Why are they dancing? I know what you're thinking. Nick, you're reacting to JoJo. You're only on episode 20. Why in JoJo's biceps are you gonna react to one second from every JoJo episode? Well, let me tell you something. If I learned anything from that last episode with this dude laughing, I learned that even things I saw out of context, when I saw them, I still didn't understand what was going on. One second, they could show 30 seconds from every episode and I guarantee you, I still won't know what's happening. Anyways, this concludes JoJo week. Smash that like button, like the ceiling that collapsed on top of Caesar. Let's get to the video. You know, that was originally gonna be for Zeppely. Little did I know, it wasn't only Zeppely. It was the whole Zeppely family tree because they're all destined to die. So this is for Zeppely, it sees the Zeppely and whatever next Zeppely comes our way because I know whenever they show the next JoJo and the next Zeppely, all I expect is death. That was fine, that was fine. That was fine. This is one second, I forgot. This isn't an out of context video. This is just one second from every episode. Out of every second, you had to show this one. No! No, I did not wanna relive this. Imagine I saw this without watching JoJo. Motherfuckin' Zeppely. Superman punching the fuckin' frog for no reason. Hey, baby! Hey, baby! Oh my God. I thought I forgot about that. I thought it was somewhere in my subconscious. Now I'm never gonna forget about it. No! Gorilla! Look, look, look. If he still the end of this video and he survived like 45 fuckin' JoJo's, I wouldn't be surprised. But he might as well have been paralyzed like this and strapped into a chair the entire show because he does nothing. He just stares. And that's why I love him. And there we have Hitler. Everything after this is... Yeah, yeah, yeah. I see I could have understood that being out of context. Like, motherfuckin' just swallowed a grenade. But after watching JoJo, it makes sense. It actually makes sense. Oh! Oh, yes. Mesa, Mesa, want Lisa, Lisa, you know?  It's all about Lisa, Lisa. Nice! I just saw this. And I still don't know what's happening. No! Spoilers! I didn't see it, Ty! This is happening next! This is happening next! Wait, is that Wamuu? Is that one of those fuckin' ancestor Greek gods, motherfuckers that fight it right now? Yeah, it is, he has the thing, the Sith. Oh no. Oh no, why is he doing this? Is that Lisa, Lisa's leg?  A planet? Oh, this is the next JoJo, isn't it?  Which one's the zeppely, so I know right now. It must be the guy on the right, because he has a hat, and he has the red stone? Oh, he's dead. Matter of fact, y'all are all dying, but that guy on the right's probably dying first. That's my prediction. Is that... Is that Hitler's son? Strime? Is that his son? Why is this otter... reading porn?  What is this? I thought the madness was coming to a close.  No!  Why? Why can't I just laugh and cry? Why do I have to be scared? Oh, my God. That's fine. What are you doing? Is he made himself a bridge? What the f- No! My gods! Man, man, come on!  Sometimes I just don't know. I just don't know. I don't know what to say. I don't know what to do. That's definitely Thrymes! Grandson. I can't watch this anymore. Why is it one enough? Why do you need five? Just take your time! That makes no sense. Jojo's offspring is addicted to cocaine? Oh, my God. What is this? Why does he look like Jojo? He looks like Jojo. I'm guessing this is Jojo, okay? Because this guy's on the cover of most of, like, Jojo art.  And then why does this look like him a little? Does he turn into a dog? Is that his power? Or is that a goat? I don't even know. It's ugly, though. What are these characters' eyes? What are they wearing? Is this Japan?  Oh, no. What are you doing? No! Is this when it starts getting gay?  Please just tell me now. No. No, no, no, they're, like, four years old. No, they're not even four.  It's that dude, that's Stroheim. I'm telling you, that's his offspring. Ew, no!  So we're going to follow the children and the children. Jojo's bizarre adventure is just this family tree. We started off with, like, Joestar. We went to Jojo, then we went to Joseph. We had Stroheim, Hitler himself. Now, who's next? I'm just waiting for the bin Laden character to come in.  Why was that in English? Why does anime do this? It's like Jojo's by a door. Oh, yeah! Caesar! Like, why did he transfer to English every now and then? Is that, like, a thing? Is that an anime thing? Because I've noticed it a lot. These, like, edgy characters or these cool characters, they'll end their words with, like, or their sentences with, like, English. They'll be like, Aligato casemas, Caesar! Or, like, baby!  Yeah, baby! Yes, yes, yes, yes, yes! Oh, my God, but... I mean, I knew he was gonna die, but thank you! Ha, ha, ha, ha! Oh, that felt good. I wanted to punch that bitch, too. Ketsuna nanichiraroutsu!  I think this is when I have to stop watching JoJo, to be honest. Komarita kibun da! Oh, my God! Dio? Bro, what is this? Dio's, like, great-grandson? He's dead, too.  Oh! Soko ni aru ore no...  Komarita kibun da!  What is he, a boombox? Soko ni aru ore no... Now I know he loses his... Actually, it's JoJo. They just... They have ten legs. It just grows back out of them. I've seen it. Dio literally got cut in half, and his body just stitched back up. And then his head was floating. I don't care about a floating limb. I've seen Attack on Titan. I've seen that scene. Detached body parts?  In fact, it means they're getting stronger. Like, look at the contrast between this and this. This looks like a whole different show. Is that Johnny Bravo? That's the next JoJo, isn't it? This is the one I see on all the covers. Not the... The Germans are back!  Nah. Where... Where are we, like... We're still riding horses. Where I am. How far into the future is this? Now we're the Mighty Morphin Power Rangers.  Don't make me cry! That's my final move! We have to be...  This is... This is just too much, man. This is too much. Oh my god.  No! No! That's a spider! What's with this show? And detached body parts?  I don't know. I don't know.  What is that?  Continued! I can't wait to get there, bro. Tell me what episode that was. Tell me right now, and I'll skip to it.  I want to be here! Why'd you choose this second?   I need to know. And why does this kid look like Garo from One Punch Man, but he's like four years old? That's impossible to have that hair at that age.  Those dice are the ones that the alien turned into. What is he doing? What is his face? Ahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahaha Dada kotor! Did that...? No, no. Stop! What are these things? How far in the future are we? This is the Jetsons. We're on another planet!  It's a Dragon Ball Z! It's a Dastro! Kankap! Is that Mewtwo? I guess this show now?


The study found that the measles' mumps' rubella, MMR, vaccine was highly protective against measles and mumps' hospitalizations, as well as respiratory diseases in children in Rome. This article was authored by Giuseppe Lartore, Rosella Saul, Brigid Unim, and others.


Hi guys, what's going on? How are you doing? I hope you're doing amazing and if you're not, I hope your day gets better. Today's video is very different to my usual. Normally I do not show me taking medication or the way I do. I don't really go in depth and show what happens. There's a lot of stigma attached to benzodiazepines and that's kind of what I'm starting to break. I'm trying to break through to people like, hey, these medications are actually beneficial. There's about two of them, maybe one of them people. There are a lot of people who take them. Benzodiazepines have got a lot of stigma attached to them because people misuse them. There's no secret there. What are the people who take them as prescribed? What effects did these actually have and are they actually worth it and are they beneficial? Today's video I show. I set my camera up and filmed this video when I was having a bit of a bad day, right? It was an anniversary, I wasn't great and I was very suicidal so I chose to have my medication and go to sleep and just zen out basically. So I spoke to my GP and I was prescribed two milligrams of canazepam. This is an ending professional with a GP license or a book. I can describe my GP as very understanding to what I've been through and knows that if I have a problem I'll say it. So I took the two milligrams of canazepam and because it's my first time taking such a high dose I decided to record the effects and kind of share with you how it affects a person. I take canazepam on the daily. It's prescribed means it works very well as medication, but like I said people up there there's a lot of stigma and I'm making this video to show you the actual effects of benzodiazepines when they're used as prescribed. In this video I'm going to be taking my prescribed amount two milligrams of canazepam also known as clonopin. I decided to record this because I want to show you the very real effects this drug has on me and how it helps. I've had a really upsetting day. Today is the anniversary of one of my friend's death well it was a year ago. It was a year ago today. Honestly I've been all over the place. I tried having just my canazepam and it didn't help so I spoke to my doctor and I was told to take two milligrams of clonazepam which is double what I take normally so I'm filming it purely through the educational purposes of showing what this drug actually does. I find with this medication it really like slows down my body clock and time passes really quickly. I'd also tell you about getting a weighted diet kit. If you don't have one already it's more like a slipper. Sleepy mode. I'm doing breathing exercises because I'm trying to slip my heart right down. I can literally feel it pounding. I already feel a lot more relaxed than I was before. I'm not sleeping but I'm very hazy. It's a water. It makes me move a lot slower and think a lot slower and very sleepy. I'm gonna get some water and I'm gonna get some sleep. I don't know if I need the camera recording because it'll leave it overheat or die and you know you should see the basics of what it does to me so I'll review this in a little bit more on it.


Sarah Weigher is the 2017 Youth Volunteer of the Year for the Brainerd Lakes Area. Weigher was surprised with the award given off by the Brainerd JC's and Brainerd Community Action while on campus at Concordia College this week. The selection committee determined that Weigher was deserving of the award because she's made a difference in the community through volunteerism and service work. In her years of dedication and passion she has served a church in the Bell Choir. She's gone on three mission trips, has volunteered in the emergency room at Ascension Health and has helped at a local soup kitchen. If you've enjoyed this segment of Lakeland News, please consider making a tax-deductible contribution to Lakeland Public Television.


Hey everyone, I'm Cody Knight and today we will be exploring pages on the iPad. It is a digital tool that can be used to create a variety of assignments. So let's get started using the pages app on our iPad. The first thing I need to do is locate the app. It is the orange square with the white pencil and line. From here it will show me all of the pages that I have created on this iPad. As you can see, there aren't any created documents yet. Therefore, we are going to create our first document together. To do this, I simply press on the orange plus sign where it says create document. From here, there are many templates to choose from. You can create a report using an essay format that is already laid out for you. You can create books, both landscape and portrait, or you can use visuals to create flyers and posters or newsletters. For this demonstration, we're just going to use the blank landscape template. Here I can begin typing. For this assignment, I'm going to pretend that I have to write a letter to my teacher. So I'm going to begin with Dear Teacher. From here, I might want to customize my assignment to meet the requirements and also to make it look the way that I want to. For this, we're going to focus on three of the five tools in the top right corner of your screen. We're going to look at the paintbrush, the plus sign, and the circle with the three dots inside. The first tool is the paintbrush. This is how we customize what we've done. So if I want to change my text here where it says Dear Teacher, I'm going to double tap it and drag my blue line so that it is all highlighted. From here, I can press the paintbrush. It will allow me to adjust the font to either be bold, italicized, underlined. I also can change the font size, making it larger or smaller depending on what I'm trying to do. When I'm done with that, I simply just tap off of the box. The other thing I might want to use is the plus sign. The plus sign is how you add things to your assignment. I can add photos, videos, or something from my camera roll. Another neat tool is the drawing. If you press drawing, you'll be prompted to draw something using one of the pencil tools at the bottom. After you draw what you want to, you'll simply hit done in the top right screen. It'll insert it into your assignment as a photo, and I can drag it wherever I want to. The last tool that is very helpful is the circle with the three dots inside. When I press it, I'll be able to share my assignment with my teacher. By pressing share, I can choose where it goes. I can share it through email, through the Google Drive, or through learning management systems such as Google Classroom or CSAW. When I'm finished with this, I can simply tap off. If I want to go back and look at my other documents on the top left, I can press documents. Anything you create will automatically save, so there's no need to press the save button. You can return to them as often as you need. So again, that is how you can use pages to help you with your assignments. Thanks for watching, and don't forget to check out our other resources.


Hello, I'm Leanne George, Coroner of the Specs Survey Program at the Association of Research Libraries, and I'd like to thank you for joining us for this Specs Survey Webcast. Today we'll hear about the results of the survey on libraries, presses, and publishing. These results have been published in SpecKit357, which is freely available at publications.arl.org. Before we begin, there are just a couple of announcements. First, everyone but the presenters has been muted to cut down on background noise, so if you are part of a group today, feel free to speak among yourselves. And we do want you to join the conversation by typing questions in the chat box at the lower left corner of your screen. We'll answer as many questions as possible at the end of the presentation, and I'll read the questions aloud and then the presenters will answer them. The webcast is being recorded, and we will send registrants the slides in the link to the recording within the next week. Now let me introduce today's presenters from the George A. Smathers Libraries at the University of Florida. Laurie Taylor is the Digital Scholarship Librarian. Brian Key is the Associate Dean for Administration and Faculty Affairs. And Chelsea Dinsmore is the Director of Digital Production Services. Meredith Morris-Babb, who is Director and CEO of the University Press of Florida, is unable to join us today. Use the hashtag ARLSpecKit357 to continue the conversation with us on Twitter. And now let me turn the presentation over to Laurie. So before we go into our results, we wanted to provide framing for why we wanted to do the spec kit. There are two huge reasons. The first is practical and is stated in the spec kit. Many Association of Research Libraries, ARL members, have robust and long-standing publishing activities, often in collaboration with or running parallel to the press of the larger institutional entity. As reported in the Association of American University Presses 2015-2016 Annual Report, 30 of those presses are in libraries. 81 institutions are both ARL and AAUP members. And at 21 of those institutions, the press reports to the library. Other libraries, including the Amherst College Press and the University of Cincinnati Press, launched new presses within libraries. Most of the 123 ARL member libraries are engaged in publishing and publishing support activities such as hosting digital publications, administering open access publishing systems, creating open educational resources, providing editorial services, or participating on scholarly advisory boards. To address the critical concerns and opportunities available for libraries, presses and publishing, in 2016, AAUP, ARL, and the Coalition for Network Information, CNI, hosted the first publishers reporting to library summits to share knowledge and develop best practices for library press partnerships. In 2015, the Association of College and Research Libraries, ACRL, published, Getting the Word Out, Academic Libraries of Scholarly Publishers. Also in 2015, the National Endowment for the Humanities and the Andrew W. Mellon Foundation announced the inaugural grants for the Humanities Open Book Program for bringing out-of-print university books back to life digitally. The Library Publishing Coalition, or LPC, started several years prior and successfully holds an annual meeting to assess the variety and types of activities underway in library publishing. Further, LPC conducts an annual survey that addresses an expanding array of publishing activities and the organizational structure for publishing in libraries. The Coalition offers an inclusive definition of library publishing that aids in framing discussions on libraries and publishing. The LPC defines library publishing as the set of activities led by college and university libraries to support the creation, dissemination, and curation of scholarly, creative, and or educational works. Generally, library publishing requires a production process, presents original work not previously made available, and applies the level of certification to the content published, whether through peer review or extension of the institutional brand. Based on core library values and building on the traditional skills of librarians, it is distinguished from other publishing fields by preference for open access dissemination, as well as the willingness to embrace informal and experimental forms of scholarly communication and to challenge the status quo. The findings from this survey complement the ongoing work of LPC, ARL, and AAUP on libraries and publishing to inform on the expansive breadth of practice taking place at the intersection of research libraries, presses, and publishing. By investigating ARL and institutional landscapes and practices as they relate to presses and publishing, this study complements and extends prior spec kits that focus on digital scholarships, digital humanities, open educational resources, and digital collections and services by exploring aspects of publishing activities in the specific context of press collaborations, integrations, and partnerships. For our practical reasons, there are also practical obstacles. We'll cover the obstacles in this webcast, and it includes the complexity of the current situations and configurations for libraries, presses, and publishing. Not only are these complex, they're also rapidly evolving. The complexity and rapid evolution makes the work to assess the current landscape more difficult. However, the same reasons that lead to that difficulty also mean that this is a time of tremendous opportunity for defining what and how libraries, presses, and publishing can be and what they can do. This brings us on to the second part of our answer for why on libraries, presses, and publishing. A short answer is that we needed this information and our roles in the University Press of Florida, the University of Florida Press, the Library Press at U.S., Undergrowth Text Plus, M.E.F. Libraries were all actively engaged on concerns with libraries, presses, and publishing. We're also all involved with the Digital Library of the Caribbean, or D-LOC. The images on this slide are from the University of the Virgin Islands collection in D-LOC. The images here are of D. Jackson Hamilton and the Harold newspaper, which he founded, and which was the first free newspaper. The newspaper served as a voice and a vehicle for the people to organize, gain civil rights, and gain citizenship. With libraries, presses, and publishing all at a critical developmental stage, all involved have the opportunity to create new publications and new ways of publishing that can enable change in our world. The digital age has brought new opportunities for public engagement, new forms of scholarly and intellectual work, and new modes and methods for connecting our collections to our communities. The results of this spec kit provide foundational information on how we're organizing this work, who's doing the work, what's being done, and what are some of the considerations for the future. The survey results are based on responses from 63 of the 123 ARL member libraries, a 51% response rate. Of the 63 responding libraries, 44, or 70%, reported that the parent institution has a press. When asked if the library had created a press of its own, that is either separate from the institutional press or where no institutional press exists. 9 or 14% of the respondents reported that they created a separate library press. Few reported they created a library press and there was no institutional press. Three reported that the library plans to develop a library press that will be separate from the institutional press. And another three will develop a library press where no institutional press exists. Interestingly, all of the responding libraries are engaged of some form of publishing activity as defined by the survey. A further analysis of the data indicates seven categories of respondents. 31 institutions, nearly half, have an institutional press that no library press. Nine have both an institutional and a library press. Three have an institutional press and plan to create a library press. Two have a library press but no institutional press. And another three have no institutional press but plan to create a library press. One has an integrated single division with a library and institutional press. And 14 didn't have a press of any kind. The respondents who reported that a press exists or is being developed provided information about the press and library relationship. 14 of the respondents or 34% stated that the institutional press reports through the library. Their comments describe the complexity of these relationships. In one example, the press director reports to the dean of libraries, but their budgets are separate. And another institution, the press reports to the university librarian who has a deputy provost role. In another example, there's not a direct reporting relationship, but librarians serve on the press advisory board. 68% of these respondents have firm that the libraries and presses are collaborating. Examples include collaborations for specific needs as they emerge, as well as for ongoing programmatic requirements or opportunities, such as publishing books, journal hosting, speaker events, service on editorial boards, archiving and preservation, digitization at the press backlist, publishing companion websites for digital or enhanced versions of print publications, and other activities. Many respondents noted programmatic collaborative activities that draw on the presses and libraries and bring them into closer ongoing contact. As the librarians serving on press advisory boards, the press co-sponsoring library journals, the library funding several open access books per year that are published by the press, and the library and press co-funding and editorial position. The motivations for having the institutional press report to the library for creating a library press and for library and press collaboration are varied as this chart reflects. The 32 respondents reported multiple reasons, but the overarching motivations included leveraging expertise and efficiencies and stakeholder need and an opportunity for enhanced library contributions. In the survey, we were also interested in both the project development and editorial, including project planning and management, peer review, developmental editing, editorial advisory board activities, and grant preparation and the editorial activities that are common with publishing services, design, permissions clearance, material production, printing and binding management, distribution and marketing. The graphs on this page, okay, my slide just advanced, show the many types of publishing and editorial activities based on engagement by organizational structure. Libraries are engaged in a variety of activities, but less engaged than institutional and library presses and peer review, editorial board supports, copy editing and proofing. Institutional presses are deeply engaged in the full spectrum of these activities. And I'll now turn the presentation over to Chelsea. Thank you, Lori. The graphic on this slide, when it advances, depicts the type of publications produced by libraries and institutional and library presses. Clearly, libraries are creating a broad spectrum of materials. The most frequent library publications were electronic theses and dissertations, followed by open access journals, online exhibitions, data sets, and online portals. These libraries are less likely to produce description journals and either print or enhanced monographs. Other categories include digital scholarship websites and visualizations, larger scale digital project databases, faculty digital editions for projects, 3D scans, gray literature, promotional materials, reports, white papers, posters, conference proceedings, working papers, and learning materials, among others. Library presses are most likely to produce open access and or subscription journals, digital books, and open educational resources. The survey also queried on which systems or platforms are used to deliver these publications. Responses reflect enormous variety with dozens of tools in use for the different publication types. As found in the annual library publishing coalition surveys, open journal systems, or OJS, is one of the few platforms in wide use. The responses to the survey demonstrate that libraries are leveraging and integrating digital library and institutional repository systems for publishing. They are also adopting digital scholarship specific tools such as Scalar and OMECA and implementing common web tools such as WordPress. The staffing section of the survey included questions to grapple with the relative newness of library publishing at its current scale and to address changing staffing models. Several types of employees, including faculty and staff are currently engaged in publishing activities with varied organizational placement, often under the framing of scholarly communications or digital scholarship. As this chart shows, these personnel are engaged in a wide variety of activities with the predominance of librarians and other professionals. Select findings regarding staffing include the majority responded that a graduate degree in library or information sciences was not required for any professional staff engaged in publishing activities. Libraries have addressed changing responsibilities for staff in a variety of ways, including creating new positions and redefining existing ones. Survey participants were also asked if the libraries have utilized or identified opportunities for enhanced workforce and or workplace diversity and or inclusivity.  When creating or reconfiguring positions to provide publishing services, the majority of respondents had not. However, some noted involvement in the AAUP discussions on diversity joint search committees with representatives from the press and libraries to support an expanded framing and a diversity and a diversity internship program with graduate students placed in the department. One finding is that the prevalence of graduate students could present an opportunity for recruiting new professionals into libraries and library publishing. I'll now turn the presentation over to Brian. Thank you, Chelsea. The survey also investigated funding, including whether there was a separate budget or distinct funding source for publishing activities and the sources of funds. The responses are depicted in this graph and reflect separate funding models for institutional presses, but not for library presses. It is important to note the many respondents had difficulty reporting how much is spent each year on publishing, which may partially be the result of the undifferentiated funding models, but also parallels challenges with reporting the number of publishing related staff. The main reason for this is the large number of people involved in publishing, many with only partial time allocations or split assignments. Also, we found the majority of respondents expect funding to remain the same over the next three years. The survey also asked what types of external vendors the library contracts with to provide publishing services. Per our findings, vendors are most frequently used for digital storage, electronic distribution of e-publications, printing, and metadata distribution. Other services include print on demand, binding, sales and marketing, storage, and peer review for scholarly societies. The majority of institutional and library presses publish materials from authors both inside and outside of their institution, although a handful do focus on internal authors. Proportionally, libraries less frequently publish works from external authors, but a significant number of libraries are engaged in this work. Survey respondents reported numerous activities and outreach methods to enlist and engage authors in publishing activities. These include leveraging the role of liaison librarians, direct messaging and promotion of news stories, workshops and presentations, outreach targeted to journal editors, and outreach targeted to institutional repositories. Respondents also rely on annual fairs and integration in events such as new faculty orientation and word of mouth building from existing activities, calls for proposals, focused activities based on data from institutional faculty performance system, booths that a scholarly society meeting, conference presentations and social media. Now I'll turn the presentation back over to Lori. Yeah, so thank you, Brian. Lessons learned and additional comments were also solicited from respondents. Many lessons were elicited from new publishing initiatives, including the need for sufficient staffing, proper scoping to implement a service program rather than boutique or one-off support, service tiers for structuring support and guiding conversations, service alignment, framework alignment with the library mission and integration into the strategic plan activities, structural and organizational documentation support processes, for example MOUs, formal service agreements, policies, best practices, standard publishing contracts with clear deadlines, clear communication on what services are and are not offered, and participation in the professional community's organizations, for example library publishing coalition. Other findings on lessons learned were specific to publishing. The most common single recommendation was to work closely with the institutional press where one exists whenever possible, even if it seems like the library publishing and press activities are discreet. Multiple respondents noted the value of having advisory or steering committees to guide and support publishing. Other lessons included that publishing requires a great deal of time to implement as a program and more time than would generally be expected for library programs. That separate branding is important for works that are heavily peer reviewed versus those that are produced with less editorial investment and that implementing a call for proposals process with an evaluative component to support selection and decision making for new publications can help create the attendant support based on the editorial level. Also that journal hosting is important for publishing and that the growth and open act open educational resources or OERs may drive the development for formalizing library publishing activity. So for considerations and recommendations, this back kit serves as an initial snapshot of ARL member involvement with library publishing and presses. The results of this inquiry document the current level of complexity. While an increasing number of institutional presses now report to libraries, the relationship often remains administrative rather than representing integrated operations and primarily for financial reasons and following the retirement or departure of key personnel. The majority of work in library publishing thus far has focused on providing journal hosting and repository platforms. One best practice that emerges is to use existing digital library and repository systems whenever possible and then to supplement those with appropriate additional systems for specific services. For example, open journal systems for journals, scalar for digital scholarship and wordpress for web publishing. There's less work to date on the acquisitions in what presses also term curatorial and editorial aspects that are core to institutional presses. The results suggest that curatorial and editorial are areas for future growth. For this and other growth areas, respondents reaffirmed the value of learning from institutional presses. Respondents comments suggest that one way to accomplish synergy with institutional presses is to establish and operate shared advisory boards for presses and publishing, including stakeholders to review editorial practices and operational design. While the majority of ARL members are already engaged in publishing or publishing support activities and many have robust and long-standing publishing activities, the next phases of growth will be informed and enhanced through collaboration with institutional presses, scholarly advisory board, other libraries and related communities. The survey findings also suggest a need for greater engagement with the community of practice. This is through collaboration with ARL and with groups like the Library Publishing Coalition and Association of American University Presses. So I'll now turn the presentation over to Leanne for the questions and discussion. Thank you, Laurie, and I want to remind you all that we welcome your questions. Join the conversation by typing your questions in the chat box in the lower left corner of your screen and I will read those questions for the presenters to answer. And while we give you a moment to start entering your questions, I will ask the presenters. In your considerations and recommendations, Laurie, you mentioned that it's recommended to collaborate with scholarly advisory boards. Can you speak to what that looks like at your institution and what the process might be for establishing such a group for library publishing? That's something that we're actively investigating right now. That's a great question. So at the University of Florida, we have the University Press of Florida, which serves as a statewide system press, and there's also the University of Florida Press, and Meredith is over both of those. And then within the libraries, we have the Library Press at UF, which is a joint imprint of the University of Florida Press and the libraries. And so this really came out of all of our different publishing initiatives and needs and so much rich collaboration with the UF Press, including the hosting support for the Orange Grove Text Plus, which are open access textbooks, work in journal hosting, work in bringing back reprints of a museum collection, and collaboration on our Mellon Open Books grant, where we're bringing back to life 39 books on Florida and the Caribbean. And so right now, so we've established the Library Press at UF, but we don't yet have a scholarly advisory board or right now we're thinking more of an editorial collective, some sort of groups to help support the ongoing curatorial editorial advancement of the group, and so we're in close collaboration and discussion with the press to develop a proposal for that group. Thanks Laurie. Please enter your questions in the chat box so we can get our presenters to answer them for you. The survey results mentioned Scalar is a standard common tool, a platform. Tell us some more about what that is and how it's being used in digital publishing. Yeah, so I don't know if we can do a poll of the participants. I think probably not or it might be cumbersome, but the Scalar is a tool that grew out of the University of Southern California. It's an excellent, robust tool that's been designed by designers, media studies theorists, and other experts, specifically for web publishing and for integrated media publishing, so including video video elements with transcripts, annotating videos, and not just a linear reading experience or a structured one, so you can have the Scalar, the fundamental element is the book, but then you can also do paths through it. And so a number of different presses are working with Scalar. It's also heavily being taught in digital humanities, digital scholarship classes, so it's an excellent platform that really has the adoption, the community involvement for that community of practice engagement and support. Thank you. Jody has a follow-up question about advisory boards. She asked, who do you envision inviting to your group when it's formed? That's a great question. Thanks, Jody. The library press that you have is really designed to build off of the library collections to help showcase, yeah, exactly, to help showcase the excellence of the collection and present them as public scholarship in the public sphere. So some of the questions in the digital age are, how do we have people see a million bucks? You know, we've digitized so much, but then some of the ways that you do that data mining, text mining, sometimes you also tell a single story. So how do we tell the story of the Baldwin Library of Historical Children's Literature, which is a collection at the University of Florida? So one of the library press books for that, the first one that I'm coming out with, is B is for Baldwin and Alphabetic Journey through the Baldwin Library of Historical Children's Literature. And that will have 26 different entries. A is for Anglophone because almost all of the texts in the Baldwin are in English. B is for Baldwin. C is for Chapbook. And they're all written by different children's literature scholars, many of whom came through the University of Florida Children's Literature Studies program. And then they'll also be anchored with different images from the digitized materials from the Baldwin collection. And they'll have essays that help supplement it to provide the framing. So with that sort of example of a project that we're working with, we're looking at UF's unique strengths in terms of the collections and also our programs. So someone who we would want to, and obviously we would certainly invite scholars. We would also need administrators for how does this scaffold up? What are the structure and relationships of it? So someone from the University Press certainly. And we have some, we do have librarians on the University of Florida Press at board as well. And so that also has that cross connection. And then our faculty, experts in the different areas, and our curatorial experts in the different areas. The ones who know the collections and who know who can speak to their stories and why these materials are particularly impactful in developing for new publications and in print. And what that does for the material. So thinking through all the different format questions, the presentation, and how to write and create public scholarship. Thanks Laurie. You mentioned how complex the relationships are between, oh sorry you've got another question coming in from Charles says what kind of workshops are being offered to build editors communities across campus? So we have several different things that are going on in that regard. One of the main ones we have a journal editors brown bag, which is a regular meeting and discussion. Suzanne Stapleton is one of, she's our agriculture librarian and she's also head of the OJS service team within libraries. And so she runs those and those include having different journal editors speak about what they're doing with their journal. Having other people talk about considerations and launching a new journal. Considerations for moving from print subscription to open online for the back archives and then subscription paid for the new archives. All of the different things that our journal editors are facing in terms of how you use the different technologies and what it means for your workflows and your scholarly community. So those are done on a regular basis. She also runs different presentations and other workshops on OJS open journal systems for that. A number of our faculty are also using the institutional repository to publish often conference proceedings or conference sets of conference posters and other things. And so our IR at UF manager gives regular presentations and also meets with folks on different center publications and other materials. Those are often being reborn digital or being curated and shared with the world digitally for the first time. Another workshop that's series that we've done is with Besta Farber collaborating with strangers or co-labs which bring together different people across campus, across different fields, across the community depending on how they're targeted. And last year we did one of them focused on publishing. And so that we made sure folks from the university press were here and we really had some great conversations and from that great conversations people meeting each other, understanding more about what the other ones do. And from that we had a workshop on how to turn one of the needs identified was how do you turn your dissertation into a book proposal or how do you write your first book proposal. And that was really incredible because we thought we were targeting largely graduate students and we had graduate students, junior faculty, senior faculty, some people who published two or three books but they really didn't know how it worked. They just knew that they had gone through it successfully but they wanted to hear the press's perspective. And so having Meredith be able to present and share and say things like it's fine to submit your book to multiple places but tell us that you're doing it. Don't make it so that I get a phone call from one of my press colleagues asking about a book and potential reviewers. You know just keep us informed and it's okay to communicate with us and other things that we're really inviting and really helpful. So for that we've been talking about doing that on a regular ongoing basis with our Center for Humanities and the public sphere and then looking at what other workshops might develop out of that. You were describing some enhanced monographs a little bit earlier. Can you tell us more about those and how they relate to the publishing that libraries are doing? Yeah it's super exciting. So often at UF we're always looking for how can the technology support our needs you know and how can we do something better with the infrastructure that we have. So we had a number of scholars come to us and say okay I just published my book it's based on archival research. I keep getting these people contacting me wanting the archival research. I have to dig it out for my computer files then I'm trying to find an external hard drive to send them. Can you help me with this? And so of course we were able to help them clearing permissions for the materials to be available in the institutional repository or most often in the digital library of the Caribbean. So then the materials relate to the book so that their digital files that they are with permissions of the archival institution it links to where you can buy the books from the different book the different press different university presses and then when people contact them they can say oh no it's already on D-lock you can go immediately and find it and at the same time that this is happening we're getting more requests from faculty. Meredith is contacting us saying hey I'm getting more requests from faculty when they have books that have data sets one was bought Hami in archaeology others are on lots of archaeology with a Florida press but other data sets from you know different archival research things and other work that people have done some oral histories and so the question from the authors has been is there a way that I can have these materials supported and our answer was absolutely and so that work in developing the process for that and the close collaboration with the press and the libraries to have those data set you know there's archival materials available openly in the institutional repository and linked to the book and then we're trying to get ahead of it and enough time to have the book also linked to the data sets so that when they're published people already have that link in the book themselves and that's what we mean by enhanced monographs and the press has been Meredith taught me the term enhanced monographs because they have so many publications that already do this including ones on dance and ballet where it you know you have little videos you have links in the book that go to videos that tell you about the different dance forms that demonstrate it. I invite our participants to join the conversation and send us a question for our presenters we've got a few more minutes before we need to sign off and you went into this study expecting to find a pretty messy and evolving environment and you describe some of the various ways that libraries and presses are organizing and relating to each other is there anything that really surprised you when you were evaluating those the results of the survey that we were really surprised Brian and Telsie oh I know one of the things that we were interested in was understanding the role of the MLS degree and you know I think that kind of we expected actually that to be a little bit more you know varied than the actual data ended up which you know was an indication that it's it's not a universal requirement by an extent but you know I think that as the chart show is the material that we were not able to incorporate into the webinar show I mean it really is messy presumably in a positive way because of the you know because of the state of change and flux that's taking place so you know I think my impression is that it really kind of evidenced a lot of the expectations we had going in and we were hoping that in the diversity question because anytime you have a a new program you know a new structure and something that blends across fields there's a real opportunity to rethink what the fundamental you know requirements of the job are which it looks like people are already doing with the MLS but then also to move forward on different opportunities and so we were hoping to steal lots and lots of great ideas and it seems like we're all working on this but there weren't there weren't lots of you know tons of new ideas to steal from that but that was a hoped for can you speak to how services such as typesetting and layout and copy editing are being offered by libraries what kind of platforms are they using that's a great question those are areas that were less represented by far and libraries than they were in presses so B-Press provides a platform for doing that but we did not we don't have data on how many people are using B-Press specifically for the copy editing typeset and layout and B-Press has its user group a number of people are migrating off B-Press now with the new acquisition oh I had not heard that many libraries are reconsidering using it with the acquisition of Elsevier I've heard the other way where people are looking at migrating away from it oh okay Chelsea said that's what is meant by the question so but typesetting layout and copy editing are less frequently offered by libraries at institutions there is normally a strong expertise in that not necessarily in doing it but in supporting the editorial review process and the graduate editorial offices which are often within the graduate schools Charles asked about going back to what you're saying about the MLS and do you think the problem is that in MLS programs they don't include information on publishing is that a gap that the iSchools should be addressing that's a great question I think it's it could be in part that the MLS programs do not offer sufficient training education on library publishing there is a grant right now and Brian and I are some of the authors on it I think John is also one of the attendees on the call who's also one of the authors for developing it's an MLS grant that has funded the development of a library publishing curriculum to support that need in masters in library science education one of the things one of the reasons we're interested in it I don't have a master's in library science I have a PhD and so libraries some library programs require any library in position to have an MLS and where a PhD or you know other equivalent advanced degree does not suffice you must also have a master's in library science and the trend has been moving away from that in libraries not as quickly as I would argue would be better because just having the diversity of appropriate educational offerings to meet the job requirements allows you to have a richer field for hiring and recruiting but library publishing it seems to have already begun at that standpoint so it's so the only thing I would add to that is I think it only represents a problem if the expectation is that an MLS degree is a required credential for people who are engaged in leading library publishing at a professional level rather than bringing in journalism or master's in business yeah or if that's not a kind of specific area that people build their own community of practice and establish those skill sets elsewhere in collaboration with the institutional press you know so whether it represents a problem whether it represents an opportunity we're trying to continue contribute to the curriculum in that area Laura asks if you could speak to what expertise libraries can best bring to academic publishing versus just letting the university press deal with those kinds of initiatives oh great question and that's a question we continue to work through on hey Meredith is this you know proposal better for you or is this something that's better you know for us in library press and so figuring out sometimes it can be a little bit blurry but the university presses are fantastic so allowing them to supporting them and doing the work that they do promoting them further on campus promoting their recognition so we can serve as their advocates and our liaison librarians are completely happy to come to different faculty meetings and talk about everything that the university press offers as well as what we offer in library publishing and so it becomes another service the point service support brokering connecting to different resources also our librarians have such a depth and wealth of understanding of knowledge about their collections and some of the collections they're so fantastic and then knowing about how well how do you present a curated collection how do you present something like the Baldwin library of historical children's literature which has over 120,000 volumes it's one of the largest collections in the US and so in the world sorry of children's literature and so thinking about that collection as a whole and then how do you present it to a general populace you know the public as public scholarship that's if this was sort of a coffee table book then the university of Florida press has an imprint for it if it was a scholarly publication a traditional monograph or edited collection type the university of Florida press has a way for that but that's sort of in between public scholarship we're still figuring that out together so for that proposal our curator for the Baldwin library completed the manuscript information sheet I shared it with Meredith to say is this something you want to work on to expand the US press or is this something the library press should take on and then we'll of course be in contact and in collaboration throughout the process and for that when we've gone with the library press but all of this is in close collaboration with the US press and in thinking through how do we support them more how do we expand and what areas can we do together or connected complimentary attendant to support all of the different initiatives as well as the new initiatives as well as the traditional expertise and strengths that kind of addresses Harrison's question about how did you get buy in from your liaison librarians um you said they participate in your workshops absolutely so when the liaison librarians are they liaise to different departments different fields different areas and they're they want to support and to showcase the their faculty their students the folks they're working with and so having our closer collaboration with the university press and then the library press as well journal hosting with OJS this is something that we didn't have to have to see it buy and we had to make we had to work to make sure we could support all of the interest and the the growth from it and so that's where like Suzanne Stapleton as the lead on the Florida OJS service team and then she has other folks working with her on that yeah we had to make sure that we had different structures to support all of the interest we have time for one last question Nola asked if you can describe any instances of collaborative tech development across the the press and the library that's an interesting question I'm not sure exactly what's meant by that because there are a number of different digital scholarship digital publishing platforms that are coming out of largely out of Mellon grants for different press systems so manifold Jane is one so there are a number of different ones that and I believe there's a pre-conference workshop showcasing them that's being planned for the library publishing curriculum forum the one of the things that's interesting is the libraries and presses we so many things are so alike and yet they're disconnected by that sort of final tech hop so presses began with onyx metadata libraries more often began with mark but the different expertise for the metadata feed systems whether you're sending it out from the catalog into different discovery systems or you're sending out for the different vendor systems to have it included there's a lot of really parallel expertise and so some of it is it's not that the tech development needs to be done it needs it's more the human conversations and connections need to be in place to make sure we we do that sort of last mile connection across the the technology systems or across just the processes I'm not sure if that answered the question but I want to think all of our presenters today and thank all of our participants for joining us for the this discussion the results of the library's presses and publishing spec survey and to remind you that you all registrants will receive the slides and a link to the recording in the next day next week thank you thank you thank you again


Hello, it's Waylon Chao, and this is module 2a, part a, Law of Contract Formation. In this module, we'll first look at some examples of contracts that you may have entered into, and then examine what exactly is a contract considered to be in law, and also explain the source of contract law, where do we find contract law, where does it come from, and also the three essential elements of formation of a contract. What contracts have you entered into? When most people think about contracts, they think about very formal written contracts that are signed involving large important transactions that many of us enter into in our lives. Contracts such as a home purchase or entering into a two-year, let's say, cell phone contract or any cell phone service contract, buying or selling a business, or even registering for college. When you register for college, the college is agreeing to provide you with an education or a specific program of courses in exchange for the payment of tuition by you. A lot of people don't realize is that many of the transactions that we enter into every day, the small and insignificant transactions, also involve contracts, so it could be things as simple as buying a coffee at Tim Hortons, which involves an agreement by Tim Hortons to provide you with a certain type of coffee, certain size of coffee in exchange for the payment of the purchase price. For any time you buy something at a store or online, that involves a contract, or even just getting onto a bus when you pay a bus fare in exchange for being able to get transportation on the bus. That is a contract. What is a contract in law? A contract is defined as an agreement that is legally enforceable, so there are two components to that definition. The first component is an agreement, and the second component is that the agreement is legally enforceable. What do we mean by legally enforceable? It means that if one party fails to live up to the agreement, in other words, they're in breach of the agreement or in breach of the contract, the other party can sue to have a court enforce the agreement. Before we actually look at contract law, let's get an idea of where contract law come from. What is the source of contract law? Much or most of contract law, including the law of contract formation, which is the subject of this module, was not created by government legislation, but by courts through case law. So over a long period of time, courts in England and Canada have rendered decisions in specific cases, and from those specific cases are legal principles that are then applied in subsequent cases. So that's what we mean by case law. There are three essential elements to have a valid legal contract. The first element is that there has to be an agreement, and an agreement arises when one party makes an offer and the other party accepts that offer or provides acceptance of that offer. We'll look at what is an offer and what is an acceptance in much more detail in this module. The second element is that there has to be an intention to create legal relations. In other words, did the parties reasonably intend to actually create a legally binding contract in the particular circumstances? The third essential element, which we will cover in the subsequent module, where Chapter 8 is covered, is that there has to be an exchange of consideration between the two parties to the contract.


The long-awaited Samsung Galaxy S8 has arrived at Appalachian Wireless. Get yours for the introductory price of just $149.99 with a two-year service agreement. Better service, bigger savings. That's today's Appalachian Wireless. An East Kentucky network company. Heavy rains across the region brought flash flooding to Elkhorn City today. However, the water receded as quickly as it rushed in, forcing one resident to leave her home. I came home and it was about three foot, 18 inches inside. And this drain down here had stopped the inside everything at 18 inches and below it. So my clothes fell down and caused it and there it is in mud. It's mud all in there. I'm going somewhere else in the night. Yeah, I'll be fine. Gotta take care of me. Rushing waters caused property damage at another residence. They started pouring down the rain. I mean, it was coming an ungodly amount of rain at one time. Two to three inches deep. You can see they hit covered the grass and the sidewalk and hit running right towards that wall. That had a lot to do with it, I guess, but water got behind it. The rain was like it's going two different directions and all of a sudden the wall collapsed. Allman went on to say he was thankful because the wall fell just a few minutes after his grandson pulled out of the driveway. Reporting from Elkhorn City, I'm Shawn Allen for EKB News.


Well, let's face it. You're probably watching this video because you think the Contax T2 is a pretty cool camera for pretty cool people Well, guess what motherf**kers the secret is out the whole world thinks that and that's why it's super expensive now But whatever let's discuss the Contax T2 the best point-and-shoot camera. You will always try to justify buying Since obtaining this camera about two years ago I've probably put about 40 rolls through it and I don't regret a damn thing I brought it with me to Wildwood the past two years and of course It was the perfect companion to bring along to Iceland in 2019 Right off the bat probably the most noticeable aspect of this camera is the look the design is nothing short of sexy And everyone thinks so when I initially showed Monica a picture of the Contax T2 versus the follow-up Contax T3 She said and I quote it's 3 a.m.  You're always doing this sh** go to sleep The T2 was launched in 1991 Which was the only good thing that happened that year at launch Contax targeted a luxury and professional camera buyers market and it shows This camera is one of very few point-and-shoots on the market today that have exposure compensation manual focus and aperture priority options Because of the amount of exposure control with this camera I knew I had to get one plus I'm secretly a huge fan of contacts as a company and I can't wait to see what they do next Legend has it that these cameras went for about 200 to 300 dollars a couple years ago before the infamous price increase on cameras Nowadays they go for more around seven hundred to two thousand dollars the price increase on these cameras can be attributed to several things But mostly it's Kendall Jenner's fault You brought your camera. Yes, I did. This is the one you use now little contact. I just got this one Wait, I'm gonna turn the flash on for you Apparently Thor Frank Ocean and the kid from stranger things also have a Contax T2 So you can hold a grudge against them as well if you want This camera waterproof definitely not although it can't handle a little light rain or maybe even some of your empty bank account Depression tears should it need to as I mentioned before I took this camera with me to Iceland last year and it got drenched several times But it still works. So that's something just to clarify here. I'm not saying that this camera is waterproof It's definitely not I'm just some idiot who use an expensive camera in the cold Icelandic rain and I'm sharing my experience My abs the body of the cameras made of rock hard titanium and is quite comfortable in the hand But probably the biggest selling point of the Contax T2 is the lens Now some people might tell you that it's the quality of your tripod that makes the biggest difference in the outcome of your image But me personally I think it's more the lens in the film the lens on this camera is a 38 millimeter Carl's Ice f 2.8 That is overall pretty sharp.  With a maximum shutter speed of 1 500th of a second ranging all the way down to 8 seconds You can likely find the wiggle room to shoot this camera at f 8 which I think is the sharpest aperture for this lens So the way that this camera works which is quite a bit different than other point shoots is through aperture priority Before you shoot you need to decide what f-stop you'd like to shoot at and the camera will then run a hyper advanced computer Matrix simulation to decide what shutter speed to use based on your films ISO But worry not if you get sweaty and nervous when faced with simple decisions You can put the aperture on the lens to f 2.8 and the camera will then go into full auto and decide the best aperture for you That's why it's labeled green like money Notice a trend here So it's worth noting on this camera unlike the other apertures You cannot actually force this camera to use f 2.8 just by selecting 2.8 This camera is gonna do whatever the f*** it wants and use whatever f-stop it needs to to get the job done if you select f 2.8 So just to be clear the lowest aperture that you can force this camera to use is f 4 The f 2.8 only gets brought out by the computer if you're in a situation of low light I'm not really sure why that's a thing But hey, I'm unsure of a lot of things probably the coolest part of the contacts t2 though In my opinion is the exposure compensation dial here on top If you're a psychopath like me and enjoy playing with overexposure or underexposure You can do that with this camera Which should you desire opens up a whole new world of being able to push and pull your film The exposure compensation dial goes up to two stops over and two stops under with half-stop increments And you even have the luxury of changing this setting as many times as you want mid roll So recently my brother and his two roommates felt the need for super fresh air being the purebred stallions that yearn for the open planes like we are So yeah, we went to utah for a long weekend of camping Of course, all I needed for survival besides beer was my contacts t2 This campsite was really cool But what made it really cool was the view but in photography a cool view and a cool camera Doesn't necessarily make a good photo.  You dumb idiot this camera has dx code reading Which means when you put it film in it reads the dx code on your cartridge and set your iso for you If your cartridge doesn't have a dx code it will default to 100 iso To cover all the bases and hopefully this is obvious When you look through the viewfinder on this camera, you're not actually looking through the lens The viewfinder is meant to be more of a rough estimation of what you're going to get You have a few different color options to choose from with these cameras champagne gold titanium black jet black and Platinum or you can collect them all for the very low price of splitting your soul into five horcruxes But maybe just save yourself the time and dark magic and get the gold version since it's the dopest one For reference the one I have here is the titanium black version Some quick little tidbits about the camera to turn this camera on you flip the dial here near your thumb To any of your preferred settings. This camera takes a cr123 battery Which in my opinion are the tastiest and most fun to swallow There is a self timer a tripod socket on the bottom and of course a pretty solid flash that apparently can burn the plastic cover If overused if that happens in some cases you might be able to unscrew the Top plate here of the camera and easily swap out the burnt plastic for a new sheet Definitely do your own research on this if you were considering it The meter on the camera is also great. No complaints here. All right with that out of the way Let's talk about the biggest con of this camera in my opinion the price If you haven't checked the prices on these lately have an extra pair of pants on hand because you'll probably instantly yourself because of the price on this camera I find myself not using it in the way that maybe it was meant to be used by that I mean I almost never carry this camera around with me in my backpack pocket man purse etc Every time I go out to shoot with it I'm too afraid of breaking it or losing it because it's a pricey son of a bitch I only really use this camera on special occasions like my Icelandic road trip Never so much when I'm just going out with friends mostly because you need to have friends for that to happen So yeah, I just wanted to reflect on how I don't really use this camera as one might assume a point and shoot camera Is meant to be used So what is the downside to this camera besides the price?  Why? Well, it's because contacts as a company isn't around anymore to fix these or make new parts And if you need a spare part you have to cannibalize it from another contacts t2 But because there's only a limited supply of these cameras left in the world the price will invariably just keep going up So get your investments in now. I guess Additionally while there are some most classic camera repair shops will not fix point and shoots So you might be hard-pressed trying to find someone to fix it in the first place. Thus, it's quite a gamble with a camera like this So anyway, if you're too much of a poo poo pp bitch, baby to carry around a pentax 6 by 7 like a point and shoot Then this camera might be a good option for you Contacts t2 alternatives There are a few but they are also somewhat pricey exposure compensation or iso selection Exists on a few other point shoot cameras out there though in a lot of cases It's really just a button to overexpose by one and a half stops to counter backlit scenes A good alternative to the contacts t2 is the yushika t4 and they're often compared to one another I've never used a yushika t4, but I've heard good things They're about half the price of the t2 and they also feature zeiss 35 millimeter glass bonus points because they're weatherproof Anyway, that's about it. If you're thinking of investing in the contacts t2, then hopefully this has been helpful I certainly don't regret purchasing mine though prices were a little bit different back then But hey times are changing for all of us In fact, one day there will be a version of earth where there's no more working contacts t2s And that's a scary thought that I don't want to imagine so i'm gonna hold my t2 close like a sun Oh hi baxter


I'm here with Dominic Mukesh who will be talking to us about domains of all kinds but also managing his own domain and then gifting domains which is interesting but I got a preview of this presentation it promises to be an awesome overview of what it means to have a space of your own online over time so Dominic we know further ado let me let you take this over I will remove myself and enter the presentation and hopefully I'll be jumping in throughout the course of the 15 minutes to chat with you about it so thanks for joining us well thank you Jim good morning good morning everybody or indeed any time of day you may be hearing this at so I want to talk a little bit about what I learned from the 20 years of giving domains as Christmas presents and also of course using domains for other purposes as well so I want to talk a little bit about my story and but I wanted to sort of share the lessons what you what I think you need to know things you need to avoid things you can do with all of this maybe some of the dilemmas you're facing and then also what's new in this space what's new letting us create websites based on domains so this is my story my first website I built in html handwriting html 1998 and it was hosted on a university website server just so many people's websites were back then and it of course started with that famous still the the looks and but in 20 in 2000 I bought my first domain bohemica.com to share teaching materials for check as a foreign language I've developed about 2005 I bought finally bought my personal domain I don't know what took me so long and I started buying domains just kind of a way of creatively expressing myself in a strange way perhaps and so I own the domain stretchpresscrack.com stretchpresscrack is a famous check sentence without any vowels and so I own that.com domain for that and now it's 2020 and I have about 30 domains to my to my name across various projects personally of things that I've bought for friends so so domain's kind of a part of of my life currently metaphor hacker.net is the one we're perhaps the most active we're as a blogger about metaphors but why is it that I'm owning so many domains is that well it's really good to have for email so you don't want to have those ad gmail ad yahoo perhaps and that's going to make it it makes it like looking much more professional have more control for example gmail go go anytime take away my ad gmail address if they decide so but I always own my domain so that's that's really good of course websites you want to have websites again that you can that you can host on a domain that you own your identity but I have also found domains being great gifts for friends I've bought them for friends who needed a website and have bought them for children for for new parents for their children as a gift sort of a christening gift and but I also as I said I sort of used them to express myself creative location I have I have kind of this notion of oh I wonder what it would be like to own a domain something something.com so I bought a few just on a whim on a whim like that so so those are some of the reasons and one of the things that I've realized when people sort of think about the web is they don't understand some of the key concepts about how the web works and that makes it difficult for them to conceptualize how domains work and what they do and so the first concept that I always like to tell people everything every web page everything you see on the web in your browser is a file that lives on a computer somewhere and the browser is just a piece of software that opens the file and shows it to and every computer that that file is on on the internet has a unique number it's called the IP address and the IP address however can change of that computer but what cannot change is a domain that you own and that domain is kind of a verbal shortcut so it's something that you understand as a human but also it's something that you can change on the background in your DNS server it can change which number it points to so you can move your your sites your files across all the also different servers and I do it all the time but the domain stays the same so people who want to come to your website don't have to remember a new number as if you're so changing your phone number so that's kind of where that comes from and but I'm finding that people still don't understand even the basics of how domains work you know what what the relationship is of that domain to a server so this is a slide I did back in 1998 when I first was doing training to people about computers back in Prague it's a check but it's kind of obvious you know how the domains work here's that this is the TLD or the top level domain or country domain and and then all the the names and the wwhcp and so on people still quite still don't understand that all that well even 22 22 years later but nevertheless that is something you know that is something that people people should understand so I want to still mention a few a few things about about that so here are some examples from a session that I've run so but Jim yes please no it's interesting I'm sorry I mean I promised you I didn't interrupt so a couple of things you know I started kind of getting my own domain and managing stuff as a as what they called in the US a blog father I got a domain name for my son and I started building a WordPress site around that and so that idea of the personal story you're telling is super compelling and on top of that I like the idea that you associate the domain name with a phone number because a lot of what my early kind of trying to get the idea like you to get people to think about this as a sense of their identity online I use the metaphor of the home so this is your house and the address that number address is actually a kind of shortcut or a metaphor for the actual physical server that you're on and so it's interesting to see how long you've been doing a similar thing of trying to educate and give people a certain amount of literacy around what exactly it is when we're talking about domains and hosting so super cool I am loving this yeah well thanks and you know it's a magical phone number though right because you own it and you decide who you know where it goes to unlike the phone number that that your company you know that your phone company owns and so it's a much you know you could have sort of moved that around for a long for you know and it's kind of like this virtual address that's it's great sort of magic of the of the virtual right so that you can move the house but this is the domain is like your perpetual forwarding address you know and it really hit me in 2006 when a colleague Alan Levine was leaving the Maricopa Community College yet I still follow him at cogdogblog.com and so he was like I'm taking all my work but it's still following with me and you can always follow me so it's not like when he had that tilde space or a university address all that stuff now either needed to be moved which you'll talk about how difficult that is but just lost and that idea of managing the work you've done is super super cool so I'll stop interrupting well no please please go on so so I just want to give an example of you can have an html file on your drive so if you won't have it as a you know a met take the metaphor and sort of physically embedded you can literally create an html file put it anywhere on your computer that call it dot html double the quantity will open your browser and that's just that's how all the web actually works and and the web servers what people call by web servers it's just literally a computer sitting somewhere you know under under Sundar Pichai's desk at Google there's there's a big computer where all of this is of course it's now massively virtualized and complicated but essentially it always boils down to a hard drive somewhere with a file on it and and all of this is literally when you go to my server com slash index html it's it's literally just pointing to a server that has a a path going somewhere you know sometimes it could be in a database for example on amazon you're probably just pointing to an entry in a database but that database is a file that's it somewhere on a computer or millions and millions of computers often the url has also junk around it that just literally helps amazon track you where it came from things like that so sometimes that's also worth knowing about and how these things work but again the the key thing to understand is that is that everything that comes before the first slash that is the server and that actually you can point to that with a number but that number can change whereas the domain as long as you own and pay for it you own it and so you can point it to those different numbers that's kind of how it works but but obviously you know there's this there's this quite a bit more to it but it's a bit of bit of magic so so how do you get one of these domains well you buy them where people call registrars and and that's makes it very simple you can buy a dot anything domain the dot something is called a tld or top level domain and that's and that is unfortunately a bit more difficult because that those are managed by different institutions and they have different rules different prices different for example different amounts of time you can buy them for so dot com you can buy for 10 years so other domains you can only buy for two years dot net i think is is one of those and then of course what's very popular these days is the country based tld so for every country has been assigned a top level domain like dot it for italy or dot cz for check republic or dot uk for for the united kingdom and it they can actually combine with names very so you've often seen you see domains like dot tv and that that's belongs to the country to fall which actually has only 11,000 people it's tiny island of the pacific but it's one of the main sources of revenue for for the government by farming out the domains because they're very popular in dot tv people somalia is popular in nowadays or ly for you know i have uh domains from from libya and i have a website called checklee dot com but but one of the reasons uh one of the difficulties with these domains is they're quite expensive and capricious so i was thinking about getting checked out ly but it's just too expensive it's it's it's not massively expensive but it costs maybe a hundred hundred dollars instead of ten dollars a year so i i really didn't end up being worth it italy is very popular colorful columbia dot com is not there so so those are those are some of the things that i think is is worth knowing about you know explore a bit look around see what other people are doing how they're expressing their their identity through domains and i always find that fascinating what people are doing there but there are some lessons that is that i've learned over 20 years and one of the lessons is that 10 year is literally nothing that's going to go by like this and it's like one of those sort of folk wisdoms but we bought a domain back in 2005 for a project called for a project that that was children as researchers dot com and i said well let's buy the domain for 10 years and that's you know that's forever and that's 15 years ago that domain is gone because the project of course is gone the funding is gone so so when sometimes when you buy domains for projects it's worth thinking in longer terms than 10 years and you can still find it via the internet archive dot com but there is a bit of a commitment when you buy a domain because it's not something just exists independently of you that requires payment it's also worth separating domain and hosting so when you buy a website hosting the host will very helpfully often offer to buy a domain free domain so they'll take care of all that hassle of buying it but remember if you want to make with the host you also have to move the domain with them and that actually that's that's the next point it's a transferring a domain can be a bit of a pain the register system for dns for domains i said the domain name system is a bit of a collage that's kind of a magical that it works at all but be be aware of the transferring domains register that's not simple and the other thing you can lose a domain and the one thing you don't want to do is lose a domain or even let it expire because i have people there are people are squatting on domain names the minute that something expires somebody will buy it up even if they don't need it so i've had some avalanche domains expire because i thought well i'm going to need it now but maybe it's an obscure name who would ever need it but it turns out somebody has bought it and they have it they've had it for 10 years because it's worth it to them they get a discount on it and they would like to sell it back to me and i don't want to buy it back so so that can happen to you don't let your your domain expire but also as you're doing all of these things always think about moving what is going to happen in five years what how do i move my identity my things with me so so choose your register wisely you know be be aware of all of these things that that may be happening don't let me discourage you from buying a domain do buy a domain but be aware of of all of these things and and you know i have to learn them over 20 years so hopefully i'm sort of giving you a quick heads up on on things to be aware of it's a great point i think the biggest pain point we have with people who are registering and using hosting is understanding the life cycle of a domain and you did an excellent job of pointing out there's so many different registrars all the country registrars deal with things like privacy how long it's in redemption when will it be deleted differently so depending on the domain extension you know the way in which you can get that domain back how long it will take to expire some are really useful for example a good indicator is the u.s has no privacy you can't have a private that u.s domain whereas you know italy it's built in canada it's built in so a lot of times the domain the regulations around a domain extension tells you a lot about the country or the organization that controls it's super interesting of course and any sort of committing sometimes when you do two different things you know it's it's the life cycle of the domain varies quite interestingly and and it's also it's also the privacy i don't have a slide about that but it's important to know if you buy a .com domain and you don't buy what's called the dna domain privacy with it and some registrars included by default some sort of charge you extra your name has to be registered including your address and phone number and yeah somewhere and then and then i for many years before i was too cheap to buy the domain privacy i was getting ended up being a lot of spam and because it's available to anybody who will send you offers pretending uh that there's somebody else and so there's a lot of phishing going on around people who own domain so you definitely want to keep it private yeah be aware of it and ignore all the offers that go around with it yeah we get that all the time people reaching out to us where now everybody who has a domain with us um privacy comes with it because just the phishing scares were too much yeah yeah it is and and so so many registrars now offer it for free but but some of the big ones some of the the historic ones don't have it and so there's some bit of handy jargon and i don't want to sort of over uh over scare people you know dns is perhaps the thing people should be aware because that often shows up as a field on your computer that stands for the domain name system domain name system and often on your computer there's going to be a a number that's going to that's going to point a dns server so for your computer to be able to actually find any domain it needs to have a name of a domain server domain name server and there are there are hundreds of probably uh hundreds of thousands around them on the internet and they're all interconnected for you to each other but you need to have be connected to one or or two to have one as a backup and so and your your provider will give you one usually but there's also you can sort of get some better servers google's offering one cloudflare others uh others as well uh and that so that's that's a useful term to know ip address is the ip address is the phone number for any server that's sort of that number that any any server on the internet has to have an x record it's very useful if you're if you're using your domain for email that's actually that's the part of a domain each domain has some the ip address associated with it it also but it can also have an mx record which is the bid that sells you does you want to send the emails and that's very handy if you want to move your emails around and then there's as you're sort of playing around with domains it's worth finding out about what a names mean and and c names it's essentially the way in which you can point to uh point to websites usually you want to do this sort of a the a name is the one that i i would prefer to use but the w w could be a c name that's just like a sort of a a name that points like an alias to a name but it's a lot more complicated but that that's well worth knowing so those are just some of the those things that i sort of as i buy my domains and manage my domains that kind of those are the terms that come up very often and i sort of find it useful knowing a bit more about how they work so finally it's my last word on this is what is new in this space so when i started it was all you know it wasn't brand new but it was only about so 10 years into people owning their their own domains and and there's a lot of this was unknown new companies were emerging and i hosted my first sites in this as html that i went to drew pool custom based but right now i think that the gold standard is wordpress for hosting on the actual server so so when you're when you're pointing to when you when you're pointing your site uh what your domain to somewhere you point it to a server that has hosting those pages and wordpress i would say is perhaps the best content management system for blogging and everything you can it's open source you can host your own or you can use another company who will host it for you but there's a lot of competition so so even though i would say if you're not sure go in wordpress it's really good to move away from move to move around with so i quite like like it about that there's a lot of competition there's a whole sort of you know sort of lots of innovation in this space that i quite like and one of the bits that i have now started using i use notion as my notes taking software it's a note taking software and project management software but they allow you to actually map any part of your any part of your notes space as into a website and so i'm using something called using a company called cloudflare that's managing a lot of a lot of a lot of the infrastructure of the internet these days and offering many free things you can actually map your notion your notes your public notes onto onto a domain so actually i have been doing that for some for some sort of more trans transitional word that i've been doing and i'm really enjoying enjoying that and finally what's new in my life and this is a completely unsolicited plug for reclaim hosting because i have been with many many hosts over the years and always they're changing them based on how much work i want to put in but i have moved almost all of my hosting to reclaim hosting a few months ago just before christmas and i have found it to be a great experience really incredible really incredible deal so i've saved a lot of money and i've i'm saying that because i'm very impressed but also the one thing i like about reclaim hosting is that is that they use a system called cpanel as most hosts do but they offer many of the best and most interesting open source platforms for hosting our website and that i think is is is is sort of just worth for the price of admission because you can experiment with these things that i talked about so that's kind of the last word for me and that you know i have a final slide with just a few of the domains that i own if you want you know i have my lots of dotnet domains but some dotcom domains as well so so that that's that's me that's one of that's that's sort of the huge network of identities that i've strewn over the internet over the years but that's that's sort of my final word i have like a domain hoarding problem i think i have 60 something domains right now and it costs money right i mean it's it's it's like it's a financial commitment as well i spend i actually track it i spent 700 bucks a year on domains yeah and so like i just bought one for an arcade i want to build in italy called bavacade.it so i also been playing with extensions now because there's an explosion but i find it fun like the thing about domains too and all the work you're talking about which i think is marvelous is i have found it fun to build these spaces and track this space and i want to do a post eventually about all the domains in my life and each of them signify a project or an idea or a thinking so to me domains are also about tracking the development of my intellectual personal life in really powerful ways so domic this was an absolute pleasure so thank you so much for joining us today well thank you everybody and have a great conference awesome