Hello, everyone, and welcome. Thank you for joining us for this session today. My name is Catherine Barrow, and I'm the lead user experience architect at Pixel Fusion based in Auckland. I'll be presenting today with Fiona Moorhead, who's the collections registrar for Auckland Art Gallery. What we'd like to talk to you about today is the work that we did to design and develop the Auckland Art Gallery's new website. I'll be focusing on the challenges that the project presented, the solution that we created, and its implications for the future of digital at the gallery. And then Fiona is going to take you through the project to digitize the gallery's archives and the value that this has brought to the gallery's online presence. When we were initially approached by the gallery, they had some very clear goals that they hoped to achieve through their new website. Their existing website was not an accurate reflection of the brand, nor did it really encompass the spirit and experience of the physical gallery itself. More than a digital catalog of information, the new website needed to be an extension of the gallery itself, mirroring its atmosphere and nuances. The ultimate challenge then was to create a website that was welcoming and inspiring, and it helped users grow and connect with Auckland Art Gallery's amazing collection. At the same time, we needed to lay a strong foundation for the future, allowing the gallery to grow and embrace new technologies with ease. So as part of our research and discovery phase, we reviewed the Auckland Art Gallery's personas, we reviewed their annual visitor reports, and we spoke to a wide variety of stakeholders to ensure that we knew exactly what experience we were trying to create. Based on the insights that we gathered from this process, we created a set of design principles to inform our thinking and shape the gallery experience. As you can see, we created five core principles. But for the purposes of this talk, I'd like to dig into the first three in a little bit more detail. Auckland Art Gallery prides itself on creating a welcoming experience for people from all walks of life, and with a range of artistic insight and engagement. They set out to uproot old perceptions of galleries as intimidating or elite by encouraging people to view the gallery, not as a temple of art, but as a home. A primary goal for the new website was to extend the sense of home and inclusiveness into the new site by creating an inviting and engaging experience. As part of our research and discovery, we reviewed the annual visitor reports that are created by Morris Hargreaves Macintyre every year for the gallery, which paint a very clear picture of visitors to the gallery. In particular, we were interested in the differing levels of engagement that users displayed. In order for the gallery site to help users build emotional and spiritual connections with art, it needed to represent art in a way that was accessible and relatable for novice users, while at the same time catering to the deeper, more specialized needs of the experts. The gallery's incredible physical space is designed to encourage people to explore and linger, and the new website needed to do the same. In order to achieve this, the new site needed to accomplish two things. Firstly, it needed to provide really clear prompts to help users begin their journey of exploration, and secondly, it needed to hold their attention and make sure that that journey continued. So in exploring ways to make this vision a reality, we considered a variety of approaches. Of course, as part of this project, we completely overhauled the search functionality, adding far more advanced search fields and filtering functionality. And while this was incredibly valuable, we felt that perhaps it wasn't going to encourage the kind of engagement that we were hoping to create. Faced with an empty search box, would a novice user really know where to start? We also considered displaying personalized collections based on users' browsing history or preferences. And while we feel that this might be potentially valuable in the future, we were concerned that as a core part of the functionality on the site, we might risk creating an artistic echo chamber, preventing users from challenging themselves and exploring new ideas. In his TED Talk titled Weaving Narratives in Museum Galleries, Thomas P. Campbell, the director of the Metropolitan Museum, puts forward a very compelling argument for the value and relevance of the curated museum experience. For him, the power of the curator is in connecting people with authenticity, authentic objects and authentic stories. In a world of ubiquitous information and, as he put it, just add water expertise, the role of the curator is to construct a narrative and to move beyond technical classifications and jargon. It is in the realms of human story and insight that art and history become truly relatable. His contention was that as the digital world becomes more and more impersonal, predictable and automated, our basic human love of stories will drive us into spaces like museums and galleries where we can experience the culmination of knowledge and storytelling that is the curated exhibition. Curators are at their core storytellers. They present content with intent, selecting artworks and crafting compelling narratives that add emotional depth and context, making artworks that may have previously seemed intimidating, accessible and relatable. So similarly to Mr. Campbell, our ultimate conclusion when it came to the website, the Auckland Art Gallery's new website, was that we needed to take inspiration from the role the curation plays in the physical gallery space. Rather than relying on automation to predict what users would want to see or leaving them unguided to find their own way, we decided to empower the gallery to tell stories, share knowledge and create experiences that would engage and educate their users. Stories help build empathy through insight. They help us build strong emotional and spiritual connections with people and worlds diverse from our own. By architecting the gallery's new website around the concept of storytelling, we laid the foundations for an experience that would make art accessible. So I've talked about the abstract of what we wanted to create in terms of the design principles and I've talked about the inspiration and theory behind our concept of storytelling. But what do these ideas look like in practice? Let's take a look at some of the ways that we began to lay the foundations and build the tools to enable rich and engaging storytelling. For the first phase of the new website, we focused on three main areas of functionality. Provide context. So to help Auckland Art Gallery provide context in their collection, the site had two new features. The first, which Fiona will cover in a lot of detail, was the initially unplanned edition of archive collections to the website. Archives are an incredible source of background information and provide a frame of reference through which to empathize and understand artworks. Having these archives easily accessible adds rich meaning and texture to each artwork's story and is certainly one of the great triumphs of the new website. In addition to the archives, we provided improved functionality for searching and displaying the Auckland Art Gallery's vast library of resources. Publications, blog posts, audio and video are all now at users' fingertips. Bug. At the very core of the new experience we created for the gallery was the concept of content sets. Sorry, he's obviously very interested in what we were doing. A content set is a collection of content from across the gallery and can include things like artists' artworks, archive collections. Although incredibly simple conceptually, content sets in practice provide an enormous amount of value. Firstly, using content sets to present smaller themed collections of artworks provides users with an easily digestible bite-sized introduction to the collection. Secondly, the content sets allow the gallery to curate and create narratives on their website in much the same way that they do in the gallery itself. And lastly, the simplicity of creating these content sets means that the process of contributing content to the online presence has been democratised. So people from across the gallery have participated in creating content for the website, resulting in them sharing a wide variety of perspectives and ensuring that the website remains fresh and engaging over time. Lastly, we focused on exploration. We really wanted to inspire users to strike out on their own and see where the collection would take them. When we integrated with Vernon, we were able to pull through a variety of tags that were used to organise the collection. We surfaced these tags on each artworks page, allowing users to easily browse the collection using artistic themes, subject matter and more. Our goal here was to encourage casual, meandering exploration. Browsing the collection in this way surfaced as incredible cross-sections of the collection, hidden gems and unexpected juxtapositions. So the New Auckland Art Gallery website went live in December last year. As the initial phase of the gallery's ongoing digital evolution, it has provided a powerful and flexible foundation for future growth. Over the past year, the gallery has settled into their digital home and has started using those new tools to create a really compelling online experience. At the same time, together with Pixel Fusion, they're constantly coming up with new and exciting features and functionality to be released in future phases. So looking forward for the gallery, there are really two main areas where I feel the most innovation and exploration is going to be happening. The first is in telling more stories. So as the Auckland Art Gallery's digital presence matures, it's likely that the opportunity to contribute content to the website will be extended beyond the Auckland Art Gallery team. For example, the gallery could work directly with artists to create their own online collections using their artworks, archive materials and stories to add insight to their work. Another idea is that of allowing users to directly contribute to the website by creating their own online collections. Engaging with users in this way will allow the gallery to present a far richer and more textured tapestry of human insight and experience. At the same time, these online collections generated by users provide really important insight into the kind of themes and artworks that resonate with users and may even inspire exhibitions in the future. In addition to telling more stories, as the digital world evolves, there are always newer and exciting ways to tell richer stories. The new gallery site with its open source platform and API means that the gallery is perfectly poised to take advantage of emerging technology. So 3D visual augment... Sorry. Very distracting. 3D virtual reality, augmented reality, all of these have the ability to add rich meaning and context to the stories that the gallery is telling. Imagine being able to explore an installation in 3D, perhaps using that nifty HoloLens that Dave was showing us yesterday. Imagine being able to explore an artist's studio in virtual reality, being able to browse users' collections, not only see the artworks that they've collected, but listen to or watch a video of them explaining the significance of those artworks from their own unique perspective. As technology becomes more immersive, sensory and ubiquitous, the gallery is going to have constant opportunities to enrich the stories that they're telling, and this new website has provided them with a very powerful foundation to do that. So to summarize, the foundational first phase of the new website was designed to lay the groundwork for future innovation and growth. As a last note, working with the gallery was incredibly rewarding. The team is very knowledgeable and passionate, and we learned so much from them over the past two years. They've really inspired a passion for the glam sector within the Pixel Fusion team. What's more, one of the most refreshing parts of working with the gallery was their willingness to go on the journey with us and really immerse themselves in the iterative and agile processes that we put in place. And so it really was, in the end, a collaborative project. And now I'm going to hand over to one of those collaborators, Fiona, who's going to take you through the work that we did to bring the archives into the online presence. Thank you. Hi, everyone. My name's Fiona Morehead, and I'm the collections registrar at Auckland Art Gallery. In my talk, I'll be providing a case study of bringing our archives collections into our main collection online site and some of the lessons that we learned from this project. To set the scene, Auckland Art Gallery is part of Regional Facilities Auckland, an Auckland Council, Council-controlled organisation. In 2015, our parent organisation, RFA, approved a redevelopment of the Auckland Art Gallery website. The goal of this project was to have a single website content management system across all RFA sites. We were told by RFA that it was unlikely that we would have any major new functionality as part of this first phase of our website redevelopment, but that we would have input into the parameters of the project so we could prioritise the development that was most important to us. There are a number of huge advantages for us getting a new site, including having a modern responsive site and also to have an API to allow better use of our website content for other digital projects. The Auckland Art Gallery team consisted of Sarah Laver, the gallery's head of marketing and communications, Nick Moore, our online coordinator, Bex Cato from RFA as project manager and me with advice from other gallery staff for different parts of the site. And so my role was to provide expertise with our collection database, Vernon CMS, and also to provide input into the collection online section of the website. And so as you've seen already, we worked with Pixel Fusion to design and build the site. And what I really found from this project was how important it is to work with a company who is excited about what you do and also who are willing to learn all the quirks and lingo required to build a museum website. And I mean, you sense that from what Kat spoke about just before, but Pixel Fusion were really great at understanding what was important to us and importantly for the collection online, they were willing to work through the integration with data from Vernon, our collection management system. So when I was considering the state of our collection online, I knew that we had lots of room for improvement, but luckily we had some really good data. So 98% of our collection was already available online and we do have images available for 85% of our collection. Always room for improvement, but pretty good. And as Kat mentioned, we used Agile for the planning and development of this website project. We found this really helpful to allow us to prioritize ideas and to keep on track with the project. So what I kind of did was I had the ability to think about small improvements and also big improvements. So some of the small things that I really wanted to see improved in the collection online were things like, with an artwork, can I see if it's on display or not on display? Can I see beautiful images of the artworks and having an interface that doesn't have a lot of in between or kind of ugliness around our beautiful artworks? And also I want to see more artwork images when available. So these have been implemented on our live site and totally untested, but let's see if I can make some of this work. No, anyway. So we also had some ideas for bigger improvements and so this includes things like allowing downloads of high resolution images for art of copyright images, creative commons copyright statements, the ability for the public to create sets of artworks on the site, as Kat mentioned, and also to use Vernon data instead of duplicating data entry on the website CMS. And so in the end, we were able to get some way down the track with some of these ideas but they're not implemented on our live site at the moment but we do have plans for development in the future. It was really fun working with Pixel Fusion. They were so excited about building a website for an art museum and they came up with lots of suggestions by looking around the world at other museums and what awesome things they were doing and so one example we talked about initially was that of adding search by colour functionality on our website and so this example is from the Cooper Hewitt Design Museum at the Smithsonian and we didn't quite get there with search by colour but I really do live in hope because I think it's a really great tool for allowing serendipitous connections to happen. So I also thought about a lot about whether there was something more we could squeeze into this project for our collection online and so immediately I thought that this would be a perfect time to bring our archives collection onto the website. Our archives collections are held within the gallery's EH McCormick Research Library and this collection is managed by our wonderful archivist Caroline McBride and in 2012 I worked with Caroline on a project to import the archives collection data into Vernon, our collection database. The end goal for this project was to make the archives collections more visible and usable by gallery staff and members of the public so presenting this information online was a key part of the project. So just to take a slight sideways step I'm going to tell you a little bit more about the archives collections just so you understand the significance of these materials and how they're used. The archives collections are really important for the gallery and include a hugely diverse range of materials so they may relate to the gallery and artist practice, particular artworks or other arts institutions around New Zealand. They're a valuable resource for gallery staff for use in exhibitions as contextual information and by members of the public who use this material for research. The archives collections include historic materials relating to our collection so here's two of the visitors books from Mr. Partridge's Lindauer Art Gallery which is the original home of our Lindauer portraits. You can see a version of the visitors book in English and in Māori. So here you can see some of the signatures and comments inside the visitors book. And incidentally if you visit the gallery's Māori portraits exhibition that's on at the moment you can sign a new visitors book which will also become part of the research library's collection. Archives collections also relate to Auckland Art Gallery's exhibition so here's an archive of items related to Kate Newby's installation on our sculpture terrace when the gallery reopened in 2011. So here are some coloured concrete and rope samples that were used to identify the preferred materials for the finished artwork. And this is the finished artwork on our sculpture terrace. The archives collection also represents ongoing relationships with living artists. So here's some items from photographer Greg Semu's archive which is a long-term loan to the gallery. And this shows the commitment that the gallery has to help artists to look after their archives. So this image shows items from the archive on display in our smallest gallery space which is a display case outside the research library doors. And so this is one of the ways in which archives materials are used within the gallery. As well as being used by researchers our archives collections are often used in exhibitions. So as an example we have an archive of Tony Fommerson's studio papers. These include letters, ephemera, sketches and source material gathered and created by the artist Tony Fommerson. Here are some items from the archive on display at Auckland Art Gallery in 2013 for an exhibition titled Tony Fommerson, Artist and Archivist, which investigated his process of collecting and organising source material which often formed the basis of artworks he created. So this shows you another way that we use archives within the gallery. And here you can see one of the absolute delights of this archive. So you can see on the left a photograph from a book which was actually the source material or the inspiration for the painting on the right which is held by Auckland Art Gallery. Archival collections are also proving to be very important for exhibitions of contemporary art where there may not be a finished artwork or if there is it may not have been kept or collected by a museum. So this was apparent in an exhibition at Tate Britain this year called Conceptual Art in Britain which relied heavily on archival materials. And sorry that was a borrowed internet image so the quality is not great. So previously in our old website there had been some information about archives on the website but it was in a separate section of the site and it wasn't easily accessible or findable. On our new website archives are presented in a separate tab under the search results so you can always find archives materials regardless of whether you are explicitly searching for them or not. So for instance if you're searching for artworks by Francis Hodgkins you can view the artwork tab which shows you 107 artworks by Francis Hodgkins but you can also see that there's eight results under archives. So if you take a look at that you can see that this includes photographs, letters and research material towards the catalogue raiser name. And so if the researcher or member of the public would like to find out more about these materials they can click through and view the records and then they could come into the research library or contact the library directly for further assistance. So as another example let's look at Harvey Binge's photo books. So when we're viewing this archive we can see details about the collection that it's an archive containing many photo books by the photographer Harvey Binge. So we can also see some of the items that are within this archive. So one of the differences between the archives and the artworks on our website is that archives have a hierarchical relationship. So we have archive collections which are the parent records and we have the archive items which are the child records. So when you're viewing these archives collections or archives items on the website you can always see that relationship so you can see the parent records and the child records at all times. So you never lose context of what you're looking at. So we're looking here at one of the photo books within Harvey Binge's archive and we can always see that it's part of the larger archive so on the right hand side there you can see that it's part of Harvey Binge photo books and we can also see all the other child records within this collection. So we're still assessing the effects of publishing these archives online. So according to Google Analytics the most popular archives within our collections are the Harvey Binge photo books, Fiona Connor archive and also the Test Strip archive. All three of these archives are about living artists and all three have also recently been displayed in the research library's display case. So I'm not entirely certain whether the popularity is due to these being living artists or the fact that there's been exhibitions about them recently. So we're going to continue to assess this and also our research librarians are going to continue to ask members of the public who come into the research library how they heard about the archives collections. Running short on time, let's talk faster. So we have lots of plans for what we want to do next including adding finding aids and audio to archives collections. We are going to be cataloging more things down to item level and also I really hope that we're able to add more high resolution images to enable better research happening by people at home. This takes me to a slight different angle. For me, one of the most interesting outcomes of this project was to realize the possibility that website projects have to change or remove institutional distinctions or hierarchies. So previous to the digitization of the archives collections, they were really invisible within the gallery. They were not searchable, they were not easily visible to staff or the public. Access was made manually in person through the research library. So digitizing these collections and making them available online has made them much more accessible and much more visible to the public in the same manner as artworks. And so this means that they're much more likely to be used in exhibitions at Auckland Art Gallery or elsewhere, accessed by gallery staff members or researchers which adds to art historical discourse. And it was also really interesting for me to consider that while within Auckland Art Gallery we have a distinction between artworks and archives. Artists don't have the same distinction. We have a lot of artworks in our collections that you could easily call archived. So here's an example of one of those artworks. It's an artwork by Daniel Malone called Black Market Next to My Name which consists of everything, everything he owned. Books, clothes, tonal, clipping collection. So it's an artwork, but it's also an archive. And next photo is terrible quality, sorry. We also recently acquired an artwork which is an archive by Rosanna Raymond. It's called the Island Archive which is an archive of the Pacific Sisters Collective between 1989 and 2014. So the work that we did to bring the archive's collections onto the main Auckland Art Gallery site has been a really interesting process. It has demonstrated to me how your digital presence can reflect how your institution operates, but it also has the ability to shape how your institution operates. It's also really important to think beyond what you might consider to be your main collection. So what else might benefit from being digitized and brought into your database or onto your website? We found that using Agile was vital to the success of our project, to prioritise development and ensure the project was delivered on time. And it would definitely be interesting to see Agile in use beyond website development in museums. Lastly, we found it vital to consider digital projects and ongoing investment of time and resources. This also has the benefit of delivering a constantly evolving website. So look forward to seeing more changes on our website soon. Thank you. Thank you.


I have about 25 minutes of material in 15 minutes, so I'm going to talk fast. This is not intended to be a review of all competing and emerging sequencing technologies, but just sort of give you a state of the art, if you will, talk a little bit about what we can do with this at present, so you can think a little bit about the whole genome versus exome discussion, and then try to give you some additional thoughts about how this might play forward. So of course, the ability to sequence a human genome has come a long, long way, just in the last eight years. The old technology was possible in 2004 to sequence your human genome, but you needed about $15 million in the bank account, and you would need to wait for a few years. Of course, the next-gen technology has just completely revolutionized not only what we can do, but the questions we can ask by sequencing. The Illumina technology is arguably the best that's out there right now for these tasks. The cost is actually probably dropping even more so than what I have. I think if you come to St. Louis with 100 nanograms of your DNA, within a week or two, you'll leave with a hard drive with all the data on there, all the variants called probably for somewhere around $3,500 inclusive. We've applied this now to a number of problems. One of the first big successes was in the study of the cancer genome. The slide just represents a genome that we sequenced, the first cancer genome, back in 2007, 2008, when the technology was known as Selexa. Even with the short 32 base pair reads and no paired-end sequencing, it worked. We were actually able to get into the tumor normal genome comparison of this cancer patient and find the only somatic mutations that are present in the tumor. It was just a small number of 10. We've gone on now to sequence thousands of cancer genomes at our center and the other centers that are funded by NHGRI as well as around the world. I think what we've really gotten good at, besides just data production for much less money in a much shorter time period, is actually the analysis of the human genome. Part of the way that we solve this problem is to reduce complexity as much as possible. A system that we devised a few years ago is to simply divide the genome into tiers. Tier one is what you might call the exome. This is about 1.3% of the human genome sequence and it's all of the coding region and other genes that are well annotated. There's another 8.5% which is the region of the genome that's conserved across all 28 mammals that have been sequenced to good depth. Another 41% of the genome is non-repetitive, leaving about 50% that is repetitive. So most of the analysis obviously focuses on the red and orange areas. As we sequence across multiple participants in a particular study, be it somatic or germline, quite often we will see what look to be interesting variants or mutations in these other tiers. There's no annotation in terms of the function of those. It's simply by the fact that we see them popping up in genome after genome gives us some notion that those might be interesting. There's a tremendous amount of software tools that have been developed for looking both at germline variants, somatic mutations. This just shows you a pipeline that's used at our center, a number of different software tools that are used to identify either single nucleotide variants, insertions and deletions. Additional software is used to find structural variation that sort of falls in the black hole between what you might find with sequencing and what you might find with say cytogenetics or SNP arrays. There are other modes of these pipelines that can be then applied to a large cohort study and we often use these same annotation rules that we developed for the cancer genomes and all of these tools are of course available from our website as well as from Sourceforge. This also can be fit into a much broader pipeline that takes whatever clinical information is available. So again, features from genome or exome sequences over here on the left merge into this major pipeline where we bring in functional annotation for many different databases and as we move through various filters and we start to consider candidate genes and pathways, we can bring in the appropriate drug gene interactions and end up with something called clinically actionable events and this is work largely of a fellow in our center by the name of Malachi Griffith. This is a very powerful approach to the study of various cohorts. You're looking at here the results from a whole genome sequencing of 200 AML patients that's been done in St. Louis and you're basically just seeing the most commonly mutated genes in these particular cancers. One of the things that we've been able to do by just bringing together excellent clinical phenotype data is we're starting to identify shown by asterisks here. The small number of genes that help us get some idea when this biopsy is first done and the patient is assessed by simply sequencing a few genes, which of the patients might have a more high risk aggressive disease and should be treated thus more aggressively and which may have a much longer event free survival. We're able to use the genome sequencing data to delve into some pretty amazing things that happen in some of these cancer genomes. This is just the results from a study that we did about two years ago. A patient came into the clinic. The cytogeneticist saw one thing and recommended a bone marrow transplant. The pathologist said no, I think if we simply put her on all trans-retinoic acid she'll be fine. The oncologist was part of our AML genomics group and said can we just sequence her genome and see what's going on here. And what we found is a small region from chromosome 17 replaced a five base pair region on chromosome 7 resulting in a fusion of the PML and RAR alpha genes, which is common in leukemia but typically by translocation that can be seen by the cytogeneticist. She was treated with ATRA. I went into remission and still doing well two years later. So being able to pick up this fine structure is key and these are things that if we had simply done exome sequencing for this particular case we wouldn't have uncovered the problem. One of the other key features of next generation sequencing is digital in nature. The old capillary sequences were essentially analog signals because you were sequencing a population of molecules. Every sequence read that we get on an aluminum machine derives from a single molecule. We amplify along the way but the truth is nonetheless that that it is digital. So we can count reads within a sequencing experiment and as shown here by counting reads and assigning allele frequencies to to the mutations that we find we can get some understanding of the heterogeneity that's present in a tumor sample. So what we've actually done here is sequence three genomes normal from this patient, the de novo tumor that was found at the initial biopsy and then over here on this axis we're showing results from the genome sequence of a relapse tumor that was taken about 12 months after the patient's initial diagnosis. So you see here these in gray are all of the somatic events that are present in both the de novo tumor as well as in the relapse and then we have additional events here shown in purple which are present in the de novo tumor but are lost in the relapse tumor. We also have some other clusters of mutations that are enriched for the relapse and then we have a group over here that are not seen in the primary tumor they're only present in the relapse and we hypothesized that there's a temporal nature so we might be able to suss out a bit even though we're working with only three snapshots instead of a movie the evolution of this relapse tumor. And we're able to build a model such as as shown here this is the patient's tumor at the initial biopsy here's a second biopsy that was taken when the patient was in remission after chemotherapy and then this is the result of a biopsy taken at the point of relapse. You can see the most dominant clone presence at diagnosis was completely eradicated by chemotherapy and the tumor that essentially then expanded with additional mutations and is responsible for the relapse was present at only 5% in that initial tumor sample. So these are the kinds of things that we can find with these besides just simply finding mutations or interesting variants in genes and so forth. What are additional opportunities in large cohorts? Basically three options for sequencing this is that's a bit of a simplification but I think it probably works for the reasons of conversation. So targeted sequencing where we make use of this technology that sort of emerged in the last few years hybrid capture we simply make probes to all of the regions of the genome or regions of genes that we want to sequence. We do hybridization and we use some method of extraction magnetic beads or so forth to pull those targeted regions away from the remainder of the genome. So this works well we can simply make a list of candidate genes that we'd like to sequence for a particular disease or phenotype or perhaps regions of interest these might be GWAS peaks and then simply capture and sequence these in a large collection of samples. We can expand this to include all genes and this of course is exome sequencing and there are a number now of commercially available reagents probes that approach the exome and there are many definitions of the exome in a way to try to ideally catch all CCDS exons and other selected RNA genes. And then lastly of course there's whole genome sequencing where we simply go after the whole thing. So whole genome or exome a couple of pros and cons are shown on this slide. Exome sequencing of course costs way less than whole genome about a sixth of the cost at present because there's still a lot of biochemistry that needs to happen before you ever get to the sequencing machines. The analysis is greatly simplified you're typically operating on only about six mega bases 60 mega bases of the genome thus you can sequence more samples so more study power perhaps with an exome versus whole genome approach and you're essentially getting at the low hanging fruit. You're looking at the annotated regions of the genome and hence it's going to be a little easier to sort of tie that to the biology. Whole genome sequencing has the advantages of also sampling all non-exonic variants this tier two and tier three that I mentioned a bit earlier and there's good evidence of course that these may play a role in various human diseases. Whole genome sequencing also resolves the fine structure around deleted genes and exons similar to what I showed you earlier for the one leukemia case that we sequenced. This is also a good way to understand what's happened if a particular gene or a region of the gene is deleted. With exome sequencing in this case you would simply get a negative report. The whole genome will cover exons that are not covered or poorly covered by the capture reagents. One of the things to keep in mind is that you're trying to do hybridization and fit it all into one universal condition where you have you know various GC contents and so forth aiming to be captured and there are a lot of good tricks that have been employed. So these reagents are good but there are still genes and exons that they do not pick up. And lastly the whole genome sequencing will allow you to resolve structural variation again similar to what I showed you cryptic translocations and so forth. You can pick up copy number variation some that are missed by SNP arrays and so forth. Well how well do the exome reagents work? They're pretty good and I've listed a number of them over here. We tend to use this one from Nimbolgen. There's one from Agilent here. Illumina now has their own exome reagent and you can see in parentheses the amount of the genome that each of these capture reagents target. You can see how Illumina did or sorry Nimbolgen did a nice job of evolving adding more content to their reagent here. We compare these all relative to something that we call WooSpace which is our in-house definition of the exome. This is about 47 megabases and includes all CDS exons RNA annotations from the various databases, 38,000 gene names, 120,000 transcript names, etc. All right and you can see that even for these best reagents we're still targeting only about 70, 75% of what we would really ideally like to capture with these reagents. And these continue to evolve. They will add content quite often will spike in additional probes for regions that we know are poorly covered and so forth. Another thing to keep in mind is that we can when we sequence exomes or when we sequence just selected regions of interest we're really underusing the Illumina capacity. The high-seq 2000 now generates about 300 plus gigabases of sequence data per flow cell and we run two flow cells every time we turn on the instrument. So a lot of people have devised these indexing or barcoding schemes that have allowed us to come up with really nice sort of pooling and multiplexing methods to make better use of the technology. So we simply would make libraries. The black region here indicates the target sequence. We have two library adapters one over here in red, one over here in purple. The purple one in this case has a small green tag of six bases. And we can take two different DNA samples and two different of these adapters with different six base pair tags. We can make libraries so we have DNA fragments such as this with all these unique regions in the middle. And then we can go through all of the steps before sequencing. The key thing here is that after we constructed libraries we can actually pool these samples and this is going to make all of the work as well as all the DNA sequencing much easier, much more economical. We then demultiplex using software tools aligned to reference sequence and execute variant detection. So after that demultiplexing is done, because of our little barcode tags we know which sequences came from which individual DNA samples and we can look at the various regions where we might have variants showing up and then again know which individuals these derive from. We can take this to an extreme where we simply start with a 96 well plate of these indexed DNA libraries, use our capture probes, do sequencing and then end up with the data. Going with 96 samples, 96 samples per lane and there are eight lanes on each of the two flow cells that we use. We get very nice coverage across genes, very uniform on target results and very high enrichment factors. We've now used these in St. Louis for quite a number of projects. This is all targeted sequencing sub-exome where you can see we've started out say in metabolic syndromes with a target region of about a quarter megabases up to this cleft lip project where we've targeted about six and a half megabases of the genome and we've done these in fairly large numbers of samples. This works well. This is just one really good result from the metabolic syndromes where we found a number of variants in our targeted sequencing that all correlated nicely with this gene here. So just in terms of giving you some thoughts about costs and how we might utilize these various approaches in a large scale sequencing project, let's just start with an arbitrary budget of $10 million and this is focused only on data production. Targeted sequencing, done the way that I explained it on previous slides for a targeted set of up to four megabases or a targeted set of between four and eight megabases. You could see that for a cost of about $200 per DNA sample. You're looking at being able to use that sort of funding to sequence 50,000 individual DNA samples. It falls off a little bit when the target region expands a bit. Exome sequencing using commercial reagents with about a 60 megabase target. This has actually fallen down below $1,000 per exome. It's closer to about $700 per exome now and this is using again indexing where we can sequence five individual DNAs in a single lane on the on the aluminum flow cell. And then whole genome sequencing. Typically we're right around 30x coverage although we tend to dial this in depending exactly on the questions asked and the nature of the DNA samples. But at a conservative $5,000 per genome cost, this extends out to 2,000 genomes. These costs include library production, capture and reagents, sequence reagents for sequence production, data processing and storage, which is actually one of the more expensive components of the process, and an initial pass through variant detection. My costs here don't include higher level analysis or validation. And I will stop there. Should we have about five minutes? Oh, I could have talked slower. Rick, how many samples can you multiplex at a time? So how many patients can you run at the same time? So the best results have so far have been, we've pushed it up to 96 per lane and it's simply a question of, you've heard about these multiplexing schemes for a long time with great claims of having four or 5,000 codes. Yeah, the problem is that it's just like the hybrid capture business. They don't all perform uniformly and you need that to get a good result. So 96 is the upward limit right now, I would say. Yeah, Rick, could you speculate on what you think the next two years will bring with respect to increasing the percentage of both the exome and the whole genome that we miss? As you suggested, 75 percent of the exome is really caught by what we have now with high enough quality. And then similarly, we miss what, 10 to 15 percent of a whole genome due to all sorts of things. And many are worried that a lot of interesting things are embedded in those particular places. And so the question of revisitation, and do you do it once, are a lot of these people going to potentially need to be sequenced the second time with the supplementary technology or something so that at some point we can really say we have thoroughly sequenced them as opposed to the sequencing of them? Yeah, it's a great question, Steve. Exome, incrementally better. Again, and I think there's an opportunity for sort of, you know, rogue boosting of performance. So like I said, we just started thinking really a lot about Alzheimer's disease sequencing. But one of the things that we discovered is that APP has exons that are basically not covered by some of the exon reagents. So we'll spike it and we'll make sure that we boost those up for those missing exons. We've done this for cancer, right? P53, first couple of exons poorly covered. So how much of that happens at the company versus how much of it happens sort of among the folks that are really driving the projects? I think that's an important question that's yet to be answered. I think for whole genome, the problem is, so there are two things. I mean, we have to get better at the reference. People at NHGRI hear this from me all the time. And we're working on that, but we need to work harder and we need to have more resources in the mix. That's my, you know, funding comment for the night. You have the talking to us about it. Yes, I know. But I think the tougher problem is, is resolving sequences that are very similar when we only have 100 base pair reads. All right, so we continue to bang on that. We expect that we'll get a little longer. But so for example, think about MHC genes, right? We don't resolve all of those because they're very similar. If we had a 400 base pair read, it would be a different ballgame. So do I see the aluminum technology going to 400 bases? Probably not, not in the next couple of years. Do I see it extending maybe 50 bases in the next couple of years? Good chance of that. So that was a good question about the coverage. But what about cost? Five years from now, will we be doing whole exome sequencing or will it just seem like there's no need to limit yourself? Well, there's a what what do I think and what do I hope you know what I hope, right? Because I think just, you know, having having seen the things that we've seen in these whole genomes that we've done for cancer, there's, we find all kinds of stuff that we're not going to get with exomes. And so we want to push for more. The how much costs will come down? I don't know. I mean, there's there's a little bit of an artificial ingredient right now that is because of the different commercial players. So for example, there's lots of reports of Illumina doing whole genome sequencing in house for as little as $2,000. Right? Why is that? It's because there's another company up the coast that's sequencing for cheaper and cheaper. So those $2,000 costs are true, but they're subsidized. And they're probably not going to continue. So what will happen with cost? I think costs will again, incrementally creep down over the next couple years, just like exome reagents, and our ability to better resolve what we see in exome or in whole genome sequence data will creep up incrementally. You know, it's nice to think about a new technology popping onto the scene. Oxford, Nanopore, you know, suddenly suddenly somebody had packed bio has a wonderful breakthrough and all the problems will there go away. But there's a lot of things that I think have to happen there. So I think I think I'm more optimistic about the incremental improvements over the next year and a half as I that I am about that was bang thing happening. Rick, let me ask you a question about somatic variation, which you've thought more about than most is, you know, but outside of cancer. I mean, the people in this room are coming together with large sample sets and we use the word coercts and often a cohort studies, we have a sampling structure, we follow these people over time. We typically think of it as sequencing and then adding clinical information over time. I wonder if we need to think beyond that of looking at genomic variation over time and thinking about the impact of genomic variation over time on health. But again, my question is going beyond cancer. Be comment on that. Well, I think the only place that I've seen that so far is in cancer, right? And it's been very powerful. It's, you know, the other place that we've done this besides the relapse tumors in leukemia or the metastatic tumors in solid tumors, in some cases where we've had multiple METs going to different organs. And you essentially end up building a phylogenetic tree for five or six different genomes from the same patient. So it works well. It's pretty firewall. And I don't see any reason why you couldn't extend that to simply, you know, temporal sequencing of individuals in a cohort. Yeah. Great. Thank you very much. So


So I started when I was 20, took me eight months, make a first sale, start selling two a month. The market explodes. I take that money, I start flipping properties by 23 and I'm a self-made millionaire.  This is real. Relationships are universal. People ask me all the time when I'm gonna start a team, don't think it's time to start a team. And the truth is, I did try to do a team at one point about seven years ago. And through that experience, through that process, that was the actual moment that I realized, I just love sales. You know, I think in real estate, there's salespeople and there's managers. And people that want to, like Danny said, lead. And I wanna lead in a different way. I wanna lead the industry. I don't wanna raise the bar of the entire industry, but when it comes to real estate, I'm just a salesperson. I just love sales. It's in my soul. So I have one assistant. I have another part-time assistant. She just writes letters, but I have one main assistant that really is the backbone of my operation. No buyer's agent, no other agents. I show all my own properties. I go to all my own listing appointments, all my closings, all the inspections, negotiate all the deals. Why? Because that's what I love to do. That's what I want to do. I choose to do that. And I feel very strongly in level of happiness. And if I can make a million dollars a year and still have time every day to answer every single one of your DMs without asking you for a dime, then I could be considered one of the happiest men on the planet. And what I've been thinking a lot about lately is this balance between happiness and production. We're all gonna have to come to this point at some time in our career about balance and production. Where do we draw the line? Cause I see a lot of people that are very productive and not very happy. And a lot of people that are very happy and not very productive. Where do you balance the scales? And for me, I say to myself, well, I could probably make two million a year in sales, but I would be less happy cause I wouldn't have any time to do the things I want to do which is like answering your DMs. Or I could be a maximum happiness, make a million dollars a year and still have time to answer all of your DMs. And I choose maximum happiness. It's what drives me. All of your DMs, comments, replies, messages, emails, that's what keeps me going. When I got to a certain point in my career, when I hit the hundred deals a year and started making the million dollars a year and stuff, which was a goal for so long, when I finally got there, it wasn't as great as I, the feeling wasn't as amazing as I thought it was gonna be. It wasn't, you know, euphoric. It was euphoric for a moment and it's euphoric to continue to do it, to a certain level, but I had to find something else. And that's when I stumbled across you guys. I found a new passion that I wanted to give back to the industry. Rather than build my real estate business to the next level, I wanted to build the industry to the next level. And so you guys motivated me to write a book after I sold a hundred properties a year for three years, not after two years in the business selling 19 properties in Alamoguru, three years of a hundred properties a year, then I decided, okay, I think I have something I wanna share. And so I write the book. You guys motivate me to get up at 4.30 every morning. You guys, you motivated me to become the first completely free real estate coach with over 20,000 members. And I'm just sharing what I do in my business, which people may disagree with what I do or think it doesn't work or you may love it or you may like this part of it or that part of it. But the thing is, is it's free and I'm just sharing what I do with you. And then you can do whatever you want with it. I get messages constantly from agents. I'm getting all these listings. I have all this business going on. You've poured your heart and soul into this. You haven't asked me for a dime. What can we do for you? And my answer every single time is just take something that I'm sharing, implement it into your business and go succeed. But how many people here want to be a million dollar a year real estate agent?  You wouldn't be here right now if you weren't everything that someone would want in an agent. The people that bought tickets that didn't show up, I don't know about them, but you guys are. And what you have to ask yourself is every day when you look in the mirror, am I gonna do what it takes? Do I have what it takes? Am I gonna put forth the effort that it takes to get there? Cause it's there. The only thing in between you and there is effort and time. I'll tell you another thing, and this is dead honest, I believe this to my core, I promise you this, if a roofer that grew up in a trailer in Alabama can do it, I promise on everything in the world that every single person in this room can do what you want to do. There's not a doubt in my mind for a second. And that's what's so great about this industry too, that I love. There's so many great agents at the top for you to look at and say, if they can do it, I can do it. There's nothing special about them whatsoever. I know if I can do it, I know you can do it, I know you can do it. All you have to do is be willing to do what I did to get here. I started in real estate in 2002. I was 20 years old. There was no Zillow, Facebook, Red X, Mojo, none of this crazy stuff. New agents completely have it made right now. You don't even know what I went through to find phone numbers and die with my finger and no social media, it was nuts. But it took me eight long months to make my first sale. I trade market share of an agent on the future earnings of an agent. And to me, the future earnings of an agent is dependent upon the percentage of property owners in the area that you have a lifelong, real relationship with, voice to voice. They know who you are. You're building brand.  They feel like you're everywhere. The part of those three that most people don't want to do or missing is the talking to them part. And it's so crucial. The voice to voice is the reason why technology will not replace real estate agents. The voice to voice and the process of the transactions are the reason why. Everyone has to be consulted through the market. It's changing every day. I can't even come to Dallas as a highest producer I am in Alabama.  I would have to consult with a local agent, even me. So I started when I was 20, took me eight months, make a first sale, start selling two a month. The market explodes. I take that money, I start flipping properties. By 23 I'm a self-made millionaire. So it took me from 2008 to 2014 to get to 100 deals a year. That year I was the number one remix agent in Alabama. Now think about this. I get in in 2002, I make a meal, I lose it all. I go, I work on oil rigs, roofing houses, come back in real estate, okay, learn all the lessons from that and feel like I know what I need to know. Okay, not a new agent anymore. I'm starting over, but I'm not a new agent. I have all this knowledge. I'm willing to put the work in and it still takes me six years to get to 100 deals, okay? That should tell you right there that this business just does not happen overnight. You have to focus on the actions, not the results. If you're taking the daily actions that you know are gonna get you where you wanna go tomorrow, right? Don't worry about tomorrow. Let your actions speak, let the results just happen.  You don't know what your full potential is until you've put forth the full amount of effort that you can possibly put in over time.


Level level up Level up level up.    Oh Yeah, I know but like If I was though the views though Everyone loves everyone loves cringy Minecraft parodies. So like the views everybody does just imagine the views Exactly, my dude. Everything's like, you know slightly out of tune. Yep Perfect for me because I can't sing Exactly, I'm just gonna find my way Just I do know the way do you know the way?  Don't worry Stretch reach for the sky This guy's the limit kids I am the archivist the construction date the research of astral Not 13 year-old fin in us I am here to aid research in the Celestian shores. I just turned up commentary completely So I don't know how it sounds It's very um robotic key and very feminine Okay, okay kind of like what I did it's slightly deeper, but like I can't do a deep high voice It doesn't sound right. I prefer that. I am the archivist. I am here to aid research That's my favorite. That's my favorite voice to use that like really high annoying voice. I don't know why It's gonna find using a voice. I kind of I kind of like using that one. It doesn't strain my vocal chords too much When the man quest is exactly the same as a side quest, you know, something's wrong Good job, Kings Island. Yeah Good job Great work team Kings are 47 We're nearly halfway through this area. There's a dungeon at the end though like a big done. Oh, that's not okay But it's fine. We'll be fine. Do we gather the troops? No, it's fine Hey, okay. We'll be going. Do we really have to do it ourselves? Yeah, it's fun.  That's his name blaze firefly The most op life fire was it ever?  Oh roar at the of the roses. Yeah the queen of the rose. Yeah, the true queen of the rose Queen of the rose Queen of the rose the rose queen also known in british history as one of the queen elizabeth the first Didn't know that one congrats Congratulations. They're fun. Did you talk to me? Fun smart confirmed. What? You fun facts with fin We don't have that Sorry There you go Did you Did you did did you win Did one win Did it did dust that one? Did who missed one winnest Exactly Did I win That meme was like the brain where it just keeps expanding. Yeah Diddest, thalist, winnest Did who missed did thalist of theest winnest Fist You just got to add the fist in there. I don't know why Oh Rep you're gonna have do you have a life blade or something? I do I've already cast my life blade. Do you have another thing that's life spelled that is like low pips No


In 1989, the late Charles Janeway gave a presentation that was to revolutionize our understanding of the immune system. He proposed that we must have some ancient innate first line of defense. We knew about vaccination for centuries, how our bodies can learn from past infections, but he figured that's not good enough. Our body must have evolved some way to recognize foreign invaders the first time they invade. He proposed that the way our immune cells discriminate between self and non-self, our own cells versus invading microbes, may arise from pattern recognition receptors. We're just born with the ability to recognize patterns of microbial structure. For example, there's a unique component of fungal cell walls that naturally stimulates our immune system called beta-glucan. Our own cells don't produce it, but fungal pathogens like candida do. It is a type of yeast that can cause serious blood infections, so it's a good idea our immune system recognizes it right off the bat. So yeah, you could stimulate your immune system injecting candida into your veins, but then you might also die. Luckily for us, non-disease-causing yeasts like Saccharomyces cerevisiae, which is what baker's yeast is, and brewer's yeast and nutritional yeast, also have that same molecular signature, that beta-glucan. So the drug industry is all excited about capitalizing on this powerful immunostimulatory response to develop new anti-infection anti-cancer therapies, but yeah, but does it have to be injected into the vein? What happens if you just eat some nutritional yeast? Our digestive tract is our largest point of contact with the outside world, more surface area exposed than our lungs and skin put together. And so not surprisingly, most of our immune cells are concentrated along our intestinal wall, but they don't just stay there. Once they're tipped off to what's happening in the gut, they can go off to defend other parts of the body. That's why you can give an oral cholera vaccine, for example, and end up with cholera-fighting immune cells in your salivary glands, pumping out antibodies into your saliva to protect against infection. So what if we sprinkled some nutritional yeast on our kid's popcorn for a snack? Might that help marshal defenses throughout their bodies? Adults tend to just get a few colds a year, but the average school child can come down with a cold every other month. And what can we really do about it? Modern medicine has little to offer for run-of-the-mill common colds. Nevertheless, doctors still commonly prescribe antibiotics, which can do more harm than good. Clearly, there's a need for effective, safe, and inexpensive treatments, and beta-glucan may be just the right solution, but you don't know until you put it to the test. So researchers performed a randomized, double-blind, placebo-controlled trial of about a half a teaspoon of nutritional yeast worth of beta-glucan in children who suffered from like repeated respiratory infections. And after a month found a significant increase in salivary lysozyme levels compared to control. Lysozyme is an important protective immune component of our eyes, nose, and mouth, but a larger follow-up study reported the opposite findings. An apparent drop in salivary lysozyme levels, though the researchers claimed that this was accompanied by pronounced improvements in general physical health. No data is given. But the only reason we care about the lysozyme levels, though, is we were hoping it would result in fewer infections, but that it had never been directly studied until now. The title kind of gives it away, but basically a randomized, double-blind, placebo-controlled trial was performed to see if just a dusting of nutritional yeast worth of beta-glucan a day could reduce the number of episodes of common childhood illnesses. During the 12-week course of the study, 85% of children in the placebo group experienced one or more episodes of infectious illness. Here it is graphically, 85% got ill in the sugar pill group, but just taking like an eighth of a teaspoon of nutritional yeast worth of beta-glucan or even just a sixteenth of a teaspoon's worth appeared to cut illness rates in half. And those on the yeast that did come down with a cold only suffered for about three days compared to more than like nine days in the placebo group. The researchers concluded that by giving kids these yeast beta-glucan we could decrease the incidence and severity of infectious illness during the cold and flu season, and thereby benefit the parents as well.


Welcome to Spotlight Advanced. I'm Liz Wade. And I'm Colin Lover. Spotlight uses a special English method of broadcasting. It is easier for people to understand no matter where in the world they live. In 2019, a group of researchers from York University in Toronto, Canada studied a group of school children. They showed each child the image of a face. Then they showed the child a neutral symbol. After they saw the symbol, researchers asked the children if the symbol was nice-looking or not nice-looking. The researchers were testing the feelings the children had about the faces. These researchers learned something alarming. Very young children already had opinions about people who were different from them. These opinions are called biases. Researchers learned that by the age of five, children already had biases about skin colour. The children in this study gave more negative responses to images of boys with dark skin. Researchers from Northwestern University in the United States did a similar study. They found that children as young as four have biases about people's skin colour. They have biases about gender too. And they have biases about the way people talk. These studies show that every person can be affected by bias thoughts or feelings. Even very small children can have harmful opinions and biases. Young children can learn to judge people who are different to them. But where do these children get these ideas? And more importantly, how can we stop these harmful biases in children? Today's Spotlight program is the ninth in a series of ten programs. In this series of programs, we are looking at ten ways to fight hate in your community.  So the Southern Poverty Law Centre in the United States has made this list of ten ways to fight hate in your community. On today's Spotlight program, we will look at the ninth way to fight hate in your community. Teach acceptance. Acceptance means accepting people for who they are. It means tolerating and respecting different opinions and beliefs. The Southern Poverty Law Centre or SPLC believes that children need to learn acceptance. And they need to learn it when they are very young. Otherwise they may learn to hate. And studies like the ones at the beginning of this program show that children can learn to hate at a very young age. The SPLC says that one very important place to teach tolerance to children is school. School is a place where many different children come together in one place. In school, children talk, laugh and learn with other children. There are many ways to encourage children to celebrate differences in school. The SPLC even offers a teaching tolerance program. In this program, students take part in a special event every year. It is called Mix It Up at Lunch Day. At this lunch, each student sits next to someone they do not know. They have questions to help them have good conversation. They get the chance to learn things about someone new or different from them. Another way to teach acceptance is to have children tell stories about their families. By doing this, children learn about each other's cultures and traditions. They learn to value the different kinds of families that people come from. Teachers can also teach tolerance by asking children to imagine what the world would be like if there was no hate. Martin Luther King, Jr. was a famous black preacher in the United States. He fought for the rights of black people in the United States in the 1950s and 60s. At that time, black people were kept separate from white people. They did not have equal rights. Martin Luther King, Jr. gave a famous speech called I Have a Dream. In that speech, he talked about his dream for the future. He dreamed that slaves and slave owners would sit together at a table as brothers.  But most of all, he dreamed of a world where people would not be judged because of their skin colour. Instead, they would be judged by their words and actions. Many teachers ask their children to write their own I Have a Dream speech. They ask the children to imagine a better and more accepting world. Then, children write about their hopes for the future. Older children and young adults can learn more about tolerance by studying popular media sources like films and television. They can look at how the media presents different races, religions and ethnic groups. They can decide if they agree with the films and television programs. Some films and television programs use stereotypes. That is, they present groups of people as being all the same. People can see the dangers of presenting a group of people using stereotypes. These are just a few ways that the SPLC talks about teaching tolerance to children in school. But school is not the only place for children to learn tolerance. The most important place for a child to learn tolerance and acceptance is from adults, like parents and members of their community. Every adult is a teacher to children. Children copy the actions and words of adults in their community. You can teach a child tolerance by being a good example for her to follow. Show tolerance for the people you work with or meet in your community.  Acceptance is important for people of all ages to learn. You can examine your own thoughts and opinions. Are you tolerant of people who are different to you? Are there people in your community that you avoid, ignore or try to forget? These things can be just as harmful as treating someone badly. We can all work to be more tolerant people, and that helps us teach tolerance to everyone we know. You can encourage other adults to be tolerant too. Parents can teach tolerance to their children. Teaching tolerance today can help stop hate tomorrow. This is the ninth program in a series of ten programs on ten ways to fight hate. This list is from the Southern Poverty Law Center. The Southern Poverty Law Center is a group that works toward racial justice. They monitor hate crimes, teach tolerance and seek justice. Here are their ten ways to fight hate. Act Join forces Support the victims Speak up Educate yourself Create an alternative Pressure leaders Stay engaged Teach acceptance And dig deeper Keep listening to Spotlight to hear the complete series. You can leave a comment on our website at www.spotlightenglish.com. You can also find us on YouTube, Facebook, Instagram and Twitter. The writers of this program were Liz Wade and Amelia Burglund. The producer was Michio Ozaki. The voices you heard were from the United States and the United Kingdom. All quotes were adapted for this program and voiced by Spotlight. This program is called Ten Ways to Fight Hate. Teach Acceptance. Visit our website to download our free official app for Android and Apple devices. We hope you can join us again for the next Spotlight program. Goodbye.


Akun Rapidsman accused of murdering a five-year-old girl last August has asked Cass County Judge to dismiss the charge. The motion comes after the public defender for 26-year-old Zachary Todd Anderson filed a motion asking the judge to dismiss the murder charges and move his trial to another county. Anderson stands accused of the murder of a five-year-old Elena Jean Erdle, a girl who had gone missing after Zachary Anderson spent the night at the family home in Watkins, Minnesota. Deputies from the Cass County Sheriff's Office located a stolen vehicle on property owned by Anderson's family in rural Cass County, which led law enforcement to find Anderson in a wooded area. A preliminary autopsy ruled the cause of death to be homicidal violence due to strangulation and blunt force trauma. Anderson was indicted by a district court grand jury and arraigned on 19 criminal charges for first-degree murder, intentional murder, kidnapping, criminal sexual conduct, theft, and interference with a dead body. The judge is expected to rule on this issue sometime after May 10th. If you've enjoyed this segment of Lakeland News, please consider making a tax-deductible contribution to Lakeland Public Television.


The Guardians of the Galaxy are back, kind of. On the small screen, with a Disney Plus exclusive called Guardians of the Galaxy Holiday Special. And I am pleased as punch to say it works. So what's there to like here? Well, for starters, we got the whole gang. For a little while. Mostly it's a Mantis and Drax storyline. They're setting out to give Peter Quill something that's been missing in his life for many years. And that's a Christmas. These two idiots, along with most of the other aliens we come into contact with, know very little about the holiday. They've determined the best way to bring Christmas cheer to Peter Quill is to go out and steal it. It's fun, it's serviceable, it's magical, and a Guardians of the Galaxy way, and it's got some heart. That trademark James Gunn heart that kind of just comes out of nowhere and hits you in the feels.


Hi, I'm Michelle and I'm here to tell you about the Scratch Activity for the Hour of Code. What is Scratch? It's a programming language you can use to make your own interactive media, like games, stories, and animations. And it's really easy to use. You just snap different blocks together to create projects. And you can include your own images, sounds, or even bring yourself into the project. There are over four million projects on the Scratch website where you can share your project, look at others projects to get inspiration and ideas, and ask questions and meet others. Ready to begin? In this activity, you'll be creating an interactive holiday card. You'll add characters and program your characters to animate them and make them interactive. You can share your card with others on the Scratch website and then send it to your family and friends. Jump in by tinkering with Scratch blocks or click below to get started with a self-guided tutorial. I hope you enjoy creating your own holiday card. Now let's start programming!