Over last several lectures, we have been discussing the notion of directivity. In that context, we have explored the directivity pattern associated with a simple source. We have also explored the directivity pattern associated with a sound source, which is having two individual simple sources separated by some distance. Let us say that distance is d, when with the condition that the value of this d is extremely small compared to the wavelength and also the radius or the distance between the point of observation and the source. So, the ratio of this distance and d is extremely large. And once we did that, then we moved further and then we explored the directivity pattern associated with more than two sources. We started with four sources, six sources and then generalized it for a situation where we have n sources. So, we explored that if we have a very large number of sources and all these sources are lined up along a certain one single straight line. And also if these sources are evenly spaced and the volume velocities of these sources are identical and the phase difference between all these sources is exactly zero. Then we can develop sound projection mechanism, where sound prefers to travel along the zero degree direction and the side lobes for the directivity pattern, their magnitude tends to get very significantly suppressed. So, today we will continue this discussion on directivity further. And today what we are going to explore is the directivity pattern associated with a doublet. Now, a doublet is essentially combination of two simple sound sources. It is a combination of two simple sound sources, which are separated by very small distance and also the phase difference between these two sound sources is pi radians or 180 degrees. So, that is what a doublet is. So, we will see what kind of directivity pattern is associated with doublets. Good example of a doublet could be a simple speaker, which is not mounted in a baffle. So, on the front side this particular speaker is producing a sound wave and let us say at an instant T near the diaphragm, the pressure is positive in magnitude with respect to reference pressure, which is atmospheric pressure. Then on the back side of the diaphragm, because this loudspeaker is unbaffled. So, the back side of the loudspeaker on the back side of the diaphragm, this pressure is negative. So, there is a phase difference between the front side and the negative back side of exactly pi radians. So, that is a good example of a doublet. So, this is the schematic. So, let us say we have two sound sources and let us say this is S 1 and this is S 2 and I have a far off point and the distance between S 1. So, let us say this distance. So, this is the point of observation and the pressure at point of observation is P, which depends on R theta and T and let us say this is the midpoint. So, I construct a line connecting the midpoint with the point of observation and let us say that distance is R, the distance of S 2 with respect to P is R 2 and the distance of S 1 with respect to P is R 1 and let us say this angle is theta.  This is true only if R is very large compared to d. So, then this is the relationship between R 1 and R and R 2 and R these are the relationships. Further because we are considering a doublet source. So, we know that volume velocities V V 1 is equal to same as volume velocity V V 2 and that is V V and the phase difference between that of V V 1 excuse me V V 2 minus phase of V V 1 is equal to pi radians. So, these are my basic assumptions and on the basis of these assumptions now I develop the pressure relationship at point P. So, P is a function of R theta and T equals V V over 4 pi R j omega rho naught E j omega t times E j phi over 2 where phi is the phase difference minus R 2 over c omega plus E j minus phi over 2 minus R 1 over c omega and that means this is equal to V V over 4 pi R j omega t minus R over c j omega rho naught. So, I have taken j omega t and I have also substituted in one single step R 2 and R 1 by these respective relations. So, in the parenthesis what I get is j phi over 2 minus omega over 2 c cosine theta plus E j phi over 2 this should be negative minus d omega over 2 c cosine theta and excuse me there has to be a positive sign here. So, the term in brackets this can be simplified as it can be simplified further because e to the power of j times some angle alpha is a cosine component and an imaginary component which has a sin term in it. So, what I can I can write the expression for pressure complex pressure as V V over 4 pi R E j omega t minus R over c times j omega rho naught and then in the parenthesis if I resolve these two terms in terms of their imaginary and real components and do the mathematics what I get is 2 cosine of phi over 2 minus d omega over 2 c cosine theta. Now, we know that omega equals 2 pi f therefore, d omega over 2 c equals 2 d pi f over 2 c is equal to d times pi over lambda. So, I can replace d omega over 2 c with this. So, what I get for my expression for pressure in a doublet is equal to V V over 4 pi R E j omega t minus R over c times j omega rho naught 2 cosine phi over 2 minus pi d over lambda times cosine of theta. Now, we know that in case of a doublet the value of phi is pi radians. So, this term this equals pi over 2 and if this equals pi over 2 then this cosine of anything cosine of pi over 2 minus some angle is essentially sin of that angle. So, I can finalize this relationship as P R theta t equals V V over 4 pi R times j omega rho naught E j omega t minus R over c times sin of pi d over lambda cosine of theta. Now, this relation is valid if R is large compared to d. Now, as we saw in earlier cases this entire expression for complex pressure has a term which depends on theta which is circled in red and then there is another term which is circled in purple which does not depend on theta, but it changes with R. So, my directivity is going to be influenced by this term which depends on theta. Now, before we start analyzing this picture carefully this equation carefully we have to just revisit this picture where we had located S 1, S 2 and P. So, please bear in mind that S 1 and S 2 they are located along the x axis while and with respect to that x axis the angle theta is measured for point t. So, with this understanding let us look at how the directivity of this system changes once we start changing theta. So, we will rewrite P r theta t equals P r theta t equals E j omega t minus R over c divided by 2 pi r j omega rho naught and then sin of pi d over lambda cosine theta and we had said that this term which is circled in red is the component which influences the directivity of the doublet source very strongly. So, for theta equals pi over 2 or 3 pi over 2 this term sin of pi d over lambda times cosine theta is 0. So, cosine theta is 0. So, this becomes 0. So, what that means is that if I have two sources which are very close to each other and these sources are S 1 and S 2 then the overall strength of sound at this location because in this direction it is 0 here and also in excuse me the overall strength of sound at this point P 1 and also at P 2 it will be 0 with theta equals pi over 2 and at pi over 2 or 3 pi over 2 the contributions of these two sources they tend to cancel each other. Now for theta equals pi or 0 degrees sin of pi d over lambda equals cosine of either 0 degrees or it is pi degrees of 0 degree or pi radians. So, in that case this is equal to if it is 0 degree then cosine of 0 is 1 then it is sin pi d over lambda or if it is pi radians then it is minus sin pi d over lambda. So, it is plus or minus of sin pi d over lambda. So, what this means is that if I have two sources S 1 and S 2 then the strength of the signal along the in the 0 degree direction in this. So, this is point P this is one possible location then the strength of this signal at point P will be directly proportional to sin of pi d over lambda. So, pressure will be directly proportional to sin of pi d over lambda. So, this is how doublets behave that along the vertical axis the pressure field is 0 along the horizontal axis it is directly proportional to sin of pi d over lambda. So, it all depends on the ratio of d over lambda. Now let us look at more another more interesting case for doublets itself that what happens when d is extremely small compared to lambda it is extremely small compared to lambda. So, when d is very small compared to lambda how does a doublet behave what kind of a direct duty pattern do we see for such doublets. So, that is what we are going to explore in over next 15-20 minutes. So, to understand this we have to revisit our pressure relation and we will rewrite the equation and the equation is for pressure field is going to be contribution of first source plus contribution of second source. So, contribution of first source is V v over 4 pi j omega e j omega t times e j phi over 2 minus r 2 omega over c divided by r 2. Now earlier please bear in mind that in the denominator we had assumed r because we assumed that for large values of r, r 2 and r are almost equal. So, in that case we had approximated r 1 is approximately equal to r and r 2 is also approximately equal to r, but we are not going to make that assumption here and we are going to explicitly write term r 2. So, this is what I am write what I have written here is the contribution of to pressure from sound source s 2. Similarly, there is a contribution from the second source from the first source s 1 and that is V v over 4 pi e j omega t times e j times minus phi over 2 minus r 1 omega over c and then again in the denominator I do not put r rather I put explicitly r 1. I am not here going to assume that r 1 is same as r and r 2 is same as r.  So, we are going to put these two expressions for r 2 and r 1 in my expression for p.  So, I am going to now rework this equation and I am going to organize some terms. So, v v over 4 pi j omega e j omega t and from the denominator I am going to take out r as the common number. So, I am going to place r here.  Now, we know that d over 2 r is very small compared to 1. We know that because d is extremely small compared to r and because of that and cosine theta never exceeds 1. So, d cosine theta over 2 r is extremely small compared to 1. So, if that is the case then 1 over 1 plus d over 2 r cosine of theta is approximately equal to 1 minus d over 2 r cosine of theta and similarly 1 over 1 minus d of cosine theta divided by 2 r is approximately equal to 1 plus d over 2 r cosine of theta. So, we put these relationships in this equation.     So, 1 plus d cosine theta over 2 r e j here I have excuse me I should not have had phi should be positive with a positive sign. So, here I have minus phi over 2 minus omega over c and then parenthesis r minus d cosine theta over 2. So, this is my overall relation now we take taking e j omega r over c out of this parenthesis because it is common to both these terms what we get is p r theta t equals v v j omega rho naught e j omega t minus r over c divided by 4 pi r. So, I have taken out e j omega r and I have combined it with the time term.  So, this is my relation now I am going to simplify this relation further and by decomposing this term and this term and then again clubbing terms which look similar together.  So, what I am going to do is club terms which have coefficient of 1 together and coefficient d cosine theta over 2 r again together.  So, this is 1 set of terms plus d cosine theta over 2 r. So, this is 1 set of terms and then another set of terms is having a coefficient of d cosine theta over 2 r and actually there should be a negative sign here and then in parenthesis I get e j phi over 2 minus omega d cosine theta over 2 r excuse me should be 2 c omega d 2 over 2 c. So, it should be 2 c here as well and minus exponent j minus phi over 2 plus omega d over 2 c cosine of theta. Now, if I add these two terms after decomposing them into their real and imaginary parts, these two terms if I after decomposing them into their real and imaginary parts then what I get is cosine term and in this case I am left with only the sign term multiplied by j.  Now, we know that this is a doublet and for a doublet phi equals pi. So, phi over 2 equals pi over 2 radians. So, if that is the case then p r theta t equals. So, once I put pi over 2 in place of phi over 2, this cosine becomes sin term and this phi over 2 term goes away. Similarly, this sin term becomes cosine terms and phi over 2 term goes away.   Now, at this stage I replace omega by 2 pi f. So, omega is equal to 2 pi f therefore, omega d over 2 c equals 2 pi f times d over 2 c equals pi d over c over f equals pi d over lambda. So, I rewrite this relation as p r theta t equals this whole term I am not going to rewrite it times 2 sin and omega d over 2 c is nothing but pi d over lambda. So, pi d over lambda cosine theta minus d cosine theta over 2 r times 2 j times. So, I am going to rewrite this relation using this approximation omega d over 2 c equals pi d over lambda and what I get from there is p r theta t equals v v j omega rho naught e j omega t minus r over c divided by 4 pi r and in parenthesis I have 2 sin omega d over 2 c cosine theta minus d cosine theta over 2 r times 2 j and then I have to put the parenthesis here cosine of. So, here omega d over 2 c I will replace it by pi d over lambda and here it is cosine of pi d over lambda cosine of theta. Now, we know that if d is very small compared to lambda if d is very small compared to lambda then we can also say that pi d over lambda is very small compared to 1 and because cosine theta is at the max only 1. So, pi d over lambda times cosine theta which appears here as well as here. So, this is also very small compared to 1 if that is the case then this term cosine of pi d over lambda times cosine theta this term this becomes approximately equal to 1 because the term in parenthesis pi d over lambda times cosine theta is very small and approximately equal to 0 and also. So, I write this approximation so if that is the case then cosine pi d over lambda times cosine theta is approximately equal to 1 and sin of pi d over lambda cosine of theta is approximately equal to whatever value is there within the parenthesis is approximately equal to pi d over lambda cosine of theta. So, now I put these approximations in this equation and what I get is P r theta t equals V V j omega rho naught E j omega t minus r over c divided by 4 pi r times 2 and then sin of this entire term is nothing but same as the term. So, in parenthesis I have 2 times pi d over lambda cosine theta minus d cosine theta over 2 r times 2 j because cosine theta of pi d over lambda times cosine theta is 1. So, I have simplified this even further. So, I will rewrite this equation. So, P r theta t equals V V j omega rho naught E j omega t minus r over c divided by 4 pi r times 2 pi d over lambda cosine of theta minus d cosine of theta over 2 r times 2 j. Now, I can take d cosine theta I can take this term out of the parenthesis with this is common. So, what I get is I replace this parenthesis with the following relation. So, I am taking d cosine theta out what I am left with in the parenthesis 2 pi over lambda minus j over r and 2 pi over lambda is k which is the wave number. So, I rewrite this equation further and I write it here as k and of course, I have also taken this 2 term out. So, this 2 term cancels with 4 and I have I am left with no excuse me and if I now process this equation further and replace omega by frequency then what I get is I replace omega by frequency. So, f omega equals 2 pi f and once omega equals 2 pi f if I put this relation here then pi in the denominator goes away. So, my denominator becomes 2 r. So, this is my overall relationship this is the overall relationship. Now, for a simple source for a simple source the directionality pattern is symmetric around origin. Now, we will look at some special cases as to how this directionality pattern looks like for different values of r for different values of r. So, magnitude of p r theta t equals magnitude of this portion.  So, magnitude of this portion is 1. So, I put 1 here and then divided by 2 r magnitude of d cosine theta is d cosine theta in vertical brackets times magnitude of k minus j over r and that is nothing but k square plus 1 over r square root or if I process this relation further what I can get is k square r square plus 1 and then I take r out. So, I get 2 r square in the denominator. Now, if k square r square is very large compared to 1 which means k square is very large compared to 1 over r square which means now k is 2 pi over lambda. So, it is 4 pi square over lambda square is very large compared to 1 over r square and this. So, in that case or I can say or if r square is extremely small compared to lambda square over 4 pi square which is approximately equal to lambda square over 36. So, for this condition which means k square r square is extremely large compared to 1 for this kind of a condition I can omit 1 in the magnitude and in that case this imaginary component in the parenthesis it goes away. So, for this case p r theta t equals v v j f rho naught E j omega t minus r over c divided by 2 r times d cosine theta times k where k is equal to 2 pi over lambda. So, what we see here is yeah. So, this is one relation and I can rework and play with lambda f and c and what I can get is the following relation v v over 4 pi r c times omega square rho naught j E j omega t minus r over c times d cosine theta. So, this is one relation and this is good if r square is extremely small compared to lambda square over 36. So, for very small values of r such that r square is extremely small to lambda square over 36 my pressure for a doublet is given by this relation and what we have to note here is in this case the dependence on radius is 1 over r. Now, for the case for the case r square is extremely large compared to lambda square over 36 if that is the case then in that case the other term goes away. So, I have to make a small correction here that we had seen that if k square is extremely large compared to 1 over r square that means that it is 4 pi square divided by lambda square is very large compared to r square which means that r square should be extremely large and not extremely small it should be extremely large compared to lambda square over 5 4 pi square. So, this relation which has been boxed in red is good for the condition when square of radius is extremely large compared to lambda square over 36. What this means is that if I am far away from the doublet source then pressure decays in a 1 over r fashion because I have r in the denominator. So, that is first condition the second condition is that what happens if r square is extremely small compared to lambda square over 4. So, in that case so the second condition is if r square is extremely small compared to lambda square over 36. So, in that case using similar approach if r square is extremely small then this term dominates versus this term. So, I can drop the k term here and essentially what I get is that P r theta t equals V V f rho naught j over 4 pi r square excuse me 2 r square times d cosine theta times E j t minus r over c minus pi by this is the second relation. So, I will rewrite on a clean slide these two relations r square very large compared to lambda square over 36 P r theta t equals V V omega square rho naught j over 4 pi r c times d cosine theta times E j omega t minus r over c and if for so this is one set of relations and then if r square is extremely small compared to lambda square over 36 then P r theta t equals V V f rho naught j over 2 r square t cosine theta E j omega t minus r over c minus pi over 2. So, we make couple of observations here first observation is first observation that if lambda square over 36 is very large compared to r square then pressure of the doublet which depends on r theta t decays in a 1 over r square fashion as r grows. Then if lambda square over 36 is extremely small compared to r square then P d pressure in doublet which again depends on r theta t this also depends on r theta t is directly proportional to 1 over r. So, this is like a simple source. So, if I am far away from the doublet then the decay of pressure follows the magnitude of that decay follows something similar to that of a spherical source. And third thing is P d is directly proportional to d cosine of theta. So, that puts some polarity in the system and the fourth and the last point which I like to make here is that the phase difference between the pressure when I am near to the system near to the doublet and far away from the doublet that equals pi over 2. So, what that means is that there is a phase difference of pi over 2 as we move from near field to far field. And that phase difference comes from this term this is the source of phase difference. So, this concludes our discussion on directivity. And what we have seen over last several lectures is several aspects of directivity as they pertain to a simple points of the source which has spherical directivity pattern which is symmetric about the origin in all the directions. And also we have explored what kind of directivity patterns are depicted by two sources which are close to each other multiple sources. And finally, we have also covered a doublet source. So, this covers directivity in a fairly comprehensive way especially in context of simple and in context of simpler systems of sound sources. And we can extend this understanding if we have more complex arrays of sound sources we can use this information and this knowledge to predict their directivity patterns as well. Thank you very much.


Marine Corps Combat Readiness Evaluation is the formal evaluation of a unit's training and readiness task in preparation for a unit's upcoming deployment. The purpose of CLB-15 is to support the 15th Mu through the logistic combat element. So specifically for Combat Logistics of Talent 15, we had a multitude of events. We had helicopter support team missions, evacuation control centers, and mass casualty events. The mass casualty event for us is the ability to get a patient off the site, being that we support Mu's and Mu's only. We're making sure that we're providing them with what a clear and concise end state is, what are the means to achieve those end states by.


Giannis is out, but that is a blowout no matter how you look at it Lou. What what are we to make of that? Yeah, just wash your hands with it.  That's it This is it. Yeah, this is a night And this is the night in the NBA where the home team play like the home team put a lot of pressure on you from from the beginning to end got big nights from guys shout out to George and all of his nicknames, you know You put put 33 on them guys here. So you just give a lot of credit to Cleveland They took care of home court last night and got the bucks up out of there


I'm going to do a dry haircut today, so what I want to do is add that shine, add a little bit of slip to the hair. We're going to do some tease cutting, tons of point cutting, and we're going to create a really fun textured shag-like haircut. So to start off this technique, we're going to base it off of a side part. Now the end result is going to have a fringe, a straight fringe, but the reason I base it off of a side parting is because I'm going to cut that straight fringe first and then I want that veil of hair to fall over. So notice how it sections across the top of the head.  I'm going to slightly elevate the hair, but not too much. Now I think where people make the mistake when they're cutting this fringe is that they go in and they elevate the hair too high and then they end up layering it. So you'll notice that the bone of my comb is just off of the forehead and then as I cut, I'll cut my line first and then I'll slightly start to drop that comb to the forehead and keep cutting as I drop it. That tends to get me the best solid line that I can get. So right where that hairline is about to meet, you're actually over-directing that hair quite a bit, but you'll notice that I'm pulling the hair from further away. So what happens is it drops that weight line a little bit longer, which I like because I can go back in later and clean that up and make it look nice. You got that nice arc to it. This is that veil that I was talking about. Now I've got that veil coming over it. I wouldn't have had that if I did this on a center parting. So I like to have that hair and now I'm going to go in and do tons of point cutting. It's going to have structure because I'm pulling everything to the same place, but I'm not cutting a perfect line because I want to create that movement and texture. So as long as I'm bringing it to the same place, I'm just not making everybody match up. This is more of a fun haircut with a ton of texture and movement and not so precise. So we have to jump out of our precision box for a second to get into this cut. So notice everything's being elevated over directed over, but also notice that I don't take anything from the temple up. So and the reason for that is because I want to create that disconnection. I want to keep that length from the temple. So that allows me to create that layering, but keep the length on the side and keep that density on the bottom. And the other thing is my finger angle is pointed straight down at the floor. So notice that as well. I don't go straight up with the layers. I want the layers to be heavier in the back of the head. Changing my finger angle changes where that weight distribution happens. Keep that length in the back. Take that length short in the front. And again, I'm going to go all the way down until I get to that temple area and then I'm going to pause. I'm not going to cut anymore after that. You can see all that texture that builds up around the face and now the rest of that veil, I'm going to go through and just do a little slide cutting.  This is the cool part about having like different textures mixed and matched. So we have a blunt bang, but then we have this choppy texture that kind of lays over top of it. That to me, if I could say I have a signature cut style, that to me is it. I love some precision lines and then chaos happening all over it. So that for me just, I don't know, my eye likes it. So now we're going to move into the back vertical sections, pivoting around the head and really attaching it to that front layering. So that layering that we did, but keeping that same finger angle so pointed straight at the floor. One thing you will notice that I'll do is I'll do a little point cutting, but I'll do some blunt cutting because if I see where there's a part of somebody's hair that is a little too chopped, looks a little too shattered, I'll go through and do it just a blunt line real quick. And that makes it appear right here is why I'm doing it. It makes it appear a little more clean. But then what I'll do is go in and break up that line with a ton of point cutting. There's always technique. There's always a reason behind what we do behind the chair. That's why you can't teach this in one video. It's all about learning and just figuring out what works for you. The final thing I'm going to do, I want it a little more of a blunt edge on this fringe just in that area. And then I'm going to let it be kind of chaotic on the sides and throughout the top so you can see how it's kind of starting to come together now. So really we did the dry cut and now I'm going through and just doing the fine tuning detail.  I wanted to add a little bit more layering, a little more peaceiness to it right around the cheekbone, the chin line, the jaw line going through. So just tees cutting half open, half closed and sliding that blade in as I slide in, I have closed the scissor to create that look. And then that's going to finalize our look. So now we're going to go in with Joyco Dry Spray Wax. So I love just kind of lifting the hair up, spraying that in, working the product in and then get my hands in it and just kind of messing it up. Giving you a little bit of a bedhead feel, seeing those layers come to life. And then what I'll do is brush it, calm it down and give it a little nicer style. But I love seeing that kind of come out when you put that product in. And then I'll take the iron. The spray racks really helps with defining those pieces. So I'll straighten it a little bit. And then there's our end result, guys. Hope you like it. Let me know if you have any questions in the comments below and go download the FSE Now app so you can see tons more videos just like this for free. Thanks for watching.


OTAN, Outreach and Technical Assistance Network. And here's Penny Pearson, our presenter for today's webinar. Thank you, Melinda. And welcome everyone to the session today. I'm going to go ahead and get started here. And hopefully, that we'll have everything shared and everyone can see everything. And you don't need to see the sign in there for that page. There we go. You should see our OTAN logo page. And just a little bit about me before we begin. As Melinda said, my name is Penny Pearson. And I am a coordinator for distance learning projects here at OTAN and have been a lifelong advocate for distance and blended learning. I am a product of distance and blended learning. So I believe in it and I believe in accessibility in order to make that happen. So that's what this is going to be all about. So we're going to have a little conversation here about disability in the world. Why is accessible documents and accessible documentation, accessible files, videos, why is that so important? And so these are some stats that come up from the World Health Organization. And when you think about this in a global sense, it's like, oh, well, that's not very many people. And until you start bringing it down closer to home, you can see that in the United States, we have over 61 million people living with a disability. And in the entirety of the United States, that's one in four. In California, it's a little bit less. 23% of adults have some type of a disability in California. And okay, just think about that for a minute. Some of it may be very simple and things that you don't regard as a disability, but how many times have you used something like a magnification tool on your computer in order to see very small text? How many times have you used a pinch and zoom on a mobile device in order to see something a little better? Any number of things can cause us to have an issue of not being able to access things as easily as maybe we could have when we were younger or maybe before we like broke our leg. We all have had times when something has happened that we need some extra help. So now how does that look here within California this 23%? If you look at this stat again, this is coming out of resources from CDC on the types of disabilities that happen here within California and what does that actually look like? And when you look at it in terms of mobility, you see the United States is at 12.9% and California is a little less, it's at 10.7%. And then it goes on down the line. So you can see there's some items there that you may go, well, that's really not a disability, but it is when you can't do all of your daily normal functions, you have issues with being able to live independently. You may have some issues of being able to, take care of yourself. Maybe you have a vision issue, but you're correcting it with glasses. So these are the things that is looking at how we kind of stack up against the entire planet in some ways. And it's just for you to be aware of accessibility is very important. Additionally, accessibility is also the law, okay? There's a long story about how this all came about and you've heard about 508 and the Rehabilitation Act in American with Disabilities Act. And some new ones that you may not be quite as prominent is WCAG, that's what I'll call it, WCAG, the Web Content Accessibility Guidelines. But you need to understand that this all came about actually way back in the 90s where they were really looking to try to find ways to make sure that people had access to especially with information, way back in the early 70s. So that really targeted the federal government to make sure that their electronic and other information was accessible to people with all disabilities. So that was kind of at the federal level. Well, then Congress changed the law and they said, okay, we need to make sure that this is inclusive for anyone who receives public funding. Can you think about that? Schools receive public funding and it didn't matter if it was federal or state. So I wanted to be able to show you that this goes back a ways but it's becoming more and more prominent in our culture because we're seeing more and more people losing cases, law legal cases, due to not having their information fully accessible. And I think we're gonna see even more and more of these as we move forward with more and more digital work, working from home, using technologies and we need to make these resources available to everyone. So when we look at WCAG, this bottom one, Web Content Accessibility Guidelines, this is relatively recent in terms of, it's been around for a while but they keep revising it and they keep increasing some of the requirements but it is considered the Web Accessibility Standard basically worldwide, definitely within the United States. So when you hear people saying, oh, well, we're 508 compliant and WCAG 2.1 or 2.0, it's just kind of citing those pieces of law that are telling us we need to be fully aware of making all of our content accessible. So I'm gonna ask a little question here and I want your answers in the chat. First and foremost, are you a content creator? Do you create documents, PowerPoint presentations? Do you work on websites? Are you a content creator? I'm seeing a yes and a yes. Susan is a yes, okay. We've got a few folks that haven't answered yet so just post in there if you're a creator, a content creator. Second question I'll ask, have any of your colleagues, whether it's a fellow teacher, administration, anybody else ever questioned you or asked you whether or not you have created that material to be accessible? Has anybody asked? Gloria says no. Shelley, Josh, never. Sherry, yes, okay. Anna, no. Lisa, no, okay.  I haven't asked you where you're from or anything like that, that's not an issue but I just want you to understand that for those of you that answered yes to being asked about it, it is because this awareness is becoming more and more prevalent and this awareness is basically coming from people getting sued about, your stuff is not accessible and there's some very, very famous cases, there's some famous situations that have happened even here within Sacramento, there's been some famous cases with fast food restaurants like Domino's, they had a huge case about their mobile app for ordering pizza and they lost basically. So the business world is going, uh-oh and education is more and more going, uh-oh because there has not been really good policies set in place for content creators to understand the implications of not having accessible materials available to their learners. A lot of times the kind of the old school way, this is my experience so I'm only speaking from my experience here. I was in a university taking classes, one of my students was legally blind, was there as a student, I wasn't there as a teacher but she needed accommodation and it took her six weeks out of an eight week semester before the college was able to accommodate her with providing her with accessible documentation and materials for the course she was taking. And when you think about that, what kind of message does that send to that student that's trying to finish their schoolwork? So it's becoming more and more prevalent that it is not a reactionary situation, you do not react to a request for accommodation. You need to be proactive and at least show good intent that you're trying to make your materials accessible. Okay, so we talked a little bit about kind of, you know, the what in terms of, you know, what's happening with disability and now we're talking a little bit about the why. So at this point, are we kind of clear about, there's lots of people that have disabilities that need accommodation, which we may or may not be aware of and secondarily, the why is because it's the law and it's also really good form that we should be doing this. We should be modeling this for everyone. So at this point, can I get a yes or a no that we're ready to go forward? If you have a question, you can pop it in. Got some good guesses here. Okay, so my intent here as to what we're going to be doing today is I want to teach you how to fish, all right?  That you can learn within an hour, literally. I want you to understand what tools you'll need so you can fish. So you can create the content you need in order to land the big one with your learners of providing them with all that they need to be completely able to participate in an educational situation, whether you're a teacher or your administrator or you're someone who's trying to work with teachers to create materials. So I really want to help you talk about and find the tools that you need for your accessibility toolbox, okay? It's gonna be really straightforward. You really need to start with this whole concept of planning. And I get the question a lot of times like, oh my gosh, I've been creating handouts for years. I can't go back and read to all of these. It's gonna take me forever. No, don't. Okay, from this day forward, once you have the tools and you gain the knowledge, you revise what you need while you're teaching the course. So you know next week, you're gonna be doing a lesson on A, B, and C. Then next week, you're gonna use these tools to help you remediate those documents and ensure that they're fully accessible, okay? So planning is a key part of this. Looking at what you're doing into the future, seeing whether or not those materials are already accessible. If they're not, then you need to make a plan to make them accessible. And that's the second piece is kind of the checklist. What am I gonna look at? How am I gonna look at it? What do I need to do? Where do I need to do it? Can I get some help?  Can I work with all of my ESL teachers to work on a documentation that's accessible if I'm now teaching remotely? And I need to provide my learners with documents that they can fill in, fill out, and provide and send them back to me. So first is the planning piece. The second is the checklist, making sure that you cover all the basis for what we're gonna talk about here in just a few minutes. You're gonna have resources. Find those resources. You'll find the ones that speak to you the most. You might be readers. You wanna read all about it. You might be visual learners. You wanna watch somebody else do it. You might be a listener where you wanna listen to a podcast or a recording and you don't really worry about, you know, watching somebody do something step-by-step. You're gonna absorb it in a different way. However you do it, you're gonna have to have a bounty of resources at your fingertips that you can go to learn more about it and or get additional training. So I will show you those resources as we move along, okay? So remember, these are all tools for the tackle box. We're gonna work on the planning piece, how some things that can help you in doing that, looking at checklists for what you should be looking for and then finding the resources and training to help you to do that. Now I'm gonna pause for just a minute on this next slide and I want you to look at it carefully. Now I've got my screen expanded to the largest size I can. So if you have resized your window and it's very small, you might wanna go full screen to look at this because I really want you to look at this graphic. This is created by the National Center on Accessible Education Materials. What do you conclude from this image? You can type it in the chat pod. I'll just pause here for a minute so you can really look at it. So we have a pause here. Melinda, make note of that. We might need to cut that out. Accommodation, so Gloria is typing in accommodations. And when you say that, can you kind of tell me what you're seeing here in terms of accommodations? Braille in large text, captions, reading and hearing, absolutely, you got it. It's all in the same subject area. It's all about water, right? But they're providing multiple ways to learn or read or hear about water, okay? Now, the reason why I asked you to look at this, and I don't know if you looked at the title because this is an acronym we're going to be learning about, it's called POR. I'm not gonna tell you what it is right now, but it is a way that those WCAG rules, okay, that remember I told you before about those guidelines, they could kind of be distilled into this acronym of POR. And so we're gonna look at a video here on the next slide. So make sure your volume is up or down if it's too loud or too soft. As Melinda said, you control your own audio. So we're gonna show this little video here. And just shout out in the chat box if something is gonna miss. Welcome to Design for Accessibility from the National Center on Accessible Educational Materials. Many of the authoring tools available to educators now include options for adding accessibility into the content creation workflow. And standards such as the web content accessibility guidelines provide guidance for how to do so. However, these guidelines often include technical language that can be confusing to even veteran developers. Fortunately, a set of simple principles as captured by the acronym POR provide a better starting point. POR stands for Perceivable, Operable, Understandable, and Robust for qualities that define an accessible user experience. Perceivable content is presented in a way that it can be accessed with more than one sense. This accounts for both the needs of people with disabilities and those who are accessing the content in less than optimal environmental conditions. One example is the inclusion of closed captions and transcripts for video content. This will make the video more accessible to people who are deaf and hard of hearing. It will also make it possible for anyone to enjoy the content in loud environments where it would otherwise be inaccessible, such as while commuting on a train or a bus. Operable content in digital materials can be operated with a variety of input methods ranging from the mouse to the keyboard and even speech commands. It also means options for navigation are provided. If the content of a digital material is marked up correctly, screen reader users can use a keyboard shortcut to bring up a list of headings. Using these headings, they can skip to the desired section without the need to listen to an entire page. Understandable content in digital materials is presented in a logical and predictable way as the user navigates through its various sections and supports for language such as explanations of unfamiliar terms are included or easily accessible. Robust digital materials are compatible across platforms and work well with a range of assistive technologies. Designing digital materials according to widely supported standards will make it more likely that these materials will continue to work as intended as new delivery technologies are adopted. The four core principles applied to both teacher-created and procured educational materials, whether they are commercially acquired or open educational resources. When selecting or purchasing digital materials and technologies, use the power of the market. Call on developers and publishers to add accessibility at the source. This will ensure accessibility is built in rather than bolted on after materials have shipped and the process of retrofitting becomes more costly and difficult. The POM initiative can help you with language you can include in your contracts. By addressing the need for accessibility at the source with developers and publishers, you will add your voice to a national movement that seeks greater equity in education. The National Center on Accessible Education Materials at aem.cast.org is your go-to resource for technical assistance. Together, we can develop and use learning materials that address learner variability and provide better opportunities for learning to all. Welcome to Designing for Accessible Education. Hey guys, I think I might've jumped us ahead there. Did we get through O and R? Because I had to go in and I turned on the captions and I think I might've jumped us ahead. Sherry, thank you for saying that because I was thinking I might've missed one of these things and I didn't mean to. Penny, I think we got them all. Oh, Stacey's saying no, you. No, okay, that's what I was afraid of. So let me just play that again. So we had understandable, right? Let me just, no, we didn't. Here, let's try this again from here. Well, content in digital materials is presented in a logical and predictable way as the user navigates through its various sections and supports for language, such as explanations of unfamiliar terms are included or easily accessible. Robust digital materials are compatible across platforms and work well with a range of assisted technologies. Designing digital materials according to widely supported standards will make it more likely that these materials will continue to work as intended as new delivery technologies are adopted. The four core principles applied to both teacher created and procured educational materials, whether they are commercially acquired or open educational resources. When selecting or purchasing digital materials and technologies, use the power of the market. Call on developers and publishers to add accessibility at the source. This will ensure accessibility is built in rather than bolted on after materials have shipped and the process of retrofitting becomes more costly and difficult. The POM initiative can help you with language you can include in your contracts. By addressing the need for accessibility at the source with developers and publishers, you will add your voice to a national movement that seeks greater equity in education. The National Center on Accessible Education Materials at aem.cast.org is your go-to resource for technical assistance. Together, we can develop and use learning materials that address learner variability and provide better opportunities for learning to all. Welcome to the signing force. Sorry for that little hiccup there, guys. I had thought I'd always had the text, but I didn't have a lot of captions on, so we may need to kind of fix that here in the recording. So I just wanted to go over these items here for the acronym for POR, because this is how I want you to start thinking about working on your contact content when you build it. So these are all pieces that we may not always think about, especially if we do not deal with a vision or hearing disability. But over time, we know about some of these things that we know we should do them, but we don't always know how to do them. And so at the end of the session today, I'll be showing you those resources to help you understand how to do them. So here, I love that they put in here for perceivable, especially the fact that even as someone who does not suffer from a hearing disability, I love the fact that I can use captions to be able to keep on top of a webinar that I'm watching or a video that I'm watching that has closed captions, just as Shiri was saying in the chat of having that text available, I don't have to be able to hear it in order to understand what's happening within that visual presentation of some kind, being able to provide either that closed caption or provide transcripts. And many people will only provide one and not necessarily the other, or they might have something that auto-generates these captions that are really inaccurate or worse yet, they're translating a word into something you really don't want appearing on your closed captioning on your videos. And the color contrast is something we very rarely think about. And it's something that is important for anybody who's visually impaired to be able to discern text on a background. There has to be enough of that contrast to make sure that they can read it. And I have seen a lot of times where teachers will definitely rely on color to convey meaning. And someone who's color blind will not get that meaning. So there has to be, we have to make sure that we're thinking about these things of how do we see this information or how do we perceive this information using whatever particular senses we're using to perceive it. So I'm hoping this kind of helps expand it even more than the video. So the next one was O for operable. So this one is really important nowadays because I don't know how many of you are teaching remotely but you more than likely have your learners interacting with you remotely on a multitude of different devices. They could be tablets, they could be mobile phones, they could be tiny mobile phones, they could be tablet mobile phones, you know, the huge ones, they could be a computer at home, they could be in all different places. And you need to make sure that that content that you're providing is clearly navigable. I hope that's a word, because I just made it up because you saw in the video where he was talking about screen readers do not look at how pretty your content is. They look at the structure of your information. And that's what I mean by properly marked up headings because even in PowerPoint, there is a structure. I have a title at the top and I have content in the middle. The screen readers know to read the title first and then they can read the content in the text box underneath it. If it's not done correctly, the screen readers have no way of knowing what comes first, what comes second. And so they'll be spitting out all this stuff that has very little meaning to the person who's using a screen reader, trying to figure out what the content is on the page. So by properly marking up your documents, whether it's a PowerPoint presentation or a Word document or other type of text document, have those headings properly marked so that screen reader knows, oh, I can just tell the person, these are the main headings. It could be heading one versus heading two. And the screen reader and the user can then pop to where they need to go. The create descriptive links. Now, I hope some of you have a way to kind of picture this. Have you ever had a document where somebody paste a URL or a web page address that's probably a line and a half long? You seen those? That's what I'm describing as a naked URL, okay? It's this big, long HTTP www at www at www slash, slash, slash, slash, slash, slash. That's how a screen reader will read that type of URL put into a document. And that's why descriptive links make so much more sense because that content can be made in context with what you're talking about. So instead of saying that whole big, long URL, you're actually saying, you find more resources on the OTAN COVID page and the OTAN COVID page is now hyperlinked using that URL. But to the screen reader, it's saying hyperlink OTAN COVID page and not the https www.otan.d grounded crystal dot spear dot slash. Whatever. So it takes that URL, and makes it much easier for someone who's using a screen reader to understand that description is telling them where they're going. Though the second one, the second to the last one here provides sufficient time for interaction and response. This is one I really didn't pay much attention to until I started down this path of working with accessibility. And that is not everyone is clicking on things. And I'm guilty of this, of telling people, click on this, click on that. Oh, find this and click on that. Well, if you're on a smartphone, you're not clicking, you're tapping. If you're on a tablet, you're not necessarily clicking at all, you're tapping. So we have to make sure that we not only understand that those are different ways that people operate these different devices and navigate through our content. We also need to give them enough time to respond because on a website, if you have on a computer, a website, it can be on this nice big 27 inch screen, but you have your students that are on a three inch by five inch smartphone and that content doesn't look the same. And you may be going, well, here at the top of the page, and they have to scroll on their device in order to find that. So you have to give enough time for them to interact and respond on their devices. This last one, avoid content that can trigger seizures. This is an old holdover. Then does anybody have any idea what that's really talking about? Some of you that may deal with special education students, it's actually the strobe effect. So in the ancient days, we used to have these, yes, flashing items, Shelley, you're right, we used to do these animated things that go blinky, blinky and flash, flash. And for some people that could trigger some type of brain activity or epilepsy, that could be very bad. So they really want you to watch that in terms of, a lot of folks don't even use it anymore, but it's still in the lineup. So we went through perceivable and operable, right? The P and the O. So now we go to you, which is the understandable. And this is, you'd think this would be very straightforward, but sometimes we can get caught up into, especially for specialization in some areas or whatever, that our content may not be very understandable because we're not explaining things very well. We don't have very clear directions on what we're supposed to be doing. So we need to make sure that in how we present our information is very understandable to the end user. To me, this is more related to websites, but this could also be related to your online course if you have an online course through a learning management system. It has to have a way that you can explain how do they navigate through it? What do they, what should they expect? You provide those directions and models, you use plain language free of jargon and cliches as much as possible, and you give them that kind of predictable and consistent experience. I can give you an example of one class that was online and there were several different modules for learning and every single module was different in terms of the interactivity, the type of activities, how it was laid out, what they were supposed to be doing. And it was extremely confusing to students, whereas the teacher was looking at it like, oh my gosh, if each of my modules are the same, it's gonna be so boring. No, it's not boring, it's predictable and we know what the directions are and we know how to get through that material. So those are some ideas in terms of understandable. And the last one at the bottom, this one is I found, especially with teachers that work with English language learners, the ability for them to be able to choose their native language can be very beneficial, but you should always indicate the language that your content is going to be in. And sometimes that's just by virtue of, you're teaching English and you're gonna say on there, we're teaching English, all of our course materials are gonna be in English, but you have the option to translate if you need to. This one I think is usually used more with courses that are a little higher level and they wanna make sure that the learners are using the tools and the content as designed by the instructor. So as we get through understandable, then we go to robust. So now the robust side of this is, okay, you gotta make sure this works with all of these other devices. And I'm sorry, but this is a really hard one to do. How many of you own multiple types of tablets on multiple operating systems? How do you know and where to put in metadata to make sure that the content is easier to find and use? This is again more for websites, but it could apply to your online course. How do you perform an accessibility check? Well, we have some tools to help there, fortunately. And how can you perform some of these basic assistive technology testing? Do any of you have any learners who have expressed to you that they have a disability, whether it's visual or hearing or physical or mental, that they have different tools that they use on a frequent basis? Anybody have students like that right now? You can just answer me in the chat if yes or no. Susan says no. Okay. The reason why I even ask that question is that those individuals who are willing to declare to you that they have a disability are sometimes your best advocate to help you with accessibility and help you perform checks. I had a student when I was teaching in the classroom when I was teaching computers and I had somebody who was completely blind and she came in with an assistant, a note taker. And I thought I had to change my teaching style so I was speaking very slowly to all of my students now you need to go to the menu bar and the note taker finally came up to me and she goes, look, you don't have to do that. She can follow along just fine. She was using an assistive technology called JAWS and she was able to navigate that page as fast as I was talking. And when I teach, I can talk pretty dang fast. And I was so impressed with her ability. All that we did at the school was to provide her the ability to upload and install her JAWS software on a particular machine. She came to that same machine every time and we were able to check it with her that it was working correctly. And then all of a sudden, all of what I was teaching was much more accessible to her and she was able to get in and do the work that I asked her to do. Yep. So Elisa, so this may be very interesting to see what of these resources that I offer may help you in the areas that you might need help. So we've gone through that one acronym of POR. We got that through AEM and I want to give you some of those resources that we have on that site. So these are links and again, these will be sent to you via email or they'll be posted, don't worry, you'll get to it. And basically, this site has got a lot of quick start. So let me go to their quick start here first, see if we can bring that up. And just tell me in the chat, are you seeing the AEM National Center on Accessible Educational Materials on the page? Okay, great. So this site is a definite go-to site because they provide you with all kinds of information at all different levels. Not only do they have these quick starts about getting answers about what you need in terms of in the classroom and things like that. They also on the left-hand side here have an online course. So if I click on that, they have a whole system here of helping you make your curriculum accessible. So they talk about, you know, different types of modules that they offer. So you can see here, I'll try to scroll through this slowly so it's not too overwhelming here. So they talk about accessible educational materials. They talk about how to make your documents accessible, how to locate captioned videos and make your own. So this site is a really first stop for most of you. I think it will really help you to understand what they offer and they provide a lot of training. So they have some of the quick starts here on terms of using AEM. If I go to some of their other pages here, they have resources under Access and Distance Education for resources for access and distance education and they have activities, they have webinars. Their AEM cafe is very good where they have webinars the first Thursday of every month and they have a link here where you can register. So they have accessibility practices for teachers here and they're really working hard to help teachers and everyone understand why the accessibility is so important. And again, they have a whole section under Creating Accessible Documents. So they talk about that with providing you PDFs. They also have other resources. Here's Designing for Accessibility with Poor. Here they have their videos. So you can see there's lots of places where you can learn the ins and outs. And I just wanna make sure that you have this as part of that toolkit that I was talking about, that you have a place that you can go. And these are big overarching, big topics and we're gonna get some more specific here about some other tools in just a minute. So we talked about some of these learning tools. Let me see if I can go back here and we'll go to the next slide, which we'll talk a little bit more about another acronym called slide, okay. We're gonna pour and we're gonna slide or we're gonna slide into pour or something like that. And this is basically again from Accessible Educational Materials. And we talked about a pour in terms of that big picture trying to conform to WCAG standards. But now we're looking at a little more with slide, which has to do with styles, links, images, design, and empathy. Okay, and you go, well, okay, how does all this line up? They do actually line up with pour but we'll open one of these so you can see what it looks like. This is a PDF. Let me make it a little bigger here for you that might be on smaller screens. Hopefully that's a little more helpful. So it talks about, you know, here we're gonna get started with accessibility for documents. Talks about using all of these elements of slide, styles, links, and they talk about using headings and they tell you about how you can find it in your as best practices and the links and the best practices. Again, instead of using click here or learn more, make it some meaningful text that's descriptive and unique. As scroll down, images should include text alternatives. Many of us we put in pictures because we're visual and that picture just makes perfect sense to us. But if I can't see it, I need to understand what you're trying to convey with that image. So using text alternatives is important. So here design is perceivable and predictable. So you want your learners to be concentrating on that material. They give you some best practices. They provide some links to the color contract analyzer, contrast analyzer. And again, this is very nice for working in an online environment such as a course or maybe you're building a website to make sure that you have high enough contrast for those that are visually impaired. So you have this empathy drives design and they give you some nice questions to be thinking about in this process of using slide, okay? And again, there are other links on the PowerPoint that you'll be getting that is additional information on presentation accessibility. And then that page that I just showed you resources for access and distance education. This is all going back to accessible education materials. So it's one of the, as far as I'm concerned, the best resource areas for educational materials and accessibility. But that's not all they are. So I'm gonna ask another question. You can just put it in the chat. How many of you use Microsoft Office, either the Office Suite or the Office 365 online? Yes, yes. Okay. So here are some resources to help you with that part of your journey and putting tools in your tackle box. And there are lots of resources and information here on using the Office Suite of materials. And even if you don't use Microsoft Office as a document creation tool, the concepts are very good here. Now, if you use Google, Google Documents, they're working very hard to add more accessibility resources. They have an extension called GRACL that they're working on to help you check your documents for accessibility. But honestly, if you understand these concepts that we've talked about with POR and with SLIDE, you can use the documentation or those concepts within Google Docs to help you build an accessible document. So this is regarding Microsoft, okay? And Microsoft has an accessibility resource center for people with disabilities. And they have learning paths that help you understand how to use Microsoft Office 365. They even have a whole community based on accessibility and what are some additional things that are needed in the future. And they have a great training site and they have training modules on accessibility. I'm gonna go ahead and open up the training modules here. Hope I get the right page. So on this page, I am on a learning site, on Microsoft's learning site. And the first one that comes up here is one that I would highly recommend is Accessibility Fundamentals. It's two hours and 25 minutes. It's meant for a beginner for the Microsoft Office Suite and it also covers Microsoft Office 365. If I open this up, and again, you'll get these links. So don't worry about trying to remember where this is. They'll be in the PowerPoint. But you can at least see what is happening in this course and understand what they're covering. And if anybody is working on any type of Microsoft certification, that's what these little guys over here mean. You're getting a certain number of their points to toward those certifications. So in here, I'm looking at the questions about what is accessibility, language and etiquette, inclusion, knowledge check, and a summary of resources. They give you the time it takes you to complete this module.  So they're all stacked together. That was the first one. The second one is on features and tools. And it's how you can use the key accessibility features that are built right into Microsoft and Windows 10. And I will tell you, this is, if you use these and you follow the recommendations of the tool, you will create accessible documents the first run out, okay? It's straightforward. And this course will show you all how to do that. And it also shows you how to create accessible content. If you're not using the computer application on your computer for Office, you can do this also in Microsoft Office 365 and their online resources there. And they have additional information on digital accessibility. That's for mobile apps and the web. So this gets more into assistance and help for those of you that are using, especially online courses. And believe me, if you have an online course, you really wanna make sure that it's fully accessible for your learners, okay? So we've talked about POR. We've talked about SLIDE. We've talked about some of the resources and there's many more on the resource page and the PowerPoint here. I don't have to go through and show you all of them. And so we need to talk about, you know, your tackle box. So this is something, this is the whole concept of having to make a lot of things accessible. It can be very daunting to an individual teacher. It's just like, like I said earlier, it's like, oh man, I got a year's worth of these handouts. I, there's no way I can do this. So I get it. Don't worry about everything that you've done in the past. Today is a new day. You have new tools and you have new ways to look at this as a process and a project.  You need to do your research on what you really need to do.  You need to start small, okay? Just work on perhaps documents that you're gonna post to your online classroom or perhaps you're gonna put it in a Google Drive or perhaps you're gonna share it out on SharePoint and work in teams. And that means, you know, get your other teachers together and it helped to explain to them why accessibility is so important. So you're gonna share that workload and then you can share the result with everybody. They all have now accessible documents. When you make this plan, the thing they really have to show here is that you really don't have to worry about yesterday because for most anybody who is looking at trying to catch somebody not doing something correctly on accessibility, intent means something, okay? Does that make sense? Intent, you're showing that you have a plan that you're working in groups or whatever that is to ensure that your content is accessible. Intent does mean something. So now when you try to get that tackle box full, we're looking at, we understand the why, okay? We know that this is important. We know that it's the law. We understand if we follow poor, that's gonna align us well with these WCAG requirements. We get to find the tools for the how. So whether you're using Microsoft Office or you're using something else, you can use the AM site to help you to find those additional tools. Look for other like-minded teachers, especially within your own peer group, wherever you're at, you can then work together to make that plan. You follow the plan, you share that plan, and you're gonna be showing those good intentions that you're really working on making your content accessible, okay? So the last one here, I think this is my last one, is those webinars. And these are our long recordings that this coming to terms, the meaning of accessible goes much, much deeper into the world of accessibility. And then creating accessible documents and slide decks is gonna get you closer to the how. And it's done on a level that I think will provide everyone with a good baseline for the how of making documents, PowerPoint presentations, slide decks, et cetera, fully accessible. So the session here today is meant to talk to you about, we know that accessibility is important, we know that it, because it's the law, and now we need to work on some tools that can help us to identify how we can approach making all of our future work aligned to WCAG standards using PORE, that remember that acronym for Perceivable, Operable, Understandable, and Robust. And then also for slide, does anybody remember the acronym for slide? I'll let you look that one up. But for now, I hope this gives you a large oversight, an overview of accessibility, why it's important, and some resources and tools to add to your accessibility toolbox to get you started on the path to ensure that all of your materials are fully accessible for an equitable resource and learning environment for all of your learners. So with that, I'm gonna go ahead and end. Thank you all very much for joining me today.


Why did Jesus ask the Father why he forsook him on the cross? Jesus obviously knew what he was doing and why he was doing it. Is it a translation thing or is it something more esoteric? Yeah, I think it's it's a genuine expression of feeling God has forsaken him. I would just say this generally before We want to jump into some things that I think are helpful here To affirm the humanity of Jesus is not to deny his deity here Any more than when he doesn't know what day or hour, you know, he's going to return So in a nutshell and I'm I'm gonna read a section from an important book about the You know the crucifixion. It's called the death of the Messiah. It's by Raymond Brown. Who's was a very famous New Testament scholar Father Raymond Brown. He was a Catholic scholar, but his his special specialization was the Gospels And this is one of the the major works on You know, just like the title says the death of the Messiah, but in a nutshell Jesus knows why he's doing what he's doing that he's he's there to defeat the you know, the powers of darkness and you know, have the solution for you know The fact that you know, we have to overcome death and the Lord of the dead and all this sort of stuff He knows, you know Psalms that are gonna be read in hindsight about resurrect. He knows all this stuff Okay, but yet it's a very human thing for him to feel left alone and in despair You know, he prays and gets so many, you know, if it's possible, you know, please, you know, take this cup from me And you know, but it turns out it's not and so when he has to bear the sins of the world and God doesn't intervene and do it a different way. I think this is a genuine expression of Despair. Jesus is human. He's not just God. He is God, but he's also human And this is one of those things where I think we just need to take it at face value and not try to dress it up and Pretend it isn't there anymore like I said a few minutes ago About Jesus not knowing the precise day or hour that he's gonna return There the humanity of Christ shows in different passages in different ways I think we have an instance of that here Now I like the what I like the way brown Discusses this I think he he does a a nice job of capturing this idea. He says and this is from the death of the Messiah Pages 1048-1048 this is a massive book He says a particular eschatological aspect is the final battle with evil in language echoing Isaiah 11 for According to 2nd Thessalonians 2 8th the Lord Jesus Slays the lawless one with the breath or the spirit the pneuma of his mouth in Acts 8 7 we have you know this this idea of Boa or phonemegale is this great voice great sound to describe the shriek of unclean spirits as In defeat when they come out of the possessed so he's he's comparing this language to the language of Jesus anguish You know the when he cries out Does the violent description of Jesus outcry? This is brown now Suggested in his death struggle with evil. He feels himself on the brink of defeat So that he must ask why God is not helping him In any good drama the last words of the main character are especially significant It is important for us then to ask how literally we should take my God my God for what reason Have you forsaken me again quoting from Psalm 22 verse 2? Brown says there is much to encourage us to take it very literally on the level of the evangelist portrayal of Jesus in the tragic drama of Mark and Matthew in the passion narrative Jesus has been abandoned by his disciples and Mocked by all who have come to the cross Darkness has covered the earth.  Now the question is that of someone who has plumbed the depths of the abyss and feels enveloped by the power of darkness Jesus is not questioning the existence of God or the power of God to do something about what is happening He is questioning the silence of the one whom he calls my God If we pay attention to the overall structure of Mark and Matthew in the passion narrative That form of addressing the deity is itself significant for nowhere previously has Jesus ever prayed to God as God Mark and Matthew begin the passion narrative with a prayer in which the deity was addressed by Jesus as father The common form of address used by Jesus and one that captured his familial confidence that God would not make the son go through The hour or to drink the cup Yet that filial prayer reiterated three times was not visibly or audibly answered and Now having endured the seemingly endless agony of the hour and having drunk the dregs of the cup Jesus screams out a final prayer that is an inclusion with the first prayer Feeling forsaken as if he were not being heard He no longer presumes to speak intimately to the all-powerful as father But employs the address common to all human beings my God brown continues I'll give you a little bit more of an excerpt here on theological grounds Some challenge more directly a literal interpretation of mark and Matthew The charge is made that to take literally the wording about God forsaking or abandoning Jesus would be to deny Jesus divinity Certainly mark did not imply such a denial for immediately after Jesus prayer in 1534 We find the climactic confession of Jesus as God's son. That's mark 1539 Still another objection finds despair being attributed to Jesus in a literal interpretation of the prayer Despair understood as the loss of hope in God or of salvation is considered a major sin And the new testament affirms that Jesus committed no sin. This is a rather pointless objection However, for nothing in the mark and passage suggests A sense of the loss of salvation or forgiveness or even the need thereof Jesus is praying and so he cannot have lost hope. In other words, if he'd lost hope, why would he pray? Calling God my God implies trust Because he saw how Jesus died the mark and centurion confesses that Jesus was God's son Mark could not have meant that Jesus despair prompted such a recognition Thus despair in the strict sense is not envisaged rather the issue is whether the struggle with evil will lead to victory And Jesus is portrayed as profoundly discouraged at the end of his long battle Because God to whose will Jesus committed himself at the beginning of the passion Has not intervened in the struggle and seemingly has left Jesus unsupported That this is not true Will become apparent the second that Jesus dies For then God will rend the sanctuary veil And bring a pagan again the centurion to acknowledge publicly Jesus divine sonship Jesus cries out hoping that God will break through the alienation He has felt that's I'll just stop there with brown. I think that's really a good description that honors the the transparent reading of the text and and Let's it be what it is It's a human expression You know that we've gone through this whole battle and and you know, like God isn't intervening But you know, there are ways to read it and ways to not read it And and brown goes through the ways to not read it and gives examples from the same passages that contradict flawed conclusions About how we should read this again in that section. I just gave you that's what that's exactly what brown does So he's saying there are ways to read this and ways not to read it And and you don't read it certain ways because if you read the whole passage and the things that immediately follow You'll find out how you're not supposed to read it. How you're not supposed to regard Jesus despair But nevertheless, he leaves it in place. He doesn't try to pretend. It's not real