Aloha, welcome to Sustainable Hawai'i. We air every Tuesday from 12 to 12.30 at ThinkVecHawaii.com. As I discussed and demonstrated in last week's show, anticipated sea level rise to climate change is already occurring. Hawai'i already experienced a record number of high sea level days this year, some of which I showed last week in my slides of the monster waves and resulting north shore erosion this winter. As we all know from the epic Eddie Aikau surfing competition that was held in February, scientists generally predict the average sea level will rise up to one meter during the next 100 years. Hawai'i and other central Pacific islands are expected to experience significantly greater than average sea level rise. The Hawai'i Interagency Climate Adaptation Committee, ICAC Handbook, reminds us the consequences of sea level rise for Hawai'i are severe compared to many other coastal states, as the majority of our population and public infrastructure exist on low-lying coastal planes which are highly susceptible to coastal hazards. On this show on May 17th, we discussed city and county planning responses to climate change with George Jata, director of the Honolulu City and County Department of Planning and Permitting. I've invited George back again today to tell us about specific city and county initiatives designed to either mitigate against or adapt to climate change. Welcome back, George. Thank you for having me. Again, you've run over from a cabinet meeting. Yes, I have. We always appreciate the time you give us. You're extremely informative for the public. So tell us about some of those city and county projects that are either mitigating against or adapting to climate change. Well, I guess there's actually many kinds of projects and these initiatives overlap. But as you know, the Honolulu was recently selected as one of the 100 resilient cities from the Rockefeller Foundation. So we'll be getting several million dollars. And so we'll be actually getting a sustainability officer. And this is also a charter amendment to create an office of sustainability. So that's something that is happening. Is that going to be at the state or city and county level? This will be the city and county. So Honolulu was selected as a 100 resilient citizen. This is across the globe. So it's not just a U.S. initiative by the Rockefeller Center. That's terrific. And I know that the state is also looking at hiring a sustainability coordinator. Yeah. Well, they used to have one. And I guess the position was defunded and the person who was there left. And so my understanding is they're looking to refill that position. Terrific. And so those two positions will be working together? Hopefully they will be. And for us, I think at the city, the city's sustainability person is actually going to be working on a multi-departmental basis. So somebody said that that person should be in my department. But I actually deferred and said I think the person should be in the managing director's department because that function of sustainability is broad and crosses all departments. So that person would have more, a better communication coming out of the managing director's office rather than my department. So I think that's the direction the city's moving in. And they'll certainly be working very close with you in both planning and project implementation. They will be. And especially since they will also tie in with our transit oriented development program, which is also a sustainability measure. And so, yeah, definitely we have a lot of catalytic projects related to TOD, which the sustainability office will be helping to coordinate. There's even talk about maybe moving my TOD division into this either this agency or possibly a land assets management agency that is also part of the Charter Amendment. So the Charter had a number of provisions which we supported. And these are sustainability aspects to some of many of these proposals. And that amendment is going to be on the ballot this election, this fall? It will be on the ballot. It's very exciting. So it also means that the rail approach is going to have a very specific sustainability component. I think it has very different, many sustainability components. I know this is not an aspect that's often discussed because it's usually cost and where they really have an impact on travel seems to be the dominant issues. But in fact, rail is a game changer in the sense of how we grow as an urban community and cluster around the station. That's one aspect that helps us stay more sustainable because we keep more of our open space by clustering it. The other thing is that the rail shifts the fuel use for transportation from petroleum products to electricity. Now while the Cahey plant uses petroleum products, in fact, the electricity can be generated from many sources. And so there's been talk about possibly developing a PV field to help support the electrical needs of the rail. So because rail runs on electricity and not on petroleum, and there are many sources of a thing, whether it's wind or PV, that we have a chance of shifting the energy use for transportation away from cars onto a system that doesn't have to use petroleum products. Now that power plant could, I would assume would be developed by the utility or other options? It will probably be by utility or a contract of the way I guess the PV industry is growing is that HECO does not create the PV fields. Usually there are some other developers that come in like Sun Edison or a number of these alternative energy companies. They develop the project and they enter into a power purchase agreement with HECO and then feed into HECO's grid. So yeah, probably HECO won't do it, the city won't be the one actually developing. But if the demand is there, the private companies will come in with their proposals and so. Is this though within the parameters of the planning for the rail and the transit oriented development? Well it isn't specifically on the planning, but there has been discussions with HECO about the power needs of the rail and whether the HECO would have sufficient electricity. It's a question that has been raised from time to time. I think the answer right now is that HECO hasn't told us they don't have power, but there's been ideas floated around about developing a PV field out in Kunia to help power the grid and since I sit on the board of heart too, so we would be open to any suggestions that would make sure that the power needs of the rail are met and if it can be met by a renewable source or partly by a renewable source, we'd be more than happy to, you know. In the planning of the rail, have you also looked at developing some of this power at each station and maybe even storing power with, for example, electric vehicle plug-ins and things at each station? There's been talk. We have not put it into the specs per se, but there's been talk about either at the time of construction or retrofitting afterwards either the roof tops of the station and more importantly our rail operation center, which has large warehouses where the trains are serviced, where those things should have PV panels and I would say right now the ideas are being discussed, no decision has been made. I would imagine some of that discussion is limited by the limited budget and the difficulties there. Definitely those things, both the budget and the schedule affect whether we would go for it now or later because everybody's aware of the increasing costs and then as well as the delay in schedule and so we're trying to meet that and when you add more things to the equation it always gets more complicated and often in delay in time so there's a balance as we're discussing this. But in terms of long-term operation of the rail, it certainly would make sense to build that in now because it would bring down the costs of operating. Well I can't speak for the board as a whole because we haven't taken a position but I personally think so and it's a valid discussion to be having. Certainly the transit-oriented development would be both a mitigation against climate change because you're backing off on the use of fuel and you're limiting... Well by clustering development stations within a walkable radius people can walk or bike to places and it's not just to the station because when you cluster development we're talking about services, offices, doctors, jobs with clusters so people could walk to their jobs or to the services they need or to the entertainment within a walking distance so it would be just in that kind of compact urban setting with all of the different uses. There'd be less need for a car and the more exciting is I think people will want to walk in that kind of a neighborhood. Well we usually look at it as making it a better quality of life but it's really important to note that the more we leave the cars at home the more we benefit the environment. Right man, less CO2 in the atmosphere and hopefully slowing down global warming. Less fuel imported, less ships having to fuel up. And so real place apart in that whole future vision or scenario that we are looking at. One of the things I know that you've been doing immediately is the Complete Streets program. Tell us a little bit how you funded that and you've brought some great slides about some of the projects. Well the Complete Streets program is I think what I would call a shift towards mixed uses like I think I talked in the past about our Euclidean Zoning versus Foreign Basic Zoning. Can you explain that for our viewers? Okay Euclidean Zoning is when you do your zoning code is defined by the type of use. So it's like residential use, apartment use, commercial use. So you separate your lands by type of use and so you don't mix uses and so you have these discrete homogenous zones of use. Strip malls came from that approach. Well I think I don't know if you can blame the zoning on that. Strip malls came I think just from the suburbanization of America after World War II when the automobile came, came and then the Federal Highways Act came and all of a sudden the highways were being built and the strip malls took advantage of the highway. Okay. But often we have our stores all clustered along one corridor. It's along a highway corridor that's the thing that the focus is the highway became the main transportation mode. And so the commercial focused along the highway corridor so the strip malls follow that. So now when we're saying that an alternate means of transportation is a rail and the rail station becomes the point of contact with the transportation system and that's why TOD is around the station whereas on the highway you could have it anywhere along the edge of the highway. So it tended to spread out all along the highway. It's a big paradigm shift but it's not a new one in places like Europe, right? It's something that's been done before and done well. Well actually I mean it's been done, it was done in Honolulu because back in the, if you look at old pictures Honolulu in the, we used to have a streetcar system and then it faded away and then you know in the old days there's horse and buggies and things but early photos of Honolulu show not only the railcars but people crossing and people and cars mixing in the street. The streets were not seen as for cars, it was just to travel along and whether you had a carriage, an old car or horses or people, the street was shared by everybody. And so actually the complete street's concept really goes back to that old model that the street is for everybody and every mode of transportation, not just cars. So the exclusivity of focusing on the cars is really a post-World War II phenomenon and we're actually going back to an earlier model where the street and when we say complete streets we mean it's for everybody, pedestrians, bicyclists, cars too and buses. So it's to design a street for all modes of transportation. So it's multimodal as I was saying it's about zoning. And no longer by discreet zone, we're mixing it. So the street belongs to the car, the bus, the bike, the pedestrian. We're coming full circle with urban planning and transportation just like we are with a natural environment with understanding that less is more, hands-off, allowed natural cycles to take care of. And I think the thing is there's a recognition that things are not so simple or clear anymore and so many things have a multifunctional aspect to them and the same with the street. From a transportation standpoint we're looking at it as a multimodal facility, not just for cars. Now from a function standpoint we're also looking at it as multifunctional because you realize that the street is not just about transportation because the mayor likes to point out that our streets are the biggest open space we have in the city and owned by the city is our streets. Wow, very important point. And so what do you do with this open space and so in complete streets? Well when we come back we have to take a little break. We'll finish that discussion and we'll look at your slides of the projects you've done. We'll be right back with Sustainable Hoyi. For a very healthy summer watch Viva Hawaii. We're giving you the best tips and with our best health coach here. So Viva health coach. Viva la comida saludable. Hey Stan the energy man here. I know you're bored this summer. You're just sitting at home, figuring out what to do. Go to the beach. Spend some time with Think Tech Hawaii. Spend the time thinking about how you can contribute to Hawaii and making it a better place to live. And start watching some of the programs on Think Tech including Stan the energy man. Well you'll learn all about everything energy especially hydrogen and transportation. So we'll see you every Friday at 12 o'clock noon. Stan the energy man here on Think Tech Hawaii. Aloha. Aloha. Aloha. I'm Kaui Lucas. Host of Hawaii is my mainland every Friday here on Think Tech Hawaii. I also have a blog of the same name at kauilukas.com where you can see all of my past shows. Join me this Friday and every Friday at 3 p.m. Aloha. Hi you're back with Sustainable Hoyi and we're having a great conversation with George Ata, City Planning Director about complete streets. And you were about to tell us about a few projects you have planned and we have some slides. Yes we do. And the first one is the 10th Avenue. Well like most of these projects are at different stages of completion. So what you're seeing of course at the 10th Avenue is a simple striping of a bike lane onto the roadway system. And this is in Kaimuki. This is in Kaimuki. So we have various projects as I think some of you know the mayor has an ambitious roadway repaving resurfacing program and as we're going through our roadway repaving program where we have either the time or the room on the roadway we're kind of rethinking some of the striping, the simple solution just striping at bike lanes and you know bulb outs and things like that. And it's important to note that even roadway repaving is an important sustainability measure because it helps cars to save on their fuel if they're not having all kinds of obstacles and just like keeping air in our tires. Right in fact I mean it's not just fuel. Definitely fuel is part of it but you know repairs as well. So this slide that is up is about the King Street. Yeah this is the King Street after. So this is the first protected bike lane project. Let's look at the before. There we go. Okay. So yeah this idea of the King Street is it's a protected bike lane as opposed to simply a bike lane. And now the after. And so in Europe they have a lot of these and I've seen you know in Seattle, Portland they've got more. And this is working out pretty well isn't it? Do you get many people complaining about it? Well we had a lot of complaints in the beginning as people were trying to get used to you know how to maneuver you know making left turns and stuff like that. We're getting less so and then also the use has been increasing. We actually have statistics. I don't have them at the top of my head but I think even if you were to drive along in the beginning you rarely saw bikes in the lanes. Now I think you'll see many of them going in and it's a two way. You'll notice this is one way. Well we converted it to a two way cycle track so in the beginning we had it just as one way. And I noticed too that it's a behavior change. It is a behavior change. And even myself you know I have to watch because I mean you know I'm not used to watching for bikes but you know it's just something people have to learn and adjust to. Right. And then you have a couple on a canal project. Yeah. This is part of our TOD planning. This is Kaplama Canal and the street that's next to it. I think this is Coho Street. Yeah. So this is the before and we had actually a homeless encampment. I remember that. This was a cleanup after the homeless encampment. So that's a continuing problem. And so you know the idea was to activate the street. So the plan and this is in the we're in a contracting phase with a consultant. And let's see the after. This is the consultant's rendering. Yeah. This is a rendering about just an idea. This is not a design plan but the idea of another pedestrian bridge going over to the Honolulu Community College site and then on the right side will be the Kaplama Schools properties. That's a phenomenal transition. Beautiful. But the one question I have in terms of the natural environment is it looks like you've hardened the shoreline of the river canal there. Again, this is Kaplama Canal. Yeah. So it's that way. What stream comes down from there? I'm not sure what stream. Yeah. It goes up to Kamehameha Schools. Right. So the question I would have is on that you're filling in on the where otherwise you would have absorption when there's an overflow on the canal. That cause problems? Yeah. Again, as I said, that's not a design. That's just a concept, right? And the idea of the concept is to try to bring the water, make the water accessible to people. Oh, it's beautiful. Yeah. So that's the whole idea. And so the issue you're bringing up about how landscaping versus hardscape I think is something that hasn't been really, we haven't gone that much into design. So what you see is not quite what you're getting, but it's just ideas. Well, and we have to remember there are a lot of permeable surfaces now that can be used. Yeah. And if you look at the paving here, it sort of indicates that. Yeah. Yeah. That's beautiful. But there's been other ideas of possibly even moving the street completely from the buildings and rerouting the street. But it's the idea is to activate the stream and the edge of the stream. And we are actually going through a study of Kapalama Canal and dredging, an idea of dredging and things like that. So it's really a transformation of the area on both sides of the canal and to make it more place people want to hang out. Right now you notice a pretty desolate in that mostly homeless people hang out there because there's nothing to bring regular people to the area. Right. And hopefully all those homeless folks have a better place to stay now. Well, that's another issue. That's a whole other issue for another show. But I think it's also a sustainability issue in the sense that it's a social equity issue. And so we have to solve that because I think it's about sustaining our society and community. It's not just an environmental issue. There is a social issue to sustainability which I think the homelessness is about. Absolutely.  We can't be sustainable unless everyone can meet their needs. Yeah. So some of the city planning projects around that we're going to have to bring you back on for another show to discuss. Maybe on that one, the housing coordinator or the housing administrator. We'll definitely be addressing that. Yeah, right. And you have one more show on Waipahu Depot. Yeah. Now this is Waipahu Depot Road. I don't know how many people are aware of this one. But this is the road that leads down to the police training facility and the refuse convenience station. And this is the current condition. I don't know if we have a rendering of it. No, there should be one. Oh, there it is. Yeah. And this is just an interim thing. And actually this is just one segment of it. And it's not as it's just a it's like a phase one concept because there's there is plans to convert that whole stream channel. That's Kapka. He's stream and turn turn this whole thing into a really active community area. Well, that's certainly a social justice issue. When we make assets are natural assets like streams, rivers and the coastline more accessible for everyone. Right. And that's a problem in previous planning is that we also hardened those assets and made them inaccessible. Right. And definitely the city is moving in that direction. All of these kinds of things. Some of it is in the early phase. But the idea of working with nature. I think this whole idea about green capitalism and green infrastructure is related to using nature for the functions that are already provides. And then channelizing, you know, you let the stream do what it naturally does. So we're changing our codes and regulations there because just as the Army Corps of Engineers is changing its mindset from channelization to more natural. Our street, the complete streets is part of it. What I didn't mention is that when I think it earlier was that multifunctional. It's not just for transportation. It's channelized because you notice under the street is our storm drains and the sewer lines. So the storm drains really is part of the old way of looking at stormwater runoff is just channelize it and flush it down to the ocean. Right. Right. Now in some of our complete streets designs we're looking at rather than creating storm drains making bioswales adjacent to the stream to catch that runoff. Which would do two things. It would handle the stormwater runoff issue. It will also percolate into the ground. And then the complete streets also encourages street trees and what's called the frontage zone or the planter zone on the street. And so, you know, encourage putting plants along the street and that functions with the mitigating the heat island effect. Because when you have tree canopies they'll, you know, it cools down the area. It cools down. And in addition it captures that water. As you mentioned it allows it to soak into the ground. Right. So we'll also be protecting our reefs from right now. The phenomenal runoff yesterday driving down from Mililani to Wailua. It was unbelievable how far out the brown staining was more than I've ever seen. So we know that all that. This is all the remnants of Darby? Of Darby and we've also had some residual rains. And the coverage of, you know, basically suffocation of the reef as a result. So you'd be protecting the reefs with this. You mentioned two other things. One is building codes and the coding that the Army Corps of Engineers is doing. How are you changing the city's building codes and reviews that will be subsequent for any new developments to make sure that we're mitigating or adapting to climate change? I don't know if I mentioned this the last time, but the city has a new plumbing code that allows great water reuse. That's currently in draft phase and soon to go to council. And council actually submitted a draft bill to allow great water reuse. So that's one code thing, clearly more environmentally friendly. So that could happen this year? That could happen this year. That's terrific. And then as far as our site, what's called our Chapter 14, which is our public work standards, we have a new low impact development standards for surfaces on commercial areas. So we're requiring more stormwater retention on site. And that's already a lot of regulation. Right now it applies to certain commercial areas. I've asked my staff to begin to expand it into residential apartment zones so that more of our codes require a low impact development standard for the site developments. Right. And so you're going to be upgrading codes as you go along. Right. And that's going to make a huge difference with private development. Yes, because it will become, at some point, a mandate when you can't any longer flush the water or flush things down into a tube or into a channel. You have to deal with it then, right? And so the codes require some flexibility and how to do that. And are we going to see those codes being rolled out this year or next year? Because actually my staff has already drafted and sent to the Corporation Council both the plumbing code and the electrical code and both the housing code and the building code. Well, we look forward to seeing those and having you back to talk even more about projects. I know we've touched the surface. Thank you for coming. And this is Sustainable Hawaii. We'll see you next Tuesday at noon.


I'm both incredibly excited to be here today but also very appreciative. I see this workshop as sort of marking the culmination of almost five years of work on my part and also initiating a whole new phase. So I'm going from my little universe, my cocoon. I created this work out of intense frustration and I'm sure it's a frustration that many of you share. I teach French at Cornell. I'm in a Department of Romance Studies where the divide between language and literature is so entrenched and so set. It's institutionally supported and sustained and I will never in my lifetime see a coming together of those two fields. So one of my frustrations has to do with working in this kind of an environment and knowing that I want to do something else and so I've been incredibly fortunate to have had this connection then with Carl who actually does PhD at Cornell and so we met because you had come back in that context but then also the whole team at Coral. Natalie and I worked a lot together. You'll see some of the visuals were creating in fact these are visuals created for my textbook. So the frustration of the context of where I work, the frustration also of commercial textbooks and I would add to the notion of OER. We've talked about the sense of accessibility of education but I also want to talk about within my context and one of my reasons for creating these materials is that it's intensely frustrated with the quality of let's say or the perspective and the assumptions, the understandings of language that is so typical of foreign language textbooks and I've after reading the MLA report of 2007 which really spoke to me I've said wow this is what I've been doing for so many years I was an ESL teacher actually originally for many years and I taught in a number of different contexts and actually my undergraduate work at Barnard and Columbia was in Chinese studies so I've done a number of different things as a language learner, language teacher, I taught in China, I taught in France, been married to a Frenchman for 31 years. I had never planned to teach French this was not my agenda at all but circumstances actually 2011 forced the closing of the intensive English program where I was teaching at Cornell my colleagues lost their jobs and I was able to morph into becoming a teacher of French but I landed in this alternate universe of this romance studies department where all of the values were skewed from my perspective and I just thought wow how can I survive in this context so so these frustrations really came together and through the help of Carl and Coral allowed me to create this project so that is the the first sort of five years of the of this project the creating of the textbook and much of the creation of the textbook that time was searching for texts open texts on the internet because we didn't yet have the kind of mechanisms that Carl will be showing to you later about finding open texts so I was surfing surfing surfing and it was both enriching in many ways but a bit of a frustration so that I think is something that you will have perhaps less of that frustration of finding open texts so yes so we're going to be finishing each other's sentences a lot. Actually there's another part of the story that I think is interesting and and that is that she had adopted she was the coordinator of French at Cornell and she adopted Constantinite which is an open textbook that we produced here at UT Austin and she was the one who said you know I like parts of this but I don't like other parts of it which is universal all teachers say that about materials and part of it is because it was produced at a particular institution and so it's localized that institution to your job as a professional. That's exactly what she did. She kind of contacted us. She said can I produce my own literary materials. I said of course it's open that's the whole point. Go for it. And she ended up not just doing one or two activities. She created an entire, really impact. So that's she actually kind of incarnates what we're talking about here and that is open educators looking at something and then saying I need to adapt it to my local context and then pushing it forward. What we did with I think the important piece of the story from my perspective is that we joined with Joanna and started teaching her about the digital practices of open education. So we started telling her about open texts and we started to come and say I found this great text. I said nope, it's copyrighted. Nope, I'm sorry. And so finally we started hammering on the idea that we really wanted her to use open text because if you use an open text what she creates can then keep on being created by other people. And then we talked to her about creating common licenses and how to license all of these different materials which we talked about today. So that was our kind of joining forces with Joanna and we just let her run wild and we'll see later on today what she did with that. So we want to thank you and Joanna. Well and actually so this is what the textbook looks like online and it is truly open not just in terms of its licensing. It's in Google Docs which means that these words or these documents are downloadable in word and you can do whatever you wish to each chapter. You can modify these texts to the extent that you desire to fit your context as long as you maintain attribution. That is the one criteria that I insist upon and that open licensing insists upon. There are different types of licensing that you can have but I really wanted this to be the most open that that could be. So as far as I know this is the only textbook out there that allows that degree of freedom. So and I also want to say the notion of attribution is the scene of quote on. You cannot produce any of the materials today without talking about attribution. So we're talking about how to create an infrastructure for sharing that does not mean plagiarism that does not mean piracy. That means creating a legal system where people respect each other's intellectual property and that is hugely important which is why I want people to use these licenses so that you signal the rules of the game to other people who stumble across your materials. We'll talk more about that but that's really one of the issues that we're trying to get people to understand. It protects you but it also protects other end users. So it helps make it helps clarify the rules of the game. So yeah so I sort of brought you up to the present and now Chantelle I think the goal was for you to think about since she's the program director at University of Arizona where you're seeing. Where do I come in. Yes. During our last we all had to reapply for the language resource centers these 16 language resource centers and at that point everyone starts to get very creative because you think what projects do we want to do in this next grant cycle. And a persistent interest of mine has been creative and aesthetic and effective aspects of language and how those play a role or could play a role in the development of second or foreign language literacy. In addition to that we had not quite the same frustrations that Joanna was naming. We have a pretty good text book for one of the courses our intermediate level course that we teach at a university but it relies heavily on literary texts and something that we kept experiencing with students is that they would say well this is all well and good but what does literature have to do with language and we were wanting trying to get better at communicating to the students that it does in fact have a lot to do with language that the literary is part of language and literature of course is language as well. But one of our ways of trying to negotiate that and address that was to bring in a mixture of what we could call digital vernacular texts and so we've been developing a unit on gaming and also trying to expand that into things like Facebook and social media texts as well as memes you'll see a little bit of that today and I've been working with two of the instructors in our program Diane Richardson and Christine Lange who are here today who've done a lot on developing that aspect of the curriculum and trying to tie together the literariness of that language. We weren't quite talking about it that way but a lot of what we're doing is kind of focus on form and that materiality of the language through these digital vernacular texts and then Circle this is a position that I stepped into about a year ago. We're the center for educational resources for culture language and literacy so in addition to the shared mission of the language resource centers that Carl already mentioned to build this capacity for foreign language education in the US our particular focus is on those the ways in which language and culture are or should be integrated in language education and the development of literacy and we think of literacy in the kind of multi-literacy sense of involving multi-modality of involving also digital literacies of involving cultural literacy and looking for the ways in which those intersect and so when I started talking with Joanne and Carl about this project the literary in the everyday felt to me like a really good concept to think with to bring all of these different aspects together in some sense in a way that felt big enough but also coherent enough to really get at this these really creative aspects of language that happen in everyday texts and to use that as a way to foster awareness and language learners of the various ways in which language does a whole lot more than just communicate instrumental or propositional meanings that it does a whole lot of other stuff that we often don't get a chance to address in the beginning and intermediate level classrooms. This is adapting kind of a multi-literacy framework it also resonates with other areas such as digital humanities because we're talking about all kinds of new genres that are coming out new digital forms and importantly it it is a joint project between our two so it's a collaborative project between our two institutions our two national foreign language resource centers and we're making a commitment a four-year project commitment so this workshop is really kind of our launch today and as I said what we want to do is create a community of practice and bring it back to programs around the country so that you start to know how to do all these different things that Joanne and now we're hoping that all of you many of you will also become participants because one of the things about open educational resources is that they're not just open to use they are importantly that but they're also open in that people work together collaboratively to develop them to further them to create new manifestations of them so we're hoping that many of you will be not just hearing about the project but be part of the project as it goes forward and we'll be talking a little bit about those opportunities throughout the workshop. One of the things that teachers need to understand is that copyright is actually a bundle of rights so it's a plural concept and if you ever see the C in the circle is the trademark for copyright and you've all seen the C in that circle it's usually followed in English texts by three words all rights reserved which means that you know it's like this I'm taking all of my toys and you're not playing along with me but importantly it's a plural concept and we're going to break that down into its constituent parts attribution is only one part of copyright. Copyright is hundreds of years old so it preceded the internet by a long time and it doesn't make a lot of sense for the digital age it's a little wobbly and that's what we're trying to do now is update our notions of copyright to be able to instead of saying all rights reserved I'm going to reserve everything for me it's some rights reserved you all get to negotiate the relationship between your texts your authorship and how you want to give that away to other people okay including whether you want other people to make profit on your materials because some people are terrified by this concept of what I created I wrote an article I'm going to give it away and then you're going to cannibalize that this has to be a legal system creative commons is the brainchild behind this will be showing you the creative commons website creative commons licenses have now held up in courts of law all over the world because it's not remember that little video I showed you open education is not just something that's happening in the United States the video was actually made by an African team it's a South African team and again coming back to the notion of a social system that gets closed down we're really focusing on opening up education and so it's more important in countries in Africa for example where they don't have access many people don't have access to materials at all because it's out of the reach of teachers many of you work in institutional context where getting credit for things you produce is really important for various reasons either to demonstrate professional development to get promotion to get tenure things like that and so one of the things that we want to talk about at the end of the project and think about with you is also ways in which open educational resources and hopefully projects like this can help us also to make visible the kinds of work that people do in creating educational materials that often get a little bit obscured in some of those institutional contexts they don't count in the same way that for example research publications do so how do we integrate things like peer review system and credit giving into a project like this is one of the things that's on our minds so for the next say 20 minutes if in your groups if you can exchange present the text or text that you brought in why what you think is the or the dimensions of the litter in the every day for you what your notion at this point in time is of the litter in the every day and then afterwards we'll have maybe about 10 minutes so that we can kind of just get a sense of what different groups have discussed and what some of the key concepts are that are coming out of your work and I want to say also not everybody does their homework so if you are here and you didn't have to bring your text with you then you still we can still talk about yes the concept what does that mean what as she said what does it invoke for you the literary in every day and you might imagine then some possible texts that would exemplify that category make sure that you have a sufficient number of texts to talk about I think and then these concepts of rather than us telling you what the literary in the everyday is how do these texts represent that and then also looking for differences and what you brought in but also in the perceptions that you have around those texts an explanation of sorts of what the literary in the everyday means to you so the text that I chose had to do with immigration and we were talking about different aspects of immigration and I don't think that we've ever lived well as far as we know that we've ever lived in a time where immigration has been a topic which has been discussed more throughout every media through conversations at the dinner table through arguments with friends and that sort of thing and we felt as though immigration very much is a text about immigration is very much a representation of the literature in day to day life because we're seeing it played out in the news we're seeing it played out in a variety of different places but the thing that we found very interesting in a conversation is that immigration always seems to be covered or discussed in terms of the other from the third world coming to Europe or the United States and we realized in our discussion that immigration is not always that type of phenomenon and we want to consider looking for texts which talk about different types of immigration around the world to better represent literature in daily life I will say notice that you say literature in the everyday and the phrase is the literary in the everyday yes so exactly exactly so other yeah and then Adam sorry he showed us a first year French position and even there you could find something that has some aesthetic quality between the first approachable with another one and applicable we stick to another kind of authentic effective aesthetic approachable or I overheard something where one of you in the group said it's engaging when you get it which I thought was a really interesting observation is that was the Adam so I'm still with the A okay right that there's an effect with an E this time but there's an effect that that happens when you interact with the text which I think is interesting yeah so I'll ignore it you have to try to interact with it you have much more of a first image represent and then you put them together birth came that I that is an intersection of this note from the literary in the everyday language that's literally surrounding us that you see so billboard draws you into thinking about it and I think that's where I see a connection between those examples and then also the immigration text something that's an everyday discourse in the literary but it de-familiarizes that everyday discourse in a sense I teach a course and we finish with Simón de Boguá and it occurs to me in this the word every day is the most important word for me in this workshop adultery is everywhere on the news related to fidelity and lying and all these things and so asking students to identify the ways the metaphors that are used the words that are used to describe those phenomena in everyday life how because adultery of course is is ever present everywhere and then sensitize them to maybe metaphors that are used to advertise gone girl and then transfer of that sense of the literary in the everyday and advertisements and things in the reading advertising to the kinds of things that we encounter in a literary text so that's kind of a traditional way of thinking about it and then my partner here talks about that being possible using song as well music obviously all of the discourse the ways that language is used in song so we're sort of going up with the theme idea I don't know if we're off the off track there but adultery is just human very productive as it were not be reproductive in any case which is considered you know very high some of literature is not always accessible to students they don't necessarily like it because it requires a parallel of thinking you know sometimes you get into poetry through music and their songs because the words to songs can be very literary they can be not very at all they can be very quotidian pedestrian even but it's still art and it's it's still a literature as I was moving around in the groups and it's been echoed a little bit in what you've been saying people I've heard uncertainty expressed in various forms but I'm not sure if that's what the assignment was or if I'm not sure if that's what you're looking for or I'm not sure if that's how you're conceptualizing it and I wanted to say that the uncertainty I think is part of the project in some senses um in some ways the term everyone has a response I think I mean when I was going around nobody seemed stumped as in I have no idea what the litter in the everyday could possibly mean this is such a strange concept everyone had responses to it but they were quite different responses so both the diversity of ways in which we can interpret that as well as the the ways in which people react to it I think are why it's for me a useful tool to work with but in our conversations in the summer this is not meant to be the corrective definition but I want to show it because it picks up on what a lot of people have said we in our discussions among ourselves started to come up with well how do we understand this and we also were coming from different perspectives that overlapped in many ways and we came up with as a starting point three ways of thinking about the literary in the everyday which I've heard in various forms in what you've been saying and so one is the literary and everyday genres so the receipts I heard recipes over here in a group the advertisements we could talk about whether pop music fits in this category or in the next one and so this is where this literariness puns and metaphors and different kinds of language play using words in unusual ways with something I heard brought up features into every what we would consider everyday kinds of genres then there's also the ways in which there's literary production about the everyday which I think is part of what you were talking about right that every text that we would consider literary poems or short stories or novels will bring in everyday language the vernacular I think Claudia was talking about medieval texts that feature vernacular language in various ways so the ways in which everyday discourses or everyday language ways of speaking come into these what we would consider conveniently to be literary genres and then the third category which I think I mostly take responsibility for but was my attempt to try to get at something else that I see going on sometimes which has to do with the ways in which what we conveniently consider literary texts kind of cross over into everyday practices and spaces so we talked about linguistic landscapes here but one of the first examples I had in my head was if you're sitting in a bathroom that has graffiti and there's a quote from Shakespeare on the wall what does that then become in that moment exactly because it's in this really kind of gritty everyday context but it's a high literary example or things like literary tourism where people I was just in London and for those of you who know Harry Potter right they have the cart that's sticking out of the wall so all of a sudden it feels like you're in the Harry Potter novel what do those moments have to do with the literary in the everyday and there are probably other categories that we haven't even conceived of but I heard a lot of these echoed in the groups some of you had responded to the request of bringing in a text full it's just reading over those responses and I'm sure that that was incorporated in some of your discussions today was that to to sort of echo what what Chantel was just saying this concise phrase the literary in the everyday evokes so many associations and so many interpretations and that is actually the essence of what this project is about so what I wanted to do is to give you the teacher's guide that I created for my text but the literary in the everyday which gives you a much fuller sense of what my thinking was in constructing this concept of the literary in the everyday so I want to just go over some of the key terms with you now this is not to say that this is what it must be and how it needs to be interpreted it is a starting point and what is so exciting which is why I keep saying I see this as the culmination of five years of in a sense work on my part and now it's about opening it up to other people to interpret but there are I would say there is at least one dimension to thinking about the literary in the everyday and that has to do with the notion which was of course a big part of the MLA report of 2007 but the question then became well what does that mean has to do with an approach that comes from whether it's from cognitive linguistics or sociocultural theory or systemic functional linguistics it has to do with understanding language as a semiotic system of systems for meaning making now that's a mouthful and a lot of people feel alienated when you try to talk about that every grammar reference book and all of our textbooks in foreign languages really approach or have that assumption of language as a computational system of rules and exceptions to rules so being able to think about language from that very different perspective of it as prototypes a language evolves a set of prototypes which are then available and prototypes can be words they can be phrases sentences extended passages whole discourses genres it's all of those pieces that then become available to manipulation to create new forms of meaning and this is something that is the hallmark of difference between the lower levels of foreign language learning and education and upper levels people assume that you cannot engage in this way in the metaphorical in the literary in the poetic at the beginning levels even though the MLA report said they created this wonderful arc of a curricular arc of literature and culture from the beginning language to the end but how do you practice literature and culture really in in the ways that at least I felt to be most meaningful to beginning language learners so the literary again from my perspective refers to the plasticity of language the resonances the multiple layers of meaning right that either single words or complex structures or whole discourses can convey so it is the metaphorical the poetic it's the resonances of meaning that tie language to the mental imagery of the speaker and that's another dimension that rarely I mean words language in the abstract is not meaning bearing not only do you have to put it into context you also have to kind of get into the mental landscape of the writer or the speaker and we often just ignore that dimension because we don't really have a sense of how to approach it so the conceiver's construal the imagery right that is shaped by personal experience and all these different levels of layers contextual groupings that the cultural context that that the individual experiences so the literary then is also emblematic of language as culture so it's really I called my approach to this textbook transdisciplinary I'm really trying to plug into the commonality between language literary and cultural studies and say we can do this from the beginning if we think about language differently if we approach language differently so then the every day has to do with the basic sort of language and textual prototypes that are so typical of those first years of language teaching and it's every day for communication whether it is a literary text or a non-literary text right and this is something that again the the assumption has been for so long that you cannot engage students at the lower levels in this kind of work so this is at odds though of course with that curricular arc that the MLA report talked about and that's something that we're trying to address and hopefully you'll agree once you see examples a little bit later that this can be done and can be can be done right from the start so the concept here is also that when properly implemented this approach allows not only for playful manipulation of the linguistic system it actually can improve grammatical awareness if you don't expose students if you only expose students to a very narrow concept of what language is then their notion of the grammatical system cannot they're not exercising it in a way that's allowing them to see that plasticity and it's cognitively inefficient to have so many exceptions to rules it's just not the way that language functions right and how our brains sort of work with language so it also then promotes symbolic competence as well as communicative so that was the the sort of the framing concept again it's very open and for you then to see as you start working in this vein if you to see how the kinds of assumptions that you came in with the sort of understandings interpretations that you have how this might fit within this very open framework and maybe there might be things that you'll have to question about about and open yourself up to if you're willing to thinking about language in a different way and very importantly too we've been talking about open texts and this is something that yeah in your groups we heard I heard a lot of discussion we heard discussion of people saying yes but we're constrained we have to use a textbook you can choose you can create an open lesson for a copyrighted text so you can actually use the texts that are in your textbook and take a very different approach to them so you don't have to change your curriculum in that sense right the other thing is that you may choose to work with the textbook as it is but maybe create or substitute one open text instead of the textbook text so there's a lot of room for working in this vein from the very small incremental way to if eventually if we have enough people who participate and we can archive enough materials that you can actually then create a supplemental reader reading writing supplement to a textbook use the oral oral component from a textbook in supplement reading right so as already alluded to what we're going to do is transition a little bit away from more conceptual more notional discussions of the project which has kind of given you a flavor for where our thoughts are and where this is heading and to talk a little bit more concretely about what we've been making and what we hope to share with you and what we hope for you to participate in and so the first aspect of that is i'm going to show you a little bit of the website and that's going to if you have a laptop or device you can go ahead and pull it up the url is flight with two ls f l l i t e dot org so that's foreign languages and the literary in the everyday and it also makes for delightful puns so it's literary and everyday in itself as well what i'm going to talk to you about is the materials component of the site and these are really the key things that we have or are starting to have to share and that we're hoping many of you will also maybe develop down the road and then we're going to show you a couple of examples one from my project these are fairly new you'll be the first people to see them really other than a couple of my graduate students who have kindly given me feedback on them and then joanna is going to show you some of the examples from the textbook for french that she's created and i know that many of you teach french and german but many of you don't so our purpose is really going to be to show these as examples of what what these kinds of materials can look like so we'll walk you through them and walk you through the logic of it so if you're teaching other languages or work in other languages that are not as of yet represented in the site we still want to use this to invite you in to participate so the first thing is the materials page if you are following along and you're at that website if you click on the top nav bar on materials you'll end up where i am i hope so we we have in mind you'll see that some of these are populated and some of them are really works in progress four kinds of categories under materials that i want to talk to you about and that gives you a good idea of the different levels of the project as well the first is perhaps the most obvious and that's texts and we'll be talking carl in particular will be leading you through how to find open texts how to do a tribution for them how to do creative common licensing and what those might look like and so what we'll have here what we have already is the start of a repository of open texts various levels of open so some of them you have to not modify some of them you can modify we'll talk about that later but texts that can be used as resources so i wanted to make one comment here and i heard a couple of you discussing and you were saying oh you thought i meant text books it can be both when i say a text it could be just a short text a literary text or a text book we're really going to be focusing though on the notion of what is a text and some and like creating lessons around a passage or a short literary text so that's we work we didn't have in mind the notion of a text book per se but if you're super ambitious you're going to create lots of of lessons and maybe you can make your own textbook otherwise we're just taking some kind of small today creating a lesson around the chosen text but absolutely a text can be multimodal so i'd notice you were playing songs right away in music and so you can have them listened so we can add listening and speaking and so yes and even visualizing as we've been thinking about pedagogical practices and how to describe them the multimodal coming in as well so we'll we'll be talking about the metadata and i think when we get into that that will also show you some of the ways in which we're trying to categorize and make searchable and make transparent some of these aspects and that that'll kind of make clear that this multimodal aspect is also there listening and visualizing the second level that we have is lessons so these are open educational lessons often around an open text but not exclusively and that was something else we heard coming up in the discussions is that some people want to work with what we might call a closed text so a poem for example that's been authored or a particular text that shows up in your textbook that where the lesson doesn't quite work for what you want to do and you want to create a new lesson around that same text so these would be open lessons that other people can use other people can perhaps modify other people can share with attribution again that will come back to but they are often but not necessarily around an open text if that makes sense then the third level and this goes back a little bit to the textbook concept although it's not necessarily a textbook is what we're calling collections and what we wanted to start to do is identify for people and identify among ourselves sets of texts that either work particularly well as a unit as a module perhaps as an entire course or sets of texts that work particularly well with commonly used textbooks because i know especially for some of the so-called more commonly taught languages there are textbooks that many institutions use so what are some of the collections of texts that might work with that textbook so this will be the space in which we'll be identifying these groupings various kinds of groupings of lessons and of texts that a person might want to work with and the idea is to kind of create that as a professional development exercise as well so that part of the part of the editorial function of the site is not just having a dumping ground where we put maybe really excellent lessons but they're not articulated but rather to have that flexibility where you can use them as one-off lessons but you can also start to identify well what would it look if i threaded these together in some kind of way as part of a curriculum and then the fourth which is a little bit different the fourth kind of materials that we want to share are what we're calling case studies and so these will be small almost kind of action research informal fairly informal but action research narratives or descriptions or small studies of people who are working with texts and lessons and collections from the site and so that's something we hope to build hopefully with many of you and also ourselves into our own teaching so that people can have that professional development element of what does it actually look like to work with these materials and they can get fleshed out a little bit in the practice in addition to having those those different discrete items there so i want to make a comment about the case studies so i was saying at the beginning that what we hope to do around this website is create a community of practice so the whole notion of the community of practice is based on informal learning where people develop an identity based on a set of practices and the group teaches each other then how to do whatever it is they do and the original research and the original kind of concept of community of practice started in the early 90s with some anthropologists who were studying alcoholics anonymous among other groups because alcoholics anonymous they teach you how to maintain survival there are practices so there are all kinds of informal learning groups including how to then construct pedagogical materials and the case studies then can be a description of for example where i found my text which is a very important bring you look for things how did i manipulate it what was the reception my my user-generated materials in classroom so these kind of case studies i think are a crucial point in telling other people how to do this it can be case studies of how people adapt or transform existing lessons because one of the things that i think is really important is that taking into consideration all these contexts you might find a lesson that you're really intrigued by but for example it was developed for a second year collegiate course and you teach in a high school and you think to yourself this is exciting but i'd have to modify it and one of the things that you might want to then add is another version of that lesson because these are open resources but also maybe a case study about this is why i modified this existing lesson and these are the reasons this is the logic for that and in that sense that narrative also becomes an element of professional development as you help other people to think themselves into not just what's there but what can i do with these things make sure you tell us if you if you try to tackle a lesson what worked but what didn't work


The phase diagram of hydrogen has been studied extensively for decades, but until now it was unclear what would happen when hydrogen was compressed past 500 gPa. Using AB-initio molecular dynamics and path integral simulations, researchers have found that a new atomic phase exists beyond 2-tpa, giving rise to a re-entrance solid liquid transition before entering the Weiner crystalline phase of protons. This discovery extends the known phase diagram of dense hydrogen, putting metallic hydrogen into the same category as lithium and sodium. This article was authored by Hua Weigeng and Kewu.


I'm not here to be happy, but the floor's on the side. I'm not here to be happy, but the floor's on the side. Frank Lippert and Mr. Christopher Lee, President of Miss Dragon Distinguished Desk, I'm proud to present the International Athletes of Special Olympics. I'm from the District of Columbia, and accompanying him is the 1960 Olympic Catalan, and the first of the International Special Games Championship by Lorraine Claymore at Pennsylvania State International, which will be done exactly one month from today on the campus of the week from the United State University in Monterey, and by Dan Taylor, bringing to you an opportunity to talk with you a community-lesioned SuperState team for the delegation for the Grand Canyon tradition, which began over 2700 years ago with the first Olympics. I'm Frank Christopher Reem and isn't it great to have Christopher Superman as a coach. Great work. And Eunice, we're grateful for all you've done to give these special young people new opportunities. That courage has made the Special Olympics what they are today. Mrs. Eunice Kennedy Schrupp. Mr. Reagan. Mrs. Reagan. Special Olympian. Venture path of every person and every nation's life. People ask how Special Olympics has become the fastest-growing sports program in the world. In the summer of 19th in the center of our life in this country, the White House opens its doors to excellence. Through Nobel Prize winners, Bird has taken to its heart their shiny example of striving against the greatest odds in our country. The Special Olympians are here because of their spiritual strength, their excellence, and their achievements. And the light of their lives now illuminates the ancient value in their athletes together with one voice united under the banner of the Special Olympics. The systems are so different from ours. Hundreds of youngsters are now training hard for the 19-8. We as a nation will be judged by our caring for our elite, powerful citizens. In our giving to others, across the finish line, he's stopped and waited for the man behind him. So the Special Olympians, Takashi Ochimoto of Japan, and Luis Sando of Chile, have learned the skill, by the way, as part of the... No taxes. Thank you, sir. You can stand up, please. Down in Baton Rouge. Let's now bring them around. Baton Rouge, the international games. And, as you must recall, there's years from now. There's a special moment now in their lives, and you, too, Mr. President, and Luis Sando, from Greece, Angeles, Spiriton, from Japan, Takashi Ochimoto, and Kanako Kinmaru, from Kenya, Kamauki Ibru, and Stephen Yataku, from Kenya, now from the United States. Mary Green, she's from Virginia. Stephen Devilvis, from Maryland. Woodrow Harrison from Maryland. Matthew Sager, she's from Virginia. Robert Lever, I'm from Virginia. I'm standing over here for the Special Olympics, for the Special Olympics encompasses all these honors. As Eunice pointed out, the spirit of Special Olympics include men and women. Yet the Spartan energy they've displayed today are a tribute, and now, as they say in training camp, chow's on. Let's get the feed line in the can. I've literally written the night before President Kennedy was assassinated. Now, the Beach Boys aren't so I think we have a lot of very desirable elements here tonight. So, we're going to go ahead and do our thing. It might get a little loud, but... Surfing Safari Surfing Safari Let's go surfing now Everybody's learning how Come on in Safari with me Surfing Safari Let's go surfing now Everybody's learning how There's always something going to teach you where to speak for yourself but I just wanted on behalf of looking forward to seeing them on the 4th of July for years for a long time just look at Nancy that they'll do another number of


and rivers to throw it. Stepping up. SAC! Jeffrey Simmons, his first career SAC. Big man, how are you? I'm great. I'm feeling good, body feeling good. You know, I'm just glad to be back with the team.  How is Jeffrey Simmons different entering year number two than he was entering year number one outside of the obvious, which is the big bulky knee brace? Well, first of all, you know, it's a lot of new expectations, not just for me, but for this team, you know. If we pick it back off last year, you know, we didn't get to exactly where we wanted to get at.   I'm always interested to ask this question of a guy entering year two, as you finished up that rookie year, playing in the AFC Championship game, what did you know in January that you would not have had any way to know last August having finished a full season?   So it's the same thing. Like I said earlier, you have to always be alert because you never know when is your chance to step in. Let me follow that in a way because I think about the playoff game in Baltimore. Early in the game, you're putting the rush on Lamar Jackson. You get through, get your hands up, force him to throw over you. He makes a bad throw, Kevin Byard intercepts. That's the type of play you're talking about. Even though it's not a big stat for Jeffrey Simmons, you had a major impact on that play and thus on that game. Correct.  Just by me, you know, getting in the pocket, you know, Ray, Coach Ray, we always talk about affecting the quarterback. That's a way to affect the quarterback to get in the middle of the pocket, you know, especially to get my hands up so he could overthrow his guy. Our job is to help out the DBs. Our DB's job is, you know, help out us. You know, if we get into the quarterback and he rushing his throw, you know, of course, I know we have a great secondary and they're going to intercept the ball. They're just like, if we got great coverage on the back end, we're going to get to the quarterback. So it just, everybody playing the part and you, like I said, that game right there just shows that if we doing what we talked about doing the week, completing our goal and our goal was to affect the quarterback and that's what we did. So, you know, there was a great intercession on the back end. Because you were coming off a surgery, you had a chance to be at St. Thomas Sports Park during the off season, even during the pandemic situation when this place was just vacant. What was that like? It was different, especially, you know, not being able to be around the guys, you know, you know, this game of football, all about relationships, you know, you have to have a relationship not just with the players, but the coaches. And, you know, you really don't see nobody, but the training staff or the weight room, lifting staff, you know, co-fraining them.  And I was able to get a relationship with some of the players and with most of the players. So it just, obviously it was different, but like I said, I was okay with it.  I'm coming here to get better every day. So I was like, my head down, just trying to work. All right, so let's end it with this. I'm standing here five months from now, and I'm describing Jeffrey Simmons' 2020 season. How do you hope I'm describing it? What do you hope I'm saying? First off, you know, just, I helped my team win the Super Bowl. You know, secondly, you know, I just wanted everyone to see that the reason why I came to the Tigers and the reason why I came here, and I feel like John and them got me here, Kovrabe and them got me here, is because they want me here to disrupt the line of scrimmage. My goal is to do whatever I can to help this team win the Super Bowl, but at the same time, you know, for me personally, I want to show everybody in this league that I deserve in belonging this league by dominating every snap of the game.


This is my fourth talk this week, and so I'm happy to be up here and Hopefully we'll do a great job, and then I can go have some fun finally All right, let's get started so Jason and I are here to talk to you guys about securing the IAC supply chain I'm Jesse, and I'm a senior principal software engineer here at Odesk and I'm currently working at the juncture of our security and compliance teams and our developer enablement team and working right now on securing secure software Best practices into our infrastructure as code tooling Hi, and I'm Jason. I work at chain guard a chain guard. We help companies like Autodesk adopt supply chain best practices like signing and verifying using sigstore and thank you for that Jason I To understand a little bit more about why we're doing this work I just want to quickly give you guys a little bit context about Autodesk We are a software engineering company building software for engineers. You could say that we Make software for people who make things or a leader in design and make tools across a ride a wide variety of industries From entertainment to architecture and engineering to construction and manufacturing Our customers and their workloads are pretty diverse, but they do have one thing in common They depend on our software to do all of that building and making and likewise our product teams depend on our platforms To build and make that software. So with that in mind, let's let's level set first on on some definitions starting with the infrastructure as code Probably familiar to many of you, but what what is it? First of all, it's code. So it's codifying the intent of a developer good or bad And as code it's repeatable diffable and automatable And second, it's usually executed in highly privileged environments creating everything from networks to user accounts You can think of it like the crew of distortion enterprise where you snap your fingers like Picard and say make it so Common examples are cross-plane Pulumi and Terraform, but other cloud vendor specific tooling exists as well Next software supply chain, which is very similar to what you would think in supply chains generally It's all that upstream stuff that you use to build your product, right? In the software world It's usually code source or compiled that you may or may not have had anything to do with in creating There's a lot of code that runs in and around production that you didn't write OS packages language packages Kubernetes the OS running Kubernetes your hypervisors VMs developer tools Build tools your delivery system your IEC and its plugins, which is what we're going to talk about today And increasingly much of that software is open source, which means that you don't necessarily know who wrote it you don't necessarily know if you can trust them and How can you hold them accountable if they do bad stuff? All of this makes it juicy target for attackers So what is cloud OS or our cloud to form a platform or buildings this stuff into? Three years ago, we had a strategy at Autodesk to reboot how we do our continuous delivery And much of the early UX was informed by our previous homegrown CD and automation tool and to ease the users transition between these an abstraction layer was built and To match that that prior experience Central to that abstraction is something that we call our ADF or application definition file Which is essentially a declarative manifest of infra and app artifacts to be deployed Our ADF starts its life as YAML and then through our pipeline tooling built on go and jsonnet is turned into spinnaker pipelines and terraform Which in turn produced the cloud resources dependent upon by our products But but what of that terraform right? Where does it come from? Well frequently it's created by our internal teams But often they rely on open source providers like those produced by hashy corp and other folks But how do we really know who produced those providers? What if they were produced by a bad actor to be fair, it's not just terraform that has this problem You see that the cross clean logo there almost all IAC tooling comes with some pluggable way to extend its functionality And usually there are numerous community-contributed extensions I see is great and it comes with all the benefits previously mentioned But it does require a lot of permissions to do its job. It needs that power by design But it's very important that it's secure But whose job is it to make sure that that IAC and its dependencies are secure? Right well this company that we we won't name here is clear in its docs that they don't provide any controls to stop malicious actors Stop malicious providers or modules from exfiltrating your data They don't say it explicitly, but there's also nothing stopping those providers or modules from say sending your credentials to some third party Or what about installing a backdoor in your environment with a provider specially crafted to install? commanding control lambda or through a container or VM image We should note the terraform does do some checking that the providers are not tampered with between the runs of your IAC The lock file which can be checked into your scm stores the known hashes of the providers at the time of their first use Right However those hashes are not signatures. They are hashes providing only integrity guarantees In fact the documentation makes it clear that they're providing no authenticity guarantee We do not know the providence of that provider at the time of that first run There is a digital signature thumbprint that's output for providers that are pulled from a terraform origin registry However, they are trusted by default simply by virtue of being in the registry Terraform leaves it up to you to figure out whether or not you want to trust the signer right and it only does so after it has installed it So how easy is it to publish a provider and gain that implicit trust across the entire ecosystem? well Publishing a new provider or module just requires that you have a github repo Here you can see that someone has forked a the official AWS provider and started publishing From a github account that we've that's named hash l corp How many of you actually know where this is going right? It's pretty obvious You see what happened? I'll let you leave it for a second What production do we have from typo squatting right? You can see in the web GUI there is an official provider message But how often do you use the web GUI to source your providers? I don't know. I haven't really been looking at that web GUI very much Isn't it more likely that you copy and paste or we use some code or you know follow a blog post somewhere and You end up with you know that stanza that you see there on the right These are some users usage usage statistics from some other provider fork inside the registry That's un-maintained currently un-maintained AWS provider Who's installing this un-maintained fork 14 times this week? Were they just confused? Here we see a module offered by the Department of Defense or the supposed Department of Defense Right, and they're using the official AWS logo How easy it for a novice user to know whether or not Amazon actually has blessed this Digging deeper. We see the DOD has quite a few modules 75 as of now and counting How can we be sure that this actually is the United States Pentagon behind these? Again, most ISE tooling suffers from this problem You can see here that that cross-plane community modules have the same have a naming collision with the official upbound modules That may be by design right now as cross-plane packages are currently curated by the community But how long until that curation process can't scale and needs to be relaxed So how do we defend against this? Well, currently a lot of mitigations rely on human behavior. We have mandates on repo usage aka human enforced provenance There's also version pinning and typo checking, but we know how fallible these can be right There's static analysis tools like check off tariff scan and TFSEC But these are all based on block lists of known bad things And we all know that block lists are a losing arms race. Just ask your local antivirus vendor Finally, there are some tools out there doing dynamic analysis, which are either using using sandboxing in which case context matters whose AWS account are they using and They also might allow that code to run in your account and then quickly clean up afterwards if that does some naughty things But that might be your prod account, right like I see is used in get ups commit to prod right So what we need is allow lists a walled garden approach But unfortunately as you saw earlier the tooling needs a lot to be wanted it feels a little bit more like this Than this We want to create a closed ecosystem of approved IAC and thankfully cross-plane gets us pretty close By centralizing the execution of our IAC and layering on Kubernetes RBAC We can choose who has access to install manage providers. We can also choose what accounts and credentials those providers can access But we still have the problem of enforcing That those private providers were truly created by appropriate parties, right? How convenient that cross-plane shows OCI images as their package format? I'm gonna pass it over to Jason to explain why So cross-plane shows to use OCI packages or OCI Images as its package distribution mechanism, and this is really important Sigstore is a project of the LF that Aims to sign OCI images and many many other things I'm here to talk about Sigstore in one slide Sigstore is a number of components. The first is recor, which is a transparency log. It's public Verifiable. It's an append only log of things that have been signed Falsio is a Identity and certificate service it issues short-lived surrounding certificates exchange usually for OIDC's credentials You basically say to Falsio here is proof that I have offed as Jason at chain guard with Google Please give me a certificate to that effect that I can use to sign Subart effect these two services are run as a free public good infrastructure They were announced as being generally available yesterday There's on-call support to find SLAs and you can run these yourself if you want to Finally the last component of the Sigstore bundle is this cosine CLI Cosine signs OCI images and stores the signatures alongside those images in the OCI registry Not just OCI images, but cross-plane packages as well You can use cosine to attach and download other non-signature type things to container images And you can sign and verify other non-container things, but we're not going to talk about those we're going to focus on cross-plane packages So I'm going to walk through very quickly the the simplest and then a little more complex way to use Sigstore the first is if you already have Public and private key you can use those to sign a container image today you simply take that private key sign the image and Push it to the registry push the signature to the registry alongside the image and then to verify it You distribute that public key securely to those people who might want to get it and then also Update it and make sure that it's securely updated to everybody and that sort of falls apart but That's why we have come up with keyless signing which I think is really where where Sigstore really shines Instead of all that key distribution stuff We rely on falsio and recor and identity providers you already trust to securely sign container images Instead of having a long-lived public private key pair. We rely on these these identity providers So instead of having a key you first off to some identity provider like Google or github or Microsoft or others This is the normal flow where you like do it, you know pick your Identity provider and it just says okay. You must be Jason. Go ahead It it sends back to cosine and id token that cosine sends to falsio Remember falsio is this service that takes id tokens and returns short-lived certificates Co cosine uses that short-lived certificate to sign the container image and pushes the signature alongside the image into the registry and Then also writes to record this public transparency log Hey, this thing was signed using this certificate generated from falsio at this time and so Verification looks like Just pulling out the image from the OCI registry. You don't have to talk to Google or github or the identity provider You don't have to talk to falsio to verify You pull out the image in the signature There's enough in it information in the signature to verify that it came from falsio to verify who it was to verify Which identity provider was used to prove that that's who you were and that is enough to verify that that container image was signed by Your company's security team or your IAC team You can also look it up in recor to see When it was when it was signed and in this public transparency log This has been a vastly oversimplified Overview of what we're talking about all of that was in one slide remember so If you would like more information about how this actually works like at the wire protocol level There was a great talk yesterday from my colleagues Zach and Jed And a blog post accompanying it on our blog, but yeah highly highly recommend looking out for that talk So what does this mean for crossplane right? Crossplane packages like I said are already stored in OCI registries This makes them a perfect candidate for using cosine with them You can actually cosine and sign these packages today with no changes. All we need was to implement Verification of those inside crossplane itself. So before it starts to run this package It needs to verify that it came from a person with the right Credentials in the right identity provider, etc When you use keyful verification, you're only proving Was this package signed by someone holding the private key that corresponds to the public key that I'm holding If that private key gets out and it leaks out then there's not a lot of guarantee And if your public key if the private key was rotated and your public key hasn't rotated or vice versa Then you might be in trouble with keyless verification You can say was this package signed by Some person some identity according to a trusted identity provider like Google or GitHub And is that verifiably recorded in a public transparency log? So that's really powerful I'm gonna toss it back to Jesse to do a demo. Thank you. Thank you Yeah, so as Jason mentioned, there's like two operating modes that the cosine can do its validation with there's the keyless and then there's the keyful and You'll see here that we have an issue In the crossplane project number 3048 and a pull request 3360 And in those you'll see that we you know We have some dialogue about implementing the keyless strategy right now We're just going with the keyful version because it was an easier barrier to entry So at the top there you can see a starting crossplane with this experimental feature flag called validation pen and we're just adding the key material from the public key directly into it That's also going to change Don't don't take this as as as the the end design We're probably gonna have some other mechanism of loading keys from disk or from Coups secret or something like that, but for now Just to just as a validation of our proof of concept. This is this is the way that goes We're also adding the debug flag so we can we can tail the container logs a little bit later Then we see us actually signing a package that I had previously published to a private registry That's actually a cosign across our crossplane configuration package Both crossplane provider packages and configuration packages use their the package format So we're just going to stick to configuration package to keep this brief And you also see that we're using the private key pair To that public key to sign that package and that that last Jason showed earlier That signature is going to be stored right alongside that image inside the registry And then you see here with you actually using the crossplane kubectl plug-in to install that configuration into our our cluster And create the CRD that will ask the crossplane controller to reach out and grab this this package that we're passing in and here you see the tailed output from that crossplane controller that's running in debug mode and You know it sees that that configuration package install requests Which comes in as a CRD crossplane CRD and starts to attempt to reconcile it, right? I know that's a little bit garbled but again, this is all a proof of concept right now The pub key being used as output as a debug trace that'll go away, but we're just validating that it got the right key and Finally you see that the cosine is being used here to actually do the signature validation with that key and the message That the package actually passed validation And here you'll see us attempting to install an official crossplane helm provider package, right? That's being pulled directly from the up-bound marketplace registry and clearly it hasn't been signed by My pub key. I didn't do any typo squatting on here. That wasn't me earlier either And and it as such it fails validation. So to the slide where demo done. Thank you So so close some calls to action, right? This is why we're here First sign and validate your ISE if you can You can use cosine and six door which we love But if not, you know, maybe GPG or some other tooling that you have And depending on how your environment is set up. You can create your walled garden Second and this this helps with that last one centralized the execution of your ISE Create that that funnel that choke point that will allow for the governance over who can do what inside your cloud environments And third know your ISE sources get that visibility, right?  I mean, I know it's hard Especially for new products or greenfield development, but maybe once you have some stability in your solution You can start to ratchet down those permissions For future releases. Thank you So again, I don't see anyone assisting, but I'm like good plan a little bit of time for questions I don't know if we have a microphone or anything. You can just yell If not just come up and talk to us afterwards. That's that's yeah, we'll be around Great. Thank you everyone. Thanks


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