Hello all. In this video, I'm going to demonstrate how to use Zotero reference manager in Google Docs. One of the great advantage of Zotero reference manager is we can use this in Google Docs also so that we can get the other benefits of Google Docs also. So there are four steps in using this Zotero reference manager. First one is downloading the necessary software. First is you need to go to the Zotero.org site where if you click on the download section, you can see the Zotero reference manager download. Here I'm using Mac OS. So by default, it is showing Zotero 6 for Mac. Otherwise, if it is a Windows PC, then it will show the necessary download for Windows. Since I am accessing the Zotero software through Google Chrome, so it is suggesting me the Zotero connector. So I need to successfully download these two. That is the Zotero reference manager software and the Zotero connector, which is specific to our web browser, which we are using. In this case, it is Google Chrome. Zotero connector will appear like this. The icon will appear like a book page like this. So if I keep the cursor here, it is showing. So whenever we open a web page, if we click on this web page, automatically the details from the web page will get extracted. It will be automatically synchronized in Zotero reference manager. So this is the first essential download when we are operating the Zotero reference manager. And when we download this Zotero connector, automatically if you open Google Docs, so if you check this document, automatically this Zotero will appear here. If this Zotero connector is successfully installed as an extension, the Zotero will appear as one of the heads in the Google Docs top. So this is successfully done. This is how the Zotero reference manager appears. So there will be three columns. So where you get these folders and groups column and duplicate items, retracted items, all this will be in this column. And the middle column that is a broader column will have the details of all the references or the citations which we have imported for our reference purpose. And here if we click on this individual reference, the individual details will appear here. If you want to edit this or change or add any of the missing details, you can do that. So that will reflect in the document also. So we are all set for using the Zotero reference manager. The next step in Zotero reference manager is create an account and sign in to the Zotero reference manager. And we need to sync our Zotero account details with this Google Docs access ID. Then we are all set to use this Zotero reference manager. The next step is to import the references. There are various ways which you can import the references for demonstration purpose. I have created one folder called Zotero demo. So this is right now empty because we haven't downloaded or imported any reference into this folder. So when I keep this open and I go back to the Chrome page and I want to cite this article. So when this article is open, when I keep the cursor here and click on that, automatically it is getting saved Zotero demo, it will get saved. So if you go to the Zotero demo, automatically this details has been extracted. So all the bibliographic elements that is the type of the article, title, author names, journal name, DOI details, all has been extracted here. Then the next way I'm going to show the entry of details through DOI. So I'm just copying this DOI details that is digital object identifier. I'm copying this details. I come back to Zotero again. I click on this add item by identifier, which is indicated by a torch. I paste these details. I press enter or return. So then the details of that article also appears here. Third way I'm going to show is the extraction through PDF. I'm going to download this article, this PDF. And after successful download, I go to Zotero demo, I click on this attach button. So add stored copy of file. So there I search for this article. So this is that article. So I open this article. So then the details of that article also appears here. The other advantage of this Zotero is that you can use this as a reading tool also. So if you click on this PDF symbol, this PDF get open. So you can read this article, you can add comments, you can highlight a particular section. So that way you can store the details of the PDF. So this Zotero also functions as a good reading tool also. Then the fourth way I'm going to do is the manual entry. So for manual entry, you need to click on this first icon. So I'm going to enter a journal article. Randomly I am entering some details. So I'm writing diabetics. I'm writing my name. So that way I'm doing some ICM or something like that. So if I leave like that, the details will be included, but still it will appear. This is the third step that is importing of references. How we have downloaded the PDF. Same way we can download the citation file also, which appears in each and every site. If you click on this site, then automatically task for the format dot risk file is specialized for this Zotero. So you can click on that and you can select the download. And after downloading that, then you can import that to the Zotero like how you did for PDFs. After successful importation of references, we are going to operate Zotero reference manager in Google Docs. So we have three functions when we are operating this Zotero reference manager that is creating the reference and the bibliography or the list of references. And second one is changing the reference list. And third one is changing the reference style. First I'm going to show how we are going to incorporate the references or the citation here. So we need to click on this Zotero. We need to click on add or edit citation. Then it will automatically open your Zotero reference manager. Imported references will appear here in our folder of Zotero demo. So if we click this, then that reference will appear here. Same way we can go to Zotero, add citation. I'm adding this second reference, then third reference, then the fourth reference. I'm doing the same thing again. I'm clicking on this manual entered reference. After incorporating all the citations, then we need to provide the list of references or bibliography. For that we need to go to Zotero. Again, we need to add our edit bibliography. If I click on that, then automatically this will appear. For now, this Zotero document is having Vancouver style. So because Vancouver style is selected, it is showing Vancouver style. If you want to change the reference style to APA, you can have this APA seventh edition clip. If you click on OK, then the reference style will get converted from Vancouver to APA style. You can see the reference list here how it got changed. Suppose you want to change the reference list, then what you need to do is you need to cut this document and paste it here. When I paste it, automatically Zotero is getting updated. Then the third reference has become second and the order also changed here. So likewise, it is automatically refreshed. So the advantage of Zotero reference manager is you can incorporate references, you can change the references, then you can change the reference style also. And this reference style is not limited to a few numbers. If I click on this by default, the reference styles, which I have downloaded already will appear here. You want some other reference style. Then if you click on that manage reference style, then you need to go to this get additional reference styles and act there will be nearly 10,500 references appearing here. Based on that, you can change your reference, whatever the journal or your university asked. And if still you are not able to find the reference which you are expecting, you can make that reference through the CSL editor that is called citation style language. The video demonstration for that CSL editor in Zotero is shown in cards now you can access that way you can change the reference styles also. That is how we operate this Zotero reference manager. So you need to download sign in import references and incorporate change references and you can change the reference styles also. Thanks for watching this video. If you like this video, please share it to your friends. If you haven't subscribed to the channel, please subscribe. Thanks for watching.


pends on how you're defining the education level and what you're looking at so there may be a difference if you get to a certain level so once you get to your child development associate what is the coursework that you've been getting you've gotten a solid understanding of human development, child development working with young kids it's really focused around the early care setting but when you get licensure once you get to the point if you could have gotten licensure in early childhood but you never have been in a pre-k classroom so I think that there's I think it really depends there's a lot more to the story than just what's that certification it kind of gets to the question around proficiency based what are those things that you're actually receiving when you're in those programs and I think sticky off the top of my head now but with a child development associate I think you have a lot more canned you know what you're getting about some of these other certifications which may not be showing the same associations that you would expect but the what's behind those is a lot more varied so maybe that's behind what we found in the larger thank you thank you if I may I do appreciate that sort of elaboration I'm struck by this too and so I have not had those in-depth conversations with you but it is complicated I think there are issues related to educational outcomes which I think is what you're looking at here as opposed to some of the more broad child development outcomes that we were also talking about but I do think this would be a very fruitful area to have more conversation I think it's really important I just want to commend the researchers for giving us this preliminary report the hard part is to come they still have to make recommendations and so I think for me this was one of those areas that struck me as something we need to better understand have more conversations you may know that the issue of the education requirements with respect to child care is a fairly complex and controversial issue and so I think it really does warrant more conversation and so I do want to sort of confirm the comments that you've made that I think we do need to dive a little deeper into this and see what it actually means again I look forward to your recommendations to figure out where we want to go with this and I think we can add so you know one of the way that we try to focus because there's a lot of research out there on all of these topics and so to focus on kind of the context of the public pre-k publicly funded pre-k so what we can do is maybe it sounds like this is probably a really good area for us to go back and do a little bit more exploration so what we can do is explore more what are those different delineations of CDA versus not a CDA or an associates degree versus not an associates degree in the context of Vermont the question is really around licensure right teacher licensure do you have our certification and do you have that level of education and because that's a degree requirement as part of the legislation so what we can do is go back and maybe explore a little bit more across the span of education level and then conclude that in our final report and what I would hope is that if you find things that based on what is in the legislation create barriers or in fact create unanticipated or vulnerable outcomes that just because when we wrote this we said this then maybe we let go of that or maybe we add onto it I guess I would hope that you are not constrained in your recommendations by this is what the law says so this is what we're going to build on the law it may mean changing the law thank you oh my god when I look at your more detailed thing it talks about experts have suspended but there's 13 of them the experts they would be researchers that are so that's who the experts are and who are yet others have raised concerns that public settings will attract and retain the best teachers via superior salaries and benefits who are they so those are the researchers as well and in some cases it might be the same researcher who is ready maybe the experts the pros and cons excuse me thank you again because I appreciate that question and I will admit as I read it having lived through this for a few years I actually was trying to guess who said which things and honestly I think you all did a really good job just so you know of summarizing and putting forward many of the things I've heard over the past few years so using that example I have heard folks talk about that question and issue and I've heard that from providers I've heard that from the CDD that one of the disparities is salaries and that it is challenging for our private pre-K providers to pay the same salaries that public schools pay so that is one of the issues they do highlight quite clearly in this internal report and I think it's real and we just finished the challenge here right and literally we could be here for a few hours and ask you lots of questions and thank you very much a large cadre of our committee needs to be somewhere else by third 30 and we have a commitment to making sure they can do that so I want to say thank you very much and we look forward to the next chapter thank you very much


Good afternoon, everybody. Welcome to today's episode of Inform and Engage. Following the Atlanta shooting, the mainstream media needed deep guidance from experts like the Asian American Journalist Association on how to cover the Asian and Asian community, Asian-American community, in precise and fair manners. And but many people feel that this is not unique to the Asian community, but this is a general reflection of mainstream media's lack of capacity of dealing with communities of color, especially during breaking news. And I'm your host today, Por Chun. I'm the director of journalism and technology innovation. And to help us unpack this topic of journalism and cultural literacy addressing blindspot in the news, we have Julia B. Chan. She's the managing editor of Digital at KQED News. And her night job is the Asian-American Journalist Association's vice president of civic engagement. I will let Julia explain what that is. And we also have Kristin Hare. She's the editor of Locally at Pointer. And also Mira Lo, the assistant dean and director of Innovation News Center at the University of Florida. Welcome. So let's get into it. And I want this conversation to be as real as we can be. It is on the record, and it is recorded. So Julia, I want to start with you. AHA has been on overdrive the past year working with mainstream media on how to cover the pandemic responsibly for the Asian-American communities. What were some of the major issues that AHA have to contend with on coverage? So I think one of the main goals for us really was to help hold media accountable. So with that goal in mind, we knew pretty much immediately. It was apparent that as soon as the initial news came in about the coronavirus coming from China that there were going to be some issues here with how COVID is talked about in the media and the origins that we would want to have on our radar and keep on top of. So with that, we really wanted to make sure we gave guidance on not once we did see folks calling it anti-Asian terms that have an anti-Asian sentiment to them that we came out really strongly with recommendations not to repeat those phrases or refer to coronavirus or COVID-19 with those terms. So what we see on screen right now is guidance for the Atlanta shootings. We took that same specificity with the guidance there. But what we saw was really urging media to be as specific as possible and denouncing instances in which we saw folks and the president at the time really using phrases that were not accurate and were not the medical terms for coronavirus, essentially. So that was a major cornerstone for us. And the theme that you'll probably hear me talk a lot about today as we go through different news events is really how specific and how accurate we can urge newsrooms to be in the reporting. Is it, Julia, is it just text or do you see that also in visuals? Because I believe that you guys also gave guidelines on those generic pictures of Asians very on their lives. Yes, yes, thank you. That was a major one. And again, that was yet another. There were missteps with Atlanta as far as visuals and the usage of promoting the shooter's image across different platforms. But to focus on COVID, yeah, I think early on we saw all of these very concerning image usages that involve just to quote you, Paul, random pictures of Asians. There are a lot of photos of Asians in not in America wearing masks. It's been culturally a part of public life since SARS, essentially. And unfortunately, those photos were used, we believe, as AJA, out of context with COVID. And I think it added to the conversations around how we can be most accurate as possible. Does this reflect our reporting in America? No. Let's think more thoughtfully about the art that not only lives with our story, that is a representation of our reporting, but also travels across social spaces. Within digital journalism, the layers in which your content travels is something that needs to be intentionally thought through from beginning to publish to how it's being promoted and how it shows up in spaces. So yeah, that was yet another piece that we really had to come out strong about. And Mar, are you seeing similar patterns of what Julia and AJA is observing? But similar pattern with mainstream media and not covering the African communities, especially around breaking news. Do you feel that you saw similar patterns during BLM and the George Floyd coverage? I would say yes. Paul, before I say that, I just want to publicly commend AJA on the work, the tremendous work you guys are doing around. It's been incredible, and it's just been very helpful to the rest of us. So thank you for making us all smarter on the issues. Thank you for that hard work. So yes, to your question, Paul, I think we are seeing, or I think we're all kind of seeing this, right? That the instances and the coverage that we're seeing similar to what happened in Atlanta is what we've been seeing probably all of last year right after the killing of George Floyd. And I would say that the instances are similar, because we're hearing similar language. Julia talked a little bit about the importance of language. And so when you hear language like go back to your country or go back to where you came from, or these are things that we commonly hear in the Black community and across all communities of color, we've been seeing the rise of harassment of just for being you, right? So Black folks are getting harassed by their neighbors. We see Latinos being targeted for speaking Spanish and public. We're seeing Muslims being terrorized or labeled as terrorists. And then obviously we've seen what are happening with our Asian and Asian American brothers and sisters. So it is a constant thing that we're seeing. But this is not known. These are not isolated instances. This has been happening. The brutality and the violence and the attacks against communities of color have been happening for decades now. And it just now feels like it's coming to the fore because of everything that we've gone through over the past year or so. I think that another thing that we should be really paying attention to are, as journalists, is recognizing the patterns of hate and recognizing the patterns of harassment and bias so that we can call them out when we see them. Like I said, when we hear go back to where you came from, we should be paying attention. That should be a light bulb like, okay, this is something that's beyond just some words. We need to really kind of knit all of this together so we can really tell a more full and honest narrative about what's happening in our country and the stories that we're trying to cover. A great point. So for Kristen, like both Myra and Julia this is nothing new. And it is no secret that in our sector, we have staff challenges and resources. How much of this do you think is really about resource constraint versus ignorance of the news industry? Or is it because during breaking news, we sort of default into these like, templatized way of covering it? Like, which is it? I think it's all of them, but I think they fall in different orders. And so when you're in breaking these situations, you're going to rely on your instincts and the patterns that you've built up. And those instincts and patterns that you've built up in most mainstream news organizations are based on newsrooms that are led by white people, particularly white men with staffs that are still largely white. And so when a newsroom is doing a project and has the time and space to be thoughtful and make sure they're including voices, perspectives and getting a story right, that's a totally different muscle than what happens in breaking news where I see some of the most egregious examples of harm caused by news coverage when something really horrible happens. And then you add on to that, decades of work in trying to better diversify newsrooms. Last year was a horrible year for newsrooms across the board and there were layoffs and closures and furloughs. And we lost a lot of journalists. We don't know how many of them were journalists of color. It's actually something I'm working on figuring out right now, but you know, have anecdotes of journalists of color who took the opportunity to leave when they had the chance because they were tired of being the only. And so I don't know if it's a very satisfying answer. It's all of those things and each one kind of builds on the one that comes after it. And the result is, you know, we're not doing the job of accurate coverage. We're causing harm, which really goes against, I think, what we're all trying to do. And so when they're causing harm, Julia, you know, the work that AHA has been working, is it working? Has media company sort of corrected the course? That is a hard-working cause. I think to agree, yes, I think they're varying degrees of success.  That was something that we, again, recognized right away as something we needed to be absolutely proactive about. We needed to be more of a newsroom than ever and really turn something around quickly. And to be able to, you know, and this is a little more anecdotal, but worth fact-checking, according to a lot of folks, our Atlanta shooting guidelines might have been like the fastest AHAs been able to put something out, which I think both speaks to the priority that we all were on the same page about and just what we were seeing already based on the news breaking the night before and the ways in which we wanted to really urge newsrooms to do this well and to do better, quite frankly. I think what we saw with Atlanta, it was really the first major mass shooting in the pandemic. I don't know, I don't believe that's an excuse for anyone, but there were definitely some, again, some missteps that we noticed that needed to be highlighted and we did see a very specific impact from that. For example, when the night of we saw the shooter's image proliferate across social spaces because news outlets were using his photo, that was a wire photo, as the lead image, which unless you manipulate the metadata for digital stories, that's the story that's gonna show up in your Twitter card, show up in your news feed on Facebook, and that is the photo that family members, community members that are impacted by this incident may not want to see over and over and over again, and it can actually be not just traumatizing, but re-traumatizing. So speaking out loudly about that, we saw news outlets swap their image, again, from very small impact to larger impact. We saw folks reach out and thank us for helping them get their morning together or their afternoon coverage together to know the recommended ways, I should say, that we wanted folks to talk about the incidents, especially around the businesses. I think most outlets and journalists, even Asian American journalists, really were challenged by how to describe these businesses when so little was known, especially early on in a breaking news scenario. And so with that, we saw, and then of course the shooter saying that he targeted the spas because of his sex addiction, that just added to this narrative that hadn't been confirmed yet. So we really wanted to make sure we got in front of that and really wanted to come out strong about the fact that as, you know, although we realized folks were seeing a lot of unverified information, we wanted to make sure we guided newsrooms to be able to talk about the perils related to sex work, but also avoid publishing unverified information, or worse, like wrong information about these victims that were already under the microscope. And so that was something that we did unfortunately see with a lot of outlets that we've reached out to. And to a lot of media leaders' credit, folks have been very open to conversations, so there have been a lot of conversations had. And ultimately, you know, again, back to holding, helping to hold media accountable, this is the kind of work we're trying to do. That is, with that being the goal, we really need to continue to like pound the pavement and carve out these types of guidelines and just really urge and stay on top of outlets regarding, you know, accurate coverage, essentially. And Marit, to Julie's point, for in terms of Asian American coverage, is lastly the image, even the imagery itself is like invisible and erased, right? But for the African American community, you know, the image that they constantly evoke is one of, you know, it's also very binary, right?  Like how, you know, like, so we have one community that's largely invisible to, and another community that's largely sort of stereotypical. Do you agree with that? And how are you seeing, again, you know, with the George Floyd hearings, like how are you seeing media playing out that story?  And looking and framing and shaming and blaming.  And I think we're seeing this across all of our communities, quite frankly, of color, but there's one example that I want to share with you because I think it really speaks to the lack of nuance that we're talking when we're talking about coverage here. So great, and I refer to this piece all the time, so that's why I'm sharing. So forgive me if you've heard me talk about this piece, but it's a great piece by Deborah Douglas. She wrote it for the Nieman reports on the new black press, right? And she leads the story with an anecdote about the tribe, which is a black digital news outlet in Chicago. And they decided to look deeper into a mainstream story that was going around that said like a thousand people were having a house party during the pandemic on the West side of Chicago. And so the tribe was like, well, one, we know the West side and we know that there isn't a home that's gonna fit a thousand people. So let's take a look at what's really happening here. And what they discovered is that in talking to the people who went to this quote house party, okay, so mainstream didn't do that. They discovered that this gathering, which wasn't a thousand people, was in order to memorialize those who had been lost to gun violence. So even that piece of information helps reframe what this gathering is. What also they learned is that the lack of information of knowledge in these communities about the coronavirus. So now we're talking about smaller examples of news deserts or information not flowing out to critical communities that are being affected about these issues that we're seeing and talking about. So I think we have to really, as mainstream organizations really think about, how are we, these are two questions and I wrote them down because I didn't wanna forget them. Every day, newsrooms need to be thinking that how are communities of color being seen and heard in our publications, on our stations, on our air and how are we building trust and relationship with these communities? If we can do those every day, I think we'll start to see changes in coverage and how these communities are depicted across our mediums and platforms and communities. I love the coin punitive journalism. So what is the three things? So this is a treatable moment, it's blame, shame and... Blame, shame, frame, blame and shame. Okay, so you heard it from here, journalism. Read it out, stop doing that. Kristen, in your purview, who is doing this better? Like, is it national, is it local, is it more newspaper TV or everyone is sort of very uneven right now? There's so much nuance to this. When people ask me about local news, my follow-up question is always, which local news are you talking about? Because there are so many layers. But I think that the places that are doing this well, regardless of their medium or their audience are the places that are based in and best connected to specific communities. And so a couple of examples I have, the Sahan Journal in St. Paul, Minneapolis has done a really great job of covering what's happened since George Floyd was killed and explaining that from the perspective of a publication that serves immigrant communities. And so one of the stories that they did early on was a piece about the Minnesota Somalis who were leading the protests happening in Minneapolis. They talked about to the immigrant businesses who were hit by vandalism and looting and who supported the protests. They held community discussions on what justice for George Floyd would look like and on who belongs on the jury. And then just yesterday they ran kind of a word for word transcript of the testimony of the four kids who witnessed his killing. And so there's just journalism that's really based in that community for that community and therefore reflecting it really well. I think Oakland side is doing this really well. They have paid community advisors who are helping hold them accountable, which is brilliant. The Sacramento Bee has an equity lab which they launched last summer with four reporters covering equity issues. And just yesterday they announced that they had hired a reporter to cover black communities which they've never done before in their hundred and something year history. And then the Boston Globe has this beautiful ongoing series called the beautiful resistance celebrating blackness and people in the community and telling their stories. So there are I think lots of examples of ways that people are doing this really intentionally and ways that are really rooted in their communities and serve their communities. And also we have to say, grow their audiences which supports the bottom line of being able to continue turning the lights on and paying journalists and producing journalism and covering your community. So there is a business reason to do this work. Money does talk at the end. I love to sort of go back on sort of Boston Globe about the celebration and the beauty of these community in a bit. So if we dive in a little bit more to the nuance, right? And you know, Julie, in your role at AJA where, you know, what were some of the nuance were even challenging for the community to deal with when I say community, the sort of like the Asian journalist to tackle in as far as the Atlanta shooting. Yeah. Well, just sort of like dealing with the rise of like, hey. Oh, I had so many answers to that question. Let's see, even, you know, I think what has been really eye-opening and helpful with a lot of the work that AJA doing is that it is truly a group effort.  And to that end, conversations about, I mean, just to dive into the weeds a little bit, even as Asian American journalists, when we were putting together the pronunciation guide, what dialect do we do that in? You know, ultimately we decided that, you know, if reporting, if we can verify through reporting the how the victim identified, we would ideally like to create a pronunciation guide using that language, but those conversations, I don't think that thoughtfulness would have been the outcome if it weren't for those conversations. And those conversations are what reveal the challenges and the questions that we have, not just as Asian Americans, but as journalists, and then as Asian American journalists, how do we do the best journalism possible and do right also by our community? And I think to push on your question a little bit, Paul, I think as community members reporting on our community, that is where we get into an interesting dynamic of possibly being an expert and either being tapped to or assigned a story that we may or may not wanna do because we happen to identify a certain way or not because we identify that way, right? We heard from a lot of members that they actually were not given Atlanta shooting assignments, although they wanted to do them and because they were too close to the issue or too emotional, you know, these are the things we want to come out really loudly about that this should not be the case, that if you are able to tap an expert in your newsroom on a topic, you absolutely should if they want to because we don't wanna like veer into tokenism either, right? So those are some of the more, the dynamics that really like stand up to me as you ask your very dense question, Paul. And do you see that happening, right? Like are black reporters too emotional to cover BLM?  They can't, so Paul, don't get me started here. So I'm drawing on my experience from working at Ebony and Jet magazines, right? Cause we used to get this all the time, can black journalists be objective when covering black issues or issues that are affecting the black community? And the answer to that I think is obvious. Obviously we can cover any story with we're professional journalists and so we can cover any story that's put in front of us. I think what mainstream media really needs to think about it are what are the lessons quite currently can they learn from black and brown media? I mean, the reason why black and brown media is still relevant and communities still seek these publications or organizations because of the credibility that they feel these organizations provide them when it comes to news coverage, when it comes to making sure that the stories that they are telling are culturally reflected. When they're cultural references and they're references that make sense to that community, there's an authenticity there that people really connect with. And so the importance of I think the lessons that I think media, particularly mainstream media should pay attention to is how can we show communities of color that we're covering them, that we see them, that we hear them, that we know them. And that requires investing time and resources in doing that. And Kristin, you talked about some of the resources that are needed, but this is again, something that we have to be intentional and commit to if we seriously think we wanna make a difference in gaining audience, gaining building trust. We talk about building trust all the time, particularly with communities of color. How do we do that? We just have to be very intentional about this is what we say we wanna do and then put our foot to the pedal on that. The issue about, there is a conversation about labor, emotional labor and putting too much on the backs of journalists of color in a newsroom. And so thinking about how do you balance that? I think, Julie, I think you said, if they want to, please engage them, but do not assume that that is their role in your newsroom. There are a lot of journalists of color that says, yes, I wanna do the story, I know it, I've lived it. And that lived experience makes that an even richer story and coverage. But then there are others like, I don't want to do that. And that is their right to not want to do that. And everybody else in the newsroom needs to step up and do that coverage. So I think that's where I fall down on that question. For anyone who have any questions, feel free to please let us know and we will try to answer as many as we can. Kristin, one question for you is the whole notion of objectivity in terms of, are you objective enough to cover, what do you think? Is there some historic bent to this or like where did this conversation even come from? I mean, I hear it not just with communities of color, but also during the Me Too movement is like, all women journalists able to cover this, right? Like where did this come from? It came from the disconnect between growing newsrooms that are growing in gender and diversity and the traditional white maleness of journalism. And that when we talk about objectivity, what we're talking about is the way that white men view and experience the world. And that's not objective, that's very subjective. But because that is the norm, that's our style book, right? And so then anytime people ask for us to be thoughtful and more inclusive, it's challenging the status. But I will say I've experienced this myself in questioning my own ability to be objective. I was covering immigration while my husband was going through the process of becoming a citizen. And I had a conversations with my editors about it. And ultimately we agreed that the fact that I was sitting in the immigration building and interviews with my husband, sifting through miles of paperwork, it made me a better journalist. It helped me better experience what the issues were at stake. It also made me a better reporter because I had a way to connect with my sources when in those stories. And so this is no different. This is a lived experience, whether that is in the body that you live in or experiences that you've had, those things are valuable. And I think we have so much work to do to recenter journalists and where they're coming from to make sure that they, that they're as valued as we can, they're resources that we need to use and protect. Yeah, I think there's questions raised about live experience, right? And where a lot of the folks working in journalism doesn't have the same. Now, do you believe that people don't have that same live experience could cover a community accurately and fairly? I do, if you're a good journalist and you know how to ask good questions, we can at the core of all of this, and this is sort of the part of this that always blows my mind is all we're asking for people to do is be good journalists and get the right sources and ask the right questions and do your fact texts and make sure, look for your blind spots. And if you don't know where they are, find people who were right in them and help you find them. And that's doing good journalism. So I do think anybody can do this. And it just takes work. Julia and then mine. Sure, I would love to jump in and say that, yes, all of those things like reporters can do this work, they can do the good journalism but it's also not just them. What is the infrastructure in place for supporting this journalist? Who is their editor? Who is copy editing? Who's helping fact check? Doesn't need a third, fourth, fifth pair of eyes depending on the topic. All of that needs to be considered when we're thinking about whether or not we're setting someone up for success or for failure. And I think that is doubly true for journalists of color. When we're thinking about, how can we do best by our folks? What infrastructure? What is the support system that we have in place for them? So I would say yes and let's make sure folks are supported. And I just want to piggyback on what Kristen said. I think every journalist, particularly white journalists who are trying to cover communities of color, need to ask themselves am I, what am I, amplifying bias in my reporting, right? Because when you take that step to self-reflect, you will be able to identify whether or not biases are creeping in into how you're framing the story, I'm going back to the framing of the story and covering the story. The other thing is journalists, we don't know everything. I mean, this is part of why we're in journalism, right? Because we're learning. And so every single day, and I think if we just take a little bit of empathy and humility when we're covering these stories, that will go a long way in helping us be able to see other shared, other lived experiences and also then be able to contextualize based on our reporting what that really means. Yeah, it's funny, like the word objectivity versus empathy, sometimes I feel like they could be inherent conflict in one of, okay, so this is going to be a very thorny question to ask. And this is where we want to get real talk now on interracial dynamics, right? So from LM to Asian hate, we have two different communities of colors. And now they are often intertwined with one another, right? So for example, with George Floyd, right? It involved, you know, African American victim and one of the cops is Asian American, right? Recently, we have a controversy with the Teen Vogue editor hiring and resignation, right? You have a rising African American journalist ascending, right? She wrote some horrible tweets when she was younger about the Asian American communities, right? And then even as close as yesterday, you see a Filipino woman brutally attack in New York City by African American, you know, man. Now, if most media can even do like one communities of color properly, now you have like stories involved, like really sensitive story involving two communities of color, right? Like how do you do this? I'll talk about this in a way that's responsible and not be, you know, and not in fear, and not flame sort of like the racial tension. I know there's a big question. So whoever want to go first? Well, and the other thing you don't want to do is, you know, reassure white supremacists that they're right, right? You don't want to do work that further pushes people into their corners. I don't know that I have great answers for this other than you need to know who is in your community who can be resources for you. And you need, we, you know, our job is always to provide the context. It's not just what happened, but why and how. And so I think it's, you know, white people may, some white people may not understand interracial dynamics, you know, the way that people who live in those communities do, those experiences are worth, you know, understanding and putting some context to and just, I think Julius was saying this earlier, but just precision, precision, precision, you know, get it right and move carefully to make sure that you're telling the truth of what happened as best as we can gather it. I don't know what everybody else thinks. Yeah, I'll piggyback off of something that you brought up, Kristen, as far as framing, critical framing around why tensions between communities exist. I think it, you know, needs to be a part of the conversation if that is in a direction that the reporting is going. I mean, institutional racism, broken systems, communities of color have been subjected to, you know, increasing scarcity and social economic uncertainty for decades. And the pandemic is only really like exacerbated that. So how are we introducing that context and that nuance into our reporting? If that is a story, that is a slice of the story that makes sense to tell within some of the more, you know, viral incidences that we are seeing going on. If this is an attempt to like zoom out and look at a more, give a more holistic view of a dynamic, how are they doing that? You know, how are our reporters doing that? How are they doing it well? How are they introducing historical context and nuance in order to best have that conversation with audiences? I agree. And I think we have to be careful not to pit groups against each other, right? And so that's why the historical context, those references are important. And also, again, as we've been talking about this whole afternoon is about really checking our biases and not making assumptions about why we think certain things play out. I mean, there could be other reasons than the, what we think are the obvious reasons, right? And so really kind of digging a little bit deeper to ask the why, how did this happen? And to your point, Julie, is it really relevant to the story that we're really trying to tell or is this just a one-off? And then we could talk about, if we're seeing this as a pattern or a trend, then let's definitely go after that. But if it's not really something that's a major issue, then why are we making it more than it really is? And so we have questions coming in from the audience. I think, so one of the questions I think for Julia is, what are some of the internal responses that mainstream outlets have when they're confronted by organization like AHAA about issues of coverage of Asian American communities? Sure. Well, it definitely shows up in the journalism. So like I mentioned, something as small as, swapping out the lead photo, using our pronunciation guide, we've seen that happen across more visual mediums and the ways in which they describe the businesses has have been really great to witness and great conversations to have with outlets. Ultimately, folks are open to the conversation. They seem to welcome it. They've been very responsive while we've reached out over email. What could be considered a cold email sometimes? Cause we haven't met some of these folks. And so all of that response so far has been really encouraging. Now, what we need to see is how the resulting reporting shakes up. And so we're really committed to keeping our eyes out and our ears up for following up around Atlanta shooting, sure, but general coverage of Asian and Asian American communities and Pacific Islander communities. And Kristen, this question might be for you is, I think one of the question is, there's tenancy in the youth media to create sympathy with the perpetrator of their wife. But we see this in forms of story about the background, mental health, right? Like if you, and we see this actually quite constant if you're white, like there's like you, something must happen in your life. You have a bad day or like you are like video games that turn you to become this murderer, right? But when it comes to sort of a, you know, BIPOC, you know, victims of perpetrator, like that narrative is completely different. Like, you know, what do you make sense of that?  And if you're not, you don't. And often what we're seeing is people get, you know, thumbnail sketched by journalists that aren't used to covering people that don't look like them. And, you know, all of the other, you know, I think issues we've talked about, I think that the question for journalists and editors has to constantly be like, how can I get the most information about this person regardless of who they look like so that I can, you know, help make people understand, help people understand what happened here and is writing the narrative, you know, of the a mass shooter, is that the best way to spend our time? Do we need any more of those stories? Should we be focusing on something else? And that would be sort of like the newsroom template, right? Like, let's find out.  How much of it is because they just, you know, like to cover the Korean, you know, victims, like, well, most of the reporters don't see Koreans, so they don't really have access to communities. So therefore they say, well, it seems like crick a story I could do is about the shooter. How much of that is true? And so where does the working collaboration with, you know, sort of the non-English where the black press comes in? I would love to see, you know, journal and mainstream news organizations, both national and local, you know, work with the organizations that cover different communities where they live and pay them for that work, amplify that work, increase their audience, which, you know, has the benefit of helping your audience be better informed and increasing your own audience. Those organizations are still there. They may be very small, but I think CJR had a great piece about the Korean publications in Atlanta that were there on the ground covering these stories.  That has to happen long before those, just like covering different beats in communities, that work has to all happen up front so that when something happens, you're ready and that sort of connective tissue is already in place. I was just gonna say, Paul, I wholeheartedly agree with Christian there. We talked a little bit about how some black and brown media and organizations, our affinity groups, are kind of taking the lead on some of these conversations. And so for mainstream media to be paying attention closely to what the organizations are saying and doing the guidance that they're providing and then looking at the media, of the black and brown media and what they are reporting, these outlets really have their ears to the ground on issues that are affecting them. And these are the organizations that are really giving voice to people in those communities. And so figuring out and paying attention, how can you collaborate with these entities to help enrich coverage for all? And the sharing of resources, obviously is critical to this as well, but we can figure out how to bring these groups together. I think our business, talking about business models, our industry would be stronger for those collaborative endeavors. So one other question from the audience is how much of this do you think it could be fixed by so-called like diversity hiring? And at the same time, we're seeing that journals of color are being bought from covering these community because of fear of bias. So it's almost like you want them in a newsroom but you don't really give them full agency. Like...  But I do think it's important because we're seeing the rise, we're seeing more and more newsrooms create beats and positions focused on racial issues. We're seeing the increase in promotion of journalists of color in newsrooms. And I think collectively, all of this makes a difference in the type of coverage that newsrooms are doing, right? And it's not just because I'm hiring a Black person or an Asian person or a Hispanic person, right? It's a collectiveness that makes a difference in the type of coverage that we're doing. And so, yes, they think we bring just unique perspectives to the newsroom, to these stories. Christian said she had a better understanding of the immigration process because she had someone who was going through it. So all of these experiences, all of this knowledge, all of the history that we know and bring should be valued and welcomed in the newsrooms and not seen as a detriment or a hindrance. And so I think the more diversity we bring across the board in all its forms, the stronger a newsroom is going to be. Yeah, so what I'm hearing is sort of like key terms, right? Like there's a lot of nuance. The basics of, the basic tandem journalism will never fail you.   With George Floyd, you know, the case plus, you know, the continue attack on Asian-American, you know, what would be your word of advice for them? Julia, you go first. All right. Well, I'll share something I'm thinking about for my own newsroom, which is I don't think we necessarily should be comparing, you know, Freedom Summer, what happened, you know, last year with George Floyd and Atlanta, essentially, and the rise of anti-Asian racism now, because I'd like to make the distinction while there's been a long history of racism against AAPIs. These like viral incidences of violence against elders, specifically in Asians and Asian-Americans more broadly is more recent. And arguably sparked from Trump's anti-Asian rhetoric around COVID. And as we're seeing when the Atlanta shootings happened, a lot of people were and still are waking up to the level of racism, leveled against AAPIs. And this moment feels like it's a different part of the journey than the conversation that mirrors one about anti-Black racism. So I think, you know, I think for some folks, it may be natural to try to compare them. I don't think it's a one-on-one comparison. And I think the type of coverage that we're seeing on both fronts is shaping up and showing up differently because of those unique contours. So that's something I'm thinking about as a newsroom leader and, you know, just kind of want to share that thinking. And I would love to have this conversation if more folks want to, what, chat at a later time, probably another panel. But that's something that's currently on my mind. And I would love to hear, you know, from you and Kristen about this too. Kristen, what about you? What's your final word? I have two, do better. Yeah, do better. You know, all journalism is based on the work that you've done before. And we all continue, whether it's with, you know, different sources or different stories, we're all building. And so, you know, finding ways to connect with communities and to reflect what's accurately happening there and to build trust in those communities, that all takes time and work, but it's worth it. And so, you know, I think we just, all of us have to continually push ourselves to do better, get deeper and be more accurately reflective of what's happening in our communities and in the world. Okay, Mara? I'm just gonna say context, context, context. I mean, putting these things into context really matters and really understanding how from history to now, these stories are playing out. Like I said, these aren't isolated things that we're seeing. If we can provide, the more context we can provide around the coverage that we're offering, the deeper understanding that I think audiences will have. And so let's not, I know we're trying to be fast and we're trying to get it out and we're trying to be concise. We're trying to get it in the lower thirds. I'm trying to tweet it out. But at the end of the day, we really have to remember that the whole story is important. And the full portrayals of people and communities are important. And so keeping that context in perspective is what my last word would be. Well, I wish we have another hour of this to continue on. So I just wanna thank Julia, Kristen and Maya for your insights. Thank you so much for joining us today. And for next week, we will have a show exploring how arts and artists build, inform and engage communities. So be sure to turn in to Nightlife every Thursday at 1 p.m. Eastern or watch it on demand. And have a good afternoon, everybody.


The Police Service Commission has reported that a total of 136,177 candidates have undergone screening for the position of constables since the commencement of the exercise on January 8. In a statement released on Tuesday, the Public Relations Officer of the PSA, Ikechuku Annie, revealed that details of 108,768 of the screened applicants have already been uploaded, and he attributed the delay in uploading the remaining details to network challenges. Arashé emphasized the importance of aptitude tests as the first stage of the recruitment process to filter out unqualified candidates and streamline the number of individuals progressing to subsequent screening stages. He stressed the need to establish an effective and efficient recruitment system to ensure a high standard of performance from the recruited officers.


Hey, hello everyone. It is me, John Park. Surprise! It's me this time. I'm hosting Show and Tell. I know we have a somewhat rotating cast of characters doing this this week. It's me, so I'm excited to be here and I am also really excited to check out your projects. So if you are interested in coming on Show and Tell and showing us maybe something you're working on could be a work in progress, a completed thing, an idea, a dream, whatever you want. Come on and show it and talk about it for a couple of minutes here and people can take a look. If you're looking for a link, we've got a blog post up and we also have our Discord server, so if you go to atafruit.it slash discord, look for the live broadcast chat channel and you'll find a link there as well as a lot of people hanging out and having conversations. So first off, I'm going to bring on a couple of Atafruit people and then we've got two or three people from the community to show their stuff. So I'll take a couple minutes to talk about their things and we will probably get out of here a little bit early so you'll have a chance to go grab a snack and a beverage before you tuck in for a Ask an Engineer episode happening at 8 o'clock Eastern time. So first up, we'll bring on Dan. Okay, hi. So I'm Dan. I work for Atafruit on the sort of Python, I'm a core developer for sort of Python, but today I'm going to show you a new board that's under development and I wrote a little demo for it. So this board here, oh, we got really bad lag here. All right, hold on a second. Let me switch to video. Let me restart this. Sure. Okay, hold on a second. That's better. Dan, you're one of those intrepid folks who uses Linux for this sort of thing, aren't you? Yeah, yeah. So it's always dangerous. Exciting. Okay, there we go. All right. Nice. Now you can see. So this board is green, which means it's a prototype board. And this is an Atafruit Feather RP2040 prop maker. Okay, so we have a feather wing called a prop maker. And that has, that's really for cosplay kind of projects that want sound and neopixels and has an accelerometer in it. And this board has all that stuff right on the board. This is in the Feather RP2040 Bones series. We have a bunch of boards that start with a core, sound of a core RP2040 thing.  So in this case, there's an accelerometer and LIS3DH. There is an I2S amplifier, mono that can drive a one water or three watt speaker, depending on the impedance of a speaker. There is a five level converted neopixel pin. There is power to the neopixel strip. And all those things are on screw terminals here. So you don't need soldering. And there is a three pin servo connector. So you can connect up a servo, which wasn't true on the feather wing prop maker. And there's also a spare IO pin that you can use for input or output. And you could also use the servo pin, control pin as a regular input output, if you needed a spare one. And as you'd expect, there's a STEMBA, in case you want to connect up any other sensors or other I2C devices. So what I've got here is a little demo. There's a servo underneath this thing up here. It's a servo like this, but it's all wrapped up in blue tapes. You can't see that. And this is another kind of speaker that you can use. We sell these speakers too. And so I have this set up so that if I lean the board to the left, the servo turns to the left, and I lean the board to the right, it turns to the right. And meanwhile, it's doing a little animation here. And if I press the button, then we get, I don't know exactly what this is, if this is a gun or something or some kind of like, I think that sounds like for the honking goose. Yeah, this is a sound I stole from one of our sword projects. Sounds familiar. So I made this without any soldering. Okay. And it's on the breadboard, but that's just to show you, you know, this very high class of blue tape. It's a dilation here. But I hope we hope this is not out yet, but it's under development and looks pretty good. And it should one board no soldering project for all these kinds of cosplay products. Yeah. And you could battery power all of this, right? That's right. So there's, you can attach a lipo battery right here on the feather. And those power also go here. And also there's control of, there's a special control pin here so that you can turn all the power to the to the new pixel strip and the amplifier on and off. So if you want to power the thing down temporarily, you can do that and still have my microcontroller. Save some battery life if you're using this as a problem. Exactly. So we're really pleased with how this came out and we're more managed to squeeze all this stuff in on this lot of one inch square of space here. Yeah, it's like the whole feather wing of the old prop maker is now a one inch little tail on. Yeah, great. It's great. Yeah. Oh, I'm excited about it. Thanks for sharing the demo really. And I guess people should keep an eye on Ask an Engineer and our blog and the store to see when this. Right. So the board definition is already, it's already in a certain Python. If you want to look at the pins or anything like that. So feather RP2040 prop maker. Fantastic. Thanks for sharing the demo, Dan. Appreciate it. Bye-bye. See you. All right. Next up, we have Scott. Hey, Scott. Hello. Can you hear me? I hear you great. What you're working on? What's new? Well, I've been doing a couple things. I showed Pico DVI last time. So that's checked in and Dan just did a beta two release. So it should be in there. Heads up. It is going to change just a little bit because of feedback from Todd. So keep an eye on for that for the next beta. Just the frame buffer numbers you give it, which Todd doesn't know I'm going to do that yet, but he'll figure that out soon. Yeah, I've been working on the IMXRTs. This is the 1015 board. And I figured out just yesterday about how to get circuit Python running on that along the tiny UF2. So that's been good. And I'm also adding the ability to speed up the flash before circuit or as circuit Python starts running, which will be cool too. I've got the 1020 here on my desk. I was just going to test them all and it's not working. So I have more debugging to do tomorrow. But then the other thing I wanted to show is we got a report of Eink. Oh, my thing is not quite long enough. Eink displays not refreshing correctly.  And so one more suggested I make a demo that tests it. So this is that demo. So every 10 seconds it refreshes and places a label in each corner. So it's doing partial RAM refreshes and making sure that those addresses that we're giving to the displays are correct. Oh, good. And what's the practical effect for watching the refresh if someone's using the old method versus this? Will it? So the old code just won't look right. Particularly, like the first refresh usually works because your numbers are like zero. And zero is the same regardless of how you swap the bytes. But then subsequent refreshes, like it may blink, but it won't show your new data, for example. So there was actually like, this is a bit of a longstanding issue. Anecdata filed some issues in 2019 that have this problem. So if you're using like the SSD 1675, 1680 or 1681, you'll need to get latest and greatest circuit Python and some new library code that enables the little Indian addressing. And hey, can you show us the board you were using for that? Yeah, let me unplug it. So I'm not constrained my love. So the green board here is a prototype of the feather ink. And you can see it was designated for me, which is cool. It's just been super helpful. Like we had these breakouts, but with these breakouts, you have to use a breadboard and everything. And I've started just like, I have a whole desk full of inks and I just flip the ribbon cables out and I use the same feather for protesting them all. It's really excellent. Yeah. Ribbon cable, all the things. That's the new mantra. I love the the I spy for SPI stuff for ink. It's life is good when you don't have to do all that wiring. Yeah, just got to be delicate with it. Yep. Great. Thank you, Scott. Appreciate your hosting. Okay, you bet. Take care. Bye. All right. Let's see. Next up, we have from the community, Micah is coming on. Micah. Hello. So I know I've shared this project a few times before, but this time it's a little different because it's no longer just a design and a screen or even a half working PCB. It now is a fully functional board and it's almost ready to be centered on the world. Oh, cool. I simplify the design to make it smaller and less expensive and because the previous version would have cost $35, this one's target price is about $20. There's a few problems with this version that I plan to work through and this is a non exhaustive list. There's a component directly under the battery connector. I'm not sure if you can see that. Right here, there's a transistor right under it and when you have the battery, the transistor gets ripped off. I learned the hard way. And the holes that I used to attach the wires, sorry, right here, ah, ah, right there. They're too small and too close to the edge and the USB C port. I actually had to trim this edge because it was too close and you couldn't plug in the USB cord. And for people who don't know, this is the haptic fidget spinner. Am I right? Oh yeah, I'm so sorry. I should have given introduction. It's a haptic feedback fidget spinner, so it uses vibration motors mounted on the back to make it feel like it's spinning, but it's staying still. So sorry, I should have introduced it first, but been working on it for maybe four months at this point and also there's no low battery indicator. So when the battery starts to run out, it just starts to get less responsive and you don't notice that it's that you know, but there's a lot of good things about it too. It's AVR based, which does mean no more circuit python, which is very sad, but it means it's a simpler design. It can be smaller and have less power consumption. There are only three motors instead of eight. I don't know why I chose eight last time. It's not not a very good choice because it may amend a lot more complexity and it had to be a lot bigger. But now there's three, and it actually means you can tell which motors on at any given time more precisely. So it's it actually feels like it's spinning more, more, more better. The buttons are quieter, which is kind of accidental, but they're quieter. So yay. And this is a big one for me. It didn't need any rework. So I didn't have to solder any wires to it when I got other than the motors. That's a problem. And it's smaller, easier to hold and all in all, I'm super excited to see what the future holds for it. And I hope it helps people around the world. It's not super, it's not like life changing or anything, but I hope it helps some people reduce anxiety. And of course, of course, the open source can download the design, both the CAD and the firmware from GitHub. And it's all under the MIT license. So yeah, that's fantastic. If people want to find out more right now, what's a good link for them to? I will drop one in the discord. Super. That's fantastic. Thank you so much, Micah. Congrats on the update. Take care. Thanks. You too. Very cool fidget spinner. All right. Next up, we're going to bring on Todd Bot. He's already been name checked on this very rocket. Yeah. Sorry, T'Noot. And I'll get back to that. But first, I would like to say I am super pleased that we have animated GIF support in Circuit Python now. I've been having tons of fun with it. So thank you, Gamblr and other people who have worked on it. It's so cool. That is fantastic. That GIF, yes.  But this is doing some hacks, writing directly to the SPI of the display. So it's a little bit faster than you would normally do with Display.io. But awesome. Oh, my God. And this GIF, it looks like it's almost like in a snow globe or something because of your round display. Yeah. It's bonkers. Yeah. The round display really sells it. But the thing I worked on, so this is really not my work. This is all your work and Gamblr's work and other people from Circuit Python. But for me, for the thing I was working on today is I was playing around with the HDMI DVI support that's now in Circuit Python. And let me bring in my picture-in-picture. What's the name of that? And so here's the Pico DVI board on a little tripler. And it's got a little thing here that's being used.  Sort of as a little, you know, bloop bloop bloop bloop computer display. Another little thing I got here is just to prove that it's actually Circuit Python. So here's something fairly similar. But this one is talking seesaw, I scored C to this little joypad. And so I can drive around this little emoticon spaceship with the joystick. That's so cute. Oh, I love that. You're playing a good game. That is so great. So the reason why this is important to me is I was trying to get the seesaw, I scored C stuff to work in the Arduino in Arduino with the Pico DVI library and it was just not working. There was like something weird going on where it would work for a couple seconds and crash or whatever. And so I'm trying to figure out what's going on there. It's probably something I'm doing wrong. But this in Circuit Python just works straight away. That's cool. So yeah, that's what I got. I love that. What sort of resolution are you sending, do you know? Just play to Tan Newt's point a little bit like, because this is a... Yeah, yeah. So it's all, it's in Circuit Python. If you're doing any sort of color, it's 320 by 240 by 240. It's currently configured as 640 by 480 because that's what the monitor is actually getting. The monitor is actually getting 640 by 480. Every pixel is doubled. And I think that might be what's going on in the Arduino library as well. I need to go back and check that out because the Arduino library talks about it in terms of 320 by 240. But still, it's 320. It's a display on a monitor. Oh, great. Someone over in the Discord just posted a nice gift of asteroids. So I think that's a hint. But if you recall, I've got that Asteroid, that Circuit Python Asteroid as I did like two years ago. And I was starting to port that to a no solder solution. You just put the Feather DVI and this little joystick on a doubler and then you've got a little arcade box that can control a TV. That's wild. But I was running into problems in Arduinos. Thankfully, Circuit Python works. Thanks so much for bringing your updates on. Very exciting. Love seeing the DVI Feather stuff. It's amazing. All right. Thanks. All right. And last up, we've got Mark Gambler. Hey, Mark. Hey. So the project I've got this week all started when I needed a new fan for my computer, which resulted in me going to the store and buying a new video card because I was there. And then finding out the video card would not fit in my current case. Oh, this is familiar. Yeah. Yeah. So long story short, I eventually had a new case with RGB lighting on the fans. Oh, yeah. And I thought I need to control these. Oh, goodness. So what I found out was that it's basically Neopixels that are in all the modern fans. But my motherboard couldn't drive them. So I was like, this should just work with Circuit Python and most of the boards I've got. But what it wouldn't do is there's the Scorpio, which is great if you want to control a lot of Neopixels, but it can't connect anything. And there's lots of NFR chips that are great for Bluetooth, but they don't do the level shifting. Though the itsy-bitsy I did find out about after I did all this. Oh, yeah. So I have now designed this board, which is basically an NRF 52840 chip. But it's doing the level shifting up to 5 volts for all the addressable RGB fans in my case. So while I'm showing this, I'm trying to move my webcam over so I can show there is the case with all the fans being controlled. So like the Scorpio, there's eight different outputs. So and I made them all the size so you could plug each individual strip that you've got in your case into it. And then, let's hope this is still connected, through the FileGlider app that Adafruit has, I can save. Let's see if it restarts. Yeah. Yeah. And without having to open my case at all, I can change the code. That's awesome. That's really cool. So, yeah, this all worked out better than expected. Just because your fan broke. Yeah. Well, because my, yeah, CPU is overheating and my fan broke, I ended up designing a new USB. Yeah. So now this can just sit in my case. It can control everything. Right now, I can use FileGlider at it remotely. I might actually just make a little Bluetooth controller or something, but yeah. And are you powering that board off of case power, like a five volt rail? Yeah. So they actually did have the top right connector is actually just five volts that came out of the top of the case. I just found it and realized it had five volts. So, yeah, it's all self-contained. You don't need to run a USB cable either internally or outside. So it works really well in that way. And then it distributes the power throughout the board. Yeah. Excellent job. Very cool. Thanks. I love the lengths you went to and it's well worth it. And that's a cool-looking case too. Yeah. I figured since I was already so far in the hole with everything, why not? Double down. Now, maybe I'll just throw some Neopixel strips around the edge. Yeah. Yeah, it goes from the more interior lighting. That's fantastic. You've got, what, three more strips you can plug into your board there, right? Yeah. And I could move the power around to or figure something out. But yeah, actually the only thing right now is one of the resistor kits isn't quite soldered correctly because, I mean, it's pretty zoomed in there, but I didn't quite realize how small those were. And trying to solder those by just a hot plate was exciting. Challenging. Yeah. Well, great work. Thanks for sharing that. I appreciate the lengths you went to and I love the creative stuff you bring on each time. So, thank you, Mark. Yeah. Thanks a lot. All right. Take care. All right. Well, thank you, everyone, for stopping by with your very cool, very interesting projects. It was a lot of fun to check out. People are chatting about stuff over on our Discord. If you want to go check that out and hang out, drop in any links and things and answer any questions. That would be fantastic. Now you've got about seven minutes to go grab a snack and a beverage and get ready for Ask an Engineer, which is happening at 8 o'clock Eastern time right here on your favorite Adafruit broadcast channel network thing. For Adafruit Industries, I'm John Park. This has been Show and Tell with everyone from Adafruit and the community joining in. We appreciate it so much and I'll see you next time. Bye-bye.