This is Jerry Bain at the Coalition for Networked Information, Spring 2023 meeting, and I'm here with Mackenzie Smith, University Librarian and Vice Provost for Digital Scholarship at UC Davis. Thanks for being here, Mackenzie. Thank you for inviting me, Jerry. It's always a pleasure to be here. Great. So, reflecting back on your career so far, what are some of the most rewarding projects or efforts you've undertaken, and what are some of the most frustrating? Well, before I talk about projects, I just want to say that even to this day, there are not a lot of women in technology. CNI is a better than average, I would say, meeting, and if you go to more technology-focused meetings, you know, there are not a lot of us in the room. There are also not a lot of library leaders who have a technology background, so I can think of a handful of other women who are running research libraries that have a technology focus, and so I think it's been something I'm proud of doing, is just representing women in this particular profession at a time when it's something I want to inspire more women to get into, and I'm happy to say that through things like the ARL Leadership Career Development Program, I've been able to mentor other women into library technology leadership roles, and especially diverse librarians, so that's something I'm very proud of that has nothing to do with specific projects. Can I ask you a side question? Sure. What do you think are some of the ways that we could help encourage women to be more involved, or what do you think are some of the barriers that we could lift to encourage women to be more involved? I think it's a lot of self-induced doubt. So having confidence that you belong is something that, you know, it's hard to really inculcate into people, but that's why representation is important, and dragging people into it, and giving them opportunities, that's something I've really benefited from my whole career, are great opportunities which I took advantage of. So I try to create opportunities for other women in technology, and everyone really, to get involved and do cool things, because I think this is the future of the profession. Without moving on to your career, what are some of the most rewarding ones? So like a lot of women in technology, I feel like I'm a pretty creative person, and so one of the things I've done throughout my career is make connections that other people didn't necessarily see, and that started very early on. So way back in the 90s when I was working at Harvard, we got a grant from the Mellon Foundation to work with some publishers on the transition to electronic journals, which wasn't really a thing yet. And I was hanging out with the Computing in the Humanities crowd at Harvard and at Brown University, and they were teaching me all about SGML and what they were doing with the text encoding initiative, which was so cool, and I thought, why don't we do that for journals? So one of the things we did with that project is hire a consulting company who was expert at SGML, and that eventually led to the journal archiving transfer schema that is the industry standard now. So every article that goes into PubMed Central is in that schema, and it's everywhere. That's amazing.  You just have to know that this applies to that. Sometimes it helps not to be the expert.  Yeah, so I've kind of done that sort of thing throughout my career. And then, of course, I moved to MIT in the aughts and learned all about open. So I was in charge of the dSpace project, open source software, and that spun into open access and open educational resources. And that place is really inspiring when it comes to thinking non-proprietarily about the world and your impact on it. And so that's another thing that I really helped move into the library field. And so I'm very proud of that work, which of course is ongoing. And then now, you know, I work a lot on organizational development because I'm in charge of a library. So how do you build a library today that is technologically sophisticated, flexible, equitable, you know, all those good things that we want research libraries to be so that they aren't irrelevant and obsolete in 50 years? It can't be easy. There's a lot of resistance and not just from the people who work in libraries, but from a lot of faculty and administrators who really just put libraries in a box and they have no idea what we really do. So, you know, building an organization that will survive the next 50 years is interesting, but that's what I've really been focusing on. And it's, it's gratifying. Do you want to talk about the frustrations you've had? I mean, I don't want to get off on a negative tip, but if there's something you'd like to talk about. I think it is that complacency that people aren't curious about libraries and it's starting to change. I think people, especially in the current political situation that we find ourselves in, there's been a lot more attention on what's happening with public libraries.  And that's true for research libraries too. So the frustration is just that so many people don't understand, you know, what we do, what we could do, that they shouldn't just pick up the phone and call IT anytime. There's a digital dimension to their question, you know. And I think I've made a lot of progress on that at my university, but all of my colleagues are struggling with that perception that we're still just the books and the stacks. And, you know, we don't have a role beyond that. Yeah, it's, it's hard to evolve. It's very irritating. Definitely. What do you see as some of the most pressing issues facing academic libraries today?  What are some of the issues and what are some of the opportunities? Issues, yeah. Well, so there is a huge elephant in the room. And that is the fact that in the digital environment, libraries have lost the privilege position they had in the print environment. We don't own any digital content. Even things we digitize ourselves, you know, the lawsuit that was just settled against the Internet Archive is a good example of that, that we've given up the idea that we should own what we buy and now we license it so it's not ours. And we also haven't really nailed digital preservation of what we do happen to have our hands on. So there won't be any content in the future that we have any control over in the libraries. And we will simply be, if we're lucky, a very expensive licensing operation, and that's a tragedy. You know, there won't be a cultural history in the future if we don't figure out how to get around that. But I've seen no interest in really working on digital preservation. It was invoked for a while and now nobody seems to be working on it. You know, a very few people, I should say.  And if we can't even scan our own books and then use those as surrogates in any scenario, we're hosed. Oh, it's so scary. So there are some opportunities that we have to tackle these issues. And an example of that is a project that you see, Davis, my current institution is leading for the University of California system. And that is to really take a look at what the world of research and education would look like if we could digitize all of our books and do something with them. Would there be transformative uses for scholarship? If a professor could download 500 books, do a quick text mining exercise on them and then return them in 10 minutes, you know, or I can think of many examples. But so we have a grant now from the Mellon Foundation to work on that problem and really do the background research that we as a profession are going to need to think creatively about the future and what we need to fight back on with these restrictive legal regimes, because it may be that we can't do what we want to do currently with the current legal system, but that there are some points where we could begin to lobby and advocate and fight for what libraries need to be able to do in the future in the digital world. What currently emerging technologies do you think are particularly promising and perhaps overlooked? Yeah, I wouldn't say they're overlooked, but there's something that libraries, research libraries, aren't spending a lot of their time on and that is cloud computing. So my library has a rather significant data science program that does a lot of the data science research and teaching around campus. And we're really interested in cloud computing because infrastructure is so expensive for high performance computing and for all kinds of data driven research and our students certainly can't afford that kind of infrastructure themselves and neither can early career researchers. So the cloud is really going to be incredibly important for the future of research, which is what research libraries support. And you know, I think of data as a first class object that libraries ought to be collecting, indexing, making available, preserving all that good stuff. So I think cloud computing is a really important part of our future, but we we aren't really advocating for, again, what we need. We're just sort of relying on what Amazon and Google and Microsoft come up with and saying, okay, we'll just, you know, use that it's it's not priced for the academic market. It doesn't really do what we need. So we need to be doing more to leverage that. But it's got a huge great potential for solving our problems. And then of course, the over hyped is got to be AI, you can't open a magazine now without some article about how AI is going to change everything.  It's just kind of passed a big hurdle with these large language models. Now, which back things like chat GPT. So you know, now we have these generative AI models, which are impressing people, but they have their limitations. So they've opened people's eyes. And I think that's great that people are really getting creative now about what this could do and all the bad things it could do. But the reality is that it's still pretty limited. And so I kind of tired of hearing about that. I can understand. Yeah, it's been talked about quite a bit. So what are your future plans? Yeah, that's a good question too, because as I inch towards retirement, in the pretty near future, I want to take a sabbatical, I feel like our profession has really changed a lot. And that when you're on the ground working, you know, way too much, putting out fires, you know, coming out of the pandemic, and all of the effort that took to just pivot to online and manage, you know, freaked out students and staff and all of that, I've kind of lost touch with what I should be focused on. It's so reactive. So I'm really going to stop and take a sabbatical, which I wish more librarians could do. And technologists, you know, just just take a break to really look around you and and look at what the big issues are.  But I also think there's a huge amount of potential for that type of technology in digital libraries. And, and I know a lot of other people are thinking about it. But as I said, you know, sometimes I see connections that other people don't, because I've been doing this so long. And so I just want to take some time off to think about that, and then decide what the next chapter will look like. Thank you for joining me, Mackenzie. I really appreciate your thoughts. Thank you, Jerry. Always a pleasure.


Well, good evening everyone. I'm Keith Webster, the Helen and Henry Posner Junior Dean of University Libraries at Carnegie Mellon and it's my very great honour to welcome you to tonight's event, Fine and Rare 4, Inside CMU Libraries Special Collections. I'm glad to acknowledge amongst our audience, CMU faculty, staff, students and friends of the library, members of our Board of Trustees and members of my Dean's Advocacy Council. As Dean of Libraries, I'm often asked three questions. Firstly, do we still need libraries now that we've got Google? I could spend four hours debating the answer. Let me just say yes. The second most frequent question which has just been answered is why on earth do you let Sam handle precious works with his bare hands? And thirdly, when are we going to have the next Fine and Rare? There really is a huge amount of interest and demand for Sam's wonderful presentations and we're so pleased to have him with us again this evening. I'm conscious that we gather on Burns Night. Robert Burns was born 265 years ago today and for Scots, for those who enjoy Scottish culture and perhaps especially those who enjoy Scotch Whiskey, this is an important day. There are celebrations around the world I checked just before coming online and the Beijing Scottish Society had its Burns Night party last Saturday. I don't mention this out of sentiment or a desire to go and put on a kilt or anything like that, but because Andrew Carnegie was a lifelong admirer of Robert Burns. In fact, according to his autobiography, the first penny he ever earned was one from his schoolteacher, Mr. Martin, for reciting to his class the Burns poem, Man Was Made to Mourn. A claim can be found in various publications that Andrew Carnegie wanted a bust of Burns to be placed in each of the more than two and a half thousand libraries that he funded. It's a wonderful story, but I'm pretty sure it's a myth. Busts of Burns do not adorn the many libraries around the world, but we do know that he was keen to immortalise his favourite poet in his first American hometown, Pittsburgh, of course, and he asked for Burns' name to be carved on the façade of the main library in Oakland alongside those of Bach and Beethoven and Goethe and others. Alas, the building committee overruled his wish, seeing that Burns wasn't famous enough. He was disappointed, but instead he raised a monument to Burns in Shenley Park near Fitz Conservatory, which he unveiled in 1914 during his last visit to Pittsburgh. A bit of a cultural deviation, which I'm grateful for your indulgence. But here at Carnegie Mellon, our special collections is envisaged as an interdisciplinary workshop where humanistic modes of inquiry combine with innovative tools to allow us to study historical technologies, books and artefacts. Our diverse and valuable collections fuel transformative exhibitions, groundbreaking research and other programmes that bring students, scholars and members of the public into special collections and into our libraries. We've built a strong community of friends and scholars and I'm grateful to all who have supported our work by engaging with our collections, attending our events and funding our significant acquisitions. During tonight's event, many of the items that you will see wouldn't have been possible without the generous support of you, our community and we really are grateful to you. If this is your first time joining us, welcome to Fine and Rear. Many people in the university library have been working to bring this and our other collections focused events to you. I'm particularly grateful to Sonja Wellington, our events manager, who looked after all of the logistics for this evening's event and I also acknowledge our entire external relations team. Now, it's my pleasure to introduce our speaker this evening, our curator of special collections, Dr. Sam Lemley. Dr. Lemley oversees special collections and has responsible for their continued development as well as teaching with the collections and leading their use in research and scholarship. Sam gained his PhD in English literature at the University of Virginia and he also has a master's in library and information science with a certificate in rare book and special collections librarianship. He's held research fellowships at the Houghton Library at Harvard, at Princeton, the Dibner Library of the History of Science and Technology and the Rare Book School at the University of Virginia. Sam also is the editor of a forthcoming book featuring essays by leading scholars of Shakespeare and print. I'll use that to remind you that Sam's exhibition of our seven Shakespeare portfolios remains open for public visit at the Frick for another few weeks. If you enjoy this event, please consider supporting the libraries with a gift to our acquisitions fund, your donations fund acquisitions that make possible the many exhibitions, research programs and classroom sessions that bring the community into our special collections. Thank you again for joining us today. And without further ado, I'll turn things over to Dr. Sam Lemley. Good evening, everyone. I'm Sam Lemley, Curator of Special Collections in Carnegie Mellon University Libraries. Welcome to this next installment of Fine and Rare. Tonight, we're going to go back to what I did in one of the earlier installments, which is look at some of the recent acquisitions I've been bringing into the collection, either by purchase or by gift. And I really like doing this with as broad an audience as possible, because a lot of this happens sort of behind the scenes. But I think people really get excited when they get the chance to see how a collection like Special Collections grows and evolves with a few criteria about what we collect and why. So as I mentioned in that earlier installment, the focus of the collection is really becoming the history of technology, and more specifically, the long history of computing, computational thought, cryptography, robotics, artificial intelligence, kind of reflecting the culture and curricular focus of CMU. What a lot of people don't realize is that there's a really, really deep past to each of those fields. And it sort of leads that past that history leads into really surprising and unexpected directions. So tonight, we're going to look at some of those. We'll hear some familiar names, some new ones, but we're going to cross cultures, cross centuries. And I just want to say thank you so much for joining us. And I hope you enjoy. So this first object is a book. It's an issue of an academic journal that was printed in 1720. And it contains the German mathematician Gottfried Leibniz's study of binary arithmetic or binary code. So Leibniz is probably a fairly well known name to this audience. He's an incredibly important figure in the history of mathematics. He's known for independently discovering calculus, along with Isaac Newton, for instance. But he also devised early calculating devices, one that was capable of all four arithmetic operations. And another, which is more kind of topical given that what's in front of me, he also developed a machine that operated on binary principles of arithmetic. That one was less successful than the standards of decimal arithmetic arithmetic machine. But we know that he was working on a binary device in the 1670s. So but this is a really important moment in the history of mathematics, and really is the mathematical foundation of modern computer science, given that Leibniz's system of binary enumeration is the system that more or less we rely on in all of our computers today. So Leibniz wasn't the first to experiment with binary arithmetic or binary systems. The French mathematician Blaise Pascal had discussed it, English mathematician Thomas Harriet, and also Francis Bacon, who's a very well known name in the history of science. He had proposed a system of cryptography that used two letters A and B to disguise any, any message, right, that was that was encoded using an alphabet. So but I think what Leibniz did was recognize the real potential in binary systems. And that's what he does in this treatise in particular, he points out that yes, it can be used to replace a decimal system for calculation, can also be used as a cryptographic system. But more broadly, much more expansively, Leibniz suggested that binary code one and zero could function as a universal symbolic language. So you could take any kind of information and represent it as ones and zeros. And of course, we know that that's an incredibly important idea in the history of computation. So we'll look through this. It's kind of surprising how short it is. As I said, this copy of this edition was printed in 1720. This work actually first appeared in 1703. So it was reprinted 15 years later. But if you page through it's quite short. And on the first page, the Overleaf, you have this table that shows the binary values of, you know, decimal digits. So one being one, two, one, zero, three, one, one. And for those of you that have studied computer science or binary enumeration will know that that is the system that we still use today. But you don't need this to say Leibniz is, as I've said, incredibly important in the history of computational thought. And it's really exciting that we acquired this. I acquired it a month and a half ago. So really recently. But it's exciting that we have this because we also have in the Posner Memorial Collection, a copy of Leibniz's, first edition of Leibniz's Calculus, right, 1684. And we also, which I shared in an earlier installment of Fine and Rare, we have a replica of that calculating machine that I discussed earlier. So we really now have with the acquisition of this book, all of the major contributions by Leibniz to the history of computing. And that just goes to show, you know, the theme of tonight is how is the collection growing? How does it evolve? That goes to show like what, what I, what I look for when I'm looking for things to acquire, you know, what do we have? What gaps are there to fill? And how can we go about forming a collection that tells as full a story as possible of the history of computing? So that's a great place to start. Okay, so this next object is a portrait. And it might appear as though it's an engraving on paper, but it's actually woven in silk. And that's important given its subject. This is a portrait of Joseph Marie Jacquard, who was the inventor of the programmable loom, and was the first to use punched cards actually to control a machine, a loom. And you can see here in the portrait, I'll just describe it briefly. He's sitting at a desk on an upholstered chair. And the upholstery on the chair was probably made using one of his looms. And then if you look closely on the desk, he actually has kind of a sheaf of punched cards, which would have been made out of a card stock kind of paper material. He's using a pair of calipers to actually check the position of the holes that are punched into the cards. And then just to the left of that, off the frame from his sort of right hand is the attachment, a model of the attachment that would have been put on the loom that would sort of feed the punched cards through. So Jacquard, we just talked about Leibniz and binary systems. Jacquard is incredibly important, like Leibniz in the history of computing, for his innovation of sort of punch card programming. And the way that it worked, it's really hard to explain without a video, actually seeing inner workings of the loom. But each punched card, when it would sort of enter the attachment, a hole would let through a little hook, which would then raise a thread in the pattern of the textile. Or if there was no hole, it wouldn't be raised and the thread would remain flat. So if you have the right pattern punched into each punched card, and you go through tens of thousands of them, usually in one design, you end up with very intricate patterns in the final woven product. But the important point is that it was a binary system, whether on or off, up or down, one or zero. And of course, that ended up being incredibly influential for early computation computers. But this image, this object is very rare. I acquired it about six months ago for the collection. And it's interesting, because there's a copy, if you can call it a copy, in the Library of Congress. But the Library of Congress's copy is significantly smaller. So their copy, I think, is 59 centimeters in height. Ours is almost 85 centimeters in height. So that to me suggests that the size of the image could be adjusted on the loom, depending on what the customer wanted. But it also means that our copy at CMU is incredibly important. And I like to brag about that fact, of course, as the curator, right? We have the bigger, the bigger copy of the two. But the image itself is really fascinating. I've done some work on it, some research on it. I think there's a lot of symbolism in it that I'm missing. But I'll just point out a couple things first. So the window, which is again, sort of off Jacquard's right hand in the portrait, you can sort of see hazy image of a city through the glass. But you also notice there's a small hole that's basically the size of a bullet. And the thinking is, and this is kind of historical speculation, but I do think there's some symbolism here. The thinking is that Jacquard, in automating fine weaving, put a lot of very skilled laborers out of work. And the laborers who were put out of work might have resorted to violence against, you know, the loom operators, loom owners, and even Jacquard himself as the inventor of this technology. So it just goes to show that the concerns around automation, automating work, go back centuries. I don't think I mentioned when this was made, but this was printed or woven in 1839. So five years after Jacquard had died in 1834. But these concerns, as I say, were very much alive even at the time. So as I mentioned, the punched card as a technology was, of course, immensely influential and important in the history of computing. So sort of at the same time as Jacquard, the English mathematician Charles Babbage was working on developing his analytic engine, which is an early mechanical calculator computer. And he recognized the potential in using punched cards to actually program mathematical operations into the analytic engine. But more famously, and more importantly, Ada Lovelace, who worked with Charles Babbage, recognize the potential in representing really high level mathematics, using binary systems and on punched cards. And there's this really wonderful quote from Lovelace, where she says on the Jacquard loom, punched cards were used to weave flowers and other decorative patterns, but placed inside a analytic engine or other computational device, punched cards could weave algebraic equations. And then, of course, going forward in time at the turn of the last century, you have people like Herman Hollerith, who used punched cards to run statistical analysis of census data. And that's important because he ended up forming a company. He was a tabulating machine company again around the turn of the century that would ultimately evolve to become IBM. So you can sort of trace this fascinating genealogy from Jacquard, from Loom's program with punched cards all the way to the explosion of business computing in the 1900s, 1950s. So it's just a beautiful image in its own right. I mean, the level of detail that you could accomplish with this technology is really stunning. I've read that this image would have taken something like 24,000 individually punched cards, so just a staggering number of cards that would have run through the machine sort of on a chain. And I think it's really amazing that the inscription, the title is also woven. So you can kind of think of this as another ancestor of writing machines, right, even even sort of large language models like ChatGBT, right? So a machine is actually producing text and textual language. And I also like to point out about this artifact that it's kind of fitting that we have it at CMU, because Andrew Carnegie, when he was young in Scotland, his father was actually a weaver and would have used a Jacquard Loom that was based on the designs of Jacquard. So there's again sort of homecoming, you know, all of it is sort of connected. And I think this object, having this in special collections, this allows us to tell all of those stories to students and researchers. So this next book is this little handheld volume. It's actually in two volumes. This is the second volume.  She spent a couple of years in Turkey in Constantinople at the Ottoman court when her husband was appointed as a sort of ambassador for England to the Ottoman court. And she was there sort of from 1716 to 1718. And during her time, she wrote a series of letters back to her family, friends and acquaintances, sort of with her observations of Turkish culture. They were incredibly popular. This is a second printing 1763, the year after she died. But the first edition actually appeared in that same year. So that gives you an idea of how well these sold, they sold out within a year and they were reprinted. So she was really an interesting character in her own right. She was sort of a radical and progressive at the time.  But she taught herself Latin and a number of other things, and she married sort of against the wishes of her family. And another way that she was fairly radical, actually when she was in Turkey, she had her children inoculated against smallpox, which is widely practiced in the east, but was viewed with sort of profound skepticism by the medical establishment in the West. And then when she returned to England, she really pushed for England to adopt inoculation to really combat smallpox, which was at the time an incredibly lethal and infectious disease. But that might raise the question, OK, so she's this fascinating person. She wrote all these letters. It's kind of an interesting ethnographic object in its own right. But what place does, you know, Montague have in a collection that tells the history of cryptography, mathematics and computation? Well, in one of her letters written from Constantinople, she describes to a friend a system of fluorography, which is a kind of cryptography that uses plants and flowers to communicate particular hidden messages. So I'll turn to that letter here. It appears at the very beginning of this volume and she provides first a table of all of the names of flowers and then their corresponding messages. So just for example, you know, the pear, a pear flower, maybe a branch with flowering pears on it would would mean give me some hope. Or a rose means may you be pleased and your sorrows mine. So all these sort of sentimental emotional communications that you could use in place of writing a letter, for example. But she writes to a friend. And she actually, this is an interpretation of a bouquet of flowers that she sent to a friend. And she ends up by saying, you see this letter is all in verse and I can assure you there is as much fancy shown in the choice of them as in the most studied expressions of our letters there being, I believe, a million of verses designed for this use. And this is the important part. She says there is no color, no flower, no weed, no fruit, herb, pebble or feather that has not a verse belonging to it. And you may quarrel, reproach or send letters of passion, friendship or civility or even of news without ever inking your fingers. So this really complex system of communication that uses only botanical specimens I think is fascinating in its own right. But I would argue that this is an example of a cryptographic system that really has a place in this collection, given that we have, you know, for instance, to enigma machines, right, really important cryptographic devices from the mid 20th century. So a bit of a departure, but nevertheless, part of these same histories, part of these same stories that I hope the collection will end up telling in a really compelling and full way. This next book I'm actually really excited about. It's the most recent acquisition I purchased at just last month for the collection from an antiquarian bookseller based in New York City, who specializes specifically in Asian books and Asian science, Japanese and Chinese science mainly. So it's in three volumes. This is very typical of the Japanese book from this period. This was printed in 1808. It's actually the title of it is Karakuri-Zui, which means a compendium or catalog or list of interesting machines. And what it describes actually are what we recognize as robots or early sort of mechanical puppetry that Japanese culture at this time in particular was really fascinated by and had made great strides in developing really complex systems for mechanical systems for. So I'm no by no means an expert. I don't read Japanese, but this period in Japanese history I think is utterly fascinating. So as I said, 1808, but throughout the Edo period, so sort of 16th century, 17th century, 18th century, access to Japan by European powers was limited and severely restricted. And so I think the Dutch mainly were the only kind of European culture that had regular mercantile access to the Edo court. And what happened is that there was some cultural exchange and that led to a sort of curiosity on the part of Japanese scientists, mathematicians in kind of Western innovations and Western science. And that led to this phenomenon or field of study that's known as Japanese as around gaku and run is transit shortened form of the transliteration for Holland. So oranda and gaku meaning studies. So literally it means Dutch studies, which is I think just totally fascinating as a cultural phenomenon, but more broadly it just it labels Japanese cultures interaction with an interest in Western technologies and Western science and culture. So this book is very much a product of that movement. You know, famously the Edo kind of restriction on Western books was lifted in 1720. So you get this, you know, more or less a flood and it wasn't really a flood, but you got more books coming into Japan from the West and therefore, you know, the brilliant scientists in Japan at the time read it closely and started thinking along the same lines and taking, you know, Western science in new directions. So as I said, this is this book is a product of that that phenomenon. And the author, whose name was Hosokawa Hanzo Yorinau, was a mathematician calendar expert. He died in 1796 when the first edition of this book appeared. This is the second edition, President 1808, so a little bit after he had died. But when you leaf through, I just want you to kind of look at the illustrations because this book is absolutely beautiful graphically. And you can see that each page describes a particular device. And Karakuri is still a word that's used in modern Japanese. It can mean a robot, but it can also mean like a trick or something that conceals its inner workings, its operations. So this is very much in play when you look at these illustrations. But I love that just the graphic simplicity of these illustrations, they're so clear. And I think the reason for that, and you can see that each component is very carefully labeled, the reason for that is that Hosokawa, the author, wanted these illustrations to function as a kind of graphic instruction manual for building these kinds of machines. And as I leave through, you can see like each illustration there's sort of an isometric clarity to them. They're three dimensional. You can see how the various components of each device interact. And a lot of these devices, you know, they're anthropomorphic. So they have figures. I mean, here there's a sort of tumbler acrobat figure who sort of leaps from platform to platform powered by springs. But they run the gamut in complexity. So he describes things like clocks that are designed to tell time according to the Japanese system of timekeeping, which is different from our owner, which was different from our own, all the way to kind of anthropomorphic figures that would write, for examples, there would be a small figure that could dip a brush into ink and then write Japanese characters. But the theme, I think, throughout is really this fascination and almost this reveling in the aesthetics of machinery. And I think you get that sense of joy and fascination and interest in finding a way to explain these devices in as clear a way as possible. I mean, all three volumes are copiously illustrated. I'll leaf through another one here. There's another device that shows a fish that can swim up a stream. My guess is that that actually was a functioning fountain. There was water in it. That device shows some sort of pulley system of cog wheels and some of the more, you know, graphic representations like this one here is just a spiral. I think that shows sort of the mechanical properties that were at work in some of these devices. There's a musician. So just just a stunning book in every way and so different from what we have in the collection. I mean, I think in a previous installation, I had shared a early book on Chinese mathematics and computation, which was one of the first to describe the operation of the abacus. And that's really something that I'm invested in and interested in because so for so long institutions that are collecting the history of science in particular have focused almost exclusively on the history of Western science and mathematics and computation. But of course, as we know, those histories are cross cultural. And I think this shows us how that fascination in machinery, that fascination in devices and technology really is a human impulse. It's not unique to the West or to European culture, surely. So this is just, you know, one step in that direction. I will say to that this is a major acquisition for CMU because no other copy that I've been able to find of this book is held in the United States. So we are the only institution, the only library to have this particular edition in our collection. So that's, you know, it's exciting for me. And again, it just shows, you know, how we're really taking strides in the libraries to build a special collections that's unique and speaks to all these stories. This last thing I'll share, actually, isn't an individual book or object. It's a collection of books. And they were all owned at one time by Alan Newell, who was a professor at CMU, won the Turing Award with Herb Simon and famously with Herb Simon and Cliff Shaw, programmed the logic theorist, which is recognized as the first artificial intelligence computer program. And that was in 1956. So when Alan Newell died in 1992, he and his widow, Noel Newell, gave his library to the university and the books in that library were basically put into circulation so they could be checked out and consulted by students, which is a fantastic benefaction and legacy for Alan Newell to leave as a teacher and as a researcher and as such an important part of CMU. But one project that I've been working on is actually reconstituting his library and transferring it to special collections because as you might imagine, you know, Alan Newell, I think it's just starting to assume a place of real importance in the history of artificial intelligence. It's always been important. But I think as people start to recognize that artificial intelligence has a history of its own, it's important to retain Alan Newell's library for posterity and for future researchers who might be interested in thinking through Alan Newell's thought. What was he reading? What influences can we see in his his own work that are coming out of his reading out of his library? So the collection, it's several hundred volumes. He was a voracious reader and he gave the entirety of his collection kind of in two parts to the university. Unfortunately, this is a question that people always ask, you know, did he write in his books? Are there annotations? Are there sort of observations that he made? Unfortunately, he was a very meticulous reader and part of that meticulousness extended to his choice never apparently to annotate his books. So we really don't have records of his thought in these books. But nevertheless, I would I would make the case that just having the books together on a shelf is a representation of his thought because it shows us what he was buying, what kinds of thinkers he was engaging with, et cetera, et cetera. So I have some examples here from his collection. You know, his is a draft so prepublication draft of Ray Kurzweil's The Age of Intelligent Machines, which was an exhibition actually that Kurzweil curated. And this is a book that he compiled and wrote for that exhibition, but kind of an important moment in the 20th century realizing that the computer was indeed going to be very important for the future of humanity. This was published or prepared in 1988. I think it could appeared in full in 1990. But this is a copy of the draft that was in Alan Newell's library. We also have a copy of the first edition, first official printing of this book in Alan Newell's library that's inscribed to Newell by Kurzweil. But I think that's just an interesting example of how Newell, even as late as 1988, he died in 1992, how he was really engaged in ongoing debates about the place of artificial intelligence and its future. But, you know, just in point of contrast, Alan Newell, he came to CMU to study under Herb Simon. He was a graduate student of Simon, unfortunately, predeceased him. But one of the first things that he did that really brought him to Simon's attention was to describe a computer program that was capable of playing chess. And that that's really an ongoing or sustaining current in Newell's thought in the 1950s and 60s. He was fascinated by games and game theory. So, you know, again, for example, you have these two books, you have puzzles in crypt arithmetic and 150 ways to play solitaire.  He has all kinds of material in this collection that, again, shows the breadth and depth of his learning and reading at the time. And I love this book on solitaire because actually page 42, you have a torn piece of a punched card that would have been used in computation. It's a blank, so it wasn't punched. And then you have in Alan Newell's handwriting the name of a particular game you can play with a deck of cards and with a page reference number, page 41. So I love that as an artifact, sort of of Alan Newell's thinking and artifact of his interest in game play. So, like I said, it's a huge collection. I have just started to scratch the surface of it. And I really hope that, you know, maybe a graduate student would take this collection on as even a dissertation project because there's a lot there to examine. But I wanted to share this other thing that has to do with Alan Newell. This is a book that wasn't in his personal collection. It was actually in the circulating collection of Hunt Library. And I was looking at it for another reason and I'll share what it is for. So it's the preparation of programs for an electronic digital computer. It's by a British mathematician, computer scientist named Marius Wilkes. And this book, it's important because it's recognized as the first kind of textbook on the subject of computer programming. So important. A lot of early students who studied computer science in the 50s probably would have been assigned to this book as sort of an introductory text. But so I transferred to the special collections because it is quite rare in its own right and important. But when I brought it to special collections, I looked at the back and a lot of you will recognize this. This is just, you know, a loan record of when the book was borrowed, when it was due. These are more recent stamps, but in this envelope here, there's another slip recording loans. And if you look, you see about halfway down a Newell, Alan Newell and the due date is November 27th, 1956. And that blew me away. I mean, that's, that's, in my opinion, phenomenally cool because we know that Alan Newell about this time was working on the logic theorist with Herb Simon and Cliff Shaw and both Newell and Simon freely admitted that they were not computer scientists. They leaned pretty heavily on Cliff Shaw, who was really the computer scientists of the three. So I think it's really interesting that, you know, maybe Alan Newell felt that he needed to brush up on his, you know, computer programming skills as he was working alongside Cliff Shaw. So he maybe would have borrowed this to do just that. Again, you know, this is a point that I often make that. Books contain kind of a record of our thought, a record of thinking. And that's certainly the case with Alan Newell. I'll say too that in special collections, we have Herb Simon's library. It's not as extensive. It's not as large, but both of those collections, as I say, really show how early, early artificial intelligence sort of just stated in both of these men's reading and in their libraries. And I think there's a lot of fascinating work to be done. So again, that kind of work can happen in special collections. That's really the objective of a robust acquisitions policy. That's why we're growing the collection. And that's why I try to make all the things in the collection as accessible and available as possible. Thank you for joining us tonight for this inside look into what I do as curator of special collections. I also want to say thank you as well to the entire community because so many of you have given to special collections and that kind of support philanthropy, but also smaller generations really allows us to pursue an ambitious and robust acquisitions program, which allows us to grow the collection, which in turn allows us to invite an increasing number of students and researchers and members of the public into the collection. So thank you so much for that. And I look forward to your questions just in a minute. Well, thank you, Sam. That was another wonderful episode of Fine and Rare. Guests, please do submit your questions using the chat function. We will collate those. We'll try to get through a few in the remaining time. And if there are particular points of follow up, we will be in touch. One immediate question I will knock off was where can people see earlier episodes of Fine and Rare? Those are all part of the Carnegie Mellon University Library's YouTube channel, and we will provide a link to you through the chat. I was really struck by your point about the checkout date of the book that Alan Newell had borrowed because I'm conscious. Now I was just checking that, indeed, the Dartmouth conference, which was the first event on artificial intelligence, took place in the summer of 1956. Eleven leading thinkers attended that workshop, one of whom was Alan Newell. And I almost wonder whether he came away from the workshop and thought, yeah, I need to brush up a bit on my coding. So Sam, we've had a number of questions coming in already. I'm going to work backwards. Oh, there was another question there. I'll just answer that, which is will we make this recording available? Yes, that will join the others on our YouTube channel. So on the Japanese book, two questions. Do you have any insights into what technology was used to print the book? Was it movable type? Was it brushwork? Was it something else? And it's yeah, it's a great question. Sorry, Keith, I didn't mean to cut you off. Go for it. Yeah, it's entirely in woodcut, which, you know, it's different from Western printing in that Western print shops from Gutenberg on used individual metal pieces of type, each of which carried a raised letter that would be inked and then leave an impression on paper, which isn't to say that that technology didn't exist in Asia. In fact, we now know that the earliest movable type printing was done in Korea, I think in the 14th century. So about a century before Gutenberg. But most Japanese books, yeah, were were printed using woodcut. So you they would cut a full block of wood with the Japanese characters and the illustration all on one piece of wood and then press the paper onto that inked surface to take the image. And I mentioned this in the video. I'm not I'm not an expert in Eastern printing technologies. I'm learning more every day, but there's something I would probably make the case that just the style and complexity of Japanese characters and writing systems kind of lend themselves more to woodcut printing. That said, there's there is one thing that I've noticed in that book, having looked at it more closely in the last few days, like on the title page, and I wish I had it here to hold it up to the camera. But on the title page, there's a woodcut frame kind of decorative frame, which is kind of embodied or inhabited or inhabited with little Western devices. And the frame itself looks very Western in style. So there's all there's obviously this dialogue going on between Japanese bookmakers and Western European publishers. So I think you start to see that influence and how the books were actually being printed in Japan at the time. And vice versa, right? Obviously, there was a huge fascination in the Netherlands and in Northern Europe and Southern Europe and Japanese culture and art. Yeah, woodcuts to keep it short. Another question about that same printing, do you have or can we obtain and make available a translation of the text, obviously, into English? Yes, I'll admit that I did some experimenting with Google Translate's camera function. So I was just pointing in at some of the pages to see how accurate or the translation would be. And I was pretty surprised. I was pretty impressed. But there's actually a Japanese scholar that has issued a full front cover to back cover translation and study of this book in particular. That's unusual. You know, a lot of the a lot of these early scientific books from the East in particular have not been translated into Western languages. But I think that's that just reflects the importance of this particular title. It really was the very first book to treat robotics in Japanese. And so I think because of that, it's gotten a lot of attention from Western scholars. But yeah, I can I can find if you Amazon or Google, you know, translation of Karakuri Tzui, it should come up. I'm forgetting the name of the scholar right now, but it's out there. OK, thanks. Another question, very, very different one, one that I know you will be very pleased to talk about your process of working with antiquarian booksellers. And how does that unfold? And how has that evolved in recent times? Yeah, it's a great question. It's in many ways. My favorite part of my job, you know, it's a lot of fun in part because before I recover, I came to see me before I started the PhD at University of Virginia, I actually worked for an antiquarian bookseller. It was based in London. So I made a lot of connections while I worked in the trade. I know which sellers are reputable, which sellers specialize in, you know, areas of focus for us at CMU. So it's a lot of fun to cultivate those connections and share, you know, what we're collecting so that they bring things to my attention that I might want to buy. Of course, you know, they they have a motive behind that, but it's definitely a collaboration. And I've found that booksellers are incredibly knowledgeable. They're scholars in their own right. So I've really enjoyed leaning on that expertise and keeping, you know, one foot in that world. Yeah, but we, you know, we I mentioned the bookseller who sold us that Japanese book, but we also occasionally purchase things at auction. There's a phenomenal sale of books going on right now at Christie's in New York. I think it closes on the 2nd of February. But so I just keep track of those things. I spend a certain part of most of my days looking at glancing through booksellers catalogs and seeing if there's anything out there that we might want to acquire and target. Right, a couple of quick questions. One for you, one for me. And then one final question before we close things down. The one I'll take quickly. I mentioned the Burns statue and I was asked where exactly is it? If you were facing the front door of Phipps conservatory and turned left and walked around to the left hand side of the complex on Panther Hollow Road, you will see a large imposing statue sculpted by Massey Rinder, a famous Scottish sculptor. So I will leave that with you and encourage you to go and have a look at the statue. It really is quite striking. Equivalent one for you, Sam, what is the piece of art or etching behind you as you talk to us this evening? Yeah, it's a fact similarly. It's not the original but and it's fairly massive. It's about six feet across. It's the it's a map of Rome that was published, I think, in 1748. I might have to glance at that. But yeah, the the name of the designer, the cartographer is Noly N-O-L-L-I. And so it's Rome as it as it looked in the 1740s. It's a really spectacular image. It's fun, fun as a backdrop for Zoom. So a final question. Many people that I talk to in the profession and members of our community at large are surprised by just how rich special collections at Carnegie Mellon are. And I wonder if you could just say a few words about why that is. Yeah, it's a it's a wonderful question.  And that just goes back to how many how much wealth there was in the city and how many collectors and how many people, you know, really in the 20th century were invested in returning the wealth that they had generated in the city of Pittsburgh to cultural organizations in the city and the region. So, you know, I usually just list a few names that go along with that story. So I'm in Hunt Library right now and it's named for Rachel McMaster's Miller Hunt who was married to Roy Hunt, who's chairman of Alcoa, you know, Mellon Company. She was a major collector of botanical books. And I think someone in the chat mentioned the Hunt Institute and actually someone mentioned Charlotte Tansen. And yes, she's still upstairs. She's amazing, Chuck Tansen. So that's upstairs. When Rachel Hunt, when she was nearing the end of her life, she had this, she had formed this really phenomenal kind of first in its class, collection of rare botanical literature. And she was looking for an institutional home for it. And eventually it came to CMU. They funded the construction of Hunt Library. And really unfortunately, she passed away right when the Hunt Institute kind of got up off, it's got up onto its feet and got going. And there was a lot of books that remained in her collection. And so those books, which were rare and important, but not necessarily botanical, came to form kind of the nucleus of special collections at CMU and that was like 1963, 1964. So from there, that really, I think, gave other potential donors the opportunity to give to that collection to grow it. And so, another major name, Charles Rosenbloom, who's another Pittsburgh philanthropist worked in finance. He was a trustee of the university. He gave a large part of his collection to CMU. If you saw the previous installment of Fine and Rare, I've shared all of the, or no, two, two installments ago, I shared all of the Shakespeare portfolios. So famously, Charles Rosenbloom, the Charles Rosenbloom gift included the copy of Shakespeare's first folio that we have in the collection. Really just phenomenal works of literature, mainly. Lots of first editions by Dickens, Darwin, Whitman, major names kind of in the Western canon. And then shortly after that, he passed away in 1973, I believe shortly after that, the Posner Memorial Collection came to the university. And Henry Posner Sr., you start to see rhymes and repetitions in these stories, but another really successful Pittsburgh kind of entrepreneur. And in the last decades of his career and life, he collected pretty widely books and he ended up focusing in the history of technology. So his collection, it's kind of similarly second to none, first editions of all the major figures, Newton, Galileo, Copernicus, et cetera. But that came again in 1976, I believe. So I'm kind of rambling on, but you see what I'm getting at. It's really the excellence of the collection reflects that generosity and that really large scale philanthropy. But of course, I should end by saying that we also receive smaller donations and a lot of the things that I shared tonight, recent acquisitions were purchased with that kind of support too. It all counts and I just feel so fortunate that I'm able to carry that legacy and carry that trust into building a collection at CMU. Well, Sam, thank you for a wonderful evening, a wonderful presentation and for your time in the Q&A session. Thanks to our audience for joining us. Again, your support of special collections is invaluable and we would not be able to maintain such a diverse and meaningful program without your engagement. If you enjoyed this event, please consider supporting Sam's work with a gift to the special collections acquisition fund. Your donations, as Sam just mentioned, make possible transformative exhibitions, research and other programs that bring students, scholars and members of the public into special collections and into CMU's libraries. Let me close by mentioning the next event coming up at the University Libraries, our annual three-minute thesis competition. If you're curious about what groundbreaking research and discoveries happening at Carnegie Mellon this year, 3MT is your chance to hear doctoral students explain the key points of their work. They're limited to a maximum time of three minutes and they must present to a non-specialist general audience. This year, all seven colleges are participating in the Center Disciplinary Event and our finals will be on Thursday, March the 14th at 6 p.m. We'll be streaming that online. We will be on the University campus, I believe in the auditorium in the Tepper School of Business Building. We hope to see you there. With that, thank you again and have a wonderful evening.


Live from Boston, Massachusetts, it's theCUBE. Covering ZertoCon 2018, brought to you by Zerto. This is theCUBE, I'm Paul Gillan. We're on the ground here in Boston for ZertoCon 2018. And joining me is Bill Manning, who's in infrastructure operations at Wood Forest National Bank. Now I was not familiar with Wood Forest National Bank, but I understand that regular visitors to Walmart in the South probably are. You're the Walmart bank, I understand. That's what a lot of people like to call us. Your many branches are located in Walmarts, in other words. And based in Houston, which has been no stranger to disasters lately, the topic of IT resilience very much fresh on your mind. What does IT resilience mean in terms of your operations at Wood Forest? We need to be very resilient in terms of natural disasters, hurricanes, mostly. So in order to prepare ourselves for that, we migrate our, we migrate 70% of our infrastructure between data centers every six months. When hurricane season starts, we migrate away from Houston. When it's done, we migrate back. Now why the migration strategy? Why move between data centers? Why not just settle on one data center that's out of harm's way, if you will? Well, there's no one data center that's out of 100% harm's way. So you need to make sure that if one data center goes down, you can always come up at your backup or your primary data center. Now how did you become a Zerto customer? I understand you were one of their first or their first customer? We were their first customer. We had Kasha before them, and then her cover point, Kasha was the precursor to Zerto. And whenever we were having issues with our replication appliance, we decided to look in a Zerto and we bought, implemented, and turned on Zerto fairly quickly. So we were the first customer. And then we were the first customer that was using it. We actively utilized it to run a migration. And so far, everything's going great. We love the product and it works very well for us. Being the first customer of a product is typically thought of as a risky proposition. What pushed you over the tipping point? We had an appliance that kept failing on us and the last failure was this draw that broke the back. So we already had Zerto in a, I believe it was an alpha, possibly a beta test implementation. And when that straw finally broke, we turned off the appliance and we turned on Zerto and it was very seamless. And yes, there were headaches. We had issues with it, but a lot of the support tickets, all of the enhancement requests, a lot of those have our name on it because we utilized it. So you're doing the cloud migration every six months. What are some of the operational issues that you have to take into account when you're moving that size of a processing load a couple of hundred miles away? Or maybe Austin, maybe a hundred miles away? We do it so often, it's kind of second nature to us now. But we know the pain points of if you do it regularly, you'll know what happened last time, hopefully you documented it and you know what can happen this time. And a lot of times it's firewall rules. It's what did we do at our current data center that we forgot to do at our other data center in preparation for migration. So our biggest pain point is making sure we don't forget, oh, hey, we did something here. Let's make sure to replicate it over and do the same thing over at our other data center. How has the role of backup changed over the time you've been using Zerto? It's not really, you don't have the luxury of point in time backups anymore. It's a continuous process, isn't it? Well, we don't utilize Zerto for backups. We utilize another product for our primary backup system and we are a bank. We have seven year retention policies. So there are certain things that we have to keep on tape or on disk for a certain number of years and Zerto doesn't immediately offer that to us. However, we do utilize Zerto in a kind of pseudo backup process. If we need to recover a file that got deleted accidentally, I can either spend an hour using our other process or 10 minutes using Zerto. So we just pop into Zerto, use the journal file level recovery and there you go. You've had, being in Houston, you've had a number of major storms in recent years. Are there any stories you can share with us? About how you have managed to stay up and running during those storms? Our first storm, our first big storm, right after Katrina was Rita. And when Rita came through, we didn't have what we have today. We ended up powering down non-critical items and making sure our critical applications were up and running. And luckily we didn't lose much power. We didn't lose any networking. Whereas during Harvey, we lost some networking for a week or two. The difference was we already moved everything to our secondary data center well away from the hurricane. And sure, one of our redundant paths was down. Our other one was up. We still had connectivity and we were doing great. So in terms of where we've progressed, hurricane season is what we are mainly concerned with. So we utilize Zerto, we move everything over. So if our data center, our primary data center, Houston goes down, we're mildly affected and customers shouldn't even notice. How does this make your business more resilient? I mean, is this actually, is there a business benefit for your customers? Of course. Of the business being this resilient? If we're a bank and our ATMs go down and we can't get them back up for a few days, our customers notice. If we're a bank and our primary systems go down and you can't take money out of your account for, I believe the timeframe is 72 hours, the federal government comes in and they own us now. We are no longer a bank. Because we failed at providing services for our customers for an extended period of time. And that's unacceptable. So to mitigate that, we use a DR strategy, we use a business continuity plan. And we make sure that if something were to happen, even if it were outside of hurricane season, or if we were during hurricane season, and we had an issue at our other data center, Zerto allows us to bring everything back up within minutes. And because we do it regularly, we're not gonna have as many headaches as someone that just says, oh, well, we've implemented Zerto, but we don't utilize it. We run a few test failovers, and make sure that we can actually migrate, but we don't bring anything up and run production load. We run production load every six months using Zerto. So that's how we get around, making sure that we're highly available and we don't get taken over by the government. You're a lot of talk, Bill, these days about digital transformation. How real is that to what Wood Forest is doing? How are you changing the way you do business? I think it's already occurred for us.  When I first started, we had couriers picking up paperwork from the branches and taking them to centralized processing locations and running everything manually. Now it's all digital. And that was partially thanks to 9-11. There was proof work that couldn't run for weeks because airports were down. And because of that, banks started already going digital. So we already have digital transactions. Now, if you write a check at Walmart, instead of taking a few days or a week or two to clear, it clears that day or the next day because it's all digital. Walmart went digital, we went digital. Most banks are already going digital or have already gone digital. So we just kind of, people ask, we're mostly already there. We're already digital. How about cloud? What's your roadmap when it comes to using multiple cloud providers? We're definitely looking into it. They give us a lot of benefit. They give us a lot of service that we can, you know, oh, what's the word? You got a lot of flexibility. Flexibility, sure. Flexibility in doing things that we can't necessarily do ourselves. Right now, we're taking baby steps. We're not throwing full production load into the cloud. We're looking at let's put our development environment up there and see what it can provide for our developers. And so far, they're enjoying what the opportunities or the possibilities can be. So we're looking forward to hopefully this year, getting them up and running and in the cloud and enjoying all of the benefits from there. And after that, once we get some development done in there, then we'll probably start seeing some production applications being put into the cloud and some sort of probably SaaS sort of offer. Well, hurricane season is coming up in just a couple of months. I wish you the best this season. Bill Manning, thanks very much for joining us. Thank you very much, I appreciate it. We'll be right back from Zerdecon. I'm Paul Gillan, this is theCUBE.


QuickBooks Desktop 2023, invoice created from check created from purchase order. Let's do it within 2-its QuickBooks Desktop 2023. Support Accounting Instruction by clicking the link below giving you a free month membership to all of the content on our website broken out by category further broken out by course. Each course then organized in a logical reasonable fashion making it much more easy to find what you need than can be done on a YouTube page. We also include added resources such as Excel practice problems, PDF files and more like QuickBooks backup files when applicable. So once again click the link below for a free month membership to our website and all the content on it. Here we are in QuickBooks Desktop Get Great Guitars practice file. We started up in a prior presentation going through the setup process. We do every time maximize the homepage to the gray area view dropdown hide icon bar open windows list checked off open windows open on the left hand side. Reports drop down company and financial P to the L profit to the loss income statement ranging changing<PHONE_NUMBER>23. And then let's customize it so we can go to the fonts and numbers and bring that font up to 14 these days. That's what we do 14. Yes. Okay. Then let's go to the reports drop down again to pick up that other company and financial big balance sheet. That's another big financial report. Let's customize it before ranging changing from 010123 to 123123 and then fonts and numbers to change the font to 14 to match what we did with the income statement or profit loss. Yes. Okay. That's the setup process we do every time. Let's go back on over to the home page. We're not going to be entering an invoice which we have done in a prior presentation. This time we're imagining that we made the purchase of inventory with the purchase order and we linked it then or paid it with a right check form that we bought it specifically for a customer in mind and are now turning around to create the invoice after having received the inventory. In our case the guitar. So we're talking about inventory in this case when we're thinking about process you'll recall from prior presentations that when you have inventory the question then would be do you want a perpetual inventory system or a periodic inventory system. A periodic inventory system you might be tracking for example outside of the QuickBooks system.  Now when you make the purchase of inventory if you have to pay for the inventory when you purchase it as we typically do when we pay for online stuff personally buying stuff from like Amazon. Then we would record the payment with a check form or a credit card charge at the point in time we purchase it. However if we have the power to request the inventory before paying for it then we're going to use the purchase order. We've entered a couple purchase orders in prior presentations for example let's imagine Epiphone is the vendor that we're purchasing our guitars from. We're imagining that we had a customer come to us and say hey look I would like this guitar we don't have those guitars we say they want it in plaid or something like that so we're going to have a custom order for a particular customer. Then when we made the purchase order which we put together and we'll look at it in a second but we put it together in a prior presentation we actually added the customer field in the purchase order which is a request for the inventory. The vendor which is in our case Epiphone in this example doesn't need the customer information but by us adding it in there then when we get the guitars it'll make it easier for us to see who ordered it and turn around and then create the invoice. So in a prior presentation we made a purchase order for purchases of inventory guitars in our case specifically for particular customers we marked that on the purchase order. We then received the guitars we got the bill that we got and instead of entering the bill into our system which would increase accounts payable we simply just paid the physical bill with a check form. Now we're going to turn around and create an invoice because we're on the sales side of things and we're going to try to sell this guitar that we now have to our customer. Let's recap that again by looking at the vendor center I'm going to find it by going to the vendor drop down and vendor center and then if you go into you could go a couple different ways I could go into Epiphone for example. I want to look at all dates make sure I got all dates here and then I've got my two purchase orders down here and I can and these are the purchase orders that we have created for that particular vendor. We can also and then we and then we had the check form so let's take a look at that for example if I double click on the for here purchase order. It says we've received the purchase order as we can see and we purchased these specifically for the customer of Eric music so the purchase order is a request for vendor our vendor Epiphone to give us these guitars to ship out the guitars. It doesn't record a financial transaction because we didn't pay for them and we don't have the guitars. It's just a request. We put the name of the customer that we're going to turn around and sell the guitars to on the purchase order. Epiphone doesn't need to know about Eric music our customer but having it on the purchase order will make it easier for us to then win. We receive the guitars to kind of carry that through and turn around and sell these guitars to Eric music, the people we bought the guitar specifically for closing that out. If I go to the check form. This is the form that was used to pay to pay off for that those guitars and you can see down here. There's the two items. It's checked off as billable. They're checked off as billable because that's the thing that's going to indicate two quick books that when I create an invoice for Eric music. It's going to ask me do you want me to pull in these two items from from the time when you paid for these for these guitars and we're going to pull that in and that will hopefully create the invoice for us so that we can turn around and invoice the customer. Okay, closing that out. You can also see that over here on the on the transactions item. If you went into the purchase order, you could sort by the purchase order for Epiphone. And if we go into the checks, you know, we could find the checks just if you wanted to kind of sort around and find the purchase orders. So now we're going to be created. Let's go back to the homepage. I'm going to create an invoice now. So I'm going to go into the invoice and turn around because I'm imagining I just paid that. I just paid the check and I'm saying, okay, I can see that this is tied to Eric music. So I'm going to type in Eric music for the customer. And it says the customer or job you selected has outstanding billable time and or costs. Do you want to select the outstanding billable time and costs to add to this invoice? I'm going to say yes, we do add them and it's under time as a default. Notice that items are in the items over here usually indicating inventory items. So I'm going to check off the the two inventory items. Those are the ones I want to add and then say, okay, now if that pop up didn't come up or you did something different and you wanted to go to add add the item here, then you can go up to that item again and see these items that have been added. Alright, so then now it's just going to be an invoice that has now been populated from the purchase order that was carried over to the check form that we use instead of a bill form. And then we use that to create the invoice. Now that we have these guitars, we're going to say that the date is going to be 123 will say 2023 invoice number populates automatically. Let's make the terms net 30, meaning we're going to send out the invoice at this date. We expect to be paid 30 days later. This is the epiphone 50 of them were imagining they bought just for our example problem that comes out to $500. Notice here that it's actually using the proper amount because it's using because of the item. So if I got the lists and item lists, this is an ELP. If I double click on the ELP, we said it cost $400. That's what was populated in the purchase order, but we're selling it for $500, of course. So it's picking up the proper amount. And this is something I think it does better than the QuickBooks Online doesn't quite do that quite as well. It's a taxable item and then the semi hollow body $400 taxable. The sales tax is at the $1,450 because it's the items are being used to note that it has sales tax applicable. What this going to do, it's an invoice. The invoice is going to increase accounts receivable, including the sales tax for the $30,450. The other side is going to go to sales, not including the sales tax. It's going to be the $25,000 plus the $4,000. The sales tax is going to increase the payable, sales tax payable on the balance sheet, which we will have to pay in the future. And the inventory is going to be going down by amounts that are not on the invoice but driven by the items and caused a good sold. The expense related to us selling the guitars is going to be going up. And also the sub ledger for accounts receivable will be impacted by customer Eric Music and the sub ledger for inventory will be impacted for the quantity of inventory difference change. Let's check it out. Save it and close it. And I'm not going to email it. So I'm going to say save it and close it. You've changed it. I'm say yes. That's what we want. Let's go to the balance sheet and check it out. So we're going to go to the accounts receivable drill down on it. There's Eric Music. If I drill down on that, there's the $30,450. Closing it back out. Closing it back out. The other side going to the P to the L to the profit to the loss to the income statement. Double click it on sales. We've got the two line items, $25,000 and $4,000 because we have two different inventory items. No sales tax, however, including on the income statement. Closing those out. The sales tax is on the balance sheet. It's under the liabilities, liabilities, sales tax payable. Double clicking on it. We've got the two items of the sales tax because there were two different line items. One for the account, the state and the county or local or whatever. But the total was 5%. That we totaled up in our, in our made up example problem to get a nice generic 5%. Then we said inventory is going to go down. So inventory is going down by the, these two items because there's two different items by amounts that are not on the invoice, but driven by the item. So the system knows about them, even though not on the invoice. The other side going to the profit and loss for cost to goods sold. So there's those two items here. The net impact on the income statement is the increase in the sales minus the cost to goods sold will be the impact on net income. Back to the balance sheet. If I go to the receivables, I can also see this in the reports. Customers and receivables and take a look at the customer balance summary or let's do the detail customer balance detail. And that's going to give us this. Who was this? This was Eric. There's the 30,000 there. The total ties out to the 38671 50, which is on the balance sheet. That looks good. And then we've got the inventory 15678. If I see the sub ledger for inventory, sub ledger that is here. Let's make the date 1231 23. Let's say so now we've recalculated the amount on hand totals up to 15678. At this point, which should tie out to the 15678 on the balance sheet. Let's do it again. Let's go back to the, let's go back to the vendor center. And this time we're going to a magic music stuff store or we're going to imagine Gibson. Let's go to Gibson, Gibson USA. And then we've got the two purchase orders. Let's open one of these purchase orders. And so we received this purchase order and you've got, we assigned the customer. So we're imagining the customer came in music stuff stores, the customer requested a guitar, which is a Gibson type of guitar. We don't have it. So we're going to order. So we then made a purchase order requesting a GSP Gibson SG or whatever guitar and that, that we're going to buy custom for this customer music stuff store from Gibson. Gibson doesn't need to know about our customer, but us adding the customer will help us to follow this transaction through. We've received this item. So we imagine the box of guitars came or the one guitar came in a box and then we made a payment for it with a check form. So we made a payment and we made it billable. So now it's billable. That's indicating that when I make an invoice for music stuff store, it will then allow us to populate this item in it. So now if we go back to the homepage, we're going to turn around and we're going to say now we've done the purchasing process. And now we're going to create an invoice. We're now on the sales side of things. And we're going to go to contacting this music stuff store and saying, Hey, this is now saying you've got some items linked to it. I'm paraphrasing. Okay. Those items are in the items that indicates inventory items. We're going to say link to that. We now want to contact our customer and say, Hey, look, you ordered this thing. It's here. It's ready to go. Let's make this on the 24th terms. Let's make them all net 30 on the terms just to standardize our terms. So we expect to be paid in 30 days and so on. So this is an invoice. What's going to happen? I'm just going to say this every time because this is what I would recommend doing until you fully understand these forms. Invoice is going to increase accounts receivable by the 8,158.5, which includes the sales tax. Other side goes to sales, but only for the 7,070. The sales tax increases the payable sales tax payable. The inventory is going to go down by an amount not on the invoice, but driven by the item. The cost of goods sold is going to go up by the same amount. The net impact on the income statement is going to be the sales price minus the cost of goods sold. The accounts receivable will be supported by a sub ledger that will break out by customer from music stuff store. And the balance sheet account of inventory will be supported by a sub ledger, which will be adjusted down for the 10 units of the GSB Gibson guitars that we sold. Let's save it and close it. Check it out. I'm not going to do the email thing. We're just saving it. Yes, we changed the terms. Okay. Quick books. So now we're going to say accounts receivable double clicking on it. It's going. Here's the accounts receivable going up and it's by the full amount of the 8,158.50 closing that back out closing that back out. The other side going to the profit and loss or income statement double clicking on sales. So it's being impacted by the amount not including the sales tax. And then the sales tax is on the balance sheet. Let's close that out. Balance sheet under the the sales tax payable double clicking on that. And it's under these couple line items because there's two people that were paying for the sales tax, but we're charging just the 5% that's going to be paid to the city and the state closing that out closing that out. We've got inventory is going down. So if I double click on inventory, then it's going down by the amounts that is not on or the amount not on the actual invoice, but driven by the item closing this out. And then the profit and loss cost of goods sold is going up by that same amount closing this out. The net impact on the income statement is the sale price minus the cost of goods sold for net income. The balance sheet also has a sub ledger for accounts receivable 46830, which we can see the customer balance detail. So if I go into the customer balance detail, then there's there's the payment. What did we just make? We just made an invoice for not for Anderson music stuff store. There it is music stuff store. No music stuff stores here. That's the one. Okay. And then inventory. If I go into inventory, we've got this in inventory that should tie out to our inventory valuation summary on the left hand side, which has been adjusted for the amounts on hand now at the 9698, which is the 9698 here. Notice how much easier this would be now to use the trial balance, which we might start doing more and more in the future. Go into the accounting and taxes and trial balance where I can change the dates from 010123 to 123123. Customize it. Let's bring the fonts and numbers even higher up to 16 and say, okay. Yes. And okay. Okay. Because now you can check the accounts receivable and the sales and the cost to get sold on the same reports drilling down on them as long as you can imagine or envision or see where the balance sheet start and where the income statement starts without all of the sub totals. Also note that if I go into the customer center, the customer center, then we've got the receivables here that we can also track. That's how we would most likely track the invoices for like, say music stuff stores. So now we've got the invoice that we've got a track to receive the payment on. So that's the general process. If I go back to the trial balance, you can see where we stand at this point, want to check your numbers. If there's any, any discrepancies, then I would change the date range and it's often a date issue. And then you can double click and drill down on any discrepancies and possibly change the date if you need to, to, to, to line up here. We will be going through transaction detail reports after we get through the end of one month of transactions. And that's another way that you can kind of check your numbers at that point.


Hi, Andy. This is Hany from London. I thought I'd send you a Expressions animation that I use When I'm trying to animate objects on a circular path And it's fairly simple actually. So what I'm going to do start with a 3d text here and Let's have it It's fine. It's more exciting and change the Size I'm exactly bigger So what I can do is actually Use some very simple trig functions and basically in position X. I'll just do sine of frame and a diameter of the circle and Do the same thing on the Y position Diameter again, but this time use cosine What I have is a very simple, but very quick circle and What I can do to slow this down is actually slow down the frame keyword Which all is does of course is just put in the current frame number into the into every frame So say you make slowly that by 10 divided by 10, then I've got a slower more pleasant circle animation Now what I can do what I like to do actually is I like to have another axis that I use as a control For the expressions and like to house my expressions in here. It's almost like a variable So what I'm going to do is to reset this and in my control axis Put in the sine and the cosine functions and in my axis Point at to The control Next and that is control position Why and the reason why I like to do it is if I need to manipulate Or change the expressions like there's just one place. I central place. I can go to change them instead of Trying to track it down and what I I'm going to now What we have is of course we it's running as we had it before it's running the circle But what I can also do is This hundred and fifty Radius is actually hard coded. So let's make that more key frame rule. So if I pointed to rotation X as a variable again Set to zero because it's zero right now, of course, and let's do the same thing with Cosine So now what I can do in Rotation X I can start it by say at 50 and it animates at the end of it to say 500 What we have now is a spiral fairly simple and What I can also do is if I'd like to change the Direction of rotation, I can just say put a minus to multiply by minus one for any of the channels And you can see it's not going counterclockwise And the same thing with say the cosine and I was going Sorry, that's kind of clockwise. Sorry So yeah, so that's my tip and of course we can expand this with The Z position as well and we'll have like you can I've animated like a spherical paths and everything with that So that's my tip. I hope you like it. Thank you. Bye. Stay safe everyone Hi, Andy tiny again. I thought I might as well do one more for you before My job starts tomorrow so this is to do with the noise expression and the way kind of I've been using kind of camera jitter and camera Shake is I thought of this is I mean this could be quite basic, but I thought I might as well show it to you anyway so What I'm going to do now is actually in my axis the control axis. Sorry That's why I like to play some of my expressions So what I'm going to do is just do a simple noise frame say times 100 and that goes to be a noise expression So and then what we do in the Y is obviously not use the same No, because then we'll have the same exactly the same Profile, so it's just going to go of course just that so what I do is I actually point to The X channel again, but I look at it like 50 frames of four just give it a bit of variety. So eval position X frame minus 50 and That gives me a different profile. So if you look what the so that's what's happening So what I'm going to do now is actually in my axis itself I'm going to point to Control position X and this is controlled opposition y and I've got Happening of course, right, it's a bit crazy. So let's slow down a bit So I'm going to do here is go It slows down by going to evaluate eval noise frame times 100 come frame Divide by fives slow it down. You can see and because the Y is pointing to X I don't have to repeat the same Expression on the Y channel to the both update the same time obviously and now we've got a smoother Better noise But what I also like to do is if I want to wrap this up wrap it down is use another channel here Say in frame It's zero in frame one and it's one here in frame 50 and back to zero The frame 100 now on my axis I can do controlled opposition of X times control rotation dot X and Same here with Y So rotation X of course stays this stays the same. So what I have now is a Ramp up and down of some noise animation and it's all controlled of course by that by this Curve so I can add some more points That's and drop this down and then it's interactively just does all this crazy stuff for me And you can see the How the how that looks so it's quite simple, but there you go. Hope you like this Thanks mate. Cheers. Bye