This is the way to do it This is the way to do it This is the way to do it This is the way to do it Welcome to Youth in Action In today's program we have Robot Mutange Let's hear more about what he does Robot, welcome to the program Give us a box to report you so My name is Robot from Kisumu I'm a place called Nyaira I venture into agribusiness mainly beekeeping and poultry but my main value chain is beekeeping because of the interest I have in it so I've been doing beekeeping for three years now and it's a good venture that all the boys youths to do So how come you decided to venture into agriculture? Okay, you know when I came out of college I knew that I was going to get some formal job and you know whatever youths perceive about the formal jobs like when you get out of college you will get a big job and you drive some big vehicles over there sometimes it becomes like a dream because you get out of college and you don't get that job immediately like you expected so when I was at home I asked myself what will I do and how am I going to get money and I started doing some other things to help me get money I was doing extension services related to the course that I had studied I did fisheries and aquatic science so whatever money I was getting I was saving and I was saving had a vision that when I get some certain amount I'll start my own business so when I got like around 50,000 I asked myself what am I going to do with this money and a friend of mine told me about poultry farming and he told me that poultry has good money you can try it and I said like I don't have any modern knowledge about poultry farming he told me that don't worry I'll teach you because I've been doing this for quite a while and there are some organization that offers training to youths so I'll link you to these organizations that offer training about poultry farming and that's how my venture started so let's talk about you've said you had a different training which was fishery and aquatic science so when you got out of campus and you looked for jobs how was that experience for you? most young people are in the same shoes how did you bring it up to your parents maybe that maybe you want to venture into something else because of lack of the job actually at that time I thought that I was going to get some job in a company in Mombasa but I thought this is now the kind of job that I wanted we were called for an interview when there were only six people and I knew that an interview that you attend and you don't find so many people you have higher chances of getting the job I didn't get the job I said no I have to look for something else to do and that's when my passion in farming came in because initially I was doing some small farming and I said like I want to do it in large scale because if I do it in large scale it will lead me somewhere you've spoken about poultry and beekeeping yeah and how did you understand the science of beekeeping is it something you also trained for as you trained for the poultry one actually for beekeeping the same organizations that I used to attend their meetings we were able to get a clear picture about bee farming because actually it's beekeeping beekeeping is one of the untapped agribusiness area in Kenya because you know what people think about this because when you approach the african bee then sting you so I said this thing that people don't want to do it's what I want to venture in because I like doing what not everyone is doing I like being unique there so I said like in my area most you don't do beekeeping and I said that this is now the right thing that I should be doing because it's not flooded and I went for a training so as I went for the training I got more information from the people who have been dealing with bees for a very long time and I was also asking other people questions about bees how do you do this and that so that's how I created interest then this time I was in a meeting with the Australians and this guy gave us the real picture about beekeeping that if you do like a number of hives and you sell your honey at this amount you'll get this man and I said that what am I going to look for a formal job yet I have my own job here I can create my own job that's how I started it Agribusiness among the youth is currently taking root in society yes there are other young people who are still shunning it thinking that white collar job is the thing what can you tell such a person I should tell you to stop wasting time if you have the opportunity right now because it will not wait for you yeah so there are some things you can do as you're waiting for that formal job I'm not telling them not to go for the formal job actually you can still do your agriculture part and still do your formal job the formal job will help you to get capital to run your business so it's still okay but don't wait for the formal job yet there are other things you can do they can venture into agriculture actually right now in Africa we have an issue of food security and if you keep poultry you'll get money it's got a economic value you'll be keeping it gives people jobs and the medicinal part of bees the other things you can get from bees not just honey like you can get the venom it's medicinal for those people who are suffering from arthritis wow yeah then there's pollen it's for nutritional value it's high protein actually the pollen from bees has good protein it can be used to making babies feeds and honey also it's used to make medicine you can make soaps from it it makes it works so in bee keeping you can do so many value additions and you still get your money so it's like your own job creation interesting so in the field that you in the bee keeping and the poultry raring what activities are you involved in at that level actually right now I'm still concentrating on production normally on poultry I do hatching I sell I do three different types of poultry I keep the I keep the local chicken I keep the improved and the broilers because of the different market interest the bees I do the African bees because of the honey production they give like actually one hive can give me a minimum of 10 cages so you can imagine if you have like 20 hives and you sell your honey package at 900 shillings or a thousand shillings you got money and the harvest is not just once if there's a good net of flow you can harvest three times in a year so that's a good income so many youths can invest in this they should not fear bees you cannot face you're speaking of fearing bees but how can one approach a bee nice moment most of us are afraid of them because of that actually you've heard of this case where some people term wild animals they've they've this feature called the cognitive image like bees when you approach them all the time like during inspection they'll get used to you they'll know you yeah they know this person always comes here with the time they'll not be that aggressive when you go to that wild bee in the bush there you approach it they'll attack you but the ones that you keep in the hive they know that this is our keeper is always here with us so it's not that aggressive and you don't even disturb them but to to prevent those issues of bee attack you keep them away from homesteads yeah from animals actually when they sting your cow or hose or donkey they can die from just a sting what is the importance of the work that you do actually it's a source of employment actually when I start beekeeping you can't do it alone you have to have farm help because actually you see for the beehive it's very heavy actually during harvesting you can't do it alone you need someone to help you when you employ someone you create job for them and as a source of nutrition like I said and as a source of medicine and as a source of income also so what goals did you set as you started and where are you at right now and before I started this farming I said like when I reach somewhere I'd be able to employ more people initially I started with one person now I train other people we work together and I said I'll train more people in my village even my cousins my friends if they interested they can train them because I don't want to grow alone I said like even in three years or four years I'll be able to inspire like even more than 20 youths to be doing the same thing that I'm doing because you know these things you can do with them at a certain age when it reaches some age you need to retire from it when I started this I focused on production I said like after a year or two I'll do a large scale and as I grew in this I learnt that there are so many other things you can do in it like I spoke before about value addition and I said if I can be able to produce quality product that can reach the market different markets and like when I work around the country I found my products in this too so it's not about just production but also value addition Speaking of goals you mentioned why you ventured into farming mostly was to find a job for yourself yeah yeah how has that also worked for you in the long run? it was working for me like it's money that I was looking for I can't lie about that and through my ventures actually I started beekeeping I went for the trainings and I said like if I do beekeeping alone I'll be waiting for a period of time to get that money I can do other things like I construct bee hives I sell to farmers who are interested to get some cash out of it and at gone broad like not doing only beekeeping but also helping people like somebody will tell you that there's a bee colony attacking me in my home it is in the ceiling but also do bee removals I do propagations for people at a fee so like you can transfer bees from wherever a farmer doesn't want it to a different location do you adapt some of those bees that you find there? yeah if someone fears the bees don't want them I take them to my sanctuary oh okay they are savior yeah they are savior actually people should not kill bees because they are the reason why we have our food actually the grains we are eating they are like 95% pollinators worldwide these are our greatest pollinators and they are the reason why we get our food so we should embrace keeping the bees as a source of income and also for environmental conservation and are there any other investments you're working on aside from farming or it's just solely farming that you're working on? currently it's just farming and so what is the perception of your family and friends when you told them now I'm going into farming and I want you guys to support me actually I remember there's a place I put a beehive actually it was in my intention to put that beehive there a customer had told me that I need a beehive in three days time I'll go and set it somewhere in the farm there to dry so in three days I found bees inside there and I said like this place is good for bees they can adapt here and output bees there so it took like two to three months no one would see it so my big bro was working around the compound and he saw that beehive there and he came to me he told me man this thing that you put here is very dangerous do you know bees kill people? are you able to go there by yourself? and I told him let's go he went near the beehive he walked around I told them that this is what you're supposed to do and this is not what you're supposed to do and he said like you can live with these things I told him yes but initially they feared it they'll say like somebody said that minimum child okay because when I keep bees and bees some people perceive them to be so dangerous you saw like this guy mani anashikam gwezi na nanyuki na nanyuki na umumdum kono so like they've got that perception that bees are useful like this so sorry I told him that is barbaric don't think of bees that way so the reason why you are eating and you don't know indirectly and how fulfilling is the work? you speak so passionately about it so how fulfilling is it? it's giving me cash and actually right now I don't consume sugar I use my own product there are different circles that support farmers in their day to day activities do you get that support and how do you view the health that they offer farmers? actually a lot of the circles supporting farmers but I've not been so much interested in them but with my youth groups we created something called the YASLA where we are able to do our own savings as members we can borrow from our savings and we do our ventures and there are those do's and don'ts of the group there are those rules that govern how we run our finances and that one has been helping us so much and how has it improved your farming since you started it? sometimes you won't have that capital but you need somewhere to go and get the money let's say you found a hoard of 40 beehives and maybe you didn't have that capital to start you can go there, you borrow some cash after you've executed your tender you pay it back and the good thing about it they give you the loan at a low interest so you're much comfortable and how do you navigate the challenges that you meet while doing your job? are there any challenges and how do you manage them? challenges mostly is on actually about beekeeping during the drought actually we've got a very prolonged drought and bees are really suffered because they don't get nectar and the drought also you have to provide water for them you have to feed them also so that's the most expensive part of it but it's not that expensive because it's not a everyday thing that will happen that's the most challenging then another thing bees make their honey and it's got a very good scent actually for other animals can attack your bee hive like the ants but you are able to to prevent that the honey badger can come and destroy your bee hive and when your equipment is destroyed that's a loss you'll need to look for capital to make another another challenge has been to market the product that you make you produce because actually you see like in honey production it's a mostly adulterated product in the market so you know sometimes you'll go out to the market a customer will ask you like you need to understand your customer so those are challenges too to bring this thing to the market for the farmers to for the consumers to to embrace it actually these people believe only on whatever they find in the stores in the supermarket it's a mid-less supermarket and you really see real so how do you deal with these challenges the challenges they have to be there but the also ways I try like selling my products locally I tell people to test it and to compare it with whatever they've been using before but now I see them impressing their products they know it works so actually in every business you must have a challenge but you always find way to overcome it even though it's very hard to convince some people but with the time they just adapt it then the other venture of poultry diseases has been a challenge sometimes you find you've vaccinated but that strain of the virus is stronger than the vaccine in that time when you've been vaccinated later than you knew and you find your stock led that one is bringing you down for financial because you expect like at a certain time of the month you sell these once you get some money and if they are dead you can't sell them it's a loss but you have to cope up with that for the challenges of my stock dying I involve county veterinary officers they are able to come and do some sampling and some checkups from time to time so where do you see yourself in the future doing this job actually in the next three years ought to be selling my products countrywide and even outside the country if possible so seeing that you're a young person doing such an amazing work in the farming industry what advice do you have to other young people waiting on white collar jobs that often are scarce but there is also a gap in farming industry what can you tell us about that? out time I follow youths kulema siwishamba kulema in a little in a little person in a big in a bookie busy as much as it keeps you busy food security before put up at a chiakula you'll be actually you have to be the first consumer of your product and when you consume your own product and when you consume your own product you'll be able to feed your family able to get some income and you can go out and know of your art and you can go to your home and you can get a certain age you'll be able to buy thank you so much Robert I have left the information you've given me about peace I will try not to be afraid of them kulema siwishamba as a young person embrace other gaps in the field do not rely on one job that may be scarce or may end up failing you in life this has been youth in action I am Nyongweso Grenis see you next time


As you look at the postseason, there are 12 teams in the top two division winners get buys. And that's the part about this that I love, Bob. I've always felt that the division winner should get some merit. There should be more of a prize at the end of the season. And I think that buy is now something to shoot for. You're not going to want to just be a wild card and get into the postseason. You want to be one of those top two division winners because then you get a chance to rest. You get a chance to sit out that first round. You get to establish all of your pitchers and get everyone ready for that second round of playoffs. While the team that advances, who knows what's going to go on with their pitching situation. One thing we also should note, the owners did push for 14 teams in the postseason. And that was something that the two sides weren't able to agree on so they settled on 12. And one other thing, Bob, there will be no more 163rd games of the season. If there are any ties for these playoff spots, they will be settled by tiebreakers. So if you love the 163rd game or the potential for that, and that kind of did, I think it's cool.  They're not going to do that anymore. And it's because of the scheduling. And when you're adding an extra round of playoffs, you have to be able to lock in those dates. And I would think that, that no 163, the tiebreaker, that had the most blowback on social media. It felt like people loved that. But again, isn't that part of breaking away from some of these traditional things that baseball has done to change the game and move it forward? Right.  Any kind of deciding game seven or a 163rd game. Look back in history, I mean the Yankees and the Red Sox and that famous 163rd game. But I agree with you. I do understand as much as a part of me says, oh, it'd be so cool to see two teams go at it. Well, have the type of season where your team doesn't end up in a tie. If you're an 85 win team that doesn't get in the playoffs because you lost a tiebreaker, there's an easy solution. Win 86 games. So I think we will be able to live with not having the 163. I think the fact that we're getting 12 teams in the playoffs and the buy, I'm a big fan of that. You know, some folks said with the 14 team idea, well, then it's watered down even potentially a sub 500 team could get in and then run the table some way. But I look at it this way. Haven't we seen over the course of the past five or 10 years, these teams that are on the fence, stay more engaged and those teams, not all of them, but they take chances. They might make a couple trades at the trade deadline and say, look, we've got a few veteran players on the team. This we've got a small window. Let's go for it. If not, we can reset. But at least they're making a go of it if there are a few more playoff spots available. Right. And adding the playoff spots, but making the teams that are the best teams get put in a better position. And that's what happened in this spot. And I agree with you and I like that idea. How many teams in the NFL are under 500 into the final weeks of the season and are still in the hunt for a playoff spot? But baseball decides to add a couple of playoff teams and there's this outrage. I think the number 12 is a good number.


And by no state, operatives of the police command, Operation Zender, a joint police tax force led by CSB Justin Meyrende, has arrested eight suspected cattle rustlers and recovered six cows from their hideout, parading the suspects at the police command headquarters in Maccorday, the state capital, the police public relations officer. So I say Annene said the suspects were arrested by a team of Operation Zender in Guma and Taka Local Government Areas following intelligence. The PBR added that the suspects confessed to being in the business of rustling and fueling attacks in Benway communities in connivance with some of the headers who gave them the cows to sell awaiting to awaiting buyers who come together both headers and farmers they come together to Russell Castle from the headers and then go back to the headers to tell them that it was the farmers that Russell their cattle and then they begin to clash they begin to fight amongst themselves three of them they will speak with you on what is happening we got intelligence that these people are more than 20 30 carrying out this act some are even foreigners according to what he told us they have formed a group going about rustling cattle and telling headers that it is members of these communities that are rustling cattle in these areas. Meanwhile Annene at a stakeholders meeting said they will fish out the perpetrators of this heinous crime to end attacks in Benway communities. We're going to have a stakeholder meeting. Headers will be called, farmers will be called together for them to be able to fish out these people because they are saying that they are more than 20 doing these things so they have to fish them out so that they can be handled in accordance with the law. She however called on the Benway people to avail security agencies information to neep crime as those arrested will be prosecuted after investigation. you


So, good afternoon. I often find when I come to conferences that I'm one of the few people or come to library conferences and in fact many museum conferences that I'm one of the few people who comes to talk about science. Often times science doesn't get quite so much of a look at it in the museum tech conferences I go to. So I'm very pleased that now I've got a library project that I can come to library conference and sneak a bit of science in there. So the Biodiversity Heritage Library. At its heart the Biodiversity Heritage Library is an aggregator that aims to provide full text access to scanned literature. In these couple of images you can see rare books opened up and out of the compactuses in Museum Victoria's library and rare books are certainly very well represented in the Biodiversity Heritage Library. But we've also got there's also many many journals many serial titles and the journals were originally scanned to the extent that copyright law would allow but now increasingly publishers in institutions many publishers and institutions that we're now going back to are agreeing to sign up to provide access to in copyright literature as well and particularly the institutions who are self publishing self publishing serials so for example our museum publishes its memoirs the Australian Museum publishes its records a number of a number of institutional publishers are quite a more than happy to have their in copyright runs sometimes you get restrictions maybe institutions will say okay we're still making money out of the last two years worth of journal titles for example so you can't have you can have up to two years ago but many institutions now are saying saying yes please take them and put them up so the site has been running for a number of years now it was originally started as a consortium of 15 libraries based in museums and herbaria around the United States and in the UK these figures are down the down the bottom of 88 thousand titles that's the overall corpus of the whole biodiversity heritage library so over 45 million pages are now in the biodiversity heritage library and how did they get there so getting getting all those pages has been done pretty much in the way that Brewster was describing this morning getting a getting a scanner and scanning page by page at Museum Victoria we've been really really grateful to and very lucky to have a team of five volunteers who do pretty much all of the scanning for us they come in three days a week and they do the scanning they do the post-processing and all the upload at our site librarians make the choices about what's going to be scanned the volunteers then do the scanning and we've got a project team of three people working part-time to keep things running so with it with that volunteer contribution we've contributed over a few years 295 295 items from 74 titles so there's a number of journals that we've contributed in a part in there and nearly 70,000 pages given that that's being done by volunteers I think that's a pretty impressive effort different organisations around around the world are doing their scanning in different ways so the Smithsonian who's one of the very big contributors and one of the original founders of BHL for example has a what they call cottage industry scanning like this actually on site but then they also wrap up whole trolley loads of books and send them out to one of the internet archive scanning centres to be done in bulk so most of the public access to the biodiversity heritage library is through a central website whose name I didn't actually put on the site but it's biodiversitylibrary.org and there's also a couple of language specific nodes that I'll mention briefly later in the talk it was very important to us that the site be free and open the organising principle of BHL is that it's public access and no registration would be required no signing up and that the access to the content would be completely free. One of the principles of originally starting the project was to think about how not everybody can physically access the great libraries of the world and even the little libraries of the world. They might be in a country that maybe doesn't have great libraries themselves in that country they may not be able to travel they might be in a rural or remote area and not able to access physically access a library or for science researchers they might simply just be out in the field and want to get those book what want to get there the literature that they need well these days on a tablet or laptop PC so one of the very important things that we've been doing with BHL is trying to develop a financially stable future so that it can remain free and that's been a critical part of the activities that have been undertaken by the secretariat for BHL which is based over in the US at the Smithsonian. So I'd also like to give a hat tip to a very important partner and friend to the BHL except that Brewster's left the room and so it doesn't get to hear it himself which is the Internet Archive and the Internet Archive acts as a really vital conduit for literature being uploaded into BHL so many although not all the volumes in the BHL can also be found in the collection in the Internet Archive what we've done is developed a methodology where the scanning is done wherever the scanning is done right around in libraries around the world a custom-built piece of software called McCall was developed at the Smithsonian that's used to then paginate your scanned images and then the content goes up into the Internet Archive. The advantage of the Internet Archive is that they offer services such as the OCR service which means that individual providers don't have to do that all we have to do is upload the image files and then the Internet Archive does the rest for us in terms of making EPUB versions, Kindle versions and doing the OCR. So this particular screen shows a book that was uploaded by Museum Victoria which is called A Naturalist's Miscellany and here it is in BHL. One of the things that we really value about BHL and being able to put these old volumes in is really opening up the access as well to the images and I'll also talk about that a little bit later. The Internet Archive has also helped the BHL by supplying the machinery for digitisation in the form of scribe machines and again Bruce to mention that earlier mentioned those machines earlier. So in these couple of images on the left-hand side you can see one of the very first scribe machines that was provided by the Internet Archive to the Smithsonian library back in all the way back in 2007. The other image on the right shows Robert Miller from the Internet Archive talking to colleagues in Kenya and BHL in Africa is one of the most recent recipients of scanning rigs. What the scribe scanning rigs do which is a little different to just setting up a scanning or digitisation rig of your own is that it has the software and the software inbuilt to upload straight into the Internet Archive so you don't have to do so much post-processing. Once the pages are cropped and deskewed and numbered then all you do literally is press a button and off they go which makes it very convenient for passing that content through. So as I said I was going to put a little bit of science into this and the Biodiversity Heritage Library was originally started, the original aim of the project was to help support scientists and particularly taxonomists to do their work of naming species. And so one of the features of BHL is seen over here where we run a series of algorithms across each page to look for scientific names and to look for or at least look for strings of text that look like scientific names. Those scientific names are then cross-linked where we can back, there's a tiny little logo there which is the Encyclopedia of Life logo. The Encyclopedia of Life which has a catch line of a web page for every species. If we can find a species name in the Encyclopedia of Life and link it back into the literature then that gives two-way links from the literature into the Encyclopedia of Life and back again. Taxonomy is a discipline that's somewhat unusual in the sciences in that heritage literature is just as important as current literature. If you're in the business of naming a species or looking at a particular group of animals or plants and the animal that you're looking at that you think is a new species is very similar to something that was described back in the 1890s, well then it's off to the 1890s literature you have to go to go and make that comparison. So the heritage literature is actually very important to taxonomists. However, as I've just recently discovered heritage literature is, this is sort of often a little tangent, heritage literature is important for other disciplines as well. So it's not only taxonomy that benefits from access to the literature. This paper was published in ARXIV, the Physics Archive, and talks about how heritage papers in the physics discipline is now being referenced and what they're finding is that the more papers come online the more the old literature is being referenced and so it's actually coming back into use simply through being made more available. So that was just a little bit of a, that was a little bit of an aside. So we have, as I mentioned, other important partnerships. I've already talked a little bit about the Encyclopedia of Life. The other project which is sitting below the Encyclopedia of Life is called Biostore. Now Biostore is a project that's run by an individual academic, a guy called Rod Page at the University of Glasgow. And what Biostore does is it tries to address the mismatch between what scientists, the level of cataloging that the scientists require and the level of cataloging that's available within a library cataloging system. So a researcher looking for references that might be relevant to the work they're doing is looking at other scientific papers in scientific journals and are seeing the actual papers. What tends to happen in libraries is that you will get that journal. Yes, yes, we've got the Journal of Crustacean Biology. It's on the shelves over there. Off you go. Rather than the researcher being able to really provide assistance to the researcher who doesn't just want to know that you've got the Journal of Crustacean Biology. They want Volume 32 and Page 60. And so the level of library cataloging, there was a mismatch between those. What Rod's done is taken bibliographies published in scientific papers and has tried to then go back and re-articulise, if you like, or create tables of contents off digitised versions of journals. And so he's managed to put the journals back together again and then has fed that back into where he's managed to find articles, put that back into the BHL, so that now researchers can actually search on article titles rather than just on journal volumes. One interesting thing that he notes is that sometimes you get a really good idea about how popular a paper has been or more to the point you get a good idea of how unpopular various papers have been. If he can't find a single bibliographic reference to that, to a particular paper, it stays blank in Bios Store. And so there are certainly gaps within Bios Store where nobody's referenced that paper. And so it just sort of doesn't appear. I'll also just quickly mention the Digital Public Library of America. And the BHL has been another one of the founding partners of DPLA and contributes to that service since it's been live, since it went live in 2013. I sort of alluded to the fact that BHL is a global collaboration. And although it was started originally in the US and the UK with a consortium of libraries in those countries, it seems it expanded really through very active activities by the, particularly the US team to get other people on board. So BHL Europe now encompasses most of continental Europe and is run through the library in the Czech Republic. BHL Egypt is run through the Bibliotheca Alexandrina. There's a node in China. CLO down in South America is a BHL node run out of Brazil. BHL Africa is run out of South Africa, but there's most more recently, Kenya has also started to contribute to digitised volumes. And there's an Australian node as well, which I'm the project lead for. And most recently, the most recent member to join is in Singapore. So it really is a global initiative, even though those are very big logos on a very kind of manufactured map of the world. So there's still many places that aren't adequately represented. One of the great things about being part of a global collaboration is the opportunity to meet with BHL partners. And I think one of the ones being able to actually meet in face to face at conferences and at meetings really is one of the reasons for the success of BHL. The partners have learned, have certainly learned an awful lot about each other, about different processes. And we've all always been very impressed at how much enthusiasm and passion different partners bring. So on the left hand side, you can see that we from our fezzers might give you a hint that we met in Morocco. And earlier this year we met altogether in Australia. Next year we'll be heading off to Brazil. As I mentioned, some of the global nodes have particular language, specific aims, challenges and issues. So BHL China is concentrating on digitising texts in Mandarin and providing and so they have their own website which provides which which is in Mandarin and provides tools for researchers in Mandarin. One of their particular challenges was doing OCR in Mandarin and getting back OCR results in Mandarin. And there's had to be quite a lot of tweaking of the OCR engine to actually allow it to cope with Mandarin language texts. In Egypt, as I said, the Egypt node is based at Bibliotheca Alexandrina and it's focusing on Arabic language texts. One of the stories that they tell about OCR is that what they found was they were trying to improve their OCR quality. In the end, it turned out it was the page cleaning software that they were using that was the problem. So the page cleaning software was looking over the pages and it was taking all the dots out, viewing the dots as just dirt on the page and so completely changing the meaning of the words on the page. So once they kept the page a bit messier, the OCR quality actually got better. BHL is also trying to increase its audience and reach out to other non-science potential users. So we think that BHL has reached the however many static number of taxonomists there are in the world and now it would be great if other people started to use it. So there's a very active program for making images, taking the images out of the historic texts and making them available for free for artists, illustrators, scientists, educators, whoever wants to use them on Flickr. And I'd suggest going and having a look in the Flickr site because the number of images and the variety is just extraordinary. BHL also maintains a very active presence on social media and also has a very active blog and has really interesting things like blogging about most recently sea monsters called Releasing the Krakens. More recently BHL also started to look at archival material, we could call it grey material, we could call it archival material, such as scanned copies of primary archives such as correspondence and scientific field notes. So they're now starting to go into BHL as well. The big difficulty with handwritten material is that OCRs have absolutely no help to you. So the BHL, like a number of other services around the place, is using the sourcing help from volunteers to try and unlock those records. So they're putting up material into projects like this one, the DigiVol project in Australia, which is run by the Atlas of Living Australia and the Australian Museum and sourcing transcriptions. Our museum is also doing the same and has started to experiment with uploading some field guides out of our collection. And a third project that the BHL is also doing is looking at OCR correction and how you might be able to source volunteers to help with that and in fact gamify it as well. So I've mentioned the Atlas of Living Australia a few times. So BHL in Australia is the literature service for the Atlas of Living Australia and the Atlas's aim is also to develop an authoritative, freely accessible, distributed, federated, biodiversity management system. Within the Atlas there's a page for every species and within that page you get photographs, descriptions, maps of museums, specimen occurrences, names and classifications, sound files. Soon we'll be getting, including genetic sequences and as part of the species profile we also have literature. So on the literature tab we find the name references found in the Biodiversity Heritage Library and links through to the BHL. And to add in the local content we also reference and use Trove which Amanda also talked about, the National Library of Australia's aggregator. So we use the Trove API to bring back matches into the Atlas of Living Australia. Species names have a very frustrating habit of changing or the species names don't change, the taxonomists change their mind about species names and so we've also written some tricky matching in there. So for example the red kangaroo which you would think wouldn't change its name very much over time but in fact has changed its name a number of times over the many years. So what we do is to actually look for all of those different species names when we send out a server, send out a call to BHL thinking back to the BHL website where you had all those names listed. The names, synonymising those names gets very complex so what we try to do is just bring back matches to absolutely everything we can find. So BHL in Australia provides a digital literature service for the Atlas as I've described. We also do the new scanning projects as I've described as well and we are active partners in the global partnership. We've just started a new project over in Australia and one of the major aims of that project is to assist other institutions who want to start doing their own BHL project and we'd really like to extend the collaboration both within Australia and if New Zealand would like to and we've had a number of inquiries from institutions in New Zealand who've talked about the desire to perhaps get a BHL note up in New Zealand we wouldn't we would not at all presume to say that we would do something for you but we would but what we would like to extend would be the offer of providing any assistance that we could if libraries within New Zealand wanted to band together or even go separately and start a BHL note over here and I think it would be there must be an awful lot of valuable scientific literature over here. I did a quick search in in the existing biodiversity heritage library and and what what we find for New Zealand and what we find is what we found when we started the Australian project which is there's already a lot of content in there relating to New Zealand. This is because the project when it started was done by 15 really big libraries over in the US mainly and they just scanned everything they weren't to the extent the copyright would allow them to they just scanned whatever was on their shelves so there's Australian literature there's literature from countries all around the world including a number a lot of content from within New Zealand so there's a good base to already start from and that I think I think with that with that offer of please come and talk to me if you think there might be any opportunities and we'd be we'd be really really happy to start a discussion. So thank you very much. Thank you Allie. So we have we have a bit of time for questions. Does anyone want to hear? You mentioned that you contributed 74 titles. I believe there's some international master list that dishes out who's doing which titles and you would hand up to do one. How does that coordination and prioritisation work? One would hope that there was a master list. The Europeans were working on a master list until Europeana funding ran out and so now the master list has kind of gone by the wayside a little bit. We got a we did actually get a BHL Australia list up and running a bid list up and running but then we found that we didn't actually have enough institutions who were bidding so that's also fallen out of out of use. Now it kind of comes down to if there's a title that we want to have on you look to see if it's already there and many times it is. Particularly if it's serials. Less so for monographs and then we talked to it's sort of the the US team is now kind of managing the master list. There's not so much scanning being done in Europe now. They're still kind of working on how to actually make the aggregator work and how to make it work with Europeana. So the main scanning is still being done in the US and then the specific language scanning being done in other countries. So it's Africa Australia and the US who are doing English language scanning. So between the three of us talking is kind of how the bid list operates at the moment. That's right. Absolutely. Do you have your own platform in Australia or you're using the American one and uploading everything that's how many different actual separate platforms are there? Separate platform. So the so what ended up happening was that Australia built our own website and our own platform. The the Atlas of Living Australia ran out of money at one stage so couldn't fund satellite projects. We'd also ever when we put up the Australian platform the US team got a bit of platform envy and all said oh this is so nice it's so nicely designed so now the so what you so one of the last things we did before the funding ran out was to merge the US and the US and the Australian platforms. So the design of the of the website that you see is that actually the design of the Australian platform now placed on top of the US system. So in terms of how many platforms there are Africa, Europe, the US and Australia all contribute into the central the central platform. Brazil maintains its own Egypt maintains its own China maintains its own and Singapore's only just starting so I'm not quite sure what decision they're going to make. What we are trying to do is encourage people to even if they've got their own platform make make sure that the content's available in both places so that people don't have to understand quite so much that oh if you want this particular journal you've got to go to this one and if you want this one you've got to go over here. Yeah so no there's no separate Australian platform any longer. What information do you have about your users? That could be explained in a scientific audience but has it gone wider? Certainly with the Flickr group it's gone much much wider than that. So now ever since they started putting the images out it what they found is that it's really the images that that a wider group of a wider audience is really fascinated by. But then that brings in historians as well so you know historically how species some of the literature that goes back to the kind of 18th and 19th centuries even just you know in the the the era of the Wunderkammer and the era of the gentleman naturalist just looking even at the language of how things were described back then I think is quite a rich trove for historians to to mine and research and look at. That's it so please join me in thanking Ellie again.


The Navy continues to aid in the search efforts for the Malaysian Airlines jet. Seventh Fleet sent a second P-8 Poseidon patrol aircraft to replace the P-3 Orion. The Poseidon is the most advanced long-range anti-submarine and anti-surface warfare aircraft, and its capabilities will help detect debris. Walk-ins at Tri-Care Service Centers ends Tuesday. However, the Tri-Care website offers 24-7 customer service options and can answer most of your questions about your health care coverage. If you need personal assistance, you can still call their regional health care contractor for enrollment and benefits help. Eliminating walk-in service is expected to save the DOD an estimated $250 million over the next five years. Read more about these stories at Navy.mil. From all hands update, thanks for watching.


Thank you. And we have Esther de Vries from team 27. Good afternoon, everybody. My name is Esther de Vries. I am one of your endowed professors. And I present here, together with my team, who also are endowed professors. What's an endowed professor? Besonder hoog leraar. Besonder. That means distinct, or does it mean special? We endowed professors have a short and simple but important question for you, Tilburg University. Aren't you missing something? You have 61 endowed professors at this moment. 4% to 5% of all scientific personnel.  You have endowed professors in every Tilburg University school. And all these endowed professors have a liaison with their organization of origin. Did you know that 50% to 60% of your PhD students are external, and that many of these external PhD students have been attracted to Tilburg University because of these endowed professors? This is potential value. And actually, listening to the speeches earlier this afternoon, I see a link here to the blended professional, to the research institutes. There is something in common there. This potential value could help to increase your valorization potential. These people are linked to organizations, and you could use that. It's important, but it might be difficult. Because these endowed professors come here one day, maybe two days a week. And they come at different days of the week. They are scattered all over the campus. They don't know each other. You don't know them. They know their small circle. So if you want to do something with this, we have a short and simple but important suggestion for you. Why not create a community of these endowed professors and integrate that community more with the regular Tilburg University scientific staff? But for this, we need central help and support because of all those things I said just now. These endowed professors don't know each other. They're scattered across the campus, and they come to Tilburg on different days. But we have all these new things that can connect us without actually being in the same room together. And especially now that we have started JADS, and we're doing data science, and we're talking about data, new possibilities. And I've heard a lot about all these possibilities in the previous speeches. It must be possible to create a community that can work together, can learn from each other, and that can also start integrating with Tilburg University regular staff. And it's worthwhile. You can profit from the results. You will have better access to all these organizations of origin. This might help to get external funding more easily because funds increasingly ask the universities to come out of their ivory tower and to collaborate with society when they're doing research. You might get better access to the clients or the patients or maybe the organizations you want to do research on. And you could facilitate the implementation of your study results. And of course it's not only Tilburg University getting results from such better integration. Of course it's also important for the endowed professors themselves. And it's not only Tilburg University who should have to take the leading role here. The endowed professors themselves should also do something. But when I sent out an email and asked them, would you be interested in doing a speech like this on this event? There were a lot of reactions. People were quite enthusiastic. So I think there would be a great platform for an idea like this. And we could all together create more integration in Tilburg University in general. And that would help us to understand society. And hopefully even to advance it, so we have a short and simple take-home message but important, exploit your endowed professor potential to the full. Thank you.


Okay. So I'm ready. Let's start anytime. Oh, yes. Okay. Do you understand what we do? A little bit. I mean, I've read about the beyond CTOS, and I'm quite interested in your take about it. But feel free to add more because we're going to publish either this video or a transcript. So some background material for the reader to understand or linking to your, I don't know, existing V-mail or your medium post or something. And that would also help. So do you need a pitch? I know what's on the V-mail. Three months ago, you have a V-mail link about a mobile application that builds this caregiver application. I think it's the same one as the one that you're referring to, right? Yes, it is. Okay. Yeah. And then now we are making IoT device. That name is LQ. And we want, I want to say, is it possible for us and our team to implement IoT LQ in Taiwan, Taipei? What kind of support do you need?  So you don't need a sandbox or something. So what kind of support would you like to get? For example, we make LQ 100 peaks. Then I will give you elderly person. Then they use, because now is IoT. I think it's more disability for elderly person. Okay. To enable to change. Yes. Because they cannot use a smartphone, right? I'm listening, yes? Yes. So just we want to discuss what we can do in Taipei together. Okay. But the point is that, so this is a projector that we're talking about, right? Yeah. Yeah, right. So you have a home, essentially a home appliance, a projector that doubles as a camera and you want to people in Taipei to try it out. And so like the trial service is part of the rental slash subscription business model. And so you will like the first batch of people who would like to subscribe or at least try it out. That's my understanding, right? So usually the way to go about is to start a, I don't know, crowdfunding campaign or a subscription based crowdfunding campaign. That's by far the easiest way to reach that Taiwanese audience. There's many crowdfunding platforms in Taiwan. Maybe Scott knows a few of them. That's like the standard way. And so, and to me, the pitch seems pretty complete, pretty convincing already. So I'm not sure what else can I help before you move on to your first batch of early adopters. Yeah, we do the crowdfunding in Japan, which is September. Yes. Name is Kibidango. That's a local crowdfunding. Then I will send you the, can you see the chat? Yes, I can see the chat. Okay. Yes, I see the picture. Okay. Uh-huh. That's construction. Then Scott is a member of the BLab blockchain. Maybe you know. I know, of course. Yeah, of course I know the BLab blockchain. Yeah, we work together on air boxes before. We won't use it too. And now we are applying for the AODC, Azure open data platform. And final pitch is 28, 80s to this. Okay. There's a typo in your presentation. Swem AI should be a swarm AI. Oh, sorry. Yeah, okay. And I want to say, what is this?  Mm-hmm. Yeah, the social sector like the air box or the PTT is people who care about the social issues and work together in a voluntary fashion without any like top-down commanding relationship who together brainstorms possible solutions to social problems. That's the idea of a social sector. Yeah, that I think is self-righteous user of the own data, right? Well, of course, ownership is complicated, right? When I say social sector, ownership, I mostly mean the governance, meaning that where the data goes, how the data is processed and collected, and so on. Each participant has a say. But some people mean ownership as a financial reward, like people getting due financial compensation for the data that they curate and compensate. I guess both can be named data ownership. I don't mean to monopolize the term ownership. All right. So my challenging is a business model is data selling. I'm saying as a tipping economy, tips, tips on data to the company and get that small money up to $8 up to $60 or small money. Right. So like a gratuity, the idea is that maybe for most people watching this, you know, it's not a big deal. The idea is that maybe for most people watching a YouTuber, a live stream is free, but people can pay a small amount of money to push a agenda for the YouTuber to talk about. The Taiwanese people is very aware of this kind of tipping economy. There's a thriving YouTuber scene here, and a lot of it rely on these kind of small donations and subscriptions. What do you think, Scott? From a business perspective, I think we need to form an ecosystem to support a caregiving idea. Like an internet business, users don't really pay, but somebody wants the data or somebody wants the reputation. They can pay the money. We can form a small but strong enough ecosystem to support your good idea. That's my opinion. Audrey, can we talk after the final pitch? So of course, of course, we can book another time, or I can listen to more ideas from the community also, of course. Today, Alan, he can speak Japanese, English, Taiwanese. Oh, good. So that, I think, is better. But he's in another meeting. OK. OK. I don't know what time is gone. OK. I mean, you have 40 minutes, so I mean, I can wait. And stand by and once. Can I introduce myself? Yes, of course. Sure, sure. Now I was born in Osaka, but now I'm in the satellite office. OK. And let me see. Can you see that? Yes. It's beautiful. Yeah, rural area. I have this round skirt. Very comfortable. That's great. Yes. And the back of my cat. Uh-huh. OK. Awesome. Thank you. Audrey, can you take a picture with her? Hi, of course. Yes. What should I do? Do you want to say hello? Yeah, hello. Hi. Hi. Yeah. Sea maker baby item? No. Baby sleep pillow. Hi. Baby sleep pillow? Thank you. Thank you. Sorry, she won't say hello. I'm helping myself. I'm a fashion designer before. Then I moved to the IoT. OK. OK. OK. Yes. And a little bit tough, no? 40 minutes. Did you see my pitch video? No? Yes, I did. Can you understand? Yes. So how do you support or the startup? Like my company or startup, another company, are you doing? You can't do the advisor? No, I cannot serve on the advisory board. As a public servant, I can only serve as board member for non-profit organizations. And only if the premier thinkers of diplomatic value. And how do you know the women's startup problem? The women's startup problem? WSL? The World Startup Lab. Yeah. Uh-huh. How do you know? Which, yeah, I know what you're talking about. But I do not have, like, I'm not a board member there. So I'm not sure what you're asking. There's an event that I attended. But I'm not part of the women's startup labs. There is a person called Ramona who works here at the Social Innovation Lab also. Because here is like an incubator. We incubate many social innovators. And so one of the social innovators here with the name Ramona connects to the women's startup labs. And I was, I think, invited to their annual conference to deliver a speech, a kind of keynote. But other than that, I don't really know that organization. Oh, OK. OK. How can you help in Japan? Yeah. So we have high-level talks with the medical officials and people working on the counter-pandemic strategy. We have semi-regular video calls from RCECC, the Central Epidemic Command Sansa. But I'm not regularly attending. I attend only when there is something about like data, open data, or distribution of PPEs and things like that. Then I get caught in such epicenter-to-epicenter diplomatic calls. But otherwise, I try to help by sharing the kind of work that the GovZero community works with the government to innovate on ways to counter the pandemic with the equivalent in Japan. And that's the code for Japan. So I appeared on many panels and so on with Haluseki-san, the leader of Covert Japan, making sure that the people, not only the Tokyo Metropolitan Government, which already works with Covert Japan on the dashboard and many other projects, but also like higher-level leadership in Japan, understand the importance of civic technology and social innovation. So I'm more of a kind of advocacy point of view because I cannot travel to Japan physically now. I limit myself to such interviews and panels, mostly with Covert Japan, but also with many other open source advocates. How is Osaka, Kansai area? Do you know Kansai? Yeah, I have been to Osaka on the DEF CON. That's the Ethereum community meetup. And it was almost disrupted by a typhoon, but I think the typhoon arrived on the very last day. And so people were able to still get a lot of things done. And I shared there the idea of using, for example, quadratic voting and quadratic funding in the Ethereum blockchain for blockchain governance projects, such as Gitcoin, and shared how we plan to make such Ethereum community innovations into political innovations also for the Taiwanese administration, like through presidential hackathon. And so I think many people in Osaka was interested by the idea of taking something that's a business model, a community model, in the Ethereum community and using it in so-called real-world politics. And yeah, I think that's my remembering of the DEF CON in Osaka. But I have not worked with the city-level government. It's just with the few people that went to the DEF CON in the DEF CON venue. Scott? Yes. You want to speak to Audrey? Yeah, I'm surprised to see Audrey face to face. Hi. Yes. I think same age. Age? I'm 40. I was born in 1981. Me too, me too. I'm also born in 81. In March, yeah. I think it's... 1988. How old? Scott? 1988. Ah, okay. Ah, 78, so... I don't know, 42. 42, yeah? Yeah. So let me show you my idea. I generally love the caregiving that's called system or solution. It's very benefit for people. And we've done some similar projects in Taiwan before. That's the Airbus. So... Anyway, back to the original. I was surprised we can join together with Audrey, maybe to bring future, to divide something interesting, to helping people live better. That's why I'm thinking now. Right. We have time, isn't it? Yeah. Yes. Quite long, no? Do you like fashion? Yes. So... Because I can make a growth. Anyway, I will contact and I will make sure what we want to do. Then just final pitch days. Then after, can I contact you? Yeah, of course. And if... So you're recording this meeting? Yes. If you can send me this... Video. Yeah, video. Of course, you can download it right from Skype. And if you're okay with it, you can just post it on YouTube. Then you can send it to your other colleagues. Okay. Okay, good. See you next time then. Okay. Okay, bye-bye. Bye-bye. Thank you, Scott. Thank you.


Hello, everyone. Today, what we're going to do is look at qualitative coding, especially qualitative frameworks. And what happens when you get into a very common situation where you have a very large number of codes or themes that you're using for the analysis of your project and when that gets a little bit too much to handle. Now, the stuff we're going to talk about is quite specific to Quercos, but most of it's quite generic, actually, to qualitative software and any software package that you're using. So hopefully it'll make some kind of sense. So what I've done here is I've created a coding framework. Now, this is a fictional one that I've created. And I think you'll see that it's quite a mess. This is the kind of project that I get sent a lot, helping out people with Quercos. And they say, help. I've been doing ground theory. I've been going through my project. I've created an extremely large number of codes. Now, on the screen at the moment, we have about 100 codes. That's probably about a typical size for the projects I see. I think that's a fairly common number of codes in qualitative analysis projects. Obviously, this can vary greatly. You may just have a few things that you're trying to pull out. So you could have less than a dozen codes. You may have, I've seen projects with many as 500 or 600 codes. Now, depending on the project, that might be suitable for you. But you will need some way of working with those codes and managing them. So in Quercos, you create these codes. Just by pressing on this plus button here, we can create a new code. We're going to call this one in the center. You'll see why in a minute. And codes are created with a random color at a random place on the canvas. And then you can click and drag to move them around. So it's very easy to make codes as you go along. Now, you can also drag and drop codes. So drag and drop text onto the plus button here to create a new code which already has that text in it. So we call this LSO from the London Symphony Orchestra. We've now got a new theme called the LSO, which is just down here. And it's in this yellow color here. And if we put our mouse over it, and the bottom left of the screen here, it will show us what the name of this theme is LSO. So it's very easy, perhaps too easy, to create new themes in your qualitative coding. One of the things you can do to make this a little easier, and I'm just going to do this now, make things a little easier for you, is you can zoom in with this button here to zoom into the canvas. So you can see if you've got lots of small bubbles like this, you can zoom in and see one particular area. So one of the first ways that you could start to sort, group these codes is kind of geographically. So with this canvas area you have on the screen, as I showed you when I dragged these codes to the Barbican Center and the LSO ones around, you can actually kind of put them in a particular place on the canvas, and this can help put things of a similar topic, similar themes together. So for example here, you'll see that I've got these themes here, which I've put together kind of closely together. We've got seats here. These are the different types of seats in a theater. So you may be getting a kind of sense as you look at some of these codes that I'm talking about, music, theater, plays, basically anything that might happen in a concert hall. The Barbican Center and the LSO will be out of clues as to what this project might be about, but I'm not gonna reveal everything just yet. But one of the things that I'm interested in looking at is how people in my research project are talking about the seats, the quality of the seats. And how I've done that is by having these codes here. So I've got back front, restricted view and upper circle. So those are the different kinds of categories of seats that I'm interested in looking at. So what I would do is I went through as somebody was talking here, let's say this section here is about, we imagine this is about the upper circle. We drag and drop some text onto the upper circle bubble. Now we've got some text on the upper circle. And if we want to see everything that we've coded once we've gone through all our sources to see what's on upper circle, we don't click. And then it'll show us all of the code on the right. Home button on the top will always take us back home. So we can create some kind of, make this a little bit easier to manage just by having this kind of geological crust. So just have some bubbles which are close together because they're related. So that's the first thing we can do. But we can also go a step further and we can actually create hierarchies. We can create a hierarchy of codes. So all of these bubbles here, back, restricted view, upper circle, front, they are types of seats. So where we have different types, different subsets, we can create a hierarchy of them. And we do that just by dragging and dropping bubbles on top of each other. So if I take the restrictive view bubble here, I can drag and drop that onto the seats bubble. And now restrictive view is a subcategory of seats. So it's a type of seat. And we can drag back onto there. Back could be about many things and so could front. But in this case, it's about seats. So drag and drop those onto there. Great. So now you can see when we hover the mouse over the seats button, the subcategories pop up. So we can still work with them, but they are kind of clustered together in this kind of petal fashion. So they take up a little bit of space. We've got a hierarchy. So now you can see we've made our canvas already a little bit neater. Excuse me. So what you might notice here is that there are probably a lot of themes like this that we do want to bring together in groups like this. So for example, if we can find, we've got a bunch of different things here. We've got Thomas Middleton. We have Sartre, we have Chekov. And here we've got playwrights. Okay. So Tom Stoppard, Brecht. So you can see now in the coding, there's a little bit of a theme emerging here around different types of playwrights. And again, the same way we can drag and drop bubbles onto here and group our playwrights together. And that means that if we wanted to see everything we've written about different playwrights, everything we've coded to that, we could just double click on the playwrights category. We'll now see our hierarchies expanded here. So we can see the subcategories here, but we can also see any texts that's associated with them. So now we've created these two little groups. I wonder what this project would look like if we use this grouping category to put them all together. Well, I've done this already for this project. So let's imagine you went through and you started putting those into different categories. So choose opening existing project. And I'll choose messy canvas tie-in lead. I think that's, no, choose that one. Yeah, here we go. So now we've put everything into groups. We can see our project has become a lot more manageable. So we actually have only three, four, five, six high level codes, which keep together everything that we want to be looking at in the project. So one of these is people and that's not specific persons. That's different roles that people have connected to the theater. So we've got choreographers, we've got the audience, we've got prompts, performers, actors, conductors, the lead and understudy, producer, critic. So those are the different people involved, but different aspects of what could be used to critique the performance. We've got choreography, reviews, the press, opening night, intubation, voice, timbre, projection, lots of things that might affect the popularity of the play there. It's gonna be a little bit, so you can see it's a bit better. We've also got composers. So composers of musicals here, an opera. So those are all neatly put together. And you can also see, I did something else. I've actually created a color theme. So all my composers are different kind of shades of bluey, pinky, red. You can see my playwrights, you may have noticed earlier, all different types of yellow, green, yellows. And again, this can help a great deal, not just to kind of find the theme you want, but also when you're looking at the coded extracts here and you're seeing the highlights. If you're seeing pink stripes, you might not remember that particular shade of pink means handle, but you'll know that it's a composer. So you can start to see these things pop out from your data as you go through and code them. Now there's also one other thing we've got here now is we actually have under theater, this is in the wrong place actually, we have Shakespeare. Okay. And there are sub-sub categories here. And Shakespeare's not in the right place because Shakespeare should be in playwrights. So we can pull that out from theater. We can put that into playwrights, great. So now we have Shakespeare's with the playwrights and we've got separate codes here for a bunch of his plays. So we can have sub-subcategories. So we talk about playwrights, we talk about Shakespeare, we can talk about specific plays. So this is a way, you could imagine we could have hundreds if we had all the different plays of Tom Stoppard, if we had all the different plays of Mamet and Thomas Middleton and Brecht, then we would be talking about a lot of different themes here and managing them in this sub-subcategories way will keep things neat. But obviously it's a logical order. So if we're selecting a piece of text that we want to code, we drag a drop and put it onto playwrights and then Shakespeare and then MVA. So that logical kind of grouping also helps us speed through the coding process. So that's one thing that we've done. But what if there's something else? What if there's some kind of category that we want to pull across that doesn't have this kind of hierarchical structure? Well, what if we've got themes which want to go across this hierarchical structure? Well, there's a different way to do that in quirks which is called the levels or grouping systems. It will be in the new release in a couple of weeks. This basically allows any number of themes, any number of your quirks, bubbles or codes to belong to any number of other groups. So for example, what's a good example here? So for example, we've got here theater sound engineer. So that could be in people, but it's also been related to theater because it's quite a technical role. So we may want to have something that goes across it. We have composers here, obviously attached to music, but some of them may have written plays as well or playwrights may have had their plays turned into opera or into other forms of entertainment. So let's try here creating a new category. So we choose quite properties. That's where we can change things like the color. We can put along a description. We can change the title. We've got this box here for levels. So let's click on manage levels. Create our first level and call it music. Create another one, which is called issues. We've got two very different categories, the ones which are actually going to go across all of the different codes that we have. So composers, I'm going to associate that with music, but not with technical issues. So I'll say that. And Philip Glass, okay, so he's a minimalist composer. So we'll put him into the music categories as well. No technical issues associated with him, unless we're trying to play one in a very complicated hostility. Now the playwrights category, there's nothing here that we want to have associated music, but there probably is here for the people. So for example, we've got the conductor. Now that's going to be something we want to associate with being about music. So you can see here we're going through and we're creating another way to group these codes together, but they don't have to be in the hierarchy. They can go across these. So any others here? So the current, no, I don't think any of those other words will probably be specifically about music. I don't think any of these will either. They might be though. So for example, voice. Let's put that as associated with music, but that might also be associated with plays. So we've created another one called plays. And obviously the voice is going to be very important when we're talking about performance. So it may be a baritone, it may be countertenor or something like that, but it also may be important in the play how someone projects their voice if they're not singing. So that way the subcategory voice here we know is something that has an element about it which is about plays and is about music. Is there anything else here? So genre, okay, right. So this will be a good one. So we've got musical here. So that's definitely going to be about music, ballet. Okay, so that's an interesting one. So this is probably going to be music as well, but it's something else, opera, great. That's going to go into music. And then for technical issues we may have things like this sound engineer property here. Let's not get too much into technical issues. So what would happen here is using the query view here, now you can see we can choose the level here. We have our levels, music, technical issues, plays. If we choose music, we'll get results here from all of the things that we associated with being about music. Now we didn't do any coding in this project. There's nothing coded to any of these themes that's not showing us any results. But this would show us only results which are about from the themes which we tagged about being about music. And we could likewise do the same for plays or we could do both. So we could do things which are about plays and music. So that's where the voice category would come up. If we did a query there, if we had some results voice would be the only thing giving us results here. So that's another way that we can kind of create these groups and categories. But there may come a stage where even with all of this it's just still a little bit too much to handle. There's a couple of other things in Quercos that might help. So one of them is on this view button here, there's lots of different ways that you can arrange this so we can put it into ascending order. In fact, let's just go back to the messy project for a second. So this would be very difficult for us to navigate, but if we put it into alphabetical order so this now puts it into a grid on alphabetical order could be a lot more easy to find actors adaptation as you like it audience by a beta. So they're not in any type of theme here because we undid the grouping that we did but now alphabetical order that might help. The other option that we have here is there's a list view and this is a lot more familiar if you've got something like review something like Quercos or a Vivo or QDA before. This is the kind of standard thing. It works in the same way as the bubbles. You can just drag and drop text onto them but because it gives you a list like this it can be a little bit more difficult to easy to navigate even when you've got these kind of subcategories and subcategories because everything is expanded out here. So where's my Shakespeare? There's my Shakespeare, turn with the shoe. So you can see all the subcategories here are expanded but let's go back to the bubble view here. There may be a stage that we turn off the alphabetical order. So there may be a stage that we decide that we actually don't need this many themes in the project. Now, when you go through and do the coding it's such a laborious process with qualitative analysis that it kind of makes sense to use as many codes as you think you might need. And the reason for that is it's a lot easier to merge themes together at the end than it is to break them apart. I'm gonna show you doing both of those things but take my word for it. Merging is easy, splitting apart codes is difficult because you have to say for every code in your theme which of the new things you will just put it up to. So for example, if we have this theme here oratorios, what if we wanted to split it up into oratorios written before 1800 and oratorios written after 1800? Now to do that you'd have to go through oratorios, everything you coded about in oratorios and you'd have to put those texts into separate categories. So separate categories for before 1800, after 1800. So essentially we'd have to go through and recode everything in that theme. But what if we've been kind of pedantically detailed all the way along? And we've done all of these things. We've created so many themes that they're gonna be very useful for us. Okay, so oops. So you see here, I've got two different categories here. So this is a slightly tongue-in-cheek one here. One for the Scottish play and one for Macbeth. I don't know if you know the old joke but there's a superstition about actors saying the word Macbeth as it's bad luck. And so it's referred to as the Scottish play. So what if I went through, I started coding Scottish play and Macbeth together and I decided that that's absolutely ridiculous. People aren't saying anything different about the ways they say that. Let's merge these two themes together. It's actually very easy. So if we right click on the Scottish play choose merge quirk into, that'll put everything that we coded into as the Scottish play into the Macbeth theme which is above it. So we'll choose merge quirk into and then we'll choose Macbeth. Anyone's called it Macbeth merged and they've changed but we'll just call it Macbeth. So now we got rid of the Scottish play but the contents were all subsumed into Macbeth. So we didn't lose anything. So that shows how easy it is to merge things together when you decide later on that you don't need that level of detail. It's much easier than breaking it out afterwards. So I think it's, a lot of students get to a stage where they have a canvas that looks like this. They have hundreds or hundreds codes and they panic that it's just too much to manage. It's too much detail. It's fine. You just need to have a separate stage of kind of coding your codes, bringing them together, merging them possibly and also putting things like this so you can merge together, group together. And so you may get to a stage where you've got a project that looks a lot more like this. It's grouped together. It's much easier for you to work with. It's also much easier for other people to work with. So if you're trying to share your coding with someone else, supervisor, someone else working on the project, collaborator, obviously having a logical structure like this can be really helpful. Now, the messy kind of canvas we had earlier, for a lot of people, you may get so much muscle memory, you know where things are, you know what you've called things, you're mean by those, but it makes a lot of sense like that and it's easier to have that messy canvas for you. When you start to want to share and communicate that project can be a challenge. So all of these different things can help you to do that. Okay. So that's the basics that we were going to talk about today about managing your coding framework. Remember, whether you're doing grounded theory, where you can create things on the fly, where you're creating a framework at the beginning and coding very strictly to that, both of these problems and issues can occur. So it's something that you should always bear in mind as an unfinished project. And in fact, one of the things that I would argue is most people have multiple layers, multiple levels of their coding. They will go through it multiple times and they will do other things. So for example, that's one way you might use the levels. You may have level one be my first coding attempt, level two, my second coding. Well, why might you do that? Well, if you see the kind of coding that we've done here, it's very basic what's called descriptive coding. So it's very literal analysis of what's in the text. Literally someone is talking about open night. Literally someone is talking about voice. Now we've had to do some interpretation to decide what goes into those themes, but they're not very high level themes. They probably don't connect very well with our research questions. They probably don't help us get to an answer about what we're trying to find in the project. At this stage, once you've been through coding like this, most people will find that it's time to do a second level of coding. So to keep these codes in coding, but to have a higher level of analysis. So for example, we may have here, there's leading to the demise of opera. So maybe one of the things we're talking about is why opera became so much less popular than it was a couple of hundred years ago. And when we go through in code, there may be specific things that our participants are saying that might illuminate that. You can also see that some of these codes might help. So maybe this is about reviews. Maybe it was about the popularity of musicals. So some of these themes here you might kind of pull out and start putting in this kind of like higher level category. So maybe musicals is a thing. Maybe we didn't talk about seats, but we don't have something about the cost. So maybe that was a big thing. So we can put in a little cost. So we may also get to an even kind of higher level analysis in culture, trends, fashions and things like that. And so we're trying to get to a kind of higher level. And then what we might say is that there's a research to question that's closer to our thesis. So if we're thinking that maybe access to recorded performances was one of the things which led to the demise of the opera, then that's something that we can pull out. And again, something that might come through as one of the very kind of basic things we've already coded. So maybe people were talking about first time they owned a CD, first time they owned a radio and so forth. That might explain why some of these factors have changed in the long run. So I would create a separate level for these kind of low level and these kind of high level themes. I'm gonna keep these levels that I have at the moment, but we'll create a new one. Oops, four. So I'll put that as one of my high level codes. And then later I can see, and you can merge things into there of course, some things that might be much closer to my thesis and my research questions. That's very difficult with this kind of abstract example to see how that will relate to your own research. But it's a very common thing that people will go through and do one to three times, reading through their data, coding through their data as a kind of a thesis emerges, an idea about what's the commonality and what's the interesting thing which is popping out across the data as a kind of a higher level theory. So these theory level codes are very good as putting it as a separate level. So that's pretty much all that we were going to do for today. Please let me know if you've got any questions, anything you would like me to cover in this session. I said today is slightly odd one. We're actually just talking about a very common issue, but one which lots of people talk about. So this is managing a large number of codes and what to deal with them. I'm just trying to show you how easy and colorful and fun that could be to do in Quarkus. So I don't have any requests from the viewers. So thanks for coming along today. As always, do go to our website, download the free trial, and you can also see that there are example projects that you can use there. There are blog post articles. We've also got video guides and tutorials which will help you go through and learn how to do this. Now the blog is also very useful sort of the information here because we have posted kind of a generic qualitative issue. So about qualitative observation, there's an article there. There's also a qualitative mass and monitoring evaluation, using qualitative literature reviews. But you can see there's one here about coding frameworks. So this one here talks about these kind of feedback loops I was talking about higher level codes. So there's a lot more detailed information on the blog if you want more on this specific issue. And that's just www.quarkus.com forward slash blog. Thanks so much for coming along today. Hope this has been useful. And do get in touch if you have any questions. Thanks very much for coming along today.


Hi everyone! Welcome to a new video here on my channel. Today I will be showing you a simple method that can help you draw different fashion figure poses for your fashion illustrations. In this video, I just want to note that I will be using the nine head technique as a way for me to draw my fashion figure. So if you don't know what the nine head technique is and you want to learn more about it, then I highly suggest that you watch the video that I have uploaded on my channel regarding this topic. It goes into detail as to how I use that technique to draw my fashion figure. I will link that video in the card section of this video and also in the description box below. Like I said, I highly recommend that you watch that before watching this video. But if you already know the fundamentals of creating a fashion figure specifically using the nine head technique, then let's get started. In this video, I will be showing you how to draw the fashion figure in a relaxed pose, in particular the contra costo, which is a pose with most of the body weight on one foot so that the shoulders twist off the axis opposite from the hips. So take note of that, the shoulders twist off the axis opposite from the hips. So let's get straight into it. Right here, as you can see, I have a paper with horizontal lines drawn out to help me draw the fashion figure in the most ideal fashion proportions, which is normally the human figure, but just with longer legs. I'm going to start drawing a vertical line that starts from the neckline, which is one third down head number two. So this line extends all the way down to the bottom of the feet, which is line 10. And we call this line the balance line. And this will act as a center axis for our other guidelines. This also helps keep our figure and pose balanced, meaning that the pose can be done by a person, but also that person is able to hold the pose for a long period of time without losing balance, hence the name balance line. The next guideline that I draw is what we call the S curve. So this line also starts from the neckline and the tip of the balance line. So just in that intersection, and then it has a turning point on the intersection between the hip line and the balance line. And it then finishes down to the intersection between line 10 and the bottom of the balance line. And it actually looks like the letter S. However, you can also draw this as a reverse S, depending on the pose that you want to create. But this guideline or this curve is basically what the term contra posto is all about, because the curve of the upper body counters the curve of the lower body, just like the letter S. And this guideline will also be helping us determine the curve of the torso, which is normally from the shoulders to the hips. And that actually will lead us to the next set of guidelines. When it comes to drawing the width of the body, I like to use a one is to 1.5 ratio. What that means is, if I have drawn the head as one inch tall, then the width of the shoulders will be 1.5 inches wide. And if I decided to draw the head to be bigger than one inch tall, such as, for example, it'll be two inches tall, then we do the math and calculate that the width of the shoulders will be 1.5 times two, meaning it will be three inches wide in total. And I will use that measurement as a guide for the shoulder line, the apex line, a waist line and the hip line, which are all part of the torso. And these lines are actually going to be called action lines, and they come in pairs. So the shoulder line is paired with the apex line. And these two lines always stay parallel to each other. Then there's also the waist line and the hip line as their own pair. And they also stay parallel to each other. And why I say that is because the way action lines work is that they rotate along the balance line. And the rule is that the top pair of action lines will always rotate in the opposite direction of the bottom pair of action lines. And the way that they rotate is determined by the direction of the S curve. Like I said, you can draw the S curve as a regular S or you can slip it and reverse it. So a good way to remember this is the side of the torso that the S curve is located on is the side where the torso extends. So if the S curve is located on the right side of the torso, then the torso extends on the right side as well. From here, we now have new shoulder apex, waist and hip lines, which are represented in yellow. So these are the new guidelines that we will be using when drawing the figure in motion. And we can also start by adding a center line to the torso just so it can help us later on with symmetry. And once we have drawn all of these lines, then we can start drawing the body parts. This video is sponsored by Skillshare. And I do want to thank Skillshare for making yet another video possible. And I'm sure you guys already know what Skillshare is, but if you don't, Skillshare is a really great online resource that you can use because they have a wide range of video classes taught by professionals and creatives. So if you're looking to learn something, improve your skills, Skillshare is definitely the place to go. And more specifically, if you're looking to learn how to draw fashion illustrations, Skillshare actually has a bunch of classes just for you. And one that I would actually recommend is from one of my favorite fashion illustrators and the fashion illustrator that definitely inspired me to get started, Katie Rogers. So she has a class on Skillshare called paper fashion, telling a story through fashion illustration. And I hope that when you watch this class, her style will inspire you just as much as she inspired me to get started on fashion illustration. However, the best part about Skillshare is that they offer more classes, so many classes on different topics, not just fashion illustration. So if you're also interested in learning photography, design, business, lifestyle, productivity, so much more than I highly, highly recommend that you check out Skillshare. I actually have a special link in the description box where the first 1000 people to sign up using that link will get a free trial of Skillshare premium. That gives you unlimited video content that's normally valued at less than $10 a month if you pay annually, which is still a pretty good deal even after your trial expires. So I highly recommend you guys to take advantage of this offer, check out the links in the description box for other resources on how to draw fashion illustrations. I always start with the head and for this one, we're just going to draw the head straight on. I'm not going to make it twist or turn in any way because I want us to focus more on the torso and how it actually changed with the new action lines. So I like to start by drawing the body parts as either straight lines or circles or joints. That just helps me map out the body. And starting with the upper half of the body, I make sure to follow the action lines, but also still maintaining, you know, the general proportions of the body. For example, the waist is generally smaller than the shoulders or the hips. So I make sure that when I'm connecting the shoulder line down to the hip line, it goes inwards to kind of show or try and define that area. And once I'm happy with the boxes and circles, then I go ahead and I actually add some details and I also soften those curves. And that's why I like to start off with straight lines and circles, because then I don't end up committing to those lines just yet until I am happy with them. The next thing that I draw is the support leg. And this leg is located on the side where the S-curve is on the bottom half of the body. So for this demonstration, the S-curve finishes on the right side of the balance line. So the right leg becomes the support leg, meaning it carries most of the body weight. That means that when you choose a position for the leg, I actually have two tips. One, place it closer to the balance line to keep the figure looking balanced and realistic. And two, also make sure to keep the support leg straight. The reason why I say that is actually more from observation than it is an actual rule. And I would highly recommend that you also try and make observations from either real life or reference images. If possible, take a reference image of a relaxed pose or a contraposto pose, draw where the balance line is from the neckline down, try to identify the S-curve and also identify the rotation of the shoulder and the hips. And then see where the support leg is in relation to the balance line. Normally, it is closer to the balance line than the other leg, and most of the time, I'm pretty sure all of the time, it is also straight. So for my drawing, I have decided to simply follow the curve of the letter S for the support leg, but I'm trying to make it not so dramatic because we're keeping it grounded on reality. And to help me draw the leg, I draw circles for the knees and the smaller circles for the ankles. And then I connect those with straight lines. And once I am happy with how that leg looks, I then add the details and I soften the curves of the thigh, the calf, and the feet. And basically we have created our support leg. And once you've drawn this, you have drawn all of the parts of the body that need to adhere to the guidelines, meaning the rest of the arms and leg that we are going to draw from here on out, we can change their positions to whatever that we want in order to suit the pose that we want to draw. Let's first start with the arms. The guidelines for the arms also shift in a moving pose, firstly, because the arms are connected to the shoulder line. Therefore, if the shoulder shifts so to do the arms. So basically, I just copy the angle of the shoulder line and rotate the lines for the elbows, the wrists, and the hand. Once that's done, I draw circles for the joints and then I connect them. And once I'm happy with the pose, then I soften the lines and add in the details. However, if you want to completely change the position of the arms, such as for example, putting the arms on the waist, all you have to do is take note of the distance between the shoulder line and the elbow line. And that distance is actually one and a half head. The upper arm rotates from the shoulder line. So simply rotate that line at a 1.5 head radius, and that becomes your new elbow line. And all you got to do is draw the circles for the joints, connect that elbow to the wrist, which falls on the waist, and then draw the hands. And if you actually want a detailed tutorial on how to draw hands, I do have a video on that in my channel. So I will also link that in the description box down below. Now for the legs. You can draw the legs extended or bent basically the same way we did for the arms by taking the measurement from the crotch to the knee or from the knee to the ankle and then kind of just rotating that using that measurement as its radius and repositioning those body parts. However, for this demonstration, I personally like to use an extended leg just because it's a better looking pose, but it's completely up to you what pose you want to create. I would highly recommend using reference images to help you draw a relaxed fashion pose. That way you are able to take note of all of the common poses, how the legs move, how the arms move, how the torso moves in a relaxed ending pose. When it comes to this kind of pose, there isn't actually a lot of variations, but it is a good starting point because drawing poses can be quite intimidating, especially the more complicated it gets. So I feel that this is a good starting point or a foundation and then from here you can move into more advanced techniques. And like I said, if you are keen to see more tutorials on advanced poses, comment down below and also feel free to vote on my polls which I post on my channel. So that way your tutorial request might just be the next one that I make. And with that said, I will end today's video. I hope that you found this information useful. If you try this method, please tag me. I would love to see it. And thank you so much for watching this video. Please leave a comment, like and subscribe, share this video as well for fellow artists and fashion illustrators. I wish you the best of luck with your art journey and I will see you in my next video.


Seating arrangement is very important in every classroom. Some teachers choose to let their kids decide where they want to sit and that doesn't always work out because we get relationships with other friends in the classroom and we can have disruptive behavior. It can lead to not being able to focus correctly. So in my classroom in early childhood, I choose where they sit. On my carpet, I have letters around, a pond, and at the beginning of the year I have them stand around and I choose where they sit. I usually try to sit them boy, girl, boy, girl. This kind of helps with behavior issues and academics as well. In my seating for snack or for work, I also sit them boy, girl, boy, girl. Now this helps them to get relationships with new friends and to form kind of a family unit. I do switch their seats once a month. So it's kind of that celebration of a brand new month. So you get a brand new seat, a brand new position to sit and new neighbors on each side. When I do have them choose or when I choose their new places to sit, I have them introduce themselves again to the neighbor on the left, the neighbor on the right, and then I have them promise that they will take care of each other as they sit together for the next month. This really helps them to focus on the learning and they can sit with whoever they want at lunch or they can play with who they want to recess. And as the teacher, I choose where they sit to help them to be their best.