Let's do this problem. It says, biochemists have discovered more than 400 mutant varieties of hemoglobin, the blood protein that carries oxygen throughout the body. A physician studying a variety associated with a fatal disease first finds its molar mass. She dissolves 21.5 mgs of the protein in water at 5 degrees Celsius to make 1.50 mls of solution and measures an osmotic pressure of 3.61 tor. What's the molar mass of this protein? So the first thing we need to do or think about is, well, what is the equation for the osmotic pressure? So when we do that, we know pi equals molarity times the gas constant times t. So, well, we don't have molarity. That's what we're looking for. The gas constant I've written down here already for you. And t is right here. But t is not in the appropriate units. So we're going to have to convert that. So in order to do that, we just put 273 add 273 to it. We can calculate. So 278.0, I guess, let's put 278. OK, so let's rearrange this equation to solve for molarity. So molarity equals pi divided by RT. Everybody OK with that? OK. But pi here is in units of tor, right? So we're going to have to convert that before we do anything as well. So do you remember the conversion factor between tor and 760 to 760? Yeah. 7, 5 times. So we've got pressure in the right units. We've got temperature in the right units. So let's go ahead and figure out what the molarity of this is. So I like to do this for you guys kind of the baby way where you break up everything into dividing bit, right? So let's just do that. 0.0821 liter ATM per 1 mole kelvin. So you can see what our units are going to be eventually where they cancel out. And then we're going to multiply this by 278.1 or 0.0 whatever you got, kelvin. So cancel, cancel there. Leaders are nothing divided by leaders divided by moles. Is moles per liter? Is everybody OK with that? I wonder. So let's go ahead and plug in Chubb now. So divided by 0.0821. We're going to divide that by 278. And just to make sure, right? Molder. OK. So as you guys remember, what molar is here? So that's moles per liter, right? So remember, we're looking for the molar mass of this thing. So we still got to figure out, well, what is the number of moles, right? So this is moles per one liter like that. So the molar mass is going to be the number of moles or the number of grams per mole, right? So let's write that down over here per mole. So notice, we've got grams here or milligrams, which we can convert to grams. Is everybody OK with that? And we've got moles here. But this is moles per liter. Did we have a liter solution? 1.5 mils, right? So 1.5 mils. So we're going to have to figure out, well, how many moles, this is how many moles is in a liter? Are we going to figure out how many moles is in 1.5 mils? Is everybody OK with what I'm saying? Wonderful. So you want to remember one liter, 1,000 mils times 1.5 mils, like that, right? If we cancel, cancel, cancel, cancel, that should give us the number of moles of protein. Is everybody OK with that? OK, so let's do that. Divide it by 1,000 times 1.5. OK, so the number of moles of protein we have is 3.12 times 10 to the negative 7 moles. Got that? Moles of protein. Wonderful. So now I'm actually going to have to erase some of this. I'll have enough space on the board to continue. Can I erase this part of the board? Would anybody have any problem with that? So the mass of the protein is given to us in milligrams here. But we want that in grams, right? OK, so the mass of the protein in grams is going to be 1,2,3, right? So 0.0215 grams, like that. Is everybody OK with that? OK, so do we have the grams of the protein now? How many grams we got? Do we got how many mils we got? Help me out. Do we have those things? Yes, we do, right? Is that all we need for the molar mass? So now let's just plug each other. OK, so molar mass equals the grams, which is this. 0.0215 grams divided by the number of moles. 3.12 times 10 to the negative 7 moles. OK, and it's a protein, right? And so for all you biologists, would you expect that to be a very high molar mass or a very low molar mass? Very, very high, very high. So let's see what it is. So 0.0215 divided by the answer. And I get something that's 6.89 times 10 to the 1,2,3,4. 4 grams per mole. Pretty big molar mass. Any questions on that one? I know there was a lot of steps, OK? So watch out about all the steps. Just make sure you're solving for the things you're solving for, OK? So you know what molar mass is. Look for a number of moles. Look for grams, things like that, OK? Questions before I kill it? Wonderful.


A young woman stands in the city street. A hand reaches out invitingly towards her face. The same woman, now sitting in an opulent room, smiles and snaps her fingers. Here, perched on the edge of a bed, in a state of semi-undress, she provocatively meets our gaze. But now, her eyes seem sorrowful. She stands in a line of dejected working figures. And here, we see only her gaunt and deathly profile, tilting upward and shrouded in drapery. Finally, we no longer see her at all. Instead, a coffin, carrying the inscription, M. Hackabout, died September the 2nd, 1731, age 23. So ends a harlot's progress, a series of six engravings published by William Hogarth in April 1732. My name is Mark Hallett, and I'd like to welcome you to the first of a series of six films organised by the Paul Mellon Centre as part of our 2021 programme of public lecture courses. All have been made in close collaboration with the filmmaker John Law. These films focus on Hogarth's work as a painter and engraver, and in particular on what he called his modern moral subjects, the first of which was a harlot's progress. These are extended pictorial series that tell rich satirical stories about Georgian society and culture. They sparkle with visual wit and invention, and in their own time, they opened up an entirely new range of possibilities for British art. In the first two films, I will explore a harlot's progress in detail, and then turn to its even more elaborate successor, a rake's progress. In our third and fourth films, Meredith Gamer will investigate Hogarth's most searing pictorial sequences, industry and idleness, and the four stages of cruelty. In the final two films of our programme, Elizabeth Robles will reveal how two distinguished contemporary artists, Yinka Shonobari and Labena Himeid, have responded to Hogarth's pictorial series in their own practice. Let us now return to Hogarth's harlot's progress. This originally enjoyed a dual existence, as a set of six paintings that the artist produced between 1730 and 1731, and then as a set of six prints he published in the spring of 1732, which faithfully reproduced the painting's contents. Sadly, the paintings were destroyed in a fire in 1755. Luckily, however, we still have the prints that Hogarth made after them, which will provide my focus in this talk. The first of these engravings introduces Maul, the harlot of Hogarth's series. She is the young woman standing in the street. At this point, she is portrayed as a beautiful but rather naive country girl who's only just arrived in London, having travelled to the city on the wagon seen on the left. She has been approached by a stranger. This older woman, despite her parent friendliness, is a brothel keeper. She's about to lure Maul into the world of prostitution. The second engraving in the progress is set some months later. Maul, having passed through the hands of the procurus, is now the kept mistress of a Jewish merchant and lives in some luxury.  Maul snaps her fingers and kicks over a tea table in order to distract him. This allows her lover, undetected, to tiptoe into the room. A third installment of the series depicts Maul having fallen to the status of a common prostitute and living in a ramshackle garret. She is shown being tended to by a bunter or servant and swinging a stolen watch in her hand. She smiles flirtatiously out at the viewer, entirely unaware that she's about to be arrested by the magistrate who, struck by her beauty, stares at her from the doorway. Hogarth's fourth engraving is set in London's notorious Bridewell prison. Maul, serving out her sentence for prostitution, miserably beats hemp with a hammer under the supervision of a brutal warder. A fine dress is fingered by a winking woman and beyond we can now see that the ragged line of figures are Maul's fellow prisoners, whose hammers can be imagined thudding out a desolate rhythm. The progress's penultimate print is in another bare, bleak garret. The drapery that swathes Maul's body is a sweating blanket. She is dying of venereal disease. Her illegitimate child plays next to the fire and a woman rifles through her trunk, looking for clothes to bury her in. Maul's servant, the same servant who tended her in Hogarth's third plate, swivels around in anguish while two complacent quack doctors squabble over the respective merits of their medicines. Medicines that, for Maul, have proved fatally ineffective. Finally we see not Maul, of course, but the partially open coffin which holds her corpse, lying in a room crowded with those who are attending her funeral. One young prostitute peers in as if learning a lesson from Maul's example, but around her, vice and lust, deception and delusion continue to run rampant. On the right, the undertaker makes his own one prostitute. On the left, a parson seems to have his hand up the skirt of another. In the picture's centre, meanwhile, Maul's child plays alone, ignored by all those around him. Who then was William Hogarth, the artist who produced this compelling series, and what had been his creative trajectory up until this point? By the time Hogarth began working on this pictorial series, he was in his early 30s as an especially prominent figure within the British art world. Having grown up in London, where print shops are bounded, he'd initially embarked on a career as an engraver in 1720. Over the next decade, as he began building up his reputation as a graphic artist, Hogarth turned his hand to two pictorial formats that were vital in providing him with the skills he drew upon in his later series. One was a production of pictorial satires of contemporary society. The South Sea scheme of 1721 dramatised the chaos and madness generated by one of the first global financial crushes, which came to be known as a South Sea bubble. The bad taste of the town of 1724 lampooned the fashionable taste within elite society for the foreign forms of the opera, the masquerade and the pantomime, and for continental art and architecture. These are images that are already fizzing with the scathing forms of satirical commentary, and the dense accumulation of pictorial detail that Hogarth was to repurpose in his modern moral subjects. A second important strand of Hogarth's graphic practice during the 1720s was his work as an illustrator of historical and poetical writings. One such text was Samuel Butler's poem, Hugh de Brass, first published in 1662, which satirised the political and religious conflicts of the English Civil War. In 1726, Hogarth produced a commissioned set of 12 large engravings illustrating scenes from Butler's enduringly popular work. In them, we can already see him beginning to experiment with the format of a series, and with the possibilities of telling a visual story that unfolds from one image to another. As well as honing his skills as an engraver, Hogarth in the 1720s developed a parallel practice as a painter. This culminated in a series of paintings, some for and all that depicted a climactic scene from John Gay's theatrical sensation a beggar's opera. Gay's Ballad Opera, first aged in 1728, was a multi-layered satirical extravaganza that featured numerous prostitutes, a crooked jailer and lawyer, a flamboyant and charismatic high woman, Captain McHeath. It featured scenes set in taverns and prisons, including the prison scene painted by Hogarth, who had a highly appealing female romantic lead, Polly Peachham, whose fluctuating fortunes are traced across the play's successive scenes and who we see dressed in white on the right of Hogarth's paintings. The beggar's opera was not only a huge commercial hit, but a production that was recognised by Gay's contemporaries as heralding a radically new kind of contemporary theatre, a theatre that was satirical in intent and that used the inhabitants of London's lowlife to expose the wide devices and hypocrisies of contemporary society. Hogarth, steeped in the play and recognising its huge success, seems to have been inspired what Gay had done in the field of theatre he might do in the realm of art. Hogarth's artistic breakthrough was not pre-ordained, however. It was somewhat improvised and happenstance. According to the notes of an especially well-informed contemporary artist, George Virtue, the progress had its beginnings in a painting that ended up serving as the basis for the third image in the series. This was what Virtue described as a small picture of a common harlot supposed to dwell in Drury Lane. Here he refers to a London street that was infamous as a haunt of prostitutes. Virtue goes on to say that the picture showed the prostitute, quote, just rising about noon out of bed in breakfast, a bunter waiting on her. And he adds, this whore's desabile, careless and a pretty countenance and air, this thought pleased many. These notes make it clear that Hogarth's starting point was a picture that, like earlier images of royal mistresses, courtesans and prostitutes, made an unapologetically erotic appeal in primarily at male visitors to the artist's studio. Crucially, however, Hogarth, having produced his small picture of a common harlot, did not stop there. Having seen this initial picture of Virtue reports, some advised him to make another to it as a pair which he did. Then other thoughts increased and multiplied his fruitful invention till he made six different subjects, which he painted so naturally the thoughts and striking the expressions that it drew everybody to see them. As Hogarth multiplied his sequence of pictures and began fleshing out the life of his fictional female subject, we find him tempering the appeal of his original image and telling a more complex and pitiful story about his subject. In doing so, he drew on a rich body of contemporary literature and journalism, dealing with the figure of the prostitute. Let us look again at the first plate in the series and listen to Richard Steele writing this spectator in 1712. Steele describes himself waiting at an inn in the city for some luggage and seeing the most artful procures in the town, examining a most beautiful country girl who would come up in the same wagon with my things.  Countless writers, satirists and journalists of the period told the same kind of tale. Having enjoyed the superficially glamorous life of her courtesan with the material riches of the kept mistress, the doomed and corrupted young female protagonist, typically ends up embarking on a far more precarious and dangerous career as a common prostitute.  She is subjected to periodic bouts of imprisonment at Bridewell and dies an indominious and premature death. We can now see that Hogarth, as he developed and completed his initial set of six small paintings, inventively translated the kinds of storyline that had come to define the life and death of the prostitute in contemporary culture. If in doing so he was recycling a relatively familiar literary narrative, his move was a far more unusual and novel one in the sphere of contemporary painting. Though some of Hogarth's predecessors and contemporaries, particularly those working in the Dutch traditional genre painting, had touched on the worlds of the prostitute in the courtesan, no other modern British painter had addressed this kind of low life topic with such ambition or at such length. No wonder then that, just as it was the case with the gay's beggar's opera, this felt like something entirely new. Just as innovative in many ways was a decision that Hogarth made with this series to bring his twin identities as a painter and an engraver together. As well as painting and displaying his six canvases, Hogarth as we have seen, ended up taking on the task of engraving and publishing the series of prints that reproduced these pictures. These prints were sold by subscription at a guinea set. Virtue reported that they were soon generating 50 or 100 pounds a week. There being no day but persons of fashion and artists came to see these pictures. Hogarth it soon became clear had manufactured his own kind of artistic hit and it was one that brought in both money and fame. Yet what was it exactly that all those persons of fashion and all those fellow artists found so fascinating about his progress? And what was it that enabled this work to serve as such a successful template for Hogarth's many later pictorial series? Part of the answer I think is provided by looking at how Hogarth's pictures actually work as pictures both individually and collectively. Here I'll concentrate on the ways in which Hogarth across the harlot's progress generates a powerful pictorial dynamic of pause and flow. On the one hand, Hogarth produces pictures to pour over crowded with figures, images, texts and objects that are designed to draw us in and to hold our attention. First he crowds his pictures with people. Alongside Moll herself, a harlot's progress features no less than 40 protagonists all of whom help contribute to its satirical storyline on many of whom the viewer's eye is invited to dwell. The horse riding cleric in the first plate for example who is so preoccupied by the letter of preferment he holds in his hand that he misses the scene unfolding behind him. The bent back woman on the nearby balcony who, wearily hanging out washing alludes to one of the alternative futures that Moll might have experienced in the city. The astonished black page boy of the second plate who, like the other black servants who feature in so many 18th century British portraits is degraded to the status of a fashionable accessory. Adding to his works appeal Hogarth mixed such fictional characters with portraits of actual contemporary figures. Thus the procures in the first plate is a portrait of Elizabeth Mother Needham and an infamous brothelkeeper who during the period Hogarth was working on the series died after being pelted with stones at a pillory. Similarly the figure who lurches out of the doorway behind her and his hand slides toward his groin as he looks across at Moll is a portrait of the notorious aristocrat Francis Charterist who had recently and scandalously been pardoned having been convicted of the rape of the maid servant Anne Bond. And in the third plate the arresting magistrate is a portrait of Sir John Gonson who had been responsible for Needham's arrest and it was a scourge of prostitutes in the period. This weaving of the factual with the fictional reinforced the progress appeal as a topical iconoclastic form of visual art which traded impersonal as well as social satire. It also encouraged viewers to enjoy the ways in which the artist had stitched such figures as Dr. Richard Rock and Dr. Jean Massaba two actual quack doctors working in London into his crowded cast of characters and into his imagery's dense mesh of pictorial detail. This kind of detail also includes the internal images and texts that scattered across Hogarth scenes provide another kind of visual hook snagging the viewer's eye and inviting emblematic or symbolic interpretation. Images as humble as a street sign of the bell tavern in plate one which not only offers a visual echo of Moll's dress but hints at her status as a beautiful young bell. Images as elaborate as the Old Testament paintings on the wall in plate two which depict scenes of anger and betrayal in which prefigure the merchants later anger at Moll's own form of betrayal. Images as subtle as the wall paper patterns of this same room made up of the antlers horns that were a traditional symbol of slavery. Images as surreptitious as a graffited figure seen on the distant prison wall in plate four which shows Gonson the magistrate hanging from a gallows. And images as revealing as a pair of engraved portraits pictured hanging next to Moll's bed in plate three while one depicts the controversial clergyman Henry Sosheverell the other portrays no less than Captain McHeath the great anti-hero of the beggars opera. His presence confirms Moll's status as a kind of negative double of the play's hero in Polypitchin and as someone who similarly idolizes the flamboyant Hyewomen. Words too snake through these prints and catch our attention. A cut-off reference to the York wagon on which Moll travelled down to London. The inscription on a wig box which indicates that one of her lovers is the real-life Hyewomen James Dalton. The notice on the prison stocks proclaiming better to work than stand thus. Finally, Hogarth crowds his engravings with a multitude of depicted household objects which he sometimes arranges into tabletop still lifes tucked into the corners of his scenes. The dressing table in plate two for instance with its mirror symbolizing vanity and its mask suggesting not only deception but Moll's attendance at fashionable masquerades. The cluttered table on the right of plate three with its peeping love letter, cracked punch bowl and triangular fragment of mirror telling of past revelry and shattered pretensions. The coal scuttle in the corner of plate five on which, next to an old bowl, cup and pipe we find a scrap of paper littered with Moll's teeth lost thanks to a use of mercury, one of the prescribed treatments for syphilis. These picture corner still lifes add to the storehouse of eloquent pictorial details found in each of Hogarth's six engravings all of which invite extended scrutiny. These same three still lives in telling as they do such a clear story of Moll's decline point to the other fundamental characteristic of Hogarth's progress. The way it pictorially links one image to the next and in doing so encourages us to embark upon an extended and intricate visual journey across its six scenes. One of the ways in which Hogarth helped encourage this kind of visual continuity once he'd introduced Moll in the progress's first outdoor scene was through picturing a succession of interior scenes that are composed in strikingly similar ways. And in which we, like the members of an audience at a theatre, are given a relatively settled viewpoint. Having established his pictorial stage set Hogarth puts it to use to tell us his unfolding story. It is one crucially in which his central heroine appears in every scene but the last that's allowing us to witness her continual transformation and to trace the doomed arc of her brief London life. A process of transformation that sees her face changing in expression and address and her body being increasingly exposed to the viewer's eyes over the first half of the series and then progressively hidden from view over the second. This sense of visual flow is reinforced by other pictorial repetitions. By the recurrent presence of Moll's facially disfigured servant who serves tea in the third plate pulls in one of her mistresses stockings in the fourth cradles her dying body in the fifth and glares over at the libidinous clergyman in the sixth. By the recurrent imagery of masculine hypocrisy and vice, which is embodied most insidiously by the succession of bewigged, outwardly respectable middle aged men who will wind their way through the series and by whom Moll is variously assaulted, patronized, punished, exploited and ignored. And by the recurrent depictions of collapse and fragmentation falling buckets crashing tea tables and broken crockery. Other repeated motifs are more like faint pictorial echoes a clothesline a trunk inscribed with the initials mh or the imagery of a hat worn by Moll in the first plate and hanging like a memorial in the last. And then there is a patterning that seems almost abstract but that has its own rhythms and rhetoric that of drapery, for example the curves and folds of which ripple and repeat across Hogarth's series. Whether strident or subtle all these forms of pictorial recurrence help bind the different images of a harlots progress together into a coherent and successful visual whole. And they encourage us not only to move through the series but to track back and forth across its contents and, as we do so to discover yet more telling details and yet more examples of overlap and interconnection. There is finally another kind of pictorial flux and flow that I think helps make Hogarth's first modern moral subject or rather his engravings of this series so compelling. It is one that operates at the edges of interpretation even at the edges of the vision enjoyed by the naked eye. And it is one that can be most fully appreciated perhaps only on screen media. This is the flux and flow of the engraved and etched lines that make up the pictorial infrastructure of the progress and that trace the twists and turns of Hogarth's engraving needle or burin as it cut into the copper plate. Significantly Hogarth's engraving technique at this point in his career was neither especially polished nor disciplined. Rather it is marked by jagged edges and jolting transitions by extemporization and experimentation. And looking at his six engravings up close we encounter a crowded combination of graphic marks each of which have their own visual character but all of which are brought into busy dialogue slashing diagonals dense geometric linear grids swirling areas of cross hatching light scatterings of dots and dashes. These multitudinous marks by turns, cacophonous and delicate also contributed to the liveliness, the animation and the novelty of Hogarth's inaugural modern moral subject. Echoing the hustle and the bustle of the city that they documented they helped give the harlots progress in urban visual buzz all of its very own.


From the indoors to outside BSU football has dominated on defense in the Brent Bolte area. The game green wasn't just one of the best on the NSIC last season, but also put up impressive numbers nationally. They do return some key pieces in that secondary, but front seven wise, you're going to see a lot of new faces in 2018. The D line and linebacking course senior heavy. So that makes some fun position battles for new DC. Jamie Bish for us. It's going to be just a lot of consistency is what we're looking for from the young guys.  That's Andre Chisley and up front. You know, you know, we have a lot of new faces. We got our Sam linebacker. He's taking a number of reps gave aims, but he's just a red shirt freshman. So he needs the reps. All of our guys need the reps and we're looking for consistency from the whole group there. And some position battles are definitely happening. A linebacker and on the D line without question every day. Good news. The green and white spring game is back on. Just pushed back a day to Sunday. Action will kick off around two thirdly after you and all that at Chet Anderson Stadium. If you enjoyed this segment of Lakeland news, please consider making a tax deductible contribution to Lakeland PBS.


Plant-based diets have been found to reduce the risk of some of our leading causes of death and disability. Studies have shown that the longest living and least dementia-prone population subsist on plant-based diets. So why focus on just this one plant for brain health and performance, acai berries? Well, foods rich in polyphenols appear to improve brain health, and acai berries have lots of polyphenols and antioxidants, so maybe they'd help. But if you're just looking at polyphenols, there are over a dozen foods that have more per serving, and it doesn't have to be black elderberry. Regular fruits like plums have more. A few spoonfuls of flax seeds, a few squares of dark chocolate, or even just a cup of coffee has more. In terms of antioxidants, yes, acai berries may have 10 times more antioxidant content than more typical fruits like peaches and papayas, five times more than strawberries, but comparable to blackberries. In fact, blackberries appear to have even more antioxidants and are cheaper and more widely available. Ah, but acai berries don't just have potential brain benefits, for example, protecting the lungs against harm induced by cigarette smoke. But you all remember that study, right? It's the one where addition of acai berries to cigarettes has a protective effect against emphysema in smoking mice. That's not very helpful. There's this long list of impressive-looking benefits until you dig a little deeper. For example, I was excited to see reduction of coronary disease risk due to a vasodilation effect, but less excited when I pulled the study and found out that they were talking about a vasodilator effect in the mesenteric vascular bed of the rat. But there hadn't been any studies on acai berries and artery function in humans until now. Give some overweight men a smoothie containing about two-thirds of a cup of frozen acai pulp and a half a banana, versus an artificially-colored placebo smoothie with the banana but no acai. You get a significant improvement in artery function within two hours of consumption, which lasts at least for six hours. That one- or two-point bump is clinically significant. Those walking around with just a point higher go on to have 13% fewer cardiovascular events like fatal heart attacks. You can get the same effect from wild blueberries, though, about a point-and-a-half bump two hours after wild blueberry consumption. In effect, peaking and plateauing at about one-and-a-half cups of blueberries, with two-and-a-half or three-and-a-half cups showing no further benefits. What about cooked blueberries? Here's the same wild blueberry drink effect we saw before. What if you baked the blueberries into a bun like a blueberry muffin? Same dramatic improvement in artery function. Cocoa can do it too.  That's like double the berries. One-and-a-quarter cups worth of multi-colored grapes give a nice boost in artery function, but enough to counter an acute endothelial insult, a sudden attack on the vulnerable inner layer of our arteries? They decided on a sausage and egg McMuffin meal. They weren't messing around. Without the grapes, that meant cutting artery function nearly in half within an hour, and the artery stayed stiffened and crippled three hours later. But eat that McMuffin with all those grapes and hardly any effect. Eat a meal with hamburger meat, and artery function drops after the meal, and eat that same meal with some spices, including a teaspoon and a half of turmeric, and your artery function gets better. What about orange juice? Four cups a day for four weeks, and no change in artery function. Ah, but that was commercial orange juice from Concentrate. What about freshly squeezed orange juice? Here's the before, and here's the after. Still nothing. And that's one of the reasons berries are the healthiest fruits. Want a beverage that can improve your artery function? Green tea. Two cups of green tea, and you get that same cocoa effect, nearly four points within just 30 minutes.  So why focus on just that one plant? Well, the real reason, presumably, is that the author owns a patent on an asai-based dietary supplement.


Welcome to the 14th session in the second module in the course signals and systems. In the 13th session, we did a bit of recapitulation, it was a bit of a difficult subject that we were getting into and we needed to get our coordinates correct. What exactly were we doing and where exactly are we restricting ourselves? Anyway, now let us answer the question. We had raised a question that in the previous session. We said now that we have noticed that we have an orthogonal set there, how exactly given such a signal which we wish either to restrict our attention to the interval 0 to t or any interval of t for that matter or we wish to consider a periodic signal, how do we get these components a k cos 2 pi by t k t plus phi, how do we get the a k's and the phi k's? Of course, we know the angular frequencies, but we want to get the amplitudes and the phases which should be put on those angular frequencies to come together and form the signal. Well, the answer is very easy if we again recapitulate that it was an orthogonal set. So, the question is how do we get a k and phi k in the expansion? How do we get a k and phi k in this expansion? Xt is summation k going from 0 to infinity a k cos 2 pi by t k t plus phi k, where Xt is either periodic with period t or we wish to restrict ourselves to Xt for t between 0 and t. Well, let us answer the question by noting that we have an orthogonal set here. We have seen that these two sinusoids, the two sinusoids with k and l as indices are orthogonal. Now, for example, suppose I took three-dimensional space and I had an orthogonal set of vectors in three-dimensional space. I wish to find out the decomposition of an arbitrary three-dimensional vector into the individual components in these three directions. What would I do? I would take dot products, so I can use that strategy. I can take the dot product with a unit vector in each of these directions. So now, here we have an infinity of such directions, the countable infinity, infinity indexed by the integer k, k running from 0 to plus infinity, all the positive or the non-negative integers. So, if I wish to find the component along a k cos 2 pi by t k t plus phi k, I need in some way to find out the dot product between an arbitrary signal which I wish to so decompose into this expansion and a unit vector in that direction. Now, what is a unit vector? You first need to find a unit vector. So, let us do that. So, how do I find a unit vector? I would have to find the magnitude of this quote-unquote vector lying on the interval 0 to t. So, let us find that magnitude. How would I find the magnitude? Well, it is interesting. You can find the magnitude by taking the dot product of that vector with itself. Let us do that. So, magnitude of the vector as we called it, you know, we are thinking of signals as vectors now, restricted to the interval 0 t is the dot product of this vector with itself raised to the power half. You know, when you take the dot product of a vector with itself, this is bound to be positive. This is the square of the magnitude and therefore, we need raised to the power of half that it has to be non, it has to be non-negative. Let us take that dot product. That dot product or inner product is integral multiplied cos 2 pi by t k t plus phi k multiplied by the same thing and integrate it from 0 to t, which is essentially cos squared of 2 pi by t k t plus phi k and this is easy to integrate, you know, this little lemma in trigonometry. Now, here I could split this into two terms in the integral. I could split this into 0 to t half d t, which is very easy to evaluate and the other one is also easy to evaluate. So, here this is very easy to evaluate. This simply gives you half into t and this is clearly 0 because it is the integral over a finite number of cycles over an integer number of cycles. So, overall the magnitude square that we have is t by 2 and therefore, the magnitude would be the square root of this. So, you know, the unit vector that we want is essentially this vector divided by the square root of the square of the magnitude or in other words, the so-called unit vector that we want. So, the so-called unit vector that we want is essentially the original vector divided by the magnitude or the square root of the square of the magnitude, which we will now write down. So, the unit vector is essentially the original vector, I must emphasize unit here cos 2 pi by t times kt plus phi k divided by the square root of the squared magnitude, if you want to call it that. So, now I have a very simple situation. I can take an inner product of the original signal with this unit vector. Now, the only problem is in this unit vector, there is one unknown phi k and you know for different phi ks, the answer is going to be different, the integral is going to be different. So, I need to know what phi k is. Now, how do we resolve this? We resolve this by noticing that actually you do not have here one vector, but you could think of this actually as a vector in two-dimensional space, let me explain what I mean. So, I have here 1 by square root t by 2 cos phi k cos 2 pi by t kt minus sin phi k sin 2 pi by t kt. So, it is interesting, actually I have two vectors not one which come together to form the space span by this unit vector and those two vectors are the cosine and the sine components. These are the two vectors which come together to form that sinusoid again, to form this sinusoid and now I need to check whether these again are perpendicular vectors or not. So, let me do that. Let me take the dot product cos 2 pi by t kt and sin 2 pi by t kt, dot product is very easy to calculate its integral 0 to t cos 2 pi by t kt times sin 2 pi by t kt dt, now all that I need to do is to notice that I can put a half outside and a two inside and this is simply it is simply the integral of a sinusoid over a finite number of or finite number of complete cycles. So, here again we can use the same argument, we are integrating this sinusoid over an integral number of cycles and so the integral has to be 0 and therefore, the cosine the sine components at that frequency are also perpendicular to one another. And now the cos you know if you go back to that expression that we had here, if you look at this expression here, the cos phi k and the sine phi k are essentially constants now, unknown constants if you like and all that I need to do is now to think of the problem of decomposing x t into its component along this particular angular frequency as two problems, decomposing it into the component along cos and the component along sine and I know that cos and sine are orthogonal. So, now my job is extremely easy. I decompose along the cos, I decompose along the sine and then I put them together. How do I decompose along the cos and decompose along the sine? Well, I use the same principle, I find the unit vector in that direction and in fact I know what that unit vector should be. You see in particular you could have put phi k equal to 0 or phi k equal to pi by 2 and you would have had a unit vector for the cos and the sine parts. So, what I am saying is I do not need to work again to find a unit vector. I already have the unit vector with me. Look at the expression here. In this expression putting phi k equal to 0 gives cos, putting phi k equal to pi by 2 gives sine. So, I do not need to find the unit vectors separately. I know what these unit vectors are and let me write that down. So, the two unit vectors are essentially cos 2 pi by t kt divided by the square root of t by 2 and sine 2 pi by t kt divided by square root t by 2. Now, we are all set to find the components in the next session and we will do that. Thank you.


In this second part of the discussion of vectors, we want to continue exploring our description of motion in all dimensions. And in particular, the key ideas that we're going to learn in this particular section of the course are as follows. Vectors, as we've seen in the past, can be added and subtracted from one another. But it's not the only arithmetic operation that's defined for vectors. It's possible to also multiply them. And we're going to see that in this lecture. And we're going to explore one kind of multiplication, something known as scalar multiplication, which takes as an input two vectors, but as an output it returns a scalar number. The scalar product, or dot product, represents the degree to which one vector projects onto another vector and takes that projection and multiplies it by the length of the remaining vector. This is a more compact way to handle this, as we will see as we explore the dot product. So let's consider the nature of the dot product. There are actually two kinds of vector multiplication, but we're only going to deal with one of them right now. And this, as I have said, is the scalar product or dot product. It goes by a couple of names. This product, this multiplication of two vectors, is so-called because the scalar product of two vectors, by definition, will return a pure number, a scalar, a directionless number. Two vectors go in, but a number comes out. And the notation for the dot product, which involves a dot, as the name implies, is shown here. If we take vector one, shown over here in blue, and we dot it, or scalar product it, with v2, shown here in red, the dot product of these two will, by construction, return a single number, capital V. Now, the dot here is extremely important. There's another kind of multiplication that involves a crossing x symbol, or the times symbol. It is a very different kind of multiplication. And so notation is extremely crucial when you are talking about multiplying vectors. You can't use either notation, the dot or times notation, like you can with numbers. For vectors, dot means scalar product, and the crossing x or times symbol means something else. So we're going to stick to this notation. You should accept absolutely no substitution for this when you're talking about the scalar product of two vectors. Now, before we proceed, it's important to know some very basic ground rules that involve the dot product of the unit vectors. The unit vectors define directions along specific coordinate axes. And we're going to stick with two dimensions, although this is easily extended to a third, or even more, spatial dimensions. The rules are as follows. The dot product of i hat with itself, i hat dot i hat, is one. Now, you can see already that the dot product clearly plays some role in our fundamental definition of the length of a vector. After all, a unit vector has length one. And we observe here that the dot product of two unit vectors, i hat with itself, is exactly equal to one, which is the length of the unit vector i hat squared. The square of one is one. So we can already see that the dot product must somehow connect to length. And in fact, the dot product of any vector with itself will yield the length of that vector squared. So that already shows you the deep connection between the dot product and the length of a vector. Similarly, j hat dotted into itself yields one. Now, here's the key feature of the dot product as regards vectors. The vector i hat points only and entirely along the x direction. The vector j hat points only and entirely along the y direction. The dot product of i with j is zero. And that is because, as you will see, the dot product tells you something about how much one vector, i hat, lies along the second vector, j hat. In this case, for vectors that make right angles with one another, absolutely none of the length of i hat lies along j hat and vice versa. The statement works in both directions. None of j hat lies along i hat. And so it is true that any so-called orthogonal vectors, vectors that lie exactly at a 90 degree angle to one another and by construction i hat and j hat do, no set of orthogonal vectors has anything other than the null value zero for its dot product. So i hat dot j hat and j hat dot i hat are by definition zero. So anytime you see i hat dotted into itself, you can replace that with the number one. And anytime you see j hat dotted into itself, you can replace that with the number one. And anytime you see i hat dotted into j hat or vice versa, you can replace that with zero. And these rules will come in handy in a moment when we take a generic vector like v one and we take its dot product with another generic vector like v two. It is also useful to know that if you have a number a, like a equals five or a equals 107, and you multiply that number by a vector to give it a length. So for instance, you want to define a length along the x axis. So you take a and you multiply it by i hat. If you then take the dot product with, for instance, i hat, you can move the number a around with no penalty and no change in the result. So for instance, I can start by multiplying a directly times i hat. And I can take that whole thing and take the dot product with i hat or any other vector. This is equivalent to instead having taken i hat grouped a with the second vector and done the dot product. Because it's equivalent to this putting a out in front of the whole darn thing and just doing the dot product of those two vectors, which is one. So this is equal to a. So this is equal to a and the second thing is equal to a and the third thing is equal to a. They're all equal to a. It doesn't matter where you put the scalar. The scalar doesn't participate in the dot product of two vectors. So dot product is a very special multiplication that only acts on vectors. Scalers can be moved around anywhere in the process and they do not affect the result of the dot product of two vectors. Now with those rules in mind, let us go ahead and do a dot product of our vectors. We can read off the actual numerical components of the two vectors. For instance, by looking at the grid of numbers and looking at the vector v1, we can see that it has a length of 1.5 centimeters in the x direction and a length of two centimeters in the y direction. Now I'm not going to write those numbers down in every step of what I'm about to do. I'm going to keep the notation somewhat compact. So I will refer to the x component of v1 as vx1, the y component of v1 as vy1 and so forth. We can also similarly see the components of v2. It has a length of 1.5 along the x direction and a length of 1 along the y direction. So we could put numbers in here, but I'm going to hold off on putting numbers in until the very end as you always should when you're doing algebraic manipulation. So I have my two vectors, v1 and v2, and I'm going to take the dot product. I start by writing out the components of each of the vectors. So in square brackets on the left, this is my two-dimensional vector, v1. It's got an x component, vx1 in the i-hat direction. It's got a y component, vy1 in the j-hat direction. Here's v2, written out similarly, and here's the dot product between the two square brackets, again representing the scalar product or dot product of the vectors. Now the dot product can be distributed. So for instance, I can take vx1 i-hat and I can distribute the dot product multiplication of that component by component with v2. So I can write vx1 i-hat dot vx2 i-hat, and then I can add to that another term, vx1 i-hat dot vy2 j-hat. And then similarly, just like multiplying two polynomials by one another, I can take the second component of v1 and I can distribute it, again, adding all of these pieces together. And when I do this, I get this relatively unpleasant looking equation. It seems like I've taken a nasty situation and I've made it a whole lot worse by doing this, but wait for it. We're going to get some shuffling around of numbers and vectors in a moment that's going to grossly simplify what just happened. And in fact, once you get the hang of this, you should feel free to take shortcuts in going through this calculation quickly. The greatest shortcut of all waits for you near the end of this particular lecture video, but algebraically, if you're going to do the dot product robustly and completely this way, you can learn to throw out terms that have i's and j's mixed up in them, because they're going to go away anyway, as you'll see in a moment. So here are all four terms of this distributed dot product multiplication. Here's vx1 i-hat dotted into vx2 i-hat, as I originally mentioned. Here's vx1 i-hat dotted into vy2 j-hat and so forth. Well, now I've got scalar numbers, vx1, vx2, multiplying unit vectors, i-hat, j-hat, etc. in a dot product. And remember the lesson I just gave you, scalar numbers can be shuffled around anywhere that's convenient to put them, as long as you still keep them in the multiplication group, and then gang the vectors together into their dot products. So for instance, I could move vx1 and vx2 out to the left of the dot product of i-hat and i-hat. And in fact, in the next line, that's what I do. Each term, term by term in the four terms, I pull the numbers out in front and I group in parentheses the vectors that are to be dotted together in a scalar product. So I've got i-hat dot i-hat, i-hat dot j-hat, j-hat dot i-hat, and j-hat dot j-hat. And you're beginning to see a pattern here now. And if you again, you remember the rules of the unit vector dot products, i-hat dot i-hat is one. i-hat dot j-hat is zero. None of i-hat lies along j-hat and the measure of that is given by the dot product and it's zero. j-hat dot i-hat is zero. j-hat dot j-hat is one. And so in the next step, I've got the first term multiplied by one, the middle terms cancel out because they go to zero, they go away. And then finally I have the fourth term which just is multiplied by one. So simplifying all this and taking all the clutter away, what I've learned is that the dot product of v1 and v2 is just the product of their x components added to the product of their y components. See the shortcut? The shortcut emerges at the end of this labor. The dot product of any two vectors is the product of the x components added to the product of the y components added to the product of the z components. That's it. That's the rhythm of this. Now I can plug in numbers. The x components of the two velocity vectors v1 and v2 are 1.5 centimeters and 1.5 centimeters. These are now just numbers multiplied together so this dot here just represents plain old scalar multiplication. And then similarly the y components are multiplied together. The y component of v1 is 2 centimeters. The y component of v2 is 1 centimeter and you see that written out here. And then I can finally do all the math and group all the stuff together and I get my final answer that the dot product of v1 and v2 is 4.25 centimeters squared. Now notice what would happen. Just think about this for a moment. Maybe you want to work this out on paper. Not a bad idea. Instead of doing v1 and another vector v2, do v1 dotted into itself. v1 dot v1. Well what happens? We wind up here with vx1 times vx1 plus vy1 times vy1. So we have vx1 squared plus vy1 squared. Doesn't that sound familiar? That's the Pythagorean theorem. That's the sum of the squares of the sides of the triangle that make up this vector. And that equals the square of the length of the vector, the hypotenuse of the right triangle. So the dot product is just an elaborate way of recovering the Pythagorean theorem but from vectors not just plain old numbers. But really again, what the heck is this number represented by the dot product? So it's great that we got a number out of two vectors. Numbers are always nicer to deal with than vectors. But what is this number? In a sense it represents the length of one vector that projects onto another. What it really is, as you'll see in a graphic in a moment, is it's the component of one vector, say vector A, that lies along vector B multiplied by the length of vector B. So if we think about the unit vectors and the rules again about multiplying i hat and j hat with itself or with each other, we can begin to build some physical intuition for what the dot product is. Again the expression i hat dot i hat kind of asks the question, well how much does a unit vector pointing in the x direction project onto itself? Well of course the answer is all of the unit vector pointing in the same direction as another unit vector lies on the other unit vector. The answer is a hundred percent. And sort of that's what this quantity returns to us as a number. A vector projected onto itself always equals the full length of the projection. In this case two unit vectors you get the number one back. And really this is the length squared in this case. The same goes for j hat dot j hat. And then as I said earlier the expression of i hat dotted into j hat asks and ultimately answers the question, how much does a unit vector along x project onto a unit vector that lies instead along y? And the answer is not at all. None of a unit vector pointing on x has anything to do with y and vice versa. So lines or vectors at right angles to each other have no degree of their length projected along the other. Remember ideal geometric lines have length in only one dimension. They have no dimensionality in any others. When we write a line on a piece of paper we're approximating an idealized geometric line by giving it a thickness. But in reality a geometric line has no thickness. It has length along one direction and no dimension in any of the other two dimensions of space. But that's sort of throwing yourself back to geometry a little bit to remind yourself that a vector is a line and a line has only dimensionality in one direction. There is no dimensionality in any other direction. Now a shortcut for the dot product is this rule of thumb that in general the dot product between any two vectors a vector and b vector whatever they may be is given by the product of their lengths a and b and the cosine of the angle between them theta. So if you instead know the angle between two vectors don't spend all your time on that elaborate dot product I just showed you. Sometimes you'll be given vectors where you have no choice and you have to do that. But if instead you either can figure out or are given the cosine of the angle that is directly between those two vectors just take the length of the first times the length of the second time the cosine of the angle quit and go home you're done. So the key idea is that we have learned in this section of the course this brief discussion of one kind of multiplication for vectors is as follows. Now vectors can be multiplied they don't just have to be added or subtracted. There's one kind of multiplication that we've just looked at there's another kind we'll get to eventually but not right away and that this kind of multiplication scalar multiplication takes input to vectors and it returns a scalar number. The scalar product or the dot product which implies the symbol you should use when you write it down represents the product of the projection of one vector onto another vector and the and the length of that vector. So that's represented over here we can see graphically the dot product represented for us. We have the vector a we have the vector b we have the angle between them theta. The dot product is ab cosine theta okay where b is the length of the vector b. A cosine theta is this it's this length right here and that's part of the components of the vector a as they're decomposed along the direction of b. So if I take b as if it was the x-axis and I write my horizontal component of a and my vertical component of a the horizontal component is given by a cosine theta this is something you've been exercising over and over and over again in this course as you look at velocities, accelerations, forces, etc and do some trigonometry to relate forces to each other and add them up and so forth. Here you can see that the dot product is the length of the piece of a that lies along b times the length of b so it's a cosine theta times all of b. Similarly you could instead decompose b along the direction represented by a and you know there also the corresponding component that lies along a is b cosine theta that doesn't change and then you multiply b cosine theta times a you get the same answer all right so the dot product works whether you start from a and go to b or start from b and go to a and that's one of the the beautiful things about this product and at the end of the day you two vectors go in one number comes out and now you have a number that characterizes the sort of degree of overlap of these two quantities it also as you will see in a physics context has specific physics meanings we're about to encounter the dot product in one special location in energy and specifically in work but it's not the only place that it appears you will see it in the study of other things like electromagnetism and so it's a good idea to begin to build some familiarity with the dot product and of course you're going to get to do that in this course as we apply this concept and physics concepts to understanding the natural world


One of the most unique items housed at the University of Tennessee Libraries is a 10-foot long relief map of the state of Tennessee. The UT Agricultural Experiment Station commissioned this map in 1897 to summarize the results of its six-year study of Tennessee soils. UT's relief map was made by a well-known commercial map and model maker of the day, Edwin Eugene Howell. Howell was, in fact, a pioneer of terrain modeling in the United States. It is said that he produced the first relief map ever made in America. Our relief map is being restored by object conservator Eva Conwell. Here we have the map made by Edwin Howell in 1897. As far as we know this map has always been in the possession of the Geological Institute at the University and probably has been used as a teaching material for a long time and it sustained quite a bit of damage. The goal that the curators and I sort of discussed together and that's also still evolving is not to make it look as it was in 1897 but just to improve the looks in a way that it still looks like an antique map that seemed a lot of use and history but that it looks a little better and that the damage is not distracting from the appreciation of the map. I make my own little cotton swabs. I could also use q-tips but they are almost too big for this process so I have a bamboo stick and I use varying amounts of cotton wool and I tried many different solvents to see what would remove the varnish without removing the paint and it's a bit of luck whether you can find a solvent. If they are both too similar then that just wouldn't be possible but I was lucky I can use ethanol just normal alcohol and it will dissolve the shellac but it will not attack the paint. And you can imagine that's a very slow process and I have already spent many hours removing the coating. For example this area here that has no coating on it right now you may be able to see that the pink there is a little fresher and the blue and there are some areas that after I've removed the coating are a little too bright and in the end I may go over those again with another, a modern coating that does not yellow and I may even tint it just a little bit to match the other coating because what we want is a sort of integrated look where nothing stands out and then there's a lot of abrasion and that's pretty common for a map like that that's been around for a long time so for example many of the mountain tops are actually leveled. An example where a mountain top is missing is this area let me get something to point it this area here it's a little different green from the surroundings and the reason is because somebody painted over it it would have you know the mountain top was gone it was white so as a quick fix somebody just painted over it and there are many areas like that right now we are thinking that we just may leave them and not try to reconstruct them because that you know it's part of the history of the map one might say created our Tennessee relief map he was running a successful business in Washington DC called Howell's microcosm selling geological specimens as well as his relief maps 20 years earlier Howell had served as a geologist on two of the great surveys of the American west these government sponsored expeditions to explore and map the vast western territories were the predecessors of the United States geological survey in 1872 and 1873 Edwin Howell was a member of Wheeler's survey west of the 100th Meridian and in 1875 he joined John Wesley Powell's survey of the Rocky Mountain region that same year Edwin Howell created a terrain model of the Grand Canyon that was exhibited at the 1876 Centennial Fair at Philadelphia our Tennessee map and its creator have interesting histories this is just one of the many treasures you'll find here in our libraries when the conservation treatment is complete we'll hang this map in honor of the Malicoat family and their many contributions to the library and this great university thank you to the Malicoat family and all our friends who help us preserve and acquire these great treasures Go Vols!


My name is Peggy Tahir. I am an education and copyright librarian at UCSF. And I do have clinical duties as well. And so I'm going to focus on the part of my job and the part of other people's jobs at UCSF to discuss how we support clinical services and services in the hospital. So for our clinical library services, I'm going to cover the library hospitalist partnership that we have, how we reach out and serve the residency training programs, our work with helping people develop their systematic reviews and do the comprehensive searches for those, and then the affiliate librarian programs that we have and how they also support clinical faculty and staff at UCSF. So first I want to talk a little bit about the background of this program and how it started. In 2013, the library was invited to attend a twice monthly conference in the division of hospital medicine. One of the hospitalists had had an experience in her residency training program where the hospital librarian attended rounds and morning report. And she thought it would be useful if somebody could come to their conference from library services and provide research support services for this conference. So cases and conundrums, what is it? So this is the name of their twice monthly conference. It is the hospitalists in a variety of subspecialties. I liken it to the, you know, just a very broad-based group of people, all nationalities. It's like the United Nations. You have someone in pulmonary, you have someone in PEDE, someone in internal medicine working with all the other subspecialty services. So it is the attending physicians. It is not the fellows or residents or anyone in training. They present their most challenging cases and discuss it using their collective intelligence. And then they also follow up with older cases when they see that something has changed in that case. So the noon conference. It's a noon conference. It's the second and fourth Friday of every month. It's held in Moffitt Hospital on the Parnassus campus. They sign in and they, by signing in and filling out a little form, they can get CME credit for attending the conference. So they start off with the organizer and he or she, they do switch around. So one of them will ask, who has cases, who has conundrums, or do you have an image? And then they first will follow up from past cases and then present new cases, conundrums or visual material. So now they do document CNC. And what they do is we have a secure Wiki page. So you can put PHI, personal health information on it. However, they still de-identify the patient data. So they would write it such as, you know, mail, 47, presenting how they do it. We have an online Wiki form and so that they can just fill in the fields that they need. Usually the person that's organizing it asks somebody else to take notes and be writing notes on the Wiki page. And meanwhile the lead organizer will be pulling up the patient records, the electronic medical records, and they also will be managing the time. So at the beginning they decide how many people have cases and then that allows for a certain amount of time for each case discussion. And then my duties, I add links in the Wiki to articles that are evidence-based that support the clinical questions that they ask me. So also the shared Wiki space. It's only available via authentication and it's only authenticated to specific attendings in the division of hospital medicine myself and another library colleague. So my role. So of course I attend the conference. I take notes on the different cases. I run searches during the conference. I try to find the best evidence articles and then I post those articles in the Wiki right where they're putting the case notes. So I look things up on the fly. The last one I attended it was like a rapidly forming neck mass that formed on somebody supposedly in five days. Extremely rare. And then I typically at the end of the conference they will say, Peggy we have these questions for you. I'll make notes of those. I'll go back immediately to my office, run those searches and then post information on a Wiki and usually I will shoot an email off to the organizer of the conference to let them know that there's new information on the Wiki. Okay. Now there has been a little bit of evolution since this conference started. Initially that conference had a meet and greet and the guy that organized it would get somebody from a specialty service to come and for 15 minutes talk about their service and how best the hospitalist can interact with those specialty services when they have a patient. So it would be somebody like the head of environmental health services or one time the head of the lung transplant unit came and they basically talk about their services. Initially we documented it on a secure chatter feed which is sort of like Facebook. That did not work so well because it's just a feed and you can't go back easily to find the past cases. And also when we moved to the Wiki we were able to have a consistent form for the entering patient information. Another thing that changed was in addition of a second librarian in 2014 when we hired another clinical medical librarian. So one of the main challenges facing the hospitalist is the difficulty and complexity of the cases that they actually see. So the typical case is a person has multiple systemic problems. There can be autoimmune components. The person comes from an outside hospital where that person has been in a hospital and the doctors there are like we can't help you. We must send you to UC because they have the doctors that can help you. So sometimes someone comes from an outside hospital and they don't have all of the documentation they need. Also they frequently are dealing with ethical issues, end of life issues and the fact that there are actual medical mysteries and sometimes there are no answers for some of the cases they see. So challenges for me at the conference are the turnaround time which is kind of immediate and the specificity of questions. So what I mean by specificity of questions is the physicians are looking at laboratory values and trying to relate laboratory values specific very tiny little narrow laboratory values to a physical dysfunction in the body. So sometimes that and getting to that in the literature is really difficult. And also the rare conditions may have little evidence based literature or vigorous research studies. So if you're only finding case reports because something is old or you know something is a rare condition, it's a challenge to find more evidence based articles. However, it's really fun working with the hospitalist and we have had some good other outcomes. They know us now and so they're always willing to reach out to us when they need research consultations for projects they're working on. We also did a project where we did several years documenting division of hospital medicine's research output, finding all the papers that they had published and it's also a really good forum for library public service announcements and for me to highlight a feature in a clinical tool or in a database. So residency training. We have a lot of residents at UCSF over 1600. We also have over a thousand postdoctoral scholars and close to 3000 students enrolled in our specialized degree programs such as School of Medicine, School of Dentistry, School of Pharmacy. So our residency training takes place at UCSF Pernassus. It takes place at Mount Zion and Mission Bay campuses. We also have residents who train at ZSFG which is the Zuckerberg San Francisco General, VA San Francisco, Children's Hospital Oakland and UCSF Fresno where we have two hospitals where people train. So these are all programs that the library potentially should support. We have made some inroads into these programs into health education, health professions education pathway, health and society pathway, resident scholarship project, PRIME which is the primary medical education program and the global health program. So because we have so many programs and they're very dispersed, it's been a challenge to get a foothold. So we've gotten into some of these big pathways but there's just sort of systemic issues at UCSF. Everybody's busy, we're very distributed and we need to integrate teaching sessions into programs at a time when it's going to be useful for the residents. When we do meet with them, we typically teach sessions on PubMed and we teach them how to use citation management software such as EndNote, RefWorks and Zotero. So we also handle systematic reviews and just in case you don't know, what is a systematic review? It is a particular broad based method of searching the literature and what they do is they do multiple searches and multiple database very broadly. They get hundreds of studies, they determine the kinds of studies they want to include in their study, rule out the others, then they read all those articles and do a review of the literature in this very systematic way. So we support clinicians doing this type of literature review. So some of the students in our ticker program, training in clinical research, it's a master's program, we teach them because they need to learn how to do the systematic review. We meet with them and they educate them on search strategies. We help people develop their search strategies. We also do mediated searches and we write up method sections of papers for publications so we sometimes get authorship. Right now we're working on developing a systematic review course that would be hands-on with time to help people with their specific research questions so there would be time to develop search strategies for people and we hope to launch the first systematic review class sometime in June. So a little bit about our affiliate programs. We have several different affiliate libraries, Mount Zion Fishbone Library, ZSFG, San Francisco General, VA, UCSF Fresno Children's Hospital Oakland. So for example, the clinical librarian at Mount Zion is pretty much, her job title is systematic review librarian, that's all she does pretty much, just helps people with systematic reviews. Now because we're a magnet hospital, a magnet hospital is a hospital with status that the nursing programs are conducting evidence-based reviews. So the librarian at Mount Zion who is doing those systematic reviews is doing it for a nursing research group. There is an institute called the Joanna Briggs Institute and it has an evidence-based nursing database and she teaches that. At ZSFG, San Francisco General, they have a new clinical librarian position and that person just started and plans on developing outreach to the residents that are rotating through over at general. And finally next steps. So right now my unit in education is involved in a strategic planning process and one of the areas of our strategic plan is to look at the ways we're supporting clinical services. We're not done with the process but we will be targeting additional ways to identify and reach out to programs we currently don't support. By the end of the process we should have some strategies in place to reach more of the residents. And we are also looking at ways to market ourselves as experts and to market the library's educational services so that people will think of contacting us when they start a research project. Also mentioned before that we are developing the systematic review course and I have a personal goal to go back and look at some of the cases and conundrums data and see if there is a way to develop a paper to publish on that service. Thank you very much.


Ten. We really are. So it's back no count, it's like giving a little push. And that's when he f***ed up my family allowance. You know, I've been fighting for ten years. The first one was there, you know. And so I thought, that's okay, I've got to talk to him, you know. Some footballer playing tennis, you know. Famous. I forgot I've got an ostrich in the back there. Well, you know, I loved the World Cup and... Well, yeah, I loved it, you know, and the World Cup and... You know, they come back over fans, because I really thought that was the end of my career, you know. But the night before the semi-final, this is right tomorrow, the last semi-final, good rest, the ones you all rest on. Sid McLean and Chris, I've ruined my first world. He's all you've known. And so it's 11 o'clock and I'm like, Chris, I can't sleep. That's how much you're the team. You see me in the phones and I said, gaza, if you score, do the sas. On the pitch, he was a fantastic player, you know. You work, you work, you work. You have a great guy, great player. You know, he did most of my work when I was a midfielder. I only watch much football nowadays, because I miss it so much, you know. And I miss him so much, to be honest. Which of the modern-day players is most like yourself? Oh, yes. I think that's it, you know. I know your kids coming through, you know. I really appreciate it, guys. I love the missus all there. Thank you very much. Ladies and gentlemen, Mr Paul Bestov.