Welcome back. My name is Amber Forester and I'm the Archival Training Coordinator for Research Services. This is session number two of the 2019 Virtual Genealogy Fair. It's for all skill levels and entitled Preserving Personal Collections. Our speaker is Sarah Holmes. She will discuss guilt-free ways to preserve your own family's collections by improving environment and housing of papers, photos, and other materials. Miss Holmes works as a Management and Program Analyst at the National Archives in St. Louis. Welcome to the broadcast, Sarah Holmes. St. Louis, this presentation is intended to help you with decision-making processes of taking care of your family's own physical history. If it moves to slide two, please. The first thing you're going to do is to take a look at what you have. You may have photographs, muses, letters, newspaper clippings, memory books, scrapbooks, much more than that even. These are things that may have been passed on to you. They may have been things that you have kept yourself out because of sentimental reasons. These are items that are shown here that are in my own collection. I have some damaged and re-rated photographs. I even have an envelope to keep my fragments in. I have different kinds of paper that you see here. There are all sorts of different kinds of things. The oversized photographs can really be a challenge to store at your home. These are things that I haven't gotten around to really dealing with properly. These are kind of some of my oddballs here. If any time you've got something that's in odd shape, it makes it difficult. Slide three, please. Now, I'm trained as a book and paper conservator. I've been interested in my family history ever since I was a kid. You might think my entire collection looks something like these pictures. The box on the left has photographs and polyester sleeves. They're great for letting people handle and view the photos without getting fingerprints or scratches on the images. And my box of slides here, it's a wonderful set of boxes that fits into a larger box so that I can keep hundreds of slides all together. Now, one thing you might notice if you take a closer look here is that I don't even have labels inside these. They're just stacked in there. What I've done so far with this is to get things pretty much by size and type. My slides have dividers as I've sorted them by date when they have dates at least. And fortunately for me, a lot of the photographs have been identified on the back. But at this point, what you see here is that basically I'm getting things held more by size and type. And we're trying to get them held nicely. And these boxes are, as we call them, new archival boxes, archival housings. But I really need more time to get them organized. Slide four, please. And that's really the harsh reality for all of us. Organizing and housing to preserve collections can take a lot of time. And it can get pricey if your goal is to house everything in archival storage boxes. And that's especially true when you have all sorts of different sizes and different materials. Now, this is some more of my personal collection of family things. And there at the top is a fruit of the month club box. And then I've got some of my dad's old cigar boxes. And I've even got this cute little keepsake box down in the bottom corner. It's cute, but it's not made of archival materials. I don't even know for sure what it's made of as far as quality. What is important at this point is that the boxes are clean, they've never gotten wet, and they provide good structural support to what they're holding. And even that fruit of the month box meets those standards that may have held fruit once, but it's clean, it's odorless. And all the other boxes are the same. They've been used to hold photos and family things for a long time, to be honest. Though I'm gradually working to move them into better containers. You can't even see a stack of the photos, please, in that cigar box from when I was working with them. Now, here is the number one rule to know you want to keep your collections in a stable environment. Quality containers like you saw on the previous slide will add to longevity. But don't feel guilty if you haven't overcome the need for more time and more money to buy archival quality containers. The truth is, NARA and all of our colleagues in other institutions struggle with this at our workplaces as well. Those boxes are a lot bigger in the number and a lot larger. So let's start with some top tips in caring for your collection so you can understand what I mean. Now, of course, here's the first one. Control your environment. Temperature and humidity are the big important factors. The wrong environment can cause mold to grow and damage your air looms. That's high in temperature, high in humidity and low air circulation. Make sure that you're keeping your most precious items out of basements and attics, garages or burns. Places where temperature and humidity tend to fluctuate drastically. You want to avoid areas that are near showers, bathrooms, near your kitchen, near your central heating and cooling appliances. And ideally, you stick to an internal wall rather than an external wall because, again, fluctuations are going to occur when you've got an external wall nearby. We don't recommend sealing things into the airtight plastic containers. You'll be sealing in whatever environment they have. And they may not even be as airtight as you think. Do take note of where your pipes run. Pipe breaks, leaks, even simply condensation from pipes can cause bad problems and create bad environments very quickly. And do you have mold that is a common problem? If you open a box and see splotches on things that look fuzzy, something that looks like that picture on the left side, and that mold has actually even made it turn polky because it's been there colonizing for so long. If you smell mildew, even if you don't see mold, then you may want to be contacting the conservator for help. Now, when mold grows and full bloom, it does tend to follow areas where water has dripped. So it's not unusual to see like you see in that second picture there that shows the mold growing in kind of lines that's where the water had created channels. And a slide six, please. Do try and make sure that you're keeping everything off of the floor. The floor is going to be vulnerable to water puddling when things go wrong. Ideally, you will have shelving that is metal powder coated shelving brace as well. And that you're not overhanging boxes over the edge in any way that also helps protect if there's a shelving over it in case something happens above to bring water in. Now, at home, I know it's often common that you're using wood shelves. You can find liners for wood shelving in your conservation supply from conservation suppliers that will provide something of a buffer. You want to do that because the wood is going to be off gassing things that will actually cause chemical reactions within your collections. Slide seven, please. And another top fit for a potential problem, pests. Pests can do permanent damage to your records. Just look at what the termites did here to these papers. You want to be sure that you're stealing possible entryways to your home, definitely to your storage area. Keep your storage area clean so that it will help you monitor it for any potential problems. You can use sticky traps to help monitor. We don't recommend using using we don't recommend using pesticides. They can be damaging to your health as well, potentially. And remember that warning about keeping records away from humid wet areas to simply control the environment preventable. That can be a huge help with pest control as well, because we're going to be attracted to those areas. And just as an example, I want to use closet shelves for books in an old apartment that I had. And they this wall that they shelves were backed up to a bathroom. That was a big mistake. There was a higher humidity there. And it drew silverfish. So my books gave them wonderful times and feeding grounds until I realized what was happening. And remember not all pest damage comes from insects. There can be rodents. You can have mice nesting. And our pets can potentially damage things as well. You may have antique furniture that you inherited that you want to be sure that your dog and cat understands not to destroy. And you may also need to be aware that there are materials like photos and book coverings that can actually have sparkles and gelatin and that's actually attractive to pets. So make sure that they don't get a chance to sample them because they may decide they taste wonderful. Now, if you have a lot of pests, then you do want to isolate the affected boxes and contact conservator for guidance and treatment. Slide eight, please. Now, light. Light is another problem. You want to keep your objects out of light. Light damage comes from the rays of the sun as well as from the heat that it generates. Avoid direct light such as across from a window where you're getting a lot of sunlight. So recent lighting can have harmful light and heat waves as well. Any light can be damaging. Even if you're using modern LED lights, you're not going to be safe from light damage. It is prominent. Do consider making copies of any photographs or documents that you would like to have out on display so you can have a display copy that you don't have to worry about what the original is safely storage. Slide nine, please. And dust is also a big problem. It holds moisture and it attracts pests and it's also acidic. And all of these things can be degradation of any object. So you want to avoid throwing items that are near events or other places that accumulate quickly. You can brush away dust with a lint-free cloth. We don't recommend using commercial cleaners or waxes or oils. If anything, just use a little bit of water only. If you have things inside containers that will certainly help prevent dust build up on the objects that you're saving. You can see in this picture there was a photograph that had glass broken and where dust settled within those cracks damaged the surface of the photograph. Slide 10, please. Now storage, this is a big one. Now in the conservation world, we tend to call storage housing. And we've got enclosures and folders and boxes and a whole variety of different things. Now most boxes that you just simply obtain from various sources have an unknown content team that would definitely include my for the month blocks. The worry in using those is the possibility of acids and oxidants that will off gas and damage your treasures. This is where the term acid free comes from. Now it's important to understand that pH levels don't stay static all the time. They know they over the years, things will tend to become more acidic. And this is just one of the things that you need to be concerned about in housing. Learning about materials do try and replace with something that you feel is more trustworthy. But at the same time, do be aware that there's no standard for what is archival or acid free. So when you're purchasing things, do look closely at the vendors and how they present themselves. It may not be something that you just simply want to buy cheap because it's as free and there's nothing else that the vendor provides for information. If you're looking online, you can look for keywords like archival supplies, archival products, acid free. And you will find things that are described as having an alkaline reserve or being offered. And this in particular is what's referred to as acid free. They're often referring to a calcium content. And they may even state what content that is, that is going to have some whatever alkaline reserve to counter assets. Now for photo storage, you can look for enclosures that pass the PAT, the photographic activity test. Now this is an international standard test for evaluating specifically the interactions between photo images and the enclosures in which they're stored. There is a standard PAT for black and white photos and then there's a different one for color. Now using materials that pass the standard one doesn't necessarily mean that it's appropriate for color. So do be aware of that little catch. Now here is a big hint.  You can get legal size if you want or even larger. Maybe get some folders as well. If you're not, if you have more money to spend, but you're not ready to do all the boxes, you can use that paper to line boxes that aren't archival. Now don't tape them to the side or anything just lay them in place. You can also use the paper to leave items and the folders to let you start grouping things. Do understand that, you know, as I said, pH doesn't stay static over the years that just having a piece of paper in there for using it for years, you might actually want to swap out that paper with new paper because paper you left in there as a absorbing essence potentially from both the box as well as the materials within it. Now if you have all of your materials in a archival box with an alkaline reserve and archival folders and any extra enclosures that you've got, then you've got more of a full cocoon for all of your contents than you do if you're just simply lining a box with the paper. But again, if you have a poor environment, there's no box, there's no enclosure that's going to protect your contents from a bad environment and the damage that temperature and humidity will bring. Slide 11, please. You want to be sure that your housings fully support what they contain. So be sure when you're using folders that they fit inside, don't cut or trim documents. Now, if something was already folded, you may be able to reuse that fold. Ideally, you would keep things flat because folds do indicate that fibers have been broken and that can lead to loss and tearing there. Now if something's oversized, be sure that you roll it onto an archival safe tube and you can wrap it with the alkaline buffer paper. You do want a tube that is about two inches longer on both sides than what the item is that's rolled. And you can do that for paper and textiles as well, anything that can roll. Slide 12, please. Another thing to remember is not to overstuff your boxes either. If you've got overstuffed boxes and any time that you're reaching in or refiling a box, you're going to be causing damage and wear and tear. So if it's swollen and the lid doesn't quite fit, you're overstuffing the box. You need another box or a bigger box. Slide 13, please. Now do watch out for problem material because even if you're storing your paper with other papers and your photos with other photos, you may notice that some things are farther along the path of degradation than others. Their acid content can potentially cause chemical transfer. News clippings are a big culprit of this. And you do want to try and you can interleave paper in between newspaper clippings. And definitely if you've got like a newspaper clipping and a letter, you might want a buffer of a sheet of paper in between them. And photographs can also create something similar where you can have mirror images, like in this example, where the content of the photo emulsion is actually what is chemically reacted over time. So you do want to be careful what you're putting up against next to each other when you don't have interleaving material. And again, if it happens to be a photograph that you're concerned about to use materials from past the PAT, slide 14, please.  If you've got a large volume like an atlas or a big plat book or possibly even one of those huge county biography collections, you want to consider whether you need to store them horizontally. If when it stands at poles, the text block down like you see in this picture, then you're stressing the structure of the book and you want to house it horizontally. Now smaller books, small meeting ones can easily be showed. It's best to store with the same size together so they're supporting each other. We want to avoid is having a volume that means and that will cause distortion and the covers will lose their shape. And you can see in this picture here, there's a line that is showing how most of the volumes are nice and parallel to that line. But that last one is leaning a bit and that one is vulnerable. Slide 15, please. Now handling. We want to be sure that we're handling our materials well, not just storing them. The number one thing is to make sure that you have nice clean hands and a nice clean work area. Avoid using lotions or hand sanitizers.  Now for paper materials, we don't recommend gloves. The gloves will actually prevent you from handling things well, you know, especially picking up a single page, turning a page in a book. And cotton gloves in particular will have fibers that will cast on the paper and it will actually be more likely to tear than if you're not using gloves. Now for photographs and metals, you could very well want to use gloves because you don't want to use fingerprints on those materials. Nitro gloves just like those that your doctor's office can be used for that. Slide 16, please. So how are you going to prevent things like getting scratches like on this photograph from hand what's happening when we handle our materials? One very important thing to consider is the area that you use in handling a material. Be sure that you're not stinting yourself on space. You need a lot of room to work to work with one item at a time. And be sure to remember that your most important tool is to work with that nice clean flat surface. It's not ideal to be working in midair if you're putting things into enclosures. Just please, you want to use that flat surface. Slide 17, please. Now, photograph systems are going to be particularly susceptible to handling. So you can use polyester sleeves. They're excellent in being able to let you view the photograph while you're handling There are also other types of envelopes, paper envelopes, glycine that RPAT approved and can be used. They might be good choices for heavier things like things on cabinet cards. You can see here that you can also put slides. I personally chose the box as you saw in the earlier slide in the presentation, but you can certainly find other ways to store slides using sleeves and binders. Again, be sure that the binder you use is of known content and archival material and not something questionable. If you can avoid that. So there are a lot of different options for being able to store materials. Slide 18, please.  And you know, they have that adhesive that holds the photos in place. And know that you can look online for suggestions on removing photos from these albums, but I really do suggest contacting your conservator if you've got this kind of album or anything that is adhered with some kind of adhesive. It's very easy to damage photos when they get removed from these pages. You can see the discoloration of the lines of adhesive in here. I'm kind of lucky that some of what we use magnetic albums were actually just prints of copied photographs. So these are the only ones we have left in my own collection. Slide 19, please. Now, objects can certainly be more more difficult to decide how to handle. Now, for things that are metal, you want to be sure that you're storing them in some way so that they don't touch each other. But there's some kind of space you might choose separating them into cloth bags. I know these examples here are narrow forward so that they're done by somebody who has had a lot of experience and has access to to foam and other materials to use and making enclosures. You could very well consider getting a conservator to help you to make enclosures and housings like these. But you can find materials that will also help you do your own at home from archival suppliers. Now, silver in particularly is a tricky item a lot very likely tarnish. You don't want to polish the silver.  So do avoid bringing silver into any long term contact with protein based materials. And that's going to be materials like wool or soap or leather. So you want to make sure that you've got something that's safe for using with the silver. You can get sulfur absorbing materials that will do the opposite of what those protonaceous materials do. And you can find these from vendors. They come in varieties such as charcoal cloth, silver safe. There are also plastic stones that are copper and pregnant that you can get. And that they're all vendors that will actually provide different sizes of those. So there are there are a lot of things that you can potentially find to look at. So you know, if you've got silver or other metals, get them out. Get an idea of how much and what size you've got and take a look at what's available to archival in these zine supply catalogs. Slide 20, please. No textiles. It is best for new textiles from those heirloom feeder chests, as well as making sure that you're not keeping them in this plastic cover even if your wedding dress came with that. It's not the long term storage material. You want to hang items with cotton padded hangers and place them in a textile cloth garment bag. You can store most textiles and boxes as well easily. You will keep them flat but pad them with cotton batting wherever there are folds or creases because you don't want those to stay flat. If you don't have those folds, the creases will eventually become tears and you may see that that's where the most rare is, where things were folded. And you can certainly place clothes and cover some boxes with some padding as well. Slide 21, please. Now, electronic and magnetic devices. Of course, these are increasingly more a part of our lives and so many different varieties. Now these come with hard plastic cases. Typically, if the cases are broken, then just replace them with whatever plastic cases are available online or in stores. Maybe you've got some extras in the house. But do be sure that you're keeping these stored in their own boxes away from paper or textiles or metals. It is best ideally to store all of these things separately. Slide 22, please. Now when you're working with string and housing, this is a good time to remind you not to attach things together. You can use folders to keep things together. But you do not want to be using tape or rubber bands or metal fasteners of any kind. These are things that will degrade over time. At the same time, don't try and remove fasteners or tape on your own. If you remove the plastic carrier on tape, then you're actually going to speed up the degradation that can occur because you are bringing it up into the air. When you're using scrapbooks or photo albums, don't use clues or tapes of any kind. You can find photo corners that you can use. Now you can see in these pictures that tape itself will potentially degrade in various different ways. Sometimes it will discolor and yellow. Sometimes it will desiccate.  Now in that lower picture, you see an example where the tape has actually become stickier and oozed out. And that is a particular sticky mess that you might want to leave better to a conservator to work with. Slide 23, please. Now, here's the other part of working with modern electronic information. How are we going to keep all this stuff where we have it year after year after year? Now you can take a tip from locks. Locks of copies keep stuff safe, which started at Stanford University.  The other part of this is that you're going to want to be converting to new forms of media often. You're likely going to be different forms of media. It's very common to see these flash drives now, but will they be around in five years the way there are now, maybe not. So at least every 10 years, make copies of the media and again, spread copies around. Just because you have something digitized doesn't mean that you need to get rid of your original. So be sure that you have those originals in case you ever go back to them. And file naming as well. You have a organization plan for file naming and include metadata from who, what, when, where, basically. Yeah, I mean, just a date at a minimum is going to be so helpful. Slide 24, please. Now, for things that you want to digitize yourself, photographs, letters, it's best to photograph these facing up rather than having them faced down on a flatbed scanner. Definitely avoid any kind of machinery that has the key parts to it. And don't use auto feeders. They will jam. Slide 25, please. Now, when it comes to audio visual material, whether it's magnetic tape, audio, video, DVDs, CDs, whatever you've got old home film, then these are things that you may want simply need to go to a professional because of the equipment that is involved in transferring them. There will likely be problems with sound with the film, something that needs to be addressed as they are being transferred. So this can get technical very quickly. You want to be sure that you work with a vendor that is willing to talk with you, answer questions. And we'll go at length about what you want. What you want to do first is to get a pilot test done, get a sample done. And that's going to be a way for you to know that the end result is what you were expecting. And that the vendor knows that you understand what they're expecting to do. You want to ask them where they're doing the digitization? Is it in-house? Are they sourcing it out? Where does it go? How is it stored? You want me to think in terms of the fact that you're getting a file, not so much about this. You need to ask about file types in particular. Some are good for archiving, but others are good for sharing. You probably want to get both. If you get one copy with the highest possible resolution, that's going to get a lot of digital space requirements. And then you can get a compressed one for file sharing. So you may be doing something like getting an mp3 for sharing and a way for archiving. So do talk with your vendor about what they offer and how they get used and make sure you understand the different file types that they're talking about. Now, again, things can get really technical quickly. You may be talking with your vendor about whether you need an azimuth adjustment for audio tapes and reels. Do you need different sized needles for vinyl records? Do you have old record recordings out there? Things that are born digital can be particularly difficult to determine what you want to do with. Now, things like emails, electronic journals, you can easily print those out. But you will need to remember that if you're keeping the electronic files that you're going to have to transfer them to new digital formats. If you've got a disk somewhere that has a WordPress file, you're not going to be able to pop it into your current laptop that runs MS Word. Slide 26, please. Now, we've covered a lot of territory here. And now you may be beginning to get an idea of how you can set your own priorities. Number one, as always, the environment. Be sure that you have the best possible environment. A good place to be storing them and preventing insects and other pests from damaging them. Now, once you have that, you can move on to step two and work to improve housing as much as you possibly can. Now, you're going to be determining a lot of personal priorities. No one's plan for preservation is going to be the same. There are factors that you'll need to be thinking about that may pertain personally to your own. Now, one thing that I'm thinking about more of my own collection is that different parts of what I have may be passed on to different people. And that makes a huge difference in housing and organization. And that is one reason that I'm looking more at the enclosure level like you saw getting photographs into enclosure, and I'm actually going more by size. My next big step will be organizing it into segments. And for me, working with the enclosures first is helping determine how many boxes I'm going to need. And do also consider getting in touch with coverings. You leave them very distant ones. And that can help determine priorities. You may have a photographic area special like I've got a copy of here that's shown. And this is a photograph, just as an example here, it's an ad condition. It's got a big crease across the front. It's missing a corner. And this is a copy of a picture of my great grandfather, his parents and 17 siblings back in Norfolk, England. Now, it's not the only copies that exist. But to find the other copies, you actually do have to contact cousins that stayed in England. We also have events in Australia and New Zealand. So you do have to reach out if you want to see if there are duplicates. And of course, the joy of finding pictures you never knew existed will happen at the same time. So of course, I have my copy. I'm never going to part with it. It has a lot of intrinsic value to me. It's the copy that immigrated with him and he came to make a new home in Iowa and it's been also family since then. But for digital reproduction to have it available to even more people that had original copies, a different copy is actually a better choice. And of course, if you're working with siblings and cousins, and you've got things like old home phones, there is that possibility that you can pull resources and work with a vendor together and get multiple copies since that everyone has a current copy that is a great access copy. And then you've also got copies that you can preserve as master copies. So there are going to be a lot of different things to potentially think about in looking at your collection. Slide 27, please. So there will be question and answer period here after I'm done talking. But if you're like me, your best questions come well after the time that you're talking about it. So one thing that you can do is to take a look at the National Archives website preservation pages, and you can reach those at www.archives.gov slash preservation. You can also look at the website www.cultural heritage.org and get all sorts of information about conservation and how to locate conservators. There is a tremendous amount of information online that is available to you. And of course, you can certainly email us and the preservation services department at preservation at www.nara.gov. So when you're home facing all these piles of photos and letters and phone phones, do seek these out to get answers questions. Now slide 28, please. Well, thank you very much for your time today. Do you have any questions? Thank you so much for your presentation, Sarah. We have a lot of questions. So we're going to dive right in. First, can you clarify what's the difference between acetic and acidic? They're basically two very synonymous terms there. The aesthetic will probably be seen in more technical versions, while you'll see more of the acid and referred to in more consumer friendly versions. Okay, thank you for that. What is a safe place to keep photos and paper documents that does have good air circulation as you recommended? Could we see that? What's a safe place to keep records that has good air circulation? But you want everything to be in this kind of environment as you possibly can. Now, it is going to vary from house to house as far as where you have it if you're trying to keep it at your residence. But basically, you're going to be trying to do as I had said, something that won't fluctuate. And by fluctuate, I do mean that within a day's time that it's not going to fluctuate from having the air conditioner go off in the middle of July, and go from cool 70 degree to 90 degree seasonal fluctuations are milder. And that's okay to have. But the the physical storage is basically the primary issue getting that temperature and humidity and why space If we are scanning documents to preserve them, what's the most stable file format to save those scanned images? Now, that's a tough one because that's going to vary. And again, if you're doing it for yourself, digital storage is also part of the equation. You may want to try and do uncompressed test files. But again, if you have a lot and you have a lot of uncompressed tips, you're going to find pretty quickly that it actually takes a tremendous amount of space. So that you can be potentially looking at, you know, are you using your computer space, what kind of backup do you have to it? Do you have space on the cloud that you consider safe? So I would really say that digital storage will have a lot to do with what you use as what you consider your archival master. It may not be as the ideal, full uncompressed, large institutions use. We have a couple specific questions about conservation and preservation. How do you remediate cigarette smoke smell on old paper documents? Remediate what? Cigarette smoke smell. Oh, now an elder. You can deal with that by creating the foot be one time that you can use one of those plastic containers that have the tight lid. What you would do when that case is to set up something you can get you can get kitty litter. There are other materials carbon based typically that are odor absorbers. You can even use baking soda potentially and put that at the bottom of the container and then use some kind of creating something that lifts it up so that you're not putting in a direct contact and then put the letters, the books, whatever you've got above that and close it and give it time. It may take days or weeks to be able to to remove odor in this manner. But you can do that and it can be something done at home. Just be sure that you're monitoring it and that you don't forget that you put this in in a field container and find out after the fact that something happened. Thank you so much. Another one of our viewers has some 100 year old newspapers that are rolled tightly. How can they unroll them? Can you repeat that? Yeah, we have someone who has 100 year old newspapers that are rolled very tightly. How can they unroll them and relax the paper? Say, we likely have something that's brittle. It's paper can really have tremendous differences, even something that was made the same day, depending on how it was manufactured. I'm assuming that this is something brittle that that's why it's more of a concern. You can humidify the paper. Now, humidification for things that are printed is typically almost always fine. I would be concerned if you've got my annotations, letters or something because humidification can cause problems with some media. But you can use the humidification setup that would allow you to relax the paper before you unroll it so that you inject some humidity into that. Now, if you've got something rolled and it's going to be long, you may be looking to get a container, even a garbage can. There will be some places that you can find online and there should even be some links from from our website that will give you some some diagrams of this. But you would be placing some water or even wet water at the bottom of the container. And then, like I was suggesting with the odor reduction, have something like chicken crate, you know, go to the hardware store and get the cube like cravings that they use or for light or for rustle lighting, something like that to be sure that you've got it above the water area because when you're humidifying, the thing that you've got to do is make sure that you're not getting the paper wet. You want it humid, not wet. And you if you be able to get a container that's right fires and do this and close it to cover it for and it may it may take as little as half an hour and we take an hour and see that it's got the flexible and then you'd be able to take it out onto and have a big surface ready where you can roll it out on. Several people asked about the best pack practice for documenting people, dates and places in photographs. Can they write that information on the back? Myself, but of course, some surfaces from even take that there are pens that you can get that are stable archival ink pretty much this carbon black that you can use to to write on the back. I know the picture that I showed in the first slide actually had Henry written down there and that's something I wrote when I was young as ballpoint pen and I kind of regret doing that. But at the same time, it's identified him. And if no one else would know it's identified. So do look for for margins for places that that in do tests and be sure that you're not using too much pressure because if you are using writing on something that's been it's going to be very easy to imprint on that. We had another question about storing and preserving fragile glass negatives. Do you have advice for that? For negatives, there are a variety of different storage ways that you can handle it. And if you do look online, and there are quite a few archival suppliers and again, you can be looking for things that are custom for negatives. And of course, they can be different sizes. Glass negatives are going to be the most difficult to work with. And there are custom enclosures that you can get for those. And there are definitely a variety of sizes for all the different kinds of negatives that you can find available.  And negatives can even have information that even if you've got the print, it wasn't printed out at a high enough density to see. But you've got it in the negative. So that that would be a good, good ideal thing for a high priority is to seek out those sleeves or enclosures that fit those sizes. And then look from dealing with that with how much you've got and what kind of box you need. And you can use that with the photographs and negatives, there are going to be a whole lot of different options, or maybe portfolio style boxes as well that you like. One of our viewers has heard that storing silver items in a vacuum bag or container will keep it from tarnishing. Is that a good practice? That's basically storing anything that is that protection is going to be a good practice. You just as I've shown, it's my own thing to do your work as possible. If you've got something that you don't know how it was made or where it came from as being a reliable vendor or manufacturer, then do look for something different. But as far as having, you know, there are some things, as I mentioned, with the books that you want to store horizontally rather than vertically. But for smaller collections, as long as you're getting the support, it's typically just a personal choice and how you want to store it. So you can use the folio style or something that horizontal. Okay. Thanks. We also have some questions about cleaning slides and photographs dusting them. They've heard that they can use air puffs or microfiber cloths. But what do you recommend? I personally try and avoid cleaning unless there's actually something that's genuinely a problem in the first place, to be honest. Photographs can be extremely difficult because of the whole variety of different development types that are out there. And so if you really do want to do to clean it, then I would make sure that you're using something that comes from an archival supplier. Or if you're lucky to still have a bit camera store nearby, they would also have those in spots that you can find some weights that are there. But if there's something that is especially bad with a photograph, I really would recommend working with a conservator. I know it can be expensive, but you have such a potential to lose the image. And importantly, Okay, I think we have time for one more question. What about laminating paper documents? Laminating is a big note that is using adhesive and adhesive things that find things together in the first place tends to be where the biggest problems come. Do not laminate things that you want to save as family heirlooms by any means. You can use it for temporary ID cards and such, but you don't want to do it at all for your collection. Lamination has been the cause of a lot of big grant funded projects have put conservators to work for years. So don't laminate. Thank you so much, Sarah. We have a lot of questions. And unfortunately, we didn't have time to get to all of them. So if Sarah did not get to your question, please send an email to preservation at nara.gov. Videos and handouts will remain available after the event from this YouTube page and from the fairs web page.


Hello everybody, I'm Sam Markel. I'm an extension plant pathologist at NDSU and I'm standing in a soybean field and it's September 1st so it's late in the season and behind me is a lot of damage and this is sudden death syndrome. So I'm in Richland County, we know in 2018 sudden death first showed up, we saw it for the first time and since then it's spread and it's going to continue spreading in the state. So I wanted to give you an update on what it looks like, how to scout for it and what damage it can do. So sudden death syndrome is caused by a fusarium pathogen and it's different than the other fusarium pathogens that we have in the state so it's not related to fusarium head blight of wheat for example. This one just causes sudden death syndrome in soybeans and can cause a root rot in something like dry edible beans. So early in the season when it's cool and wet this fusarium pathogen will infect the roots and when you have heat in the middle of the summer and you get frequent rainstorms it's going to facilitate the development of that pathogen and often by early August you'll start to see some foliar symptoms. So like many other pathogens that are in the soil you often start to see this show up in little pockets. So this patch behind me is quite large but there's other little pockets in the rest of this field where you have maybe just a 5 to 10 foot little oval shaped lens of the disease. This is classic sudden death syndrome symptoms where you have this yellow chlorosis so it's classic early symptoms. On this leaf instead of just the yellowing that you see between the veins you can see like on this one you see that it's starting to turn necrotic between the veins as well. So the symptoms are getting a little bit more severe and eventually the whole leaf will turn yellow leaving only the leaf veins green and necrosis throughout. So we're going to take a look at this plant still and there's other things that can do this right so brown stem rot can do this triazole injury sometimes can do this there's a few other things that can cause similar symptoms what you want to do when you have a plant that looks like this and you see all these things is you want to get into the roots and the lower stem so I just generally scrape this off and you can see right away you can see all this browning under this tissue and this is all caused by the sudden death syndrome pathogen. It's really important to keep going because sudden death causes a lot of tissue a lot of tissue damage to the xylem so this is the tissue right underneath outside of the plant you can see all this browning here but there's a lookalike called brown stem rot and so brown stem rot causes very similar foliar symptoms so we can see right here the pith in this plant is white it's healthy looks pretty good really and the outside is browning it's turning that tan brown symptom so with sudden death this is very important you have a generally a healthy pith and this browning tanning symptom on the outside of the stem right with brown stem rot this will be brown it'll look like lead in a pencil and the rest of this will be white so the symptoms are almost exactly the opposite so after the plant is infected for a while and symptoms get really severe what you'll see is only petioles left so in this plant you can see the petioles are all left there's no leaves anymore the leaves have fallen off so you have to check the roots the roots are really seriously rotted you should never be able to pull out a healthy soybean that easily so you can see that the roots are blackened browned there's not much left of them they're pretty tough looking sudden death syndrome and soybean cyst nematode act together so often when you see damage like this from sudden death you have soybean cyst nematode now you can get them one at a time you can get some death without SCN you can get SCN without sudden death and so again if you see sudden death I would get in and make sure you sample soybean cyst nematode and you really want to start managing that right now if you have soybean cyst nematode you want to be on the lookout for sudden death syndrome which is what we're seeing in this field


Suits, shakshi, gocha, shakshi, the dada, shakshi, this video, shakshi. But for realsies, who are we calling daddy? They are all daddy material and I just don't know what to do. Like who is daddy? A-ra, a-ra, moe-lai, dada, dada.  You go on from World of Entertainment and they're asking you to make a video on Golden Child and you're just like, What? Do you just love that they're sending emails out to YouTubers and asking them to promote their groups? That's freaking awesome, I love it. So let's get into this. Dada was produced by BLEAST. He's one of Woolim's in-house producers, but BLEAST also produced a Got7 song recently, Not By The Moon. So here are some other songs made by BLEAST. Infinite, Tell Me, Destiny, Back, Bad, The Eye. But some of these he produces part of a duo called Rehabbit? Rabbit? Raphabit? Don't know. News by Dongwoo. Such a great song, just listen to it. Night and day and just by Lovelies. Wanna be and without you from Goldjar. Like, seriously, BLEAST is just a talented producer and like, you can tell by this song how good it is. But anyway, it's for the song.  Really? I want that job! Yo, Woolim, hire me, I can spin a light around. Hire me, Woolim Entertainment. Do it! Now, by Golden Child kept the bad of me with their smoothness for the song. Like, did they invent a classy hip-hop? Cause I am so here for it. It's just so good. This song is so good. Everything just makes so smoothly and it's just perfect. It's like, it's like perfect. Yeah. Also, no matter how many times I heard Da Da Da, I enjoyed it. Actually, this is the only time I said Da Da Da in the music video. Da Da Da Da Da Da Da Da Da Da Da Da foolish 43 times?  But 43 times and I'm still friggin' loving it, god damn. But I feel like I actually need to talk about the song. No, I do. I do. I do. I just do. Mainly because it's like a massive part of the music tap. The song is funky but also gives off a luxurious feel. Do you guys feel that? Like it's just like, it's funky, but then you're like, oh, I feel so posh. So catch me drinking a cup of tea with my pinky out whilst listening to the song. Each member sings with their own individual charming voice which you can actually hear throughout the da-da counterpart that I made. Like legitimately, you can hear how beautiful and unique their voices are. Da-da, da-da, da-da, da-da, da-da, da-da, da-da. Who knew that the pointless counter that I made would hold some important unequivocal information? Like seriously, like, ah, mm-hmm, beautiful. Now I wonder if my next project can hold some equivocal meaning. The project was this. Okay, so I don't know why, but when I was making this video, I saw the amount of black and white in the music video and I was like, I need to make a distribution for this. So here is me doing the math and everything to get the black and white distribution for this music video. Wow, so this is the full music video here, the one in yellow, and then this is all the black and white, the parts in green. It looks like it's about 50-50. So what I'm gonna do is quickly see what it is when I've come to all up and see where, on the time it is. Okay, that's it. So here is straight after the word in the intro and then it starts the music video, black and white, and we go all the way across. This is how much black and white there is. There is, let's find out. 90 divided by 223. 40% of the song is in black and white. Black and white, 40% in color, 60. That's what the music video is like. Who needs line distributions when you got black and white versus in color distributions for music videos? Mm-hmm, superior. Yep, I spent about 10, 20 minutes doing the calculations for the percentage of black and white for the music video. What am I doing with my life? Absolutely nothing, but I love it. Anyways, back to the song. The luxurious funky vibe is felt throughout the whole thing, but when we get that Y and Jo-Chan duo moment, I nutted. It was so beautiful, so gorgeous, so amazing, their voices are some of my favorite in all of the K-pop industry. Seriously, so good. Also, that dance, shakshak. Also, the classic game of tag between the two rappers of Golden Child, Tag and Jang Joon. Seriously, as soon as one of them finishes rapping, the other one gets tagged in and starts rapping, and I loved it for this. And I especially love the end of Tag's rap. Like, oh my God. Mm, shakshak. Whoa, speaking of shakshak, their point choreography in this song is shakshak h5. Or it's deliciously shakshak to watch. Now, that's a five-star meal right there. Gosh, every time I watch that, it just fills me up with how shakshy and un-pointed it is. Talented Kings, you know what I'm saying? Okay, but now I think it's time to get to the memes. Mm-hmm, mm-hmm. Let's find some memes. Oh my God, my voice.  How, yeah, there you are. How, yeah, me? I don't know why that's funny. It looks like he's got, hey, he's got to have a shoot.  Dale, what are you doing, man? Whoa. Whoa, whoa, whoa, whoa, whoa. Whoa. I love it. Like, they're playing like the four of lava. Oh, I love this. The base memes have always been, it's like a dance thing. Like, look, dude, look, Jochan. Huh? Kiss, kiss, kiss, kiss, kiss, kiss, kiss, kiss. Come on, get in the toilet. Mm, kiss, kiss, kiss. Filling your mouth. What's with, like, Dale's expressions? I'm loving it, I'm loving it. Hey, yo, you good, man?  Oh, you tag. Oh, yeah, uh-huh. Ah, cute. Watch out, watch out, watch out. You didn't, you didn't rock it, Jochan. Oh, that's so sexy. Look at the damn, look at the damn. Kiss, kiss, kiss, kiss, kiss, kiss, kiss, kiss, kiss, kiss, kiss, kiss, kiss, kiss, kiss, kiss, kiss, kiss, kiss, kiss, kiss. Man, he looks like he needs some poop. Dale, I'm so, Jochan. Lovin' it. I've been there since I was a baby, since I was a baby. I'm tired. That was fun. That was good. I enjoyed that. Did you enjoy that? Memes, we support memes. Okay, that is the data in a nutshell. That is everything in this music video that I have talked about. Let me know what you thought about this video. There's gonna be my reaction to the song on Patreon and also my reaction to Oasis on Patreon and also my reaction to the other four music videos that Golden Child released the other week or two on Patreon. So if you wanna go follow me on Patreon, then go ahead, only $1 a month, you will be able to get those special reactions and I think that's pretty cool. But yeah, other than that, thank you all for watching this video. Hope you enjoyed. If you did, then definitely show some support by leaving a like and comment down below how much you love Gocha and also subscribe, also comment down below how much you like the series because I'm planning on doing this a lot more often. So please comment that down below. I'm planning on doing Aespa next, so definitely stay tuned. And also subscribe if you're new to the channel because there will be more content like this in the future. And yeah, other than that, hope you all have a great day. Keep smiling.  And yeah, other than that, peace.


Alex what we're gonna make a video today. Yeah tips to win a drone race When I start off the day as a racing pilot first off, we're here in Croatia. We're heading to a race hosted by Orca It's a pretty awesome race. It's gonna be a bunch of European pilots But anyhow, I like to start off my day with like a fresh start I like to make sure everything's organized in the morning I go through my bag make sure all my tools are in order all my batteries are charged up My drones are tested and ready to go Setting yourself up for success making sure all of these things are in order and are working is gonna Cause you a lot less stress when you show up to the race and then also just start off relax Get a good night's rest if you're tired on race day It's gonna get worse and worse throughout the day or tension and your focus is gonna go down and yeah, that's never good Middle race and I wanted to just work on filming but they insisted I get to run my GoPro I get to get HD footage of the track and get a time one of the important things to do at a race is walk the track now They usually do an organized group walk. You're doing two things walk in the track You're obviously learning what the track is But you're also you want to think about what kind of lines you're gonna be taking where stuff is for example on some of These gates there's some wires hanging that mount the gates And it's really important to walk the track and learn where those like guide wires and stuff are Because when you're flying and you're going fast and the FPV cameras we have you're never gonna see those wires So it's really really crucial to walk the track learn where these little things are and then obviously learn the track And you'll be set up for success So when other people are flying the track whether that's like to demonstrate the track or they're just doing their practice I like to hold my controller and I'm watching in my goggles And I'm just moving my sticks kind of trying to mimic what they're doing to a certain sense that way when I go Out on the track. It's kind of like muscle memory So they just finished the first round of qualifiers. That's kind of Yeah, he was doing good For a split second. I came back and he was like Everyone this track is really tight and the obstacles are metal and glass and concrete The ones that are like not metal or just like inflatable or like super tiny, but it's a fun track like this There's some really I'm excited. I want to race right now. I don't want to wait My turn to fly is what's going on pretty early on consistency is obviously better than just going fast But we're gonna go fast. I can hear you drew. I just made a mistake Better to get it done now than in the finals. That's right. That's right. This is just the practice. Oh, this isn't even qualified Yeah, that's just warm up. Yeah, what I found was my rates were a little too high for this track So I've been increasing them recently so I can do like slaloms and stuff We're previously like 400 degrees a second. You couldn't really do that. So I'm at like 550 right now So I'm gonna bring it back down to what I'm used to which is about 450 500 degrees a second. I think it'll be a little bit better It's probably not a good recommendation to start changing your setup for your rates before race But we're trying to experiment with new technology and everything like that. So we'll change it up though And we'll do it better next time So the best part of this entire event is about to happen besides me. Hopefully winning is Drew He's been trying to beat me at something this entire vacation trip that we're on And it might actually be in drone racing. Let's see if I can do this know the track. I think I know the track I Let's rib eat me in a drone race official Most laps you can do in the two minutes is how the qualifying works in this case a good tip It's just to not crash like don't push harder than you need to because we have multiple qualifiers If you do a good first qualifier then it makes the ones after that less stressful knowing that you already have a good qualifier But if you start with like a bunch of back qualifiers Then the pressure's on because you start running out of opportunities and if you make little mistakes your quad does something weird you're out There's still so close Not happy about this but all the confidence he came in there's someone actually keeping up with him. He was like so certain Trying to challenge the champ I was a hard race.  Come here. Come here. Come here.  Do you crash because you are pushing that's that's good crashing When you're pushing it's fine to crash and you already have a good qualifying time So it doesn't even matter and I am TQ now officially so it's really really important to not risk it too much Zacky and I both already had good qualifying time So if we crash it didn't matter we were still gonna be one and two You have to try and stay smooth on the sticks if they get in front of you Don't let it get to you Zacky was ahead of me by about four seconds And I made it up just because I was flying my own race You don't want to chase the person in front of you because they're gonna make a mistake when you do that And he just made a little mistake on the the gate that that person just hit Vacation This is usually the part where I stopped vlogging when I tried vlog races is like this is my focus time But I'm making it a priority. We ended up in this this race together. How are we in this? I don't know somehow I ended up qualifying which means I'm in this this elimination round right because they're putting the fastest the TQ the top qualifier with the Slowest well, it's not exactly that it's the fastest and slowest person And then it's like something between so you weren't the lowest qualifier So but you're on the bottom To the bottom you just need to finish this race, but we are about to race against each other I want like WFD. What is it called? Oh the UFC UFC? So basically you did third you weren't too far behind the other guy So you're gonna go into the loser's bracket So you need first or second in the losers back You didn't do dead last so as long as you're just you need to keep this I mean you have to make the exact decision going into the losers bracket That's a good strategy If I know someone else is fast in like a semi-final where it still doesn't quite matter I like to talk to them and see what their plan is It doesn't necessarily mean you're colluding or anything like that But like I'll ask them like are you gonna push for first or are we gonna do one and two it doesn't matter If I finish first, I'm in the final if I'm if I finish second I'm also in the final so the final is where you want to win anyway So it's like break your quad now and have to fly something else So you're just gonna chill and take second place just to get to the final Yeah, of course. It's all strategy and it's good to talk about these things before him because he knows I'll get a good start and do my thing and he'll do his thing. I think it's collusion Follow what you will that's racing for you if I don't get to take second I still have to lose this bracket and I think if I win there once or twice. I'm also in the finals So all right, so you have multiple shots Yeah Is everyone down? No, there's still one up everyone just went down made a little mistake. I just made a mistake I don't know. I just did man. I just did We go into the losers bracket. We're still good. We're not dead It happens the title of this video is winning a race with captain man. Well, this is how we would win I know that we have no video No pressure or anything Somehow I'm still I'm still in the competition. Is this a semi-final? I think I'm gonna I think I'm gonna send me Wait, am I against Fan over?  I'm a little nervous. I wish you the best of luck Hope you both make the final we got a really good group of pilots So I'm gonna have to definitely push it up the semi-final guaranteed top six. So Let's do it All right. Well, that wasn't as stressful as I thought it'd be a good start Prada Drew took six place in this one I'm sorry at the camera shaky. I'm just a little excited. That's all so I wasn't even supposed to be in this video All I wanted to do was make this video about Alex's race experience here But I figured as long as I was here and people were asking me to race I'd throw it out and ended up taking Sixth place overall. I'm happy with that. But now I'm done. I'm out had a great time Had a lot more fun than I thought I would but now I'm just gonna focus on talking to Alex about what he's gonna Do to make sure he takes home first place overall So to recap what's happened so far before going to the finals. I showed up had a rough practice run We solved the issues there did really really great and qualifying swept it took first place did what I needed to do Had some great racing with Zaki FPV and others then we went to the elimination races I played it safe didn't push beyond what I needed to took first first first then made a mistake That bumped me down a loser's bracket. We calmed down We made sure the quad was working luckily we were able to fly the same quad which is great Nice easy race. I was able to take first here. We are going to the finals. It's just a one final winner take all Gotta send it If I'm ahead of them tell me like okay, you're two seconds ahead of second if I'm behind I know like you watch you want to go back and forth. Oh man If you're not sure you don't say But like you should know you'll be able to see my quad and if I'm way ahead you tell me that you're way ahead Please remember pace yourself and build up these skills and you can win in your race just like I did at this one


This video will cover an introduction to the skeletal system part 2. As we go, we will cover the following study objectives. Describe the structure of osseous tissue, including the major types of cells found in bone. Describe the structure and locations of compact and spongy bone. Identify and describe the gross anatomical areas of a long bone, apophysis, articular cartilage, epiphyseal plate, epiphyseal line, diaphysis, medullary cavity, periosteum, and endosteum. Define the following terms used to describe bone features, process, trochanter, tubercle, crest, spine, head, condyle, facet, fossa, sulcus, mietis, fissure, foramen, sinus, and neck. Here we can see an illustration showing the major types of cells found in bone. The osteocytes are the mature cells of bone that maintain bone tissue. However, osteocytes are a mature form that differentiates from the osteoblast. An osteoblast is an immature bone cell that forms the matrix of bone. The matrix of bone is known as an osteoid, which is mostly collagen fibers that are covered with hydroxyapatite. The collagen itself provides flexibility and tensile strength to the bone, and collagen resists stretching. Hydroxyapatite, which is a layer of calcium phosphate hydroxide salts, gives hardness to bone and resists compression. The osteoblasts, in turn, come from a stem cell known as an osteogenic cell, sometimes called an osteoprogenitor cell. Osteogenic cells divide and differentiate into osteoblasts that produce the matrix of bone, the osteoid, and once the osteoblasts surround themselves with osteoid, they differentiate into osteocytes. Osteoclasts are another type of cell found in bone. Osteoclasts break down bone, that is, they reabsorb bone. They break down the matrix of bone in order to release calcium from the bone into the blood as a mechanism to maintain blood calcium concentration. The activity of osteoclasts is regulated by the endocrine system. Parathyroid hormone stimulates osteoclasts activity in order to release calcium from bone, maintaining blood calcium homeostasis. Compact bone is a superficial layer in our bone organs. Compact bone is a tissue that has a dense, smooth, solid appearance, but under the microscope, compact bone has a repeating structural and functional unit called an osteon. An osteon consists of a central canal surrounded by plates of bone that form concentric circular plates, which are called concentric lamellae. So an osteon is a central canal surrounded with concentric lamellae. The central canal contains blood vessels and nerves that are traveling through the bone. The central canals run parallel to the long axis of a long bone. In order to provide the greatest strength to the diaphysis of the long bone, the central canals run parallel to that length of the long bone. The lamellae are plates of oseous tissue, and concentric lamellae surround the central canal within an osteon. There are also interstitial lamellae that are plates of oseous tissue wedged in between the osteons, and the entire outer layer and inner layer of compact bone is formed from plates of oseous tissue called circumferential lamellae. There's outer circumferential lamellae, forming the most superficial outer layer of the compact bone, and inner circumferential lamellae lining the deep surface of the compact bone. In addition to the central canals that run parallel to the long axis of a long bone, there are perforating canals that run perpendicular to the central canals. These perforating canals are also known as Volkman's canals, and they contain blood vessels and nerves as well, connecting from the surface deep into the bone and into the medullary cavity. Both the canals running through compact bone are lined with an inner layer and inner membrane known as endosteum, and endosteum contains the osteoclast cells that break down the matrix of bone, and there's another type of membrane surrounding the superficial layer of the bone known as the periosteum. Endosteum is found deep inside of the bone, lining central canals and perforating canals, and deeper into the bone there's a medullary cavity, which is also lined with endosteum. The spongy bone is found deep within the bone surrounding the medullary cavity, and so spongy bone, in contrast to compact bone, has lots of small holes in it called the trabecular cavities that are in between irregularly arranged struts of bone known as trabecue. Then the superficial outermost layer of the compact bone is covered with the periosteal membrane, which is a membrane of connective tissue that also contains osteogenic cells that are the stem cells that can differentiate into osteoblasts, and the osteoblasts will build bone and eventually differentiate into osteocytes, the mature cells of bone. We see an illustration showing spongy bone, which is also known as trabecular bone. Spongy bone has lots of spaces, lots of small spaces known as trabecular cavities, and lots of irregularly arranged branching struts or plates of bone known as trabeculi. So trabecular bone gets its name from the trabeculi, the irregularly arranged struts of bone, and the trabecular cavities, the spaces in between the struts of bone. Spongy bone is found deep within the bone, the deep layer of long bones is spongy bone. Spongy bone surrounds a medullary cavity within the long bone and also fills the expanded ends, the epithesis of the long bone, and there is endosteum lining all of the trabecular cavities through the spongy bone. Bone marrow is found inside of those trabecular cavities, and blood vessels and nerves also run through the trabecular cavities. So here in the illustration you can see there are osteoclasts found in the outer layer of the trabeculi. Those osteoclasts are part of the endosteum, the layer of cells surrounding the trabeculi and lining the trabecular cavities. And there are also osteoblasts found in the endosteum. And remember osteoblasts build bone and osteoclasts break down bone. Here we can see the structure of a flat bone where there are outer layers of compact bone surrounding an inner layer of spongy bone. And the overall surface of the flat bone is a broad flat surface, and you can see that it's slightly curved. So the outer surface of the cranium is a convex curvature, but it's formed out of flat bone. Here we can see the structure of a long bone. The epiphysis is the expanded end. There's a proximal and distal epiphysis. The epiphysis is mostly composed of spongy bone. And articular cartilage covers the surface where the joint is formed, known as the articular surface. The diaphysis is the narrow shaft of the long bone, and the outer layer of the diaphysis is composed of compact bone. Then there's a medullary cavity, a space inside of the diaphysis filled with bone marrow. In an adult, that's mostly yellow bone marrow within the medullary cavity. And the medullary cavity is lined with spongy bone. At the border between the diaphysis and the epiphysis is a region known as the metaphysis where a epiphyseal line is found. The epiphyseal line is a remnant of the epiphyseal growth plate. In adolescence, the epiphyseal growth plate is where bones grow longer through a mechanism known as interstitial growth. But as we mature later in life, the epiphyseal growth plate converts into the epiphyseal line. And so the epiphyseal line is composed of compact bone at the border between the epiphysis and the diaphysis. But it's a remnant of the epiphyseal growth plate, which was a layer of cartilage where the bones grow longer during adolescence. The bone is surrounded with an outer membrane known as periosteum. The periosteum has a rich blood supply known as periosteal vessels, and then blood vessels branch from the periosteal blood vessels deeper into the bone. The cells of the periosteum include osteogenic cells that are stem cells that divide and then differentiate into osteoblast cells, the cells that build up the bone matrix, and eventually osteoblasts differentiate into the mature bone cells called osteocytes. The endosteum is a membrane lining the medullary cavity inside of long bones and also the trabecular cavities throughout spongy bone and the canals, the central canal, and the volcans canals running through the compact bone. Endosteum contains osteoclast cells, and these osteoclast cells are the cells that break down the matrix of bone, releasing calcium into the blood to maintain calcium homeostasis. Here we can see an illustration of the blood supply to a bone. So the nutrient artery carries blood into the diaphysis and branches throughout the medullary cavity, and the nutrient vein carries blood out of the diaphysis. There are also metaphysial arteries that carry blood into the metaphysis and branch up through the epiphysis as epiphysial arteries, and then metaphysial veins carry blood out through the metaphysis. Bone features include major projections or elevations that can provide points of attachment for muscles. So we will learn the major features of the bones, and then these will be useful later as we study the muscles to learn the origins and insertions where the tendons attach to the bones. A process is a bump or projection of bone. For example, there's a temporal process, which is part of the zygomatic bone. The zygomatic bone found in the lateral and inferior portion of the orbit. The zygomatic bone has this frontal process that extends up towards the frontal bone at the lateral portion of the orbit. And the frontal bone has a zygomatic process that extends inferior along the lateral part of the orbit. And these two processes articulate, they form a joint. The frontal process of the zygomatic bone forms a joint with the zygomatic process of the frontal bone. On the lateral portion of the orbit. A trochanter is a large rough projection of bone. For example, the femur has a greater trochanter and lesser trochanter at the proximal end. A tubercle is a small rounded projection of bone. For example, the humerus has a lesser and greater tubercle at the proximal end. Then a sulcus is a groove. We can see the sulcus on the humerus right next to the tubercle, and that's known as the inter tubercular sulcus, which is found in between the greater and lesser tubercles of the humerus. A crest is a prominent ridge. For example, the coxal bone, the superior portion of the coxal bone known as the ilium forms a crest where if you put your hand on your hip, you're resting your hand on the crest of the ilium, the iliac crest. A spine is a sharp slender or pointed process. For example, the anterior of the iliac crest forms the anterior superior iliac spine. The term head refers to the expanded end of a long bone at the proximal end of the femur. The head of the femur articulates with the coxal bone to form the hip joint, and at the proximal end of the humerus, the head of the humerus articulates with the scapula to form the shoulder joint. We will also see the head of the radius, which is found at the proximal end of the radius, and the head of the ulna, which is found at the distal end of the ulna. A facet is a small, flat, articular surface. For example, the patella, the kneecap, articulates with the anterior surface of the femur in a flat surface on the anterior and distal end of the femur, known as the patella facet of the femur. A fossa is a shallow depression. For example, the coronoid fossa on the anterior of the humerus, or the iliac fossa on the anterior and superior region of the coxal bone. A sulcus is a groove. The example I explained earlier is what's shown here, the sulcus in between the greater and lesser tubercle on the humerus and intertubercular sulcus. A myatus is a canal or tube, a passageway through bone. For example, the external auditory myatus is the ear canal, which is an opening of the temporal bone on the lateral part of the cranium. The external auditory myatus, also known as external acoustic myatus, allows the vibrations of air to be conducted into the eardrum, the tympanic membrane inside of the temporal bone. A fissure is a slit-like opening or a crack. For example, the superior orbital fissure is shown here in the illustration. In the posterior of the orbit, the superior orbital fissure is a pathway for nerves that are traveling in to control the eye muscles. A foramen is a rounded opening through a bone and is commonly a passage for nerves and blood vessels to travel through. For example, there's an infraorbital foramen found just inferior to the orbit in the maxillary bone, the upper jaw bone, and there is a branch of a cranial nerve, an axillary branch of the trigeminal nerve that travels through the infraorbital foramen. A sinus is a cavity inside of a bone. For example, there are paranasal sinuses that connect into the nasal cavity, are found inside of the frontal bones. We see here the illustration of the sinus inside of the frontal bone is the one that's labeled in the illustration, but all of the paranasal sinuses are shown in green. So there are cavities inside of the maxillary bones, maxillary sinuses. There are also ethmoid sinuses inside the ethmoid bone and sphenoid sinuses inside of the sphenoid bone. A neck is a narrowing of a bone just below the head. So if we look at the head of the humerus or the head of the femur, the neck is a narrow region that catches to the head.


Namos욕. , , .. In Internet matrix product a into x0 which will also be column matrix. Then we take out the largest element as the common factor, this technique is called normalization. It is used to obtain a into x0 is equal to lambda 1 into x1, where lambda 1 is the eigenvalue and x1 is the corresponding eigenvector and this is called the first approximation. Then we compute a into x1 and again take out the largest element as the common factor and put in the form a into x1 is equal to lambda 2 into x2, where lambda 2 is the eigenvalue and the x2 is the corresponding eigenvector and this is called the second approximation. Now this iterative process is continued till two consecutive values of lambda and x are same up to a desired accuracy. The values so obtained are called the largest eigenvalue and the corresponding eigenvector of the given square matrix a. This process of finding the largest eigenvalue and the corresponding eigenvector is called RALGY power method or simply power method. Pause the video and answer the questions that is question is find the product of the matrix the 1 3 first row 4 1 second row minus 2 2 the third row into the matrix minus 1 2 first row 4 1 is the second row. I hope all of you have written the answer. The first matrix is a matrix of order 3 into 2 and the second matrix is of order 2 into 2. Now the product of the two matrix again the matrix which gives the which is of order 3 into 2. Now multiply the first row to the first column that is 1 into minus 1 that is minus 1 plus 3 into 4 that is 12 minus 1 plus 2 that is 11. Now multiply the first row to the second column that is 1 into 2 2 plus 3 into 1 3 that is 3 plus 2 that is 5. Now multiply the second row to the first column 4 into minus 1 plus plus 1 into 4 that is plus 4 minus 4 that cancel which become 0. Now multiply the second row to the second column that is 4 into 2 8 plus 1 into 11 8 plus 1 that is 9. Now multiply the third row to the first column that is minus 2 into minus 1 that is plus 2 plus 2 into 4 that is 8 8 plus 2 that is 10. Now multiply the third row to the second column that is minus 2 into 2 that is minus 4 plus 2 into 1 2 that is minus 2. Now come to an example find the largest eigen value and the corresponding eigen vector of the matrix 1 2 3 4 using the power method by taking the initial eigen vector as the matrix 0 1 transpose. Let a is equal to a square matrix that is 1 2 3 4 and let the initial eigen vector x naught is equal to a column matrix that is 0 1. Now by the power method we have to multiply the a into x naught that is the square matrix and the initial eigen vector which gives the first approximation or iteration that is a into x naught is equal to the matrix 1 2 3 4 into the column matrix 0 1. Now take the product the 1 into 0 0 plus 2 into 1 2 that is a 2 first element of the column matrix. Now multiply the second row to the column matrix that is 3 into 0 0 plus 4 into 1 4 that is in this column matrix that take the largest element as a common factor and is simplifying we get that 4 into the column matrix 0.51 which is equal to lambda 1 into x 1 where the lambda 1 is equal to 4 is a eigen value and x 1 is equal to 0.51 is the corresponding eigen vector. Come to the second iteration a into x 1 which is equal to matrix 1 2 3 4 into x 1 0.51. Now taking the multiplication between the a into x 1 that is 1 into 0.5 plus 2 into 1 that becomes a 2.5 multiply the second row to the column matrix that is 3 into 0.5 plus 4 into 1 that becomes 5.5. Now in this column matrix we take the largest element as a common factor and the simplifying which becomes the 5.5 into matrix 0.45451 which is equal to lambda 2 into x 2 where the lambda 2 is equal to 5.5 is eigen value and x 2 is equal to 0.45451 is a corresponding eigen vector. Now come to the third iteration that is a into x 2 is equal to the matrix 1 2 3 4 into x 2 is 0.45451. Now taking the multiplication between the square matrix a and the column matrix that is first row to the column matrix 1 into 0.4545 plus 2 into 1 that becomes 2.4545. Now multiply the second row to the column matrix that is 3 into 0.4545 plus 4 into 1 that becomes 5.3635. Now in this column matrix now take the largest element as the common factor and simplify which becomes the 5.3635 into the matrix 0.45761 which is equal to lambda 3 into x 3 where the lambda 3 is equal to 5.3635 is the eigen value and x 3 is equal to the matrix the 0.45761 is the corresponding eigen vector. Now come to the fourth iteration that is a into x 3 is equal to the matrix 1 2 3 4 into g into the matrix 0.45761. Now take the multiplication between the square matrix a and the column matrix x 3. Now first multiply the first row to the column matrix that is 1 into 0.4576 plus 2 into 1 that becomes 2.4576. Now multiply the second row to the column matrix that is 3 into 4576 plus 4 into 1 that becomes 5.3728. Now take the largest element as a common factor and simplify which becomes which becomes the 5.3728 into the matrix 0.45741 which is equal to lambda 4 into x 4. Now again taking the fifth iteration that is a into x 4 which is equal to the matrix 1 2 3 4 into matrix 0.45741. Now taking the multiplication here the first row to the column matrix that is 1 into 0.4574 plus 2 into 1 that becomes 2.4574. Now multiply the second row to the column matrix that is 3 into 0.4574 plus 4 into 1 that becomes 5.3722. Now further we take the in the column matrix take the largest element as a common factor that is the 5.3722 into matrix 0.45741 which is equal to lambda 5 into x 5. Now it is observed that the x 4 and x 5 are equal hence we conclude that the largest eigenvalue of a is lambda is equal to 5.3722 and the corresponding eigenvector x is equal to 0.45741 transpose references thank you.


In the shadow of the pyramids near Cairo, Egypt, in the heart of the Muslim world, the leaders of China, Great Britain, and the United States meet face to face for the first time. President Roosevelt, Prime Minister Churchill, and Generalissimo Chiang Kai-shek united in the war against the empire of Japan. Madam Chiang Kai-shek is here as advisor and interpreter to her husband. Added nations powers mapping the blows that will strip Japan of the vast empire gained through 50 years of terror and aggression. Three great allies pledged to a common cause, the unconditional surrender of Japan, and the conference's move. Here, 6,000 miles from Washington, 2,700 miles from London, and 1,500 miles from Moscow, the president and prime minister meet their great ally in the war against Nazi Germany, Marshal Joseph Stalin, Premier of Soviet Russia. A dramatic conference for which the world has watched and waited, Roosevelt, Stalin, and Churchill, climaxing a series of meetings that began with the Atlantic Charter and carried on through Casablanca and Moscow. Diplomatic representatives of the three nations are present, Molotov, Eden, Peraman. Mr. Churchill's daughter, Sarah, an officer in the Women's Auxiliary Air Force, is introduced to Premier Stalin by President Roosevelt. Diplomatic ceremony highlights the meeting, the presentation of the sword of Stalingrad, gift of Britain's king to the people of that heroic city. Marshal Stalin accepts the tribute on behalf of the Russian people, the greatest concentration of military power in history, the Tehran conference broadcasts its official communique to the world. We, the president of the United States of America, the prime minister of Great Britain, and the premier of the Soviet Union, have met and expressed our determination that our nation shall work together in the war and in the peace that will follow. The common understanding which we have here reached guarantees that victory will be ours. We came here with hope and determination. We leave here friends in fact, in spirit, and in purpose. Within the past few weeks, history has been made. And it is far better history for the whole human race than any that we've known or even dared to hope for in these tragic times through which we pass. A great beginning was made in the Moscow conference last October by Mr. Molotov, Mr. Eden, and our own Mr. Howe. There and then the way was paved for the later meetings. At Cairo and Tehran, we devoted ourselves not only to military matters, we devoted ourselves also to consideration of the future, to plans for the kind of world which alone can justify all the sacrifices of this war. At Cairo, prime minister Churchill and I spent four days with the generalissimo, Chiang Kai-shek. It is the first time that we've had an opportunity to go over the complex situation in the far east with him personally. We were able not only to settle upon definite military strategy, but also to discuss certain long-range principles which we believe can assure peace in the far east for many generations to come. Those principles are as simple as they are fundamental. They involve the restoration of stolen property to its rightful owner and the recognition of the rights of millions of people in the far east to build up their own forms of self-government without molestation. Essential to all peace and security in the Pacific and in the rest of the world is the permanent elimination of the empire of Japan as a potential force of aggression must our soldiers and sailors and marines and other soldiers, sailors and marines be compelled to fight from island to island as they are fighting so gallantly and so successfully today. Increasingly powerful forces are now hammering at the Japanese at many points over an enormous path which curves down through the Pacific from the Aleutians to the jungles of Burma. Our own army and navy, our air forces, the Australian and New Zealanders, the Dutch and the British land, air and sea forces are all forming a band of steel which is slowly but surely closing in on Japan and on the mainland of Asia, under the generalism of leadership, Chinese ground and air forces augmented by American air forces are playing a vital part in starting the drive which will push the invaders into the sea. Following out the military decisions of Cairo, General Marshall has just flown around the world and has had conferences with General MacArthur and Admiral Nimitz, conferences which will spell plenty of bad news for the drafts in the not too far distant future. After the Cairo conference, Mr. Churchill and I went by airplane to Tehran. There we met with Marshall Staline. We talked with complete frankness on every conceivable subject connected with the winning of the war and the establishment of a durable peace after the war. Within three days of intense and consistently amicable discussions, we agreed on every point concerned with the launching of a gigantic attack upon Germany. The Russian army will continue its stern offensive on Germany's eastern front. The armies in Italy and Africa will bring relentless pressure on Germany from the south and now the encirclement will be complete as great American and British forces attack from other points of the conference. The commander selected to leave the combined attack from these other points is General Dwight D. Eisenhower. His performances in Africa, in Sicily and in Italy have been brilliant. He knows by practical successful experience the way to coordinate air, sea and land power. All of these will be under his control. Lieutenant General Carl Spotz will command the entire American strategic bombing force operating against Germany. During the last two days in Tehran, Marshall Staline, Mr. Churchill and I looked ahead and head to the days and months and years that will follow Germany's defeat. We were united in determination that Germany must be stripped of the military might and be given no opportunity within the foreseeable future to regain that might. The United Nations have no intention to enslave the German people. We wish them to have a normal chance to develop in peace as useful and respectable members of the European family. But we most certainly emphasize that word respectable while we intend to rid them once and for all of Nazism and Prussian militarism and the fantastic and disastrous notion that they constitute the master race. These conferences, we were concerned with basic principles, principles which involve the security and the welfare and the standard of living of human beings in countries large and small. As an American and somewhat ungrammatical colloquialism, I may say that I got along fine with Marshall Staline. He's a man who combines a tremendous relentless determination with a stalwart good humor. I believe he is truly representative of the heart and soul of Russia. And I believe that we are going to get along very well with him and the Russian people, very well indeed. Britain, Russia, China and the United States and their allies represent more than three quarters of the total population of the earth. As long as these four nations with great military power stick together in determination to keep the peace, there will be no possibility of an aggressor nation arising to start another world war.


Ooh, that's a hot mug, guys.  The first one's better. The best part of this is the end credits with Bill Murray. Two out of seven. That's it.