Welcome everybody. This is the first open-air monitor for funders community call. And yes, there is a question. Yes, the recording will be available also for you for all the registrants of this call. We had 34 registration, so we will provide the recording and the notes after this meeting. Okay. And I think we can start, even if someone will join a little bit later. Because we have some ice breaking question for you just to know you better. So I'm going to share my screen. Okay. Please. You can now use the square code or give me a second because I didn't put in the chat the link. Or you can go directly to menti.com and I use this code. 65017233. I will also give you a link in the chat. Let's see that you are joining. Good. So, we can start. So I would like to ask you, where are you working if your funding is the national funders, something else, a field specific funders or an international mostly shipping funders. Even if it's an organization, you can put international. Okay, great. Thank you. The second question is where are you based. Thank you. How would you better define your role in the funder agency, like if you are a project officer, policy officer. Okay, great. And the final question by now, what's your knowledge about opening monitor. If you know it and you are using it. If you know it, but you don't have use it yet. Or if it's the first time for you. Okay, so it's the first time for some of you. So now Harry knows how he can go. And I'm giving the floor back to Harry, who is the service manager for opening monitor to introduce you. Okay, thank you. Okay, great. Thank you, Julia. Let me share presentation. Okay. I think there should be. Okay, great. So hopefully you can all see my screen. Remove something from here. Yes. Great. Okay. Okay, well, hello to everyone. My name is Harry Dimitropoulos and I'm going to be introducing the first community call for opener monitor. And the focus is for funders for this call. But, you know, if you're not a funder, you know, please don't leave because this monitor is not just for funders as you will see. And okay, so the, the, I see that some of you have used actually saw some familiar faces with some of you. I know you some, I know of you but haven't actually spoken how it's useful for them and then do a demo kind of, which can be interactive you can interrupt me at any stage and ask questions and then it will be q amp a so. Thank you for coming because this is our first community call and as you will see throughout this presentation, the, we want this to be a community driven tool. So, okay, progress. Okay.  But just to give an overview for for people maybe the, that our first time seeing the service so in general we want to the assessment of research activities is obviously a key step in the decision making process for every organization invested in such So, in the case of funders for evaluating the proper allocation of grants, for example to maximize your impact to society. For an institution it could be looking to for to find hidden potential and room from improvement in different areas for research initiative it would be considering expanding its network. These are some of the examples. So they're reliable and timely monitoring and evaluation of research activities are indispensable for the efficient allocation of resources and the overall decision making process for an organization. So this slide basically knows that monitoring will help you know yourself first so what are the resources that you're you're putting in and what is the research output that is coming out. So for funders you want to maybe want to see is easy are your open science policies were working. What are the collaborations you're having with other funders and institutions, the different visibility pathways that work for you and the impact you're having. And that will help you understand more the and identify for example research pathways across key dimensions, give you insights and you discover new opportunities for where you can focus, see what works what not, you know reveal hidden potential like that. So then, you can go to the next step which is to position yourself, you know, use all that information to make this decision make find the best way for reporting your results and improve and optimize basically your future actions. So specifically for open air monitor. Our motivation for building this service was that we wanted it to be relevant for the community so it should be based on indicators which are co developed with the community and would make sense to all. It's, it's something which is based on an iterative process of talking to the stakeholders whether it's funders institutions and seeing what the community wants in order to provide it. And also because it's open air it's based on open science and open data service to to be inclusive transparent and then all the results that are produced to also be able to be replicable. So we want to coverage, all the space of open science so we want a comprehensive view. And for this will we're using the open, open air research graph, which is a global linked research graph. We have data resource from open nations around the world, and it goes beyond publications so includes research data software other research products and patterns and things like that. And it should be fully embedded in the infrastructure, starting from the current providers all the way to the included metrics. So it was based on on some principles that we're trying to follow and principle of openness and transparency so our methodology methodological methodological assumption. The assumptions we have should be openly and clearly presented. The coverage inaccuracy should be based on multiple, multiple data sources so that's why we're using the open air graph and extend our coverage to the fullest possible extent in order to provide meaningful indicators. Our construction methodology must also be described in detail so that it can be verified and used by the scholar communication community to create ongoing updates to our proposed statistics and indicators. So all our indicators should be well documented. And the methodology is built around well established open databases and already known knowledge extraction technologies and like nlp machine learning using operational workflows in open air to one time the results. And also, it should be something which is trustworthy and robust. So our methodology also strives to be a reliable aligned to other assessment methods so that can be operation operation allies, using reusing conjunction with other assessment methods. So this is in case you haven't seen this view of the kind of the open air research graph pipeline, on which all of this is based. So you will see on the left here, we have the open air research graph combines data sources and data coming from multiple data sources. It aggregates and collects and harmonizes them. So this will be metadata relationships and anything we can get from the open community. And so these are then deduplicated because many times we have, we find the same entity from different sources, whether it is a publication, which will be, you know, could be a pre print postprint a published version. So these there are considered an equivalent object, but then we keep the, the provenance or wherever each of these sources has come into the graph so we can always go back. And also we want all the entities to be deduplicated not only the publications but like organizations might have different names and we want to be merged to the same entity. All this is enriched by our data mining, full text mining and inference system in open air, which enhances all the links, which enhances the graph with extra links. For example, you know, links to to funding and links to patents and classifies publications and things like that. And there is also a post cleaning step where everything has to be harmonized according to control vocabularies. And sorry, I forgot to press this and the then we have the statistical analysis stage where we take all this data, and we analyze it in a way that we can produce metrics and indicators, which are relevant for the community and for the monitor So just a quick view on some numbers and this is as of today so the oops, apologies the in the open air research graph at the moment we have 146 million publications, 18 million research data 312 k research software items from 111 data sources k data sources, a link to 3 million grants from 25 funders and 180 organizations and they're all linked through citations and semantics. And all this is has the system infrastructure to support it underneath. So I'm not going to go into the details of this but so that you know there's a public subsystem data mining and provision subsystem. There's also different resources and a test subsystem. And as you can see over the years CPU ROM and disk usage has been increasing. So we're expanding as the needs of the users are, are, are expanding and in order to support all this. So, the open air or dashboard is has three types of aspirates at the moment. It's one for institutions, one for funders and one for research initiatives, and for each of them, we have allocated someone that can be your contact point for one to one sessions in order to help you set up the dashboard, understand your needs, get your feedback for new indicators, curate your data or, you know, and solve errors that you might find so the idea is that we will we have tailor made monitoring responsive to your needs. And to briefly mention also that there's another type of dashboard we have which is will not cover in this call which is the open science observatory this is specific for countries so you know this is open science data for for at the country level. Okay, so what do you mean by dashboard on demand. So what we have is at the bottom here. We have the open research graph, which includes data for the organizations, you know funders and institutions. This is our common, common global asset. And then we have our open air experts in data mining statistics and data science which augment the data space in order to produce metrics from which we can then produce the indicators that the community has requested and could be for collaboration for SDG contribution or something like that. All these indicators are then combined into profiles. So at the moment we have profile default what we call default profiles for different stakeholders for institutions for funders and for research which is the starting point for building your profile so when say a new funder comes into open air and we will create the resources give the resources and and start from the default profile. So the expert in the loop, the open air consultant, you will be communicating in order to understand what these indicators are and how to apply them in your specific case so how to customize the dashboard and how to make it into your own needs. So, and also there's a team sharing bit here so that your dashboard can be used in different ways, in a sense that it could be some view. Some pages will be open to the public others could be where you invite team members to share some indicators and others could be just private to the manager of the dashboard. I'll talk about that in a minute. So let's have a look at the indicators that we have in our dashboards. They're in this these kind of themes of funding research output open science collaborations and impact. We're still producing indicators there are many indicators in the pipeline so which all of them will be ready by the end of the first quarter of 2023. So some of them are in beta. But most of them are there so we have the funding theme where it's all about grants and projects and the indicators relevant to that. Then it's so this is kind of the what goes in from the funder and the what comes out the research output so this is indicators for publications data set software other research products, and things also for data disciplinarity fields of science and that type of thing. There's a specific theme for open science so we're looking at fairness indicators access rights open access routes, different types of general business models. There are APCs and compliance with the planet. And also for collaborations and then at the moment based on two kind of areas via project participation so with which other funders are we co funding publications, and also via co authorship and co creation. So that is the impact section which at the moment is based on reach and frequency so downloads citations and very soon will have also the impact on for different sustainable development goals. So this in order to to be useful it's important to have a kind of a granular view and break down the indicators by different fields of interest so you will see as we go along that they could be by research product type by domains like field of science by time so you can see trends by countries by data sources by funders and things like that. So the features that we have are that we want to make the dashboards as user friendly as possible so there are also interactive visualizations as you will see. And they're exporting capabilities so you can download data and visualizations in different formats. There's filtering. There are also filter subsets of your data. There is browsing with direct links to explore the other service of open air where you can see all the research outputs. And I will show you also because the monitor provides aggregated data provides the end statistics and indicators but you many times you want to you see something that might look strange or odd wise. That year these numbers are you know why are they so high or something so you want to go back and see what what what caused that. Also you you might also it could be also interesting for finding errors in the data or things that have been missing so you would expect more results in some area and you don't which means that maybe some data is not considered because it's not open or something like that. So it provides useful feedback and you can also edit visualizations to your liking and move around the the indicators. And regarding privacy settings we have three kinds of visibility statuses so this is, you can have public indicators, which is for external stakeholders this is for showcasing so you have a dashboard for you, which everybody can go and you know, look at. Then there is a restricted indicators. Again this can be grouped into restricted pages or subsections where you invite team members for internal monitoring. So you want to know these are not publicly available but they're useful for for the your team. And then there are private indicators which could be work in progress or preparing something for a review, where it's only the manager of a dashboard that can that can see it. So the regarding the one to one one one expert consultations. So the, the, the person is there to help you so for funders it's me initially but then I might redirect you to other people is to help you understand the dashboard features, how to edit your data and how to manage it so the user management as well. And then it's also to hear about your feedback for the different indicators or new ones that you have to you would suggest to develop. And also to discuss things like data quality and validation so you know what data sources were included. So it can work well and and things like that so it's always an open channel so that this is your service and for I don't know but in the from the questions at the beginning. So not funders were others, but some were funders that knew about the service but haven't used it. I'm not sure if we have because there was an invitation for some funders from outside to come in so I'm very briefly when I mentioned how a funder can join open air. There is this link here the slides will be provided to you, which give all the information needed so we were limited method data set of project information this could be provided in a in a file like CSV. Excel, but some funders also have an API from which we can directly get the data and and keep them up to date. This is via data exchange agreement at the moment but we very soon this will become an MOU with which will be more clear and will be more useful for all of you. There is no personal private details are required so this is usually information that many times the funders already have you have in your on your on your own websites and pages. Fundatory fields like the project identifiers and start an end date of projects and things like that, and some optional, like the organizations involved project description and budget if you want the monitoring surface to to support budget monitoring as well. So now is where the kind of interesting stuff was start I'm going to go into a demo where I will show you the dashboard. Go through the indicator the themes and the different documentation that is provided. I will talk a bit about user registration and management, and also then go into the functionalities of the back end the administrator interface so you know how to adjust and customize the monitor to your own needs. Oops, that's too soon. Right. So let me change. I want to share this. Okay. So. Okay, so hopefully not. Oh, my browser. Great I got. I got a message saying my internet connections unstable please let me know if there's any problems. Okay, so this is when you go to monitor dot opener dot you move some of zoom controls out of here so I don't, I can see what I'm doing. Okay. So this is the landing page where you can find some information on how to get started so this is really for people that haven't had a dashboard first where you just basically say who you are and we get back to you. It's not useful for people who are already in this call so you've gone through this level there's always a help here where you can submit questions to our help desk so you will see that. So, you know you can get support at any time. So, browse that and there's also an about page where you can learn the process and have some general information. This is before being signed in. And also there is a resources page where here you can find the things I was talking about technology, what have been heritage and inferred attributes that we have and the constructed attributes. So what approaches to be used. So for example for general business models, mostly we mostly fall on pay was approach. So this information is provided there. And we also have an indicator page where you can see where you can see the sorry indicate. Yes, where I hope you can hear me because I seem to have been connected and disconnected. So here are the indicator themes. And from where we also provide tables for the different indicators use so some are coming soon some are there so you can see the different indicators I'll be showing so the all that is there. But anyway, mostly people will go in browse dashboard and you can filter for example for funders and what are probably available and I will go to the European Commission. Maybe because it has the most data at the moment and all indicators are applicable for some funders, not all are. And I will start from here I will also sign in because I might want to use some functionalities like filtering. Okay. Right. Okay. So what we have added since I mean some some of you have seen the monitor, I don't know, a couple months ago and there's many changes. So one of the things added was an overview page where you can put some key indicators you want to have in the first page, the moment has for can put any of the indicators we have there from the others. And publications over time. Here's the thing about the graphs being interactive. You look numbers and click on specific things you want to see you might want to see only say the peer reviewed or that line. So there's the things things like that. And also from here, there's this tool tip where you can view something in full screen. You can print a chart. Right. You can download it in different formats being JPEG PDF SVG vector image, or the CSV so the data behind the graph or an Excel, or view the data below as a table so if I click on it there is a table below you can quickly see that I'm hiding it now but you can also see the numbers by going through this. So there's a lot of publications over times data sets over time. So now here's an interesting thing. Ooh, what is happening there. I'll come back to that in a minute when we go into the data sets detail. So this will be interesting if I was. If I'm the funder that have has this dashboard to see what's happening there. I want to see is that a mistake is something different happening there. So let's put a couple for openness here. So for example, what is open access what is called access for the publications and similar for the data sets and one collaboration indicator for co funded research outcomes over time. So, then we go to the funding section, which is information about how many participating there are sometimes maps so you can see projects granted to what countries the growth of projects over time. The top funded organizations by number of project participations and the top funded countries. The highest funded projects and things like that. For Horizon 20 sorry for you. There you're very commission we also have a horizon 2020 page very soon you will have because we do have the data for FP seven and now soon we will be adding Horizon Europe. So this has more additional information so projects by pillar. So this depends on the funder, you know some funders do not have say pillars or this kind of thing, but these are more tuned to specific funders. And yeah projects over time project funding over time and project funding by pillar for example here again here somebody can click and look at more specific, you know, sub sections of the graphs and things like so these are interactive. Now, this was kind of the input the funding the projects. This is the output so the research output which is divided in these sections for publications for data sets and data management plans software and other research products. Here we have a game publications by country by type article, you know book thesis with different types they are the top 10 publication types a different view of that graph basically publications over time, average number of publications per project publications by context Now this is specific to open air so if I go to connect. So in open air we also have the connect service, which I'm not going to go into too much but we basically have provide gateways, or different types of communities research communities and research initiatives. So, you know, some would go or or and universities network or that's for specific for Coronavirus or for the diary you committed to talk about these things like that. So these are developed for specific communities with specific needs. So, since we have that in open air, we provide this which could be useful could be not so you could disable it basically saying which of your publications fit into any of these categories so you know there's there is so many for COVID 19 and things like that also here I'm going to say you can also maybe zoom with some some graphs by doing this so you can zoom and, and so this is another useful feature. And now by, by, so you can see by data source type so you know was it from a data repository or funded database and journal where did these come from share of projects that produce publications over time. The top 15 data sources. I can see we have archive here and most productive projects and the top organization based on the produced number of produced publications. All interesting stuff and also there's a section on peer reviewed. So, this will be for the peer reviewed publications have some different graphs here, top 15 publishers. I'll come back to this so for example here. I don't like the way this is displayed because I've not seen some of the publishers here because the graph is too small. So I'm going to show you how to customize and change things like that. So this is the first section when I go to the manage section. So the section on database. I mean the others are kind of similar but there are differences so this includes also some new indicators on data management plans by data source and over time for for them. And there is data sets. So here, remember we saw strange things in the data set graph here at the beginning, we also see here that okay data set includes different types, some are data set in the way we understand it like tables of numbers. But there's also other things included here and we see a lot of images so we're going to go and see what images, you know what was relevant there so if I, that's where I can actually go here to browse data up here. So remember we had resources. Okay, I'll actually go back to that. Let's go to browse data. So this gives you results for specifically for you via open air explore. So here, if I go to Right. All right. So here. So here I want to select the research data only and the year was 2019 I saw where that strange thing happened. Oops. So if I filter by that so there's many filters here so you can see I see a bunch of images. So what is all that and then I realized that in that year in Zenodo we had a lot I have some million of images that came via this project, which was about innovation consolidation for logical digitization of natural heritage. So that explains that, for example, in that year so this was a massive input of images. Okay, let me go back to. Yeah, sorry. Okay, so I'm going back to the to the monitor. Okay, so we here we will continue now with software is similar but they could be some differences again here. Yeah, top software repositories and things like that, and other research products. And now the new indicators are the open science indicators that were not available before September or the summer, and they are divided there are provided for publications data sets and software. So we have open access indicators, general business models and processing charges indicators for plan S, they're coming soon, and there's some fairness indication now so let's see the open access. So there's a general account here for what embargo restricted close access and some we don't have the information available in the metadata, but you can also see the information also over time. And, or publications by access route. So gold hybrid bronze. Again, you can see the bits that you want if I remove. So it can check the graph and also over time. And again, published version versus versus deposited over time so in a publisher in a repository or in both top journals by number of gold by number of hybrid whenever bronze and green. So in the APCs, you can have the open access publications by general business model over time on diamond transformative journal and by grant support and full the top 15 full open access APC journals for your output. Diamond transformative journals so indicators like that. And for fairness. At the moment it's based on PID so how many of the so this is the bars are all publications and the black line is how many of those have PID so we see a really high percentage of them have. And then what types of PIDs. So, most of them are DIYs and, again, whenever there's Oh, what do we mean by PIDs you can always go here to the terminology and construction and look at the different attributes and the many, you know, PID identifiers. And if you click there, it takes you into a page where it gives you all the IDs that are relevant and we're using in the graph. Okay, I went browse no I didn't want to go I want to go back to dashboard. So I'm back to my dad to the dashboard. Similar things for data sets and for software, where here we only have open access and fairness. And then there's some collaboration indicators at the moment they're the ones via project collaborations so and here they display that if they're publications software data sets and other such projects and then over time. And impact indicators are coming soon they're available in beta actually go and show you there in a minute. But first let me go to the manage section so here up here you can see you can return to your dashboard there, you can browse data via explore, you can look at the kind of resources. There are things about the open air ABI is information how you can access some of these, you know the data and information from the graph. And then there is managed so if I go manage I enter the manager you. So first in order to go there you need to have access so this is not open to anyone. And so here is the user section so for example, you will. Already have asked for access as managers or as members managers can edit things and see every section of the dashboard, whereas members can only see things without which are made public. Or to team and restricted to team members so it's easy for a manager to invite other managers what once you're in there you can go invite manager and add the email. With the only problem here that the email must be the same one that the user has used to in open air. You need to first register in open air and then, and then be able to invite somebody otherwise he won't recognize the person. Again this in the in beta I will show you there will be an FAQ where we'll have question question answers for things like, you know problems like that because sometimes people invite people that are not already in open air and it is usually that but you know we're always here to help with any of these. So the first page of a funder is a kind of general page which most of the things are locked there for us there are links to the index and things like that. But here you can change your upload the logo or, or change the status of your, or your entire dashboard so to be public restricted or private. So you could apply for everything but then we'll see how we can customize individual sections. So the part with indicators is here. So it's the same structure as you see before. But now it has things where you can create new categories, or you can delete things and the, let me show you here about the privacy thing so for example here. Yes, sorry. Yes, if I may interrupt. Since we only have 12 minutes. Maybe we can ask first if there's any questions. Okay, otherwise you can continue. Thank you. Can I wrap up one second though just want to show one feature and then that's it because I think many have reached this stage and they don't know how to use this. I just wanted to say that here, you can go into either change the visibility of a specific graph, or go into edit where you can change things. And remember I told you before something was large or smaller so you can change that and also change, you know how you would want for these things to appear and kind of have a preview of it. Before you save it, and all these things are this is not actually a good page to show this, but these things are kind of movable so this I can, I can grab and move somewhere else. And stuff like that. But you know if you have specific questions on these we can we can go into it. And from here you can preview, you can preview the public and restricted view directly so you don't need to go back to the browser. Okay, I'm stopping here for questions and an answer for the Q&A session. And sorry that it took too long. Thank you. And we would like to remind you that open areas are no profit organization. So we are not making any profit from this. Okay, so, do you have any questions. Anyone would like to take the microphone on. I think there's a lot of things in the chat which I couldn't see because I was. Yes, I took care of this, but there is, if you could very briefly tell us how the project validation and the links come. The work that you do, Harry. Okay, so yeah with with right okay so with funders with the information that we get so we get the information from the funders. And the first step is we, we try and find the products that the projects and the products in the open air graph that you know match those projects. And that could be either from metadata that is provided by the different repositories already, you know, somebody depositing something in Zanotto my link it to a specific project. And by the way the project list there is again given by in Zanotto by open air, or there's the text mining that is done so text maybe I don't know if you want me stop sharing I don't know. So the text mining that that is being done so by text mining we're trying to find links that are not there in publication we scan the full text of publications not just the acknowledgments and we text mine for funders it's for funding information but it's for other things links to data sets, links to patterns bio entities and other things that could be interesting and are provided in the graph. So, once we have the, the first set of results, we send them to the funder and to verify. Usually we have hand curated everything so I can tell you know we found these problems but and and and these we we seem to having trouble with or something like that. There are a couple of iterations with the funder saying oh yeah that's because you can use this search term in our acknowledgments. We also sometimes refer to this as some somehow differently. So the mining is tailored to, you know, to the specific needs of the funder. Then once, once this looks okay it runs in the open air graph and the results are shown in the beta portal so this is the beta explore so the way we have the explorer page. Where we can only you know we can show to you with the. So this is the normal export page but there's one for the for for beta, where you can see the links and look around and see if there's anything missing. And if satisfied then these can go to production at the same stage that we produce the better results we can also produce a better monitor dashboard so the, am I still sharing my yeah I think I am so that we have also a better monitor version where you can have your dashboards in beta. So where here we test things before they're released in production. And here. There is also the things I was saying that they are to come so how to works is actually going to be changing and there's going to there's an FAQ at the moment is still we're still editing so that's why it's in beta. There's some, you know, additional help. So, and it's an iterative process, you know, over time for a fund. Change the like European Commission there in Europe, so the funding itself this this is again an iterative process, and we have noticed that by doing the text mining, when for some founders we actually get a lot of links that we would never get otherwise so it's very you know this enrichment that happens in the opener graph is extremely important and we have figures to show it but I don't have the time to show you the table now. Okay. And there was a question a question by blacked. That was about the indicators and the metrics within the research cycle. And I was wondering if practice satisfied with what we have showed as indicators. You know, absolutely. It's, it's rather because I think in the slides you mentioned full coverage of open science, and because we interpret open science as as much broader cultural change that also affects the research process before the I just wanted to make sure like it to what extent are you going beyond just the outputs and as I said in the chat, obviously also that this is not the process and the outputs are not completely distinct you can read from the outputs, how open the process before that but just that that phrasing full coverage of open science, that does mean something in terms of yes, that also includes the process so you might want to take a little bit of care really specifying what exactly you're looking at. Okay, thank you for the feedback and also the what he had said before in my chat we need a next time also to have somebody from the graph here to because this again is is is, it all depends on the data we get in the graph, which want to make it as comprehensive as possible. This is good feedback thank you. Okay. So maybe I can share my screen if you have some questions, and then we will go back to you. So, Harry, are you okay if I share my screen again. Yes, please. Yes, so let me stop sharing. Okay. Okay, so if you have any questions that you would like to type. And we will go back to you and we also upload or modify the FAQ. Otherwise, type in the chat and we will go back again to you later on. Okay, waiting. Okay, questions in the chat. Okay, I'm going over. I don't know why sorry. Okay. So, I would like to ask you if you would like to have a future community call and with which frequency. Can you please vote on your mentor. It looks like every three months I think which is what our impression as well from what will be useful. Okay. Neither too soon and not to to infrequent either. Okay. Is there any event in which you would like us to present open air monitor that we should look at. If you are not logged in, go to menti.com and use the code. It's 6501 7233. If anyone has other questions and would like to take the microphone. I will stop sharing. And then let you speak. I'm just going to add. Most of you have but my email on in the chat so that people can communicate. So please, you know, feel free to talk to us because this is the point we want to, you know, just the, the, the dashboard to your needs and also for specific funds that have a dashboard. Usually we afterwards arrange specific meetings to go through all, you know the questions for if you go at your own dashboard you might see that some indicators are not there so why are they not. So, you know, the top projects have project numbers but they don't have acronyms. So there are some indicators that work for acronyms on you where you can see you know the top projects by acronym because a number is not very useful. I have the information is there if you do want to see it by number. It's in your, you can manage it in your dashboard so, you know, any questions and feedback as well. It's very useful for us. Thanks, Harry, and thanks everyone for joining this call. Thank you very much as well. We will share the recording. And if you have some questions and you would like to go back to us please do. And we will repeat this committee called in three months. And we'll send you an invite again. Thank you.


Hi everyone, I'm Erin, Lead Customer Success Specialist with Hypothesis and today we're going to talk about how to add a Hypothesis-enabled reading to your Canvas course and assign that reading to small groups within the course. Now just a quick review for those of you who maybe are coming back to us after a while or forgot, Hypothesis is a social annotation tool. It allows you and your students to annotate a text that you might give to them through Canvas together. It's possible when you assign a Hypothesis-enabled reading, you want to divide students into small groups to annotate the text just in that small group. You might want to do small groups of four, you might want to even do small groups of two, where two students may be interacting very closely around a text. You could split the class in half and maybe one half of the class annotates together and the other half annotates together. Let's dive in and I'll show you how to do this with Hypothesis within Canvas. The first thing you have to do when you're in your Canvas course is make sure that you have set up your small groups. The way that you do that is you navigate over to the people tab on the left side when you're in your course and you're going to go ahead and make sure you choose the groups tab. You can add a new group set here, so I'm just going to create a new group set. I'm going to call this Demo Group. I'm going to split my students into groups of three and then I'm going to go ahead and hit Save. Give it a minute while it creates my groups and divides the students out appropriately and now my groups have been created. Now that I've got these groups created, I can create my Hypothesis-enabled reading. So I'm going to go ahead and go over to Assignments, I'm going to add a new assignment.  I'm of course going to put detailed instructions here in this box so my students know exactly what to do and so they do a good job at it. I'm going to make sure I give it the correct amount of points and then I'm going to choose External Tool as my submission type. I'm going to find Choose Hypothesis on that list. In this case I've stored my PDF in Canvas so I'm going to grab my PDF from Canvas and here is the important piece. This is where I get to choose whether this was a group assignment or not. Now because I'm demonstrating how to use Hypothesis with small groups, I am going to go ahead and choose Yes. This is a group assignment so I'm going to check the box. I'm going to choose the group set I've created called Demo Groups and then hit Continue. Make sure you choose Select and I always load this tool in a new tab to give more space to the reading and the annotations. Scroll down and I'm going to go ahead and hit Save and Publish. Now I'm going to go ahead and I want to launch this assignment so you can see what it looks like for the small groups. So when I launch it, as the instructor, I have the option to choose between the various groups I've created up here at the top. So maybe I want to see the annotations created by Demo Group 2. I would just select this carrot here and get the drop down and choose Demo Group 2 and then I would see any annotations created by any students in Demo Group 2. Students will only see annotations from their own small group. They will never see annotations from members of other groups and I think that's an important thing to note. Once you've created the small groups and students have annotated in those small groups, you cannot then open the assignment up to everyone in the course. They will only see the annotations from other members of their group. When I go to Grade, I can grade students individually within their group. So let's give this a minute for SpeedGrader to launch. Now I don't have any students who've annotated, but I could just select a specific student. In this case, I'll select myself. I haven't done the job, have not been a grade student, so I'd give myself a zero since I've done no annotations. However, if I had done any annotations, I would see my annotations appear here. I could read them and give myself a grade. So that's how to add a hypothesis-enabled assignment using small groups in Canvas. If you have any questions, reach out to our success team here at success at hypothesis.is and we are happy to help.


From Hollywood, California, the Lux Radio Theater presents Joan Crawford and Basil Raffin in a doll's house. Lux presents Hollywood. It's your purchases of our products, Lux toilets open Lux Flakes, ladies and gentlemen, that make this program possible. For the splendid loyalty you show us, ours is sincere gratitude. Last week we announced an offer of a beautiful compact, so many of the ladies in our audience have taken advantage of this offer. We are making it again tonight at the end of our program, so please listen carefully and have your pencils ready. Starred tonight are Joan Crawford, Basil Raffin, Sam Jaffe, Neda Herrigan and Vernon Steele in a doll's house. As special guest, Miss Frances Manson, head of the story department of Samuel W. Golden Productions. Our orchestra is conducted by Lois Silvers, and now the producer of the Lux Radio Theater. Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Tonight's play is the work of one of the loneliest figures in literature, Henrik Ibsen. Poverty stricken as a boy, Ibsen exiled himself for many years from his native Norway because of the lukewarm reception that country gave his plays. First produced many years ago, a doll's house provoked the storm of angry criticism because the playwright did express the belief that a happy marriage must have a foundation of truth, freedom and intellectual companionship. Like all masterpieces, a doll's house has a deathless quality and has brought fame to a score of world-renowned actresses. To which list we add tonight the name of Joan Crawford, and no one is less conscious of her success than Joan herself. She tackles each new job with the same, I've got to make good attitude, that she had when she first arrived here fresh from her Schubert chorus. A Metro-Golden Maier star, Joan is seen next in the shining hour and is heard tonight as Nora Helmer. Costard as Torvald Helmer, a part more sympathetic than his usual roles, is that master of glistening villainy, Basil Rathbone, one of Hollywood's more gentle and considerate citizens off the screen. This splendid actor is currently flaunting his docksome devilry and the adventures of Robin Hood, and is with us this week straight from the set of Paramounts If I Were King. Sam Jaffe, who gave such a remarkable performance of the ancient llama in Lost Horizon plays Krogstadt, the same role which brought him unstinted praise when a doll's house played on Broadway this season. Edda Harrigan plays Mrs. Linden, and Vernon Steele is Dr. Ronk, and now the Lux Radio Theatre presents Joan Crawford and Basil Rathbone in a doll's house. The year is 1890, we're in a little town in Norway on a grey September afternoon. Along the windy street in a quiet section of the city, a young woman walks hurriedly, her long dress flipping out behind her, her face half buried in an old fashioned muff. She glances frequently over her shoulder, as if to assure herself that she's not been noticed. Then she stops, and after a final nervous glance, darts quickly into a doorway. Well? It's I, Mrs. Helma. Oh, come in please. Sit down, Mrs. Helma. Thank you. Uh, wasn't it a little indiscreet of you to come here, I mean? Oh, I was very careful, Mr. Krogstadt. I'm quite sure no one saw me. I hope not. Did, uh, you think it over, Mr. Krogstadt? The matter we spoke of yesterday? Yes. The lending of money, Mrs. Helma, is a serious business. Oh, I know it is. It's even more serious when the loan is to be made to a wife, without the consent or even knowledge of her husband. But he mustn't know. He mustn't even dream that I borrowed the money. That's why I came to you. You've known him at the bank. Yes, at the bank and at school, but we were never very friendly. While you worked with him, you must know how he feels about being in debt. He has a dread of it, Mr. Krogstadt. He thinks debts are immoral, almost criminal. He'd never allow me to owe the butcher or the baker a single krona. And now you wish to borrow a great many krona? Because he needs it.  And now the doctor say that he must go away to rest, a long rest in Italy. And if he doesn't go, he'll never be well again.  Mrs. Helmer, I wish I could help you. Does that mean you won't? But I'll pay it back. I promise I will. I'll save it. And I could make money other ways. I'm very clever at copying you. Mrs. Helmer, is there anyone you could get to sponsor the loan? Sponsor it? To sign the note with you and act as surety. I mean a man, of course. Well, I don't know. There's no one I'd like to ask for fear. Torvald would find out. Well, you have a father living. My father. What would he do? If he'd sign the note with you? Yeah. Oh, then he will. I'm sure he will. Very well. Oh, thank you. Now, here is the note. Yes. When you come back to me with the note signed by you, here, and your father's signature down here, I'll let you have the money. Oh, wonderful. It really isn't difficult at all. I almost wish Torvald could know, then perhaps he'd see how clever I really am. Oh, he mustn't. All he must know is that we have money from somewhere, and that we're going away to Italy. You must try yourself out dancing like that. Now sit down, Nora. Please. Oh, Torvald isn't it wonderful? I feel as if I belonged here, as if I'd lived in Italy all my life. Oh, and now I've learned to dance the tarantella. Yes, and you dance it beautifully, Nora. Oh, it's so easy to dance here, where your heart is light. Aren't you glad I teased you until you've rocked me? Very glad. Oh, and the rest has been good for you, Torvald. So good. Oh, nonsense. I never needed a rest. Oh, no, of course you didn't. It was just for me, and I love you for it. Oh, you can hardly thank me. I could never afford a trip like this. It was strange, your father leaving you that money. Strange, Torvald? I always thought he was rather impromptu.  Well, he must have had some put away. Yes. Well, unless it's almost gone, my dear, we'll have to be leaving for home soon. Oh, I know. But I'm so anxious to see the children again. Put these flowers in water. Oh, flowers too, ma'am. Oh, yes, Ellen, and so awfully expensive. Oh, uh, did the Christmas tree come here? Yes, ma'am. I put it in the kitchen so the children wouldn't see it. Is that you, Nora?  Come and see all the presents I have. Look, Torvald. You mean to say you've bought all these? Oh, just a few little things for the children, Ellen and Anna and Dr. Ron. Mm-mm. I suppose you spent every penny I gave you. No, I, I did have some left, and then I, I saw those heavenly roses. Oh, but that's so extravagant. Oh, I know, Torvald. I know, but I, I just couldn't resist. And what did you buy for yourself? Oh, I don't need anything. Nonsense. Tell me, what'd you like? Something useful? Something sensible? Well... Mm? If you really do want to give me something, you could give me money. Now, Nora. Oh, and then I could buy myself something, just what I needed. But there's no Christmas spirit about cold, hard money. Oh, yes, there is. But you're so extravagant, Nora. On that trip to Italy last winter, we simply can't afford to go on throwing money about you now. Oh, but you'll be making lots of money now, and we could always get a little credit. Credit? Nora, have you ever known me to borrow money? No, but it ought to be easy enough now. I want no creditors in my life, thank you. We've held out all these years without ever owing anyone a penny, and we're certainly not going to begin now at the last minute. Yes, darling. Of course, you know that. At the same time, we're not exactly paupers. Look, why do you think I've got here? Oh, Torvald money? Oh, 10, 20, 30, 40, 50. Here, here, get that back. Oh, Torvald, darling, thank you. This will go a long way. I should hope so. No one would believe how much it costs a man to keep a little thing like you. A lady to see you, Mrs. Helmer. A lady? Well, ask her to come in, Ellen. Yes, ma'am. Well, I must get back to the bank for a while. Goodbye, darling. Come home early tonight. I'll try. This way, please. Who is it, Ellen? Oh, Nora. How are you? You... You don't remember me, do you? No, I don't think I... Why, yes, Christina. Is it really you? It really is, Christina. And I think I didn't even know you, but you're so changed. Yes, I... I guess I am in nine or 10 years. Oh, good heavens. Has it been as long as that? But what are you doing in town? I arrived down the morning bolt. Oh, yes, to spend Christmas. How wonderful.  Oh, darling, how can you forgive me? Forgive you. Oh, Christina, I forgot that you... That's your husband. Yes, my... My husband died three years ago. Yes, I saw it in the papers, but... Well, you know how it is. Did he leave you anything? Nothing. Not even any children? No. Nothing? Not anything? Not even a regret. Darling, you must tell me the whole story. I never would have dreamed it. It must have been awful. And to be absolutely alone afterwards. Oh, you know, I have two of the sweetest children. Just wait till you see them. They're out with their nurse now. So there's nothing to disturb us, and you can tell me all about it. No, dear. You tell me. No, really, darling. I won't be selfish today. Oh, uh... But I must tell you one thing. Have you heard of our wonderful luck? No, what is it? My husband has been appointed manager of the savings bank. He has? Oh, it is. Oh, Christina, can you imagine how it makes you feel to have lots of money? Not only what you need, but just heaps of money. Oh, Nora. Nora, you haven't changed a bit. You're still the same old Spencer.  I've had to work. You work? Oh, but why? Well... Toveled with ill, you know, and... Of course you mustn't tell, Christina. Tell what? Well, we needed money, and of course we didn't have any. No, I wouldn't think to inherit the money for my father.  But won't you tell him? Oh, after a great many years, perhaps. Well, I'm not so young. Well, don't laugh, Christina. I mean, when Toveled isn't so much in love with me, well, it isn't fun for him any longer to see me skipping a bar, dressing up and acting. Well, then it might be good to have something in reason. Oh, no. Now, what about you? What are you going to do, Christina? I wish I knew, my dear. I'll have to find work, I suppose. I, um... I was wondering a while ago, Nora. What? Well, with your husband a bank official... You mean he might be able to do something for you? Well, I was hoping... Oh, darling, that's a wonderful idea. Nora, do you really... Oh, just you leave it all to me. I'll give you a note to him, and you go to the bank and see him. Oh, I know he'll give you the position if I ask. Nora, you don't know how much this means to me. Poor Christina. I'll write the note at once. Don't come in, darlings. Mama's here. Mama, he threw a snowball and hit me. I did not. I hit him back. Oh, my baby. Mmm, such a cheek. Darling, you've been out for hours. Aren't you frozen? I'm warm. I saw a dog, Mama. He ran after a man and he growled. I saw the dog, too. Oh, did you, my sweet? And the man picked up a stick and the dog ran around biting people. Really? Oh, I know he didn't bite you, though, did he, darling? I'd like a dog. I'll just take their coat, ma'am. Oh, yes, Ellen. Can we play now, Mama? Of course, darling. Any single thing you want is Christmas Eve. I want to play diamond stuff. Blind man's buff? All right. Now you know what you do first. All right. It's a man. What do you want, Mr. Crookthed? You see, the door was open and I thought... My husband's not at home, Mr. Crookthed. Yes, I know. Children, go to Ellen. Come on in. What did you come here for? It isn't the first of the month, Mr. Crookthed. It isn't bad. I'll ask you something. An hour ago at the bank, a lady asked to see Mr. Helmer. She said she had a note from you. Well... Would you mind telling me if that lady was a Mrs. Linden? Yes. Do you know her? I... I haven't seen her for a great many years. Naturally, I was surprised when I heard her inquire for your husband. It isn't surprising. She's going to be given a position at the bank. She is? I guess. But... But how? Well, you see, sometimes a little influence with the right people, Mr. Crookthed. You mean you had something to do with it? Naturally, I did what I could for my friend. Why? Come now, Mrs. Helmer. You know very well whose job it is your friend is getting. What are you talking about? So I'm just to be thrown out, am I? What? Oh, you needn't pretend you didn't know.  I didn't know. My husband doesn't tell me his business. Mrs. Helmer, I must ask you to use your influence for me. But I have no influence, whatever. But you just said you had, Mrs. Helmer. That's quite different. If someone is to be hired and Mrs. Linden is capable, being an old friend of mine might help with my husband. But this... Well, this is different.  I'm truly sorry for you. Mrs. Helmer, I don't want your pity. I want your help. You really can't profuse me.  In a little while I'll have paid off the note and I'll be through with the whole business. Please listen to me, Mrs. Helmer. Try to understand that it's vital for me to keep my job at the bank. I'm sorry, but really I'm quite helpless. I tell you, I've got to keep it, that's all. I've got children and they're growing up. They need to have a father who's able to hold up his head in a respectable position. I tell you, my job at the bank is the only chance I've got to get anywhere. But I just can't listen. You've got to listen. Mr. Koch said you're threatening me. I don't care what you call it. Would you tell my husband I owe you money? I don't know.  When it's all my own secret and I'm so proud of it, why, if you heard about it that way, there's no telling how unpleasant it would be. Unpleasant? Mrs. Helmer, I'm afraid there are some things you don't understand very well. Let me make things clear for you. You needn't bother... When your husband was ill, you came to me to borrow some of money. I promised to find you the money in exchange for a written agreement which I drew up. Your father was to sign this agreement. Was too. He did sign it. Did he, Mrs. Helmer? Well, you knew he did it. Anyway, haven't I made my payments on time? Mrs. Helmer, your father was very ill, wasn't he? Yes, he was on his deathbed. Tell me, Mrs. Helmer, do you happen to remember the day he died? The day of the month, I mean. It was the 29th of September. Ah, that's correct. But you see, I made a little investigation for myself, and I discovered a rather remarkable fact which I can't quite explain. What remarkable fact? The remarkable fact is, or seems to be, that your father signed this paper three days after his death. I don't understand. Well, Miefer, do I, Mrs. Helmer? Here your father dies on the 29th of September, and here he signs his name on October the 2nd. There's the date, don't you see? Now, isn't that remarkable? Perhaps you can explain it. Your father really did write his name here himself. Didn't he? No. No, I wrote it. Do you realize what you're admitting? That was a very dangerous thing to do, Mrs. Helmer. But why? You'll have your last payment in a few days. Mrs. Helmer, you really don't seem to understand what you've done. Do you know, Mrs. Helmer, that I did something just about like that once, and it ruined me? You mean you took a risk to save someone's life? The law, Mrs. Helmer, takes no account of motives. Then the law must be very bad. Bad or not, if I take this paper to court, the law will condemn you exactly as it did me. I don't believe it. As if I didn't have the right to save my father from worry when he was dying. As if anyone should tell me that I hadn't the right to save my husband's life. I don't know very much about law, and I don't want to if that's the way it is. But I'm certain they'd let you do that. Why, the idea of not knowing that when you're a lawyer, you must be a very poor one. Maybe I am, but I do understand something about this business, you and I are in together. And now, Mrs. Helmer, you can do exactly as you please. But let me tell you this one thing. If I'm thrown off into the mud again, there'll be others to keep me company. I must go to all of them. No, no, no, not yet. It's Christmas Eve. Well, I don't hear Norah persuading me. Well, what? Oh, yes, please, say Dr. Ron. No, no. I have patients waiting for me in the morning.  Then you must come again tomorrow. I will, if I'm still alive. Oh, what a way for a doctor to talk. Good night. Good night. Good night, Doctor. Well, I still have a little work to do before bed. Oh, no, Tovelda, I want you to talk with me. Now, what would that be about? By the way, was anyone here this afternoon? No, just Christina. You gave her the position, Tovelda. Oh, yes, yes, but when I came home, I thought I saw Krogstadt leaving the house. Krogstadt? Well, he really was here, but just for a minute... Norah. Well, it was just for a minute. Norah, look at me. I'm very, very much surprised. Krogstadt has been asking you to put in a good word for him, hasn't he? Are you going to be angry with me? And you were supposed to do it just as if you thought of it yourself. Yes, but I... No, Norah. And you could stoop to that, just speak to such a man to make a promise and then to lie about it, to me.  Will you? Well, we won't say any more about it. Tovelda, tell me, was it really something awful this Krogstadt got into trouble over? Oh, forgery, that's all. You know what that means. But don't you think he might have been forced to do it? Perhaps, and I'm not so hard-hearted as to condemn a man for a single slip. No, no, of course not. And a man can redeem his character if he admits his crime and takes his punishment. Crime? No, Krogstadt didn't. He dodged and used all kinds of tricks. He was disbarred, of course, but he, well, he should have been sent to jail. But don't you think he had responsibilities, children? After all, he might have done it for their sake. Yeah, that's the worst of it. It's like a poison, especially for the children. How do you mean? Oh, I've seen it time and time again. It's really amazing to see how criminal tendencies in children can be traced to lying parents. This Krogstadt has been contaminating his children for years. But how? Oh, by his life of lies and deceit, of course. They're all drawn into it with him. Sad, isn't it? I can sympathize with you when you feel sorry for him. But you will promise not to say any more about it. Hmm? Well, I'm going to my study. I won't belong. Oh, dear God. Mrs. Helmer. Mrs. Helmer, the children want to come and say good night. What? The children. Shall I bring them into you? No. No, not now, Ellie. Our first subject is the devastating Helen of Troy. Greek Helen of Troy had a way with a boy that caused the upheaval of nations. To buy her a cloak, Minelaus went broke, and an army went short on its ration. But her jewels counted not her robes or but ought we've learned from historical data. We'll give you the dope. She used luck's toilet soap, and her face was what launched the rigata. We jumped now two colonial times into the cumlemaden, Priscilla. Priscilla was fair and had smoothly brushed hair when John came to woo her for Sandish. But she wanted John with no pro or con, why the idea of Miles was outlandish. She got her own way in her confidence lay, not in clothes so demure and colonial. It's easy, why shucks? It's because she used luck's. It's a passport to things matrimonial. And now we come to Miss 1938 in whom we're all most interested. The girl of today wears a suit and beret. She ponders on color selection. But though fashions vary, they are still secondary compared with a lovely complexion. And she knows it still pays, as it did in past days, to keep her skin clear and attractive. And of course, if she's clever, she'll do it forever with luck, for its lather is active. The famous beauties of history understood the relation between lovely skin and romance. The famous beauties of our own day, the lovely stars of Hollywood, understand it too. Nine out of ten of them use luck's toilet soap to protect their beauty. Its active lather removes dust, dirt and stale cosmetics thoroughly. Guards against choked pores that cause cosmetic skin, dullness, tiny blemishes and large pores. Protect the loveliness of your skin the easy Hollywood way.  May I remind you that an important announcement comes at the end of our performance tonight. I suggest that the ladies have pencil and paper ready. Now, our producer. Joan Crawford and Basil Rathman continue in a darls house with Sam Jaffe and Nedda Harrigan. Christmas Day finds Nora an estate close to hysteria. Under the influence of her husband's stern philosophy, she's fearful of contaminating her children with her presence. And so she's not seen them for almost 24 hours. Now, late in the afternoon, she knocks timidly at the door of her husband's study. Nora? Am I disturbing you, Torval? Oh, uh, well, just a little bit. Um, what do you want, dear? Torval, if I were to ask you for something, to beg you for something very prittley, would you do it? Nora, you can't mean what you were hinting at yesterday. Oh, yes, for my sake, Torval. You must let Krogster keep his place in the bank. My dear Nora, it's his place that I'm giving to your friend, Mrs. Linda. I'm sorry, darling, and that's so good of you, but instead of Krogster, couldn't you just dismiss some other clerk? Dismiss some other clerk? What's the matter with you, Nora? Just because you were impulsive enough to promise to put in a good word for him, I'm too... No, it's not that. It's not that I said anything to him, but it's for your own sake, Torval. I'm so terribly afraid of him. Why? Well, I hear he's rather malicious, and there's no telling what he might say. That's why I beg you. Yes, and the more you plead for him, the more you make it impossible for me to keep him on. Oh, darling, please. Now there's no use going any further with this. The matter's closed. I've just sent a messenger out with a letter. What letter? A Krogster dismissal. Oh, call it back again, Torval. There's still time for my sake for your own. Oh, listen, please, Torval, you don't know what might happen because of... Now come, Nora, what do you expect me to do? What are you about being slandered a blackmail by a wretched fellow like Krogster? Really? I can forgive you only because I know it's proof of your love for me. And that says it should be. Let what will happen when it comes to the pinch. I think you'll find my shoulders are broad enough to bear the burden. No, no, you'll never do that. I won't let you. Well, we'll do it together then. We'll share it, man and wife. How would you like that?  It's just your imagination. I'll tell you what. Take your tambourine and practice your tarantella. Tarantella? Yes. You're going to dance at the Stenburg's party tonight. You haven't forgotten, have you? No, no, I remember. Tell me. Is Dr. Ronkin. Why, yes, come in. Come in, Nora. Thank you. Sit down, Nora. I was just about to leave for your house. Dr. Ronkin, there's something I want to ask you. I'm not disturbing you, am I? I always have time for you, Nora. I always will have. Just as long as I'm able. As long as? What does that mean? Does that frighten you? Well, I think it's an odd expression, isn't it? Do you expect anything to happen? Oh, something that's no surprise. Is there something you've really discovered? I've been auditing my life account, Nora. Oh, you've discovered something about yourself? Yes, and it looks as if I'm bankrupt. Before very long, my poor carcass will be rotting in the churchyard. What a dreadful way to talk. Dreadful? Well, it's a dreadful business. There's one final test to be made, and then we'll know exactly when disintegrations are taken. Dr. Ronkin. As soon as I'm certain of the worst, I'll send you my visiting card, and then you'll know that really serious things have begun. I won't listen. You know you're exaggerating. You just like to talk this way. You mustn't think of dying and leaving Torvald and me. You're our oldest friend. You will get over it. The absent are soon forgotten. Do you think so? People make fresh ties. Although I... I do hate to leave at all. Oh, nonsense. You shan't leave us. And without leaving behind as much as a little token of gratitude. Nothing but some space. The first person that comes along can fill that. And just suppose if I were to ask you for... For what? For a great proof of your friendship. For a very, very great service. Would you, for once, make me so happy? Oh, but you don't know what it is. Then tell me. Don't you trust me? Oh, I do, Dr. Ronkin. It's something you must help me prevent. You know how deeply, how really deeply Torvald loves me. He wouldn't hesitate a moment to give his very life for me. Nora, do you think he's the only one? But what do you mean? Who'd gladly give his life for you? I wanted to say it to you once. Before I... Before I go away. I'll never find a better moment. Well, I've told you. Now you know you can trust me as you can trust no one else. Dr. Ronkin, how could you be so? Why did you say that? I've told you so nice before. Nora, please. Oh, I can't tell you anything now. Oh, you mustn't punish me not that way. Let me help you, Nora. No, you can't do anything for me now. Besides, it's not... I really don't want any help. I have to leave now. Goodbye, Dr. Ronkin. Oh, I'm glad you've come home, ma'am. There's a man here to see you. Mr. Krogstadt. Here? Ellen, where's Mr. Helmer? He's out, ma'am. Gone over to fetch Dr. Ronkin. Thank you, Ellen. What do you want here? I want some information, Mrs. Helmer. Be quick, then. What is it? You know I've been dismissed. I couldn't prevent it, Mr. Krogstadt. I fought and I stood up for you, but it wasn't any use. Oh, is that all he cares for? Oh, please, you won't tell. Think of my children. Why should I? Did you and your husband think of mine? However, I've come to tell you that you needn't take this matter too seriously. I'm not going to use this information I've got. Not for the present, anyway. Oh, Mr. Krogstadt, I knew you wouldn't... In fact, no one needn't know. It can remain just between us three. Oh, no, my husband must never know. Why?  Well, no, not at the moment, but it won't be long before it's all paid. I'm going to hold on to that note. What would you do with it? Just keep it, Mrs. Helmer. Don't worry. No one else will ever know anything about it. But if you had any desperate scheme in mind, put it right out of your head. We all think such things at first. I did too, Mrs. Helmer. But I didn't have the courage. Nor I. No. You wouldn't have the courage either. Would you, Mrs. Helmer? It would be very foolish. Very, very foolish. Now, I've written a letter to your husband. To my husband? But he must never see it. Tear the letter up. I'll get the money somehow. I'm sorry, Mrs. Helmer, but I think I've told you. I don't want it. Well, then what do you want? I'll tell you what I want. I want her to gain my foothold in the world. I want to get back to where I belong.  And your husband shall help me. No, you won't. He will. I know him, Mrs. Helmer.  And when he and I are together there, you will see, yes, within a year, I shall be his right-hand man. It won't be torbled, Helmer. It'll be Neil's corksetter in the bank. No. Who will stop me? Somebody wears the courage. Oh, you can't frighten me.  Oh, you'll see. You'll see. Under the ice, perhaps? Down in the cold, black water? An X-spring to come up again ugly? Unrecognizable? No, no. People don't do that sort of thing, Mrs. Helmer. And anyway, what will be the use of it? I've got your husband in my pocket, no matter what you do. Not after I'm gone. Not after I'm... You forget. Your reputation is in my hands. You can think of that when you're planning to do something foolish. I'll drop the stutter in the mailbox on my way up. No, please. I expect to hear from your husband very soon. What are you doing, my dear? I'm trying to get the mailbox open. But where's the key? I haven't one. Christina, look. There's a letter in there, and it's from Crookston. Crookston? Yes, and now Torval will know everything. Oh, believe me, dear. It will really be best for both of you. But you don't understand. I forged a name. Papa's name? Nora. Listen, Christina. You must witness. Listen, what is there to witness? If anything should happen, if I should go out of my mind. If anything should happen so that I wouldn't be here. Nora, you've lost control of yourself. If anyone else should try to take the whole blame on himself, you are my witness that it was all my doing. No one else knew anything about it. Nora. Oh, I'm not out of my mind, Christina. I know what I'm saying. I did the whole thing. You will remember, won't you? Of course I'll remember, but I don't know what you mean. Oh, no. No, how could you? Because a very wonderful thing is going to happen. A miracle is going to come. Yeah. Yes. A very wonderful thing. But it's so terrible to Christina. Oh, it must have happened. Don't. Don't, dear. I shall go to Crookston right now and talk to him. You? What can you do? In the old days, he... he would have done anything for me. Crookston? I knew him very well. Nonsense. You must come tonight. No, I'd better not. Oh, listen. It's trouble, Dr. Rank. They're coming up. There's trouble. Mustn't see me. Go inside. I'll try to find Crookston. Don't give up. Don't, Nora. A miracle. It must happen. Oh, it must. Come in, Rank. And I still say you're quite mad. Perhaps. Well, Nora. Home again? Yes. How do you do, Dr. Rank? Good evening, Nora.  You look quite upset.  No, I haven't practiced at all yet. But you'll have to. Oh, yes, I must. I must practice a great deal. But, Torvald, I can't without you. I know I've forgotten everything. Oh, well, when you've worked on it, it'll come back to you. Sit down, Rank. Why are you going, Torvald? Just have a look at the mailbox. Oh, no, no. Don't do that. Oh, why not? Torvald, I'm sure there are no letters there. Well, just let me look at it. Oh, no. If you don't rehearse with me, I won't be able to dance tonight. What? You're really as nervous as all that about it? Oh, terribly, Torvald. Let's rehearse now. There's time before dinner. Sit down and play for me. And you can direct me. You know the way you used to do. Oh, right, all right. What a creature. Play, Torvald. Play. Nora, that will never do. Oh, Torvald, please. I told you I needed to practice. Let me play for her. Perhaps we can do it slowly. Oh, yes, please.  All right. Now try to calm yourself. Yes, darling, I will. How's this, Torvald? Is it better? Nora, Nora, there's no need to dance until there's a matter of life and death. Right? Stop it. This is all out control. Stop, I say. Nora, I don't see how you could have forgotten everything that way. I told you ahead. Oh, Torvald, you must practice with me right up to the last minute. Promise, Torvald. Certainly, if you wish. For you to think of nothing but me, not a letter, not a paper. You mustn't even look at the mailbox until after the party. Very well, my dear. But you seem so... so overwrought.  Thank you, Torvald. Come along, Rock. Thanks. Seven o'clock. Five hours until midnight. And the tarantulla will be over. Five hours to live. Nora. Nora, are you coming? Coming, Torvald. Here's the plumbware broadcasting system. The curtain falls on Act Two of the Darlthouse. Before we hear Joan Crawford and Basil Rathburn in Act Three, we spend this brief intermission with another personality from Backstage Hollywood. Frances Manson, chief story editor of Samuel Goldwyn Productions. Miss Manson came here from Columbia University, where she taught short story writing and advertising. Today, she's one of that highly important group who, seeking for good motion picture stories, wade through the vast, massive material turned out by the world's authors. And now, Miss Manson, what's your story? A complaint, Mr. DeMille. We've had a very definite lack of story material. If good stories were only half as plentiful around Hollywood as luck's soap, I'd be a lot happier. There's a cake of luck in practically every dressing room in Hollywood, but there are only about ten good motion picture ideas in every 1,100 stories. In spite of the fact that about half the letters that come to producers are from people claiming they have great ideas for film stories, we're still screaming for new material. Many of these unsolicited stories may be great, but every unknown writer who sends us one is certain of receiving it back promptly and unopened. We can't give them a chance because we can't take a chance. That's it. A lot of people think we're just waiting for the opportunity to steal their ideas. Obviously that isn't true, and here's a typical example. We received a letter from a man who said I have a great idea for Gary Cooper. Make him a cowboy in his next picture and let him fall in love with a society girl. Please send me a check for $1,000 immediately as I am going on my vacation next Tuesday. I assume he went on his vacation without your assistance. Right. You know as well as I do, Mr. DeMille, that such a vague suggestion doesn't mean very much. An idea like that is so obvious that it had already occurred dozens of times to write at the studio and hundreds of times to people outside the studio. As a matter of fact, in reference to this particular case, Mr. Golden had already started work on a picture called The Lady and the Cowboy with Gary Cooper and Meryl Oberon. Imagine how embarrassing it would be if we read every manuscript we received. Without a doubt, a manuscript would be bound to contain an episode somewhere in it that might slightly resemble part of our movie script. And human nature being what it is, we would never convince the would-be author that we had not stolen his play and changed it around to suit ourselves. The safest plan for all concerned is the one we follow, namely not to open any manuscript which comes in unsolicited. This is the firmest rule in Hollywood. Then what outlets are open to the would-be screenwriter, Ms. Manson? My advice is this. Prove your ability first, write for the magazines, for the book publishers, or the play producers, and we'll grab you without further delay. In other words, if you want to write for Hollywood, don't write for Hollywood until we ask you. What do you think of the ones we've already asked? The mainstream writers are quite as temperamental as actors, but at times you can't blame them because the producers they work for are temperamental too. Heresy, Ms. Manson, that requires explanation. I can recall one producer who summoned in his writers and said he wanted the scope of the story to be much bigger. This isn't big enough, he said. I want it to be great. I want it to be infinitesimal. And the producer was not Mr. Goldman. Then there's the producer who reluctantly agreed to read a certain writer's story. He said, I'll read it with an open mind, but I may as well warn you, I think it's terrible. But writers in turn are often something of a problem to producers. For instance, Robert Riskin has to write every line of a screenplay in longhand. S.K. Lauren has to go away and do his creating in a shack. Joe Swirling will spend weeks at wood carving and not write a single line. Then suddenly appear, call for a dictaphone and give forth a complete shooting script without having put a word down on paper. Still, in my opinion, the screenwriter is entitled to every bit of individuality he cares to assert. The fact remains that he delivers the goods and contributes what to me is the most important phase of pictures. The story. Thank you. Thank you, Miss Madsen. Act three of the Dalles House, starring Joan Crawford and Basil Rathbone with Sam Jaffe and Neda Harrigan. Later the same night, with Christina gone to use her influence with Krogstadt, Nora dances at the party. Faster and faster, she whirls about the room. A cheek's two spots of frenzy. Her eyes burning. And then the tarantula ends. Nora, Nora, come here. How tall did I dance well? You were magnificent, my dear.  Come now. We must go home. Oh, no. Not yet, darling, just a little longer. But it's late, Nora, and you're tired. Yes. Yes, I am tired. Come along, dear. We'll say good night. So slowly, Nora. Let me help you. I'm even more tired than I thought. There we are. You see, I was perfectly right not to let you stay any longer. Yes, darling. Everything you do is right. Torval, what are you doing? I want to clear out the mailbox. It's so late, Torval. Won't tomorrow do. Look at all the letters that have collected. Why? What's this? What? Dr. Rank's visiting card. It was right on top. He must have just put it in tonight. I wonder what this means. What is it? This black cross over his name. What a ghastly idea. You think he was announcing his own death? He is. What? How do you know? Has he told you something? That card, it is farewell.  Oh, poor old Rank. Of course, I knew we couldn't hope to keep him long, but so soon. And to go off alone, like a wounded animal. When one goes, it's best to go silently, don't you think? I just can't realize that he's gone. He's grown into our lives, so. Oh, well, perhaps it's for the best, at least for him. And for us too, because now we have to depend entirely on each other. Go, India. Oh, it's a relief to be home again. Come here, Nora, you enchanting creature. Torval, don't please. Why not? Oh, I know what it is. You have the talent teller still in your blood, and it makes you all the more tempting. Read your letters, Torval. Oh, but a moment ago, you asked me to wait. Oh, my darling, I... I can't hold you close enough. You know, I wish sometimes that you were in some great trouble, so that I could do something really marvelous for you, risk my body and soul, everything. Please, you must read your letters, Torval. What an insistent creature. Very well. Let me see. This is strange. Oh, let him croak-stat. I wonder if he's going to ask... What's this? Nora, do you know what's in this letter? Yes.  But you forged your father's name. Is it true? I loved you, Torval. Answer me. Is it true? It was all because I loved you. Stop saying that. Yes, it's true. You fool! What have you done? Torval, you're not going to take this on yourself. You're not to try to save me. Oh, don't be melodramatic. Do you understand what you've done? Yes. You've ruined my future. Do you know that? You've put me in the hands of a scoundrel. From now on, he can do whatever he likes with me. Do mind what he chooses. Domineer over me as much as he likes, and I'm going to submit to everything. Out of the world, you'll be free. Out of the world, all this is no time for fine phrases. What good would it do if you were out of the world? He blabbed the story just the same, and people might even suspect me of having been a part of it. Did you ever stop to think of that? They'd say that I was at the bottom of it. That I'd edge you on. And it's you I have to thank for all this.  Now do you understand what you've done to me? Yes. I... I just can't believe it. I... I've got to keep you quiet somehow. That's it. People simply mustn't find out that there's anything at all out of the way. Well, we'll, uh, we'll make things look as though, uh, nothing had happened between us, and, uh... Oh, what can that be at this hour? What is it? Another for you, sir. Mr. Kroegstad asked me to deliver it. Kroegstad, give it here. Oh, what more can he do to me now? Torvala... Be quiet! Why? What? Look, it's a promise of a note. It's your note. He's returned it. I... I don't understand. What does he... what does he say? Returning your wife's note, I regret my actions in this matter. Mrs. Lindham has convinced me that... Oh, Nora! Nora, thank God! I'm saved! I'm saved! And I...? You too, yes, of course, darling. We're saved, Nora. It's all over. I'm... it's finished. I'll tear it up. I... I won't even look at it. The whole thing should just disappear like a dream. Oh, Nora, Nora, these must have been terrible days for you. Yes, they have been. Yes, I see now. You did it because you loved me. It was just that you... Well, you... you went about it in the wrong way, dear. You... you didn't have the experience to know how. But the next time you see, dearest, you... you must come to me. You do realize that, don't you? Nora... Nora, you're not going to remember the things I said. Are you? Why... why the whole world seemed to be falling to pieces around me. It's all going to be forgotten. I forgive you. Thank you for your forgiveness, Torvala. Thank you? Is that all you have to say to me? Why... why do you look at me so strangely? Now, dear, you'd... you'd better go and get some sleep. I shall not sleep tonight. But it's late. It's not so late. Sit down, Torvala. Nora, what do you mean? Your face is so cold and set. Sit down, Torvala. Nora, you frighten me. I don't understand you. That's just it. You don't understand me. And I've never understood you until tonight. What do you mean? Doesn't one thing strike you as strange as we sit here? Nora, what are you talking about? We've been married eight years. Doesn't it occur to you that this is the first time we two have talked together seriously? Oh, my dear child. What have you to do with serious things? I've had a great injustice done, me, Torvala. First by my father and then by you. And your father and me? Yes. When I was at home, father used to tell me all his opinions. And I always agreed with him.  And then I came to live in your house. What a way to talk about our marriage. Well, I mean I changed hands from his to yours. And I heard your opinions and agreed with them or pretended to it. Nora. I've been living here like a beggar by performing tricks for you. That's the way you would have it. You and my father are responsible. It's your fault my life has come to nothing. Nora, haven't you been happy here? No. Only Mary. You've always been kind to me but our house has been nothing but a nursery. I've been your doll wife just as I used to be father's doll child. And in the same way my children have been my dolls. That's what our marriage has been, Torvala. Well, perhaps there is some truth in what you say. But Nora, from now on it will be different. Yes. Very different.  What are you saying? I can't stay with you. You've lost your mind. I won't allow it. I'll spend the night with Christina and tomorrow I'm going home. You mean that you propose to leave your home, your husband and your children? And have you considered what people will say? I don't care what they say. From now on I must think things out for myself.  Desert your home. You can't. These things are your duty. Your sacred duty. I have other duties equally sacred. Name them. My duty is toward myself. Before all else I'm a human being, just as much as you are. And if I'm not, then I must try to become one. Nora, Nora, you're ill. I almost think that you're out of your senses. I've never felt so clear, so certain. Clear and certain enough to forsake your husband and children? Yes. Then there's only one possible explanation. You don't love me anymore. Yes, that's just it. Nora. I'm sorry, but I can't help it. I don't love you anymore. You're clear and certain of that too? Yes. And can you explain to me at what moment you see still of me? Yes, I can. It was this evening when the miracle that I expected to happen didn't happen. It was then I saw that you were not the man I'd imagined. I don't understand you. For eight years now I've been waiting for a certain wonderful thing to happen. To happen between you and me. And I've been waiting patiently because I know that really wonderful things can't happen every day. And when I saw that this catastrophe was hanging over me, I said to myself, it's coming. The miracle is coming. When was this? Tovel. When Crookstead's letter was lying in the box, it never occurred to me that you'd think for a minute of submitting to that man's conditions. I was certain that you'd say to him, all right, tell everybody, publish it to the whole world. And I was certain that after that... After that what? When I'd covered my wife's name with shame and disgrace? Well, then I was sure you'd come forward and take the whole thing on yourself. You'd say, I'm the guilty one. I? But Nora... Oh, I'd never have accepted such a sacrifice. Of course not. But what would my word have been against yours? That was the miracle I hoped for and dreaded. And to prevent that, I wanted to die. Nora, I would gladly work day and night for you. I'd bear any sorrows and want, but no man sacrifices his honor even for the woman he loves. Millions of women have done it.  When you got over being frightened, not for me, but for yourself, and you knew there was nothing more to fear, then it was as if nothing had happened. I was your doll again, and you would take twice as much care of it in the future because I was so weak and fragile. Tovel did best on me in that moment that I'd been married for eight years to a man I hardly knew. But, John, you're still my wife now and always. Tovel. When a wife leaves her husband's house as I'm doing, I've heard that in the eyes of the law he's free from all duties to her. At all events, I release you from all duties to me. Here's your ring. Give me mine. Here are the keys. Tomorrow when I've left town, Christina will come and pack up the things I've brought from home. I'll have them sent after me. Is everything over? Nora, will you never think of me again? Tovel, I shall often think of you and the children in this house. May I... may I write you, Nora? No, never. You must think. But I'm a saint. No, I'm a saint. Can I never be anything more than a stranger to you? Perhaps someday. Oh, Tovel, if that's the miracle, it would have to happen. What's that? Both of us would have to change so that... all that I no longer believe in miracle. Perhaps I do. Tell me, Nora. So change that... that our marriage would be real with a real love to hold us together. Goodbye. Nora, wait! Goodbye, Tovel. Nora! A miracle. Perhaps someday. Yes, that miracle will happen. But it's got to happen. And so we take our leave of Ibsen's play. A little later, Melville Rooick brings you the important announcement mentioned earlier tonight. But now, we meet the two principal tenants of a doll's house, Joan Crawford and Basil Rathburn.  How did it feel to take off the whiskers and play a less villainous role? Well, CB, getting into a doll's house was like getting out of a dog's house. I've played villains on the screen so long that every time the steam radiators hiss at my house, I take a bow. But what's particularly interesting to me is that I've never been a villain on the air. I've often wondered, Basil, what type of letters the fans write to you men who put the menace in the movie? Oh, I get a lot of letters, Joan. The only trouble is that they all seem to have the same idea. They just hope that someday I'll get the thrashing I deserve. But the more disliked you are by the audience, the better the producers like you. Well, that's comforting, anyway. I've been perforated by sword so many times I now train on a bed of nails. Rather sad, don't you think? I never know just how to save my skin from lunging heroes. Did you ever try luck soap? Nine out of ten stars to take their skin with it. Yes, but luck soap makes me look so completely lovely, Joan. I'd soon be out of work. I'd get to look like you, and that... Oh, I mean... That's all right, Basil. I understand. And until I want to look like your partner in crime, I'm going to continue using luck soap, because I don't think there's anything nicer for a lovely complexion. And now, having disposed of Basil's problem, Mr. DeMille, my sincere thanks for bringing Nadal's house to the air and allowing me to play nola, and my appreciation to Mr. Rathbone and to Mr. Jaffe, who made a special trip from New York to be here, and to Ms. Neda Harrigan, Mr. Steele, and all the others in our cast. Thank you, and good night. Thank you, Joan. Good night, C.B. Good night, Joan. Good night, Basil. There's another real treatment store for your next Monday night. In a moment, our producer, Mr. DeMille, will be back to tell you all about it. But while we are waiting, I want to tell you about our offer of a compact for the ladies. The response to this offer last week has been overwhelming, and it is repeated tonight so that no one need to lose out. If you have not already sent for your genuine van-style double compact, by all means, do so tomorrow. Or, if you have obtained one and want one or two more for a gift or for a bridge prize, you may have it now. It's difficult for a man to describe this compact and do it justice. All I can say is that it's swell. Perhaps I could help you describe it. Would you please? Just tell the ladies in our audience how this compact appeals to you. Well, this is really the sort of compact every woman wants. Thin and lightweight, a delicate horseshoe shape of graceful design, curved in the front and square at the back. And of course there's no advertising on it. The top is finished in gold effect and setting gleaming black enamel, the bottom richly tooled in a harmonizing pattern. It will remind you of a piece of fine, old antique jewelry and it's just as smart as it can be. The black and gold color combination makes it harmonize with any costume. It's a double compact with two compartments, one for loose powder and the other already filled with a cake of fine neutral shade rouge. And it's so easy to get rouge refills to match your own complexion. The first one in the mirror is the full size of the cover. In many stores, this type of compact usually sells for a dollar. Well, thank you very much, but this compact does not cost our listeners a dollar. For the time being, our Lux Toilet Soap Friends can get it for three Lux Toilet Soap Wrappers and only 25 cents in coin. Send for yours at once. Now let me repeat that. You need only three Lux Toilet Soap Wrappers and 25 cents in coin. Hold the coin into the wrappers and enclose in an envelope with a slip of paper on which your name and address is printed clearly. Don't send stamps. Address Lux Toilet Soap. Box number one, New York City. Your compact will be mailed to you promptly. This offer is good only in the United States. So buy three cakes of Lux Toilet Soap tomorrow. Send three wrappers and only 25 cents in coin folded into them, together with a slip of paper with your name and address printed clearly to Lux Toilet Soap. Box number one, New York City. This offer is good only in the United States. Mr. DeMille. From the stern drama of a doll's house, we turn next Monday night to the gay romance of Columbia's highly successful comedy, Theodora Goes Wild. Starring in the title role will be the same delightful comedian whom you saw in the picture, Irene Dunn. And co-starred with Miss Dunn, the season-sensational comedy find. One of the most versatile stars in Hollywood, Cary Grant. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Irene Dunn and Cary Grant in Theodora Goes Wild. This is Cecil B. DeMille saying good night to you from Hollywood. Last night included Celeste Russia's Ellen, John Russell as Ivar Helmer, Jackie Horner as Emmy Helmer, Frank Nelson as a messenger, Louis Silvers appeared to courtesy of 20th Century Fox Studios for he directed music for Josette. Your announcer has been Melville Rui. This is the Columbia Broadcasting System.


Thanks for joining us at ITU's Headquarters for WISIs Forum 2019, where I am joined by Atsuko Okuda, who is Chief of the ICT and Development Section of ESCAP. ESCAP is the Economic and Social Commission for Asia and Pacific. Thank you very much for joining us. Thank you for inviting me. You're very welcome. And of course you are also Chair of the WISIs Regional Commissions and the Vice-Chair of UNGIS. So tell us about the challenges and opportunities you are facing in what is a very large region with very different cultures and problems. Thank you for this very good question. Now as you can imagine, ESCAP covers 62 member countries, 53 geographically from Turkey to the Pacific. So as you said, it's a very diverse group of countries. And the level of ICT development in terms of the infrastructure, capacity, applications, and the ecosystem policy and regulations are quite diverse as well. So on the one hand, we have a group of developed countries which are using artificial intelligence, blockchain, Internet of Things in a diverse sector of society. While on the other hand, the other group of about one-third of ESCAP member countries still are struggling to develop these building blocks of information society. So our role is to analyze and identify where are those gaps and find the opportunities to narrow this widening gap between developed countries and developing countries in Asia and the Pacific. And because we are regional commission, our focus is really the regional cooperation to promote and to facilitate member countries working together. So one of the initiatives that we are developing and implementing is the Asia Pacific Information Superhighway, which is a regional broadband connectivity initiative trying to identify the missing links in terms of the physical infrastructure as well as looking at it from a soft aspect, broadband for all, as well as e-residence and internet traffic management. So that region as a whole will have this ecosystem to enable the development towards the information superhighway. Hence the role of the regional commissions. It's important to work on the micro level at times, isn't it? Yes. So this is where the importance of working together partnerships comes in because we are looking at Asia Pacific as a region and we may not necessarily go into rural areas but there are UN agencies working very closely with communities and NGOs. So we have this win-win situation and synergies. For instance if UNESCO or UNICEF has school connectivity initiatives, this is where we can provide a national and regional level connectivity which can support the local initiatives. So I hope that this whole ecosystem not only among the member countries but within the UN agencies conducive to move forward together. And why is it important for your agency to be here at WSIS Forum? Thank you for this question. It is very important because as you know WSIS has action lines which are theme-based. So we believe that regional commissions can provide a regional layer in whole discussion because as you can imagine Asia, the Pacific and Africa don't have the similar challenges and opportunities. So by our sharing the regional perspectives I hope that the discussion will be richer and we can learn from other regions as well but also to have a common picture or page in terms of what are the challenges in Asia and the Pacific and jointly we can come up with a regional solution. Thank you very much. Thank you very much for having me here.