit of those that lost their life on that faithful day and It brings the crew together to accomplish greatness and to be true To the fighting spirit of the Navy to uphold honor courage and commitment to its highest standards All right, so I'd like to take you guys down to the entrance of our main engine room our oil lab and our general workshops You can get an idea of the gravity of the blasts and the damage that we suffered So right here. This is entrance to main engine room number one This is where we had a few sailors that day as well as our oil lab This were our MPA at the time. I'll attend your grade triplet. He was working on the morning of the 12th And then over here. I've got our general workshop. You can see we have H2 Claude Souther's plaque probably displayed on our shop and my sailors our DCs and HCs take a lot of pride in What H2 did for the ship as well as again all of our 17 heroes and coal sailors All right, and now I'd like to take you guys up to our pilot house where we drive the ship I'm OS1 Kenny out of handy being on the USS Cole Known the history behind it. It means a lot to me It kind of brings history full circle because most of the time we think about History being a long time ago, but I'm I'm living in it I'm carrying on the tradition of what USS Cole stands for Welcome to the pilot house This is where we drive the ship and navigate the ship and first stop I want to show you is our chart cable. We used to use paper charts now We've made the transition to electronic chart display. So we have here is our voyage management system This is what we use to navigate the ship while we're underway As you can see in here in the pilot house got a great view looking out the windows We have these these brand new consoles right here and part of the shipyard period We got upgrades something called the integrated bridge navigation system and part of that system is these consoles where we can display a Lot of information and as we have the chart display We've got the the rudder and the propulsion control and so all this information really helps the situation awareness for the bridge watch standards Additionally, we have an embedded training system So we have these two large screen displays Up here right now and we're getting ready to do a training scenario for one of our junior officers So this is very similar to what we do in the simulator's chore now. We can do it on our ship As we move around I want to show you the helm console now while we're underway We'll have a sailor the helmsman here driving the ship So this is the helm controls the rudder and then we also have the propulsion control Controlling our speed and this is a touchscreen Throttle control right here. Lastly. I want to show you these plaques We have 17 of these plaques Posted throughout the ship each commemorating each one of the 17 sailors who lost their lives 20 years ago and these plaques and these sailors served inspiration to us today's terminal warriors It was their heroic efforts that motivate us every single day inspire us towards elite performance Well, that concludes our tour. You'll join me. We'll head down to the fantail. It's humbling and knowing that we're walking in the footsteps of Sailors who served on board here, and she was actually attacked I have a lot more respect for everything that happened. I have a better understanding now from the middle school time frame when this actually took place and Just honoring all 17 It just changes your mood knowing that you're here to do a job and make sure everybody goes home safe Well, that concludes our tour for today. We hope you enjoyed it. We'll always member six seven and we hope you do too