This video is brought to you by ExpressVPN. If you go to the link in the description, you can get three months of ExpressVPN absolutely free. The more you learn about Ornette Coleman, the more he seems to become a kind of unbelievable, mythical figure. He talked with Jacques Derrida and played music alongside the Grateful Dad. He once recorded an entire album with his 10-year-old son playing the drums. One of his first gigs in New York ended with the drummer punching him in the mouth. He started off his musical career with nothing to his name but a plastic saxophone and went on to become one of only two jazz musicians ever to win a Pulitzer Prize. Along the way, he even invented his own philosophy of musical thought, harmonotics. But really, it takes a near mythical figure to accomplish all that Coleman has in his career. Few others would have had the audacity to release an album called The Shape of Jazz to Come. And even fewer would have had the vision and talent to make that album live up to its name. Let's take a closer look.  As a kid, he was kicked out of his high school band for improvising during a march. Early in his career, a show in Baton Rouge offended some audience members so much that they assaulted him backstage and destroyed his saxophone. And when he broke into the New York jazz scene in the 1950s, his reception was contentious to say the least. The jazz establishment were shook by Coleman's music. Miles Davis, even called Coleman, all screwed up inside. If you want to understand why Coleman inspired such a response, you need only listen to his music. Take eventually the second track on The Shape of Jazz to Come. When you listen to this song, you start to get a sense of the radical musical ideas that confounded New York's jazz scene. It's a song that's manic, squeaky, and completely unhinged. It's strange and abrasive because it actively defies so many of the conventions of jazz music and of the Western musical tradition as a whole. This is because of Coleman's musical philosophy of harmonics. While he didn't coin the term until the 1970s, the theory behind harmonics has defined Coleman's entire musical career. Harmonics is, at its core, built on improvisation. But it's not the kind of improvisation practiced by most other jazz musicians. Typically jazz is improvised around rigid chord progressions or more loose modes and keys. These act as guidelines and roadmaps, keeping the musicians on the same page and allowing the music to speak in a vocabulary that's familiar to listeners. And Coleman had lots of experience improvising like this. He cut his teeth playing bebop, one of the most complex, challenging improvisational styles of jazz. But all this rigid structure didn't sit right with Coleman. He thought adhering to these structures created hierarchies in music. He would even call traditional music a caste system. Coleman made it his mission to tear music away from the cultural structures that had created this system. In throwing away tradition like this, Coleman hoped to democratize music. Within a harmonic framework, Coleman said, quote, Harmony, melody, speed, rhythm, time, and phrases all have equal position in the results that come from the placing and spacing of ideas. Coleman said that by focusing on only a few parts of music, you missed out on everything else that it could be. For him, music was a conversation, an active and spontaneous act of creation. He elaborated on this in a 1995 interview with Cadence magazine. In music, you have something called sound. You have speed, you have timbre, you have harmonics, and you have more or less the resolutions. In most music, they only use one dimension. Whereas, like, say I'm having this conversation with you now, I'm talking, but I'm thinking, feeling, smelling, moving, yet I'm concentrating on what you're saying. So that means that there's more things going on in the body than just the present thing that the person's got you doing. If these conversations sound heady to you, you're not the only one. Ornette Coleman is famous for the way he's able to philosophize about music. While he was stirring up New York's jazz scene, he would often talk into the early hours of the morning with John Coltrane, who was shaping jazz in his own way at the same time. Coltrane would record an album influenced heavily by these conversations called The Avant Garde in 1960. That album was recorded alongside the trumpeter Don Cherry, a frequent collaborator of Coleman's. And Cherry was more than just a collaborator, he also played an important role in helping Coleman change jazz. Because at the end of the day, music is a conversation between the players. In order for Coleman's harmonic theories to play out, he needed musicians that were just as creative and just as radical as himself. After years of searching, Coleman found those musicians in New York. Alongside Cherry, bassist Charlie Hayden and drummer Billy Higgins joined Coleman to form the Ornette Coleman quartet. Even the instrumental makeup of that quartet defied jazz tradition through its lack of piano. Typically, pianos provide a harmonic framework for songs. So by leaving it behind, Coleman was able to lean further into improvisations that were pure melody. Sometimes this manifested itself in wild, chaotic runs like in congeniality. But this style can also be used to create more laid back, calm pieces like peace. Even at its calmest, though, the music of Ornette Coleman can be abrasive to many years. Part of the reason behind that is the instrumentation. Throughout his entire career, Coleman used a graft and saxophone, a cheap, molded plastic instrument responsible for his famous squeaky sound. Meanwhile, Don Cherry frequently played a pocket cornet, a similarly atypical instrument. The end result is something the likes of which the New York jazz scene had never heard before. It was music that defied so many of the rules about what jazz was supposed to be. Now, this isn't to say that there was no structure whatsoever to Coleman's music. Some of his later work would push the limits of jazz even more. Two years after the shape of Jazz to Come, Coleman released Free Jazz, which sounds like this. But in the shape of Jazz to Come, you can still hear a lot of familiar jazz elements. Charlie Hayden's walking bass lines anchor the entire album, meshing seamlessly with Billy Hagan's energetic beats. Listen to the synergy on chronology. That synergy is important to the entirety of Coleman's process. All of his musicians were completely in sync with one another. They were on the same page and they understood that making this music was a democratic process. And within this democracy, they were free to experiment and push any and all boundaries they dared. There is one consistent structure to the shape of Jazz to Come. Each song begins on a head, a main theme that it will return to later in the song. This structure is borrowed from Bebop, but Coleman didn't like placing music into labels like Jazz or Bebop. He wanted his music to be viewed simply as music. A 2001 article in The New York Times has Coleman elaborating on this. Music is not a style. Music is ideas. In any normal style, you have to place certain notes in certain places. You play in that style and try to make people believe that style is more important than other styles, which removes you from the idea. With harmonics, you go directly to the idea. This means that trying to apply theoretical frameworks to Coleman's music is kind of missing the point. Coleman's music is meant to be musical expression in its most abstract, free form. And this comes through best in the opening track of The Shape of Jazz to Come, Lonely Woman. Being interviewed by Jacques Derrida, Coleman described the inspiration for that song. One day during my lunch break, I came across a gallery where someone had painted a very rich white woman who had absolutely everything that you could desire in life. And she had the most solitary expression in the world. I had never been confronted with such solitude. And when I got back home, I wrote a piece that I called Lonely Woman. That song was born not out of any musical structure, but out of pure emotion. It's loneliness put into musical form. The head reflects this. It's full of distant sorrow aided by the dissonance of Coleman and Cherry's instruments. In the improvised middle section, the song continues to meditate on the loneliness, but adds a tinge of desperation. It's not an improvisation on harmony. It's not an improvisation on chord changes. It's an improvisation on emotion and on the concept of loneliness. Lonely Woman became one of Coleman's best-known songs and is even seen by many as a jazz standard to this day, and it's a stirring example of the power that a song can have when you set it free from the constraints of musical hierarchy. When Ornette Coleman released The Shape of Jazz to Come, it was like someone had dropped a bomb on the New York jazz scene. Its audacious name drew attention and controversy, and that was amplified by its radical music. Some celebrated it as the most innovative jazz album ever recorded, while others dismissed it entirely. But soon enough, The Shape of Jazz to Come was living out its prophetic name. Coleman tore down the rules and conventions of jazz music and all music really. And suddenly, new art was allowed to thrive. It became clear that free jazz and avant-garde jazz was the next place for the genre to go. And artists like John Coltrane, Sun Ra, and Miles Davis dove head first into those waters. Even generations later, the influence of Coleman can be felt clearly on experimentalists like John Zorn. Coleman's influence echoes outside of the jazz world, too. You probably don't get the likes of Captain Beefheart or Frank Zappa without Coleman's daring rule-breaking. And that isn't even to speak of the rest of Coleman's career. The Shape of Jazz to Come was only the beginning. Over the next 50 years, Coleman would continue to innovate relentlessly, and he would establish his legacy as a truly singular musician and a creative force, the likes of which we may never see again. So, a lot of people have reached out to me to say that my Layla video has disappeared. 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Hello everyone. Welcome to the webbinder. It is time to talk about DataMesh, which is a distributed data management for Microsoft Surface, presented by Fred and Kenny from Broadbridge Corporation. Let's have a look at the Microsoft Surface challenge first. Usually, there are four phases for Microsoft's architecture introduction. Analyze, decouple, aggregate, and implement. The first thing we must keep in mind is the data. It's the key problem in the current Microsoft Surface architecture implementation. After several years of hard working, the industry and customers have also looked for consultants and have achieved many results in application development and logic design. We have learned a lot of design and development methods such as domain-driven design, splitting methods, design patterns, etc. The reason why the Microsoft Surface architecture is still not formed is that the main problem occurs in data decoupling and fragmentation management. So, we need a solution, a low-risk solution. The most horrible thing to any company is moving data. The risks are high and responsibilities are difficult to clarify. But, you have to face the data problems. Otherwise, the Microsoft Surface architecture will never be implemented. The solution we are looking for is simple. Just don't touch my database. You can do whatever you like. So, we need a data supply planning strategy for Microsoft Surface. Now, think of the problems we may encounter while transforming from shared database to database-per-service. Yes, we all talk about database-per-service in the Microsoft Surface architecture. How to decouple existing data with low risk? How to avoid performance impact? Like long-trip issues, data exchange across surfaces. It can't be done in one step. So, what is the transformation plan? What is the data management transformation plan? Here, we come to the practical issues of database-per-service. A large number of cross-surface queries when linking data requires network and surface pressure. Direct access to the databases of other surfaces can solve some of the former problems, but the antipathic approach will still cause huge pressure on the databases. Mixing the two methods will mesh up the system data management logic. In addition to being unable to control the data access path and security, system performance will still be a big problem. The challenge is how to keep database-per-service while being able to meet the requirements of relational data and high-election query, and to remain service-independence without impacting other surface performance at the same time. This is the way to realize the database-per-service. It fully follows the specification of Microsoft Surface to decide modeling systems with business-oriented. However, there are still some problems we have. First, how to manage when there are too many programs for data retrieval and synchronization? Every new data stream needs a new customized program, which is quite troublesome to implement. How to ensure the stability of each data synchronization job? When you need to create a new dataset and then generate a new virtual table, the loading of source database is very heavy. If you use event sourcing, event store technique, the speed of rebuilding a dataset from the event is too slow to rapidly expand. So, from the previous analysis, we can know whether the Microsoft Surface architecture can be implemented smoothly. The most important keys are, one is the management capability of messy proficient and caged pipeline. The other one is the efficiency and pipeline design and deployment. We need to build a data platform with standardized and unified management data proficient routing and have a cache which you can quickly create and restore virtual tables according to application changing requirements. That is the data mesh architecture we are talking about today. Data demand driven by applications needs to be satisfied by a large amount of data supply chain. We could cheat all databases, whether homogeneous or heterogeneous, into a huge database. The objectives are, the application does not need to know where and how the data comes from in the system. A large cross-system virtual data system. The data required by the application is presented as a virtual table. To satisfy efficient data access, no impact to the existing database systems. The implementation method includes data virtualization, data streaming, data snapshot, data cache and data relay. Why? We don't use the traditional solution because the centralized data management cannot fulfill the needs of Microsoft Surface applications. Such solutions are S, ETL, data virtualization, data warehouse or data lake. How to do for example, centralized data platform and data processing architecture will lead to following drawbacks. Data supply, pipeline, scheduling, flexibility is limited. Cross region, cross site, cross cloud network bandwidth, waste, low throughput and high latency, the performance bottleneck falls on the data processing node. Data transformation easily performed too early, resulting in data unable to be processed in parallel and efficiently cached. The large performance impact on data sources. So, the data mesh concept is the right choice. Distributed data management and supply architecture can meet the needs of Microsoft services with following characteristics. Supply data to applications with high throughput and low latency. High data scheduling flexibility. Proficient data with short disappeared and least amount of data. Data processing work is distributed to different systems in parallel with a Microsoft architecture. Data does not need to be aggregate to a system on a specific node, avoiding single point of performance bottleneck. Each data cache pipeline runs independently and does not interfere with each other. Now, let's see how to build a data mesh infrastructure and how to use it. A data platform needs to meet a large number of data pipelines by directional channels and supply requirements. Using data pipeline to control the flow of data, using data relay cache to ensure performance and throughput, using container to achieve agile deployment to meet application requirements. Having expansion and pipeline performance to reduce data latency and maximize throughput. This is a showcase of the data mesh platform. You can quickly provide data in the form of APIs or even static pages. Just three steps to quickly generate data query API. Event data provisioning, caching and building virtual tables. You can offload the pressure of data warehouse. You can meet the needs of a large number of external data queries by cache optimizations. No coding required, you don't need to write even a single line of program. Now, let's have a look at some user cases. The first case is about the implementation, efficiency and delay in data exchange between new and old systems. With the traditional method, you usually have a program to load data to a middle file from source database. And another program to pull data from the middle file to update the destination database. You may have a schedule A for data query and schedule B for data insert.  That is the major factor to cause the delay. However, with the data mesh platform, data exchange no longer requires writing a lot of programs. Data exchange will be provided to all applications in real time with low latency. Data sources no longer need to spend the main power and time to prepare data for application sites. Data source and application sites no longer need to spend time to communicating for data exchange. The problem you can solve in efficient data exchange between different business systems. In efficient system data exchange across teams. The second case, in efficient batch processing and performance impact. Batch processing will cause a momentary high system loading burst. The more data is needed for applications, the heavier the loading on the data source. Including those who access in exporting the data. With the data mesh platform, data exchange no longer needs to write multiple programs or provide APIs. The data is sent and processed on a flat rate. There is no momentary performance impact. Read data source once for many professions. You can provide data to many services without querying the data source, even for new services. Supported by cage mechanism, multiple applications can be supplied at the same time without impacting source high throughput. It solves the following issues. Batch processing of multiple large-scale queries. Multiple business system integration and data exchange and efficiency is extremely poor. Too many query requirements for a single database. The third case, aggregation and correlation of multiple data sources often have poor processing efficiency and lack parallel processing capability. Because of, it is not easy to implement. Every demand and action requires querying the database or fetching data causing all systems to be extremely busy. Only start query aggregation and transfer form processing when needed, which is extremely inefficient. Out of same data input from different sources, we cause a lot of waiting and we try. A large number of cross-database relational queries produce a large number of run-trip calls. Again, the more data is recalled by applications, the heavier the loading on the data source and the more severe an impact on performance. After introducing data mesh platform, the aggregation and association jobs can be processed parallel at the same time. The final data is ready before the application execution. Every requirement directory reads the final virtual table nearby. The impact of data source will be greatly reduced for benefit of the cache mechanism. Multiple applications can be supplied concurrently. For example, we can show the problems like data integration efficiency and stability required by IOT system with multiple signs. Poor processing efficiency of cross-system data integration. Multi-database lockup or performance impact caused by cross-system query. Case number four, cross-cloud data management. The common problem must be mentioned here. First, the network pressure is high. Second, large-scale overall system lockup is high. And the normal business operations are effective badly. With the data mesh platform, we can achieve cross-clouded caching. Can provide data to applications from the near nodes. Reduce the dependency between services in the system and avoid system lockup. Does not affect normal system operations. Here, let's see a video demo to show how the transfer for data from an Oracle DB to a Mango DB. Okay, that is all the data mesh architecture concepts we are talking about today. Thank you very much for watching. See you. Bye.


My name is Bob Darnton. I'm the university librarian at Harvard. And I'm here to introduce the speakers of this particular session, who will bring you up to date about the work done yesterday at the various work streams, because a lot is going on. And we feel a necessity, really, to explain to you and to everyone who is observing us from all these different points exactly what is happening, because a lot is happening. A great deal is going on. In fact, it seems like an eternity since the DPLA was a gleam in the collective eye of just a handful of people who met at Harvard in October 2010. An enormous amount has happened since then. And the DPLA is now, as you could tell, from this morning's wonderful talks, beginning to belong to everyone. There is no proprietorship, but it's got to get organized. So I think we're moving from a phase in which we've had vision statements and manifestos and a lot of high-principled rhetoric to a stage of nuts and bolts. Now, one of the bolts that is going to tie down the DPLA as an actual functioning organization is legal. That is to say, the steering committee made a decision last week to apply to become a 501C3 organization. That means it will become a legal entity, and it will acquire probably a board of trustees, people with legal responsibility for it, and an organizational structure. How will that happen? Well, happily, the National Endowment for the Humanities said, we would like to help you get headquarters. We would indeed like to give you a grant of $1 million. You should have matching funds, three more million. With that total, you could seriously get into business. But of course, they didn't promise anything. You have to apply. Your application has to be referee. This is not a guarantee, but it's an opportunity. And we thought we should cease that opportunity, which means taking the next very concrete steps into a future that will get the DPLA up and running in April 2013. One of these steps will be to find an executive director. So if you've got ideas about someone very talented out there, let us know. But of course, we will have a very carefully operated search with a search committee. We'll do it right. But we will have an executive director. We will have headquarters. They will be modest. We don't know where they will be. But I will promise you, I think I could say this, John, they will not be in Harvard. Some of us love Harvard. But I often think Harvard is like the New York Yankees. People love to hate it as well. In any case, it was a happenstance that the first embryonic incubational phase of the DPLA began at Harvard. That incubational phase will soon come to an end. But I would like to pay tribute to the people at the Berkman Center who have been really working flat out to get us born, so to speak, to change this embryo into a living, vibrating being. First of all, John Palfrey, who's led the work of the secretariat, is chair of the steering committee. And then others scattered here. Maura Marks, I see. And Rebecca Haycock and David Weinberger. Well, you meet a lot of them throughout the course of the day. They've done a wonderful job. So we are expanding. And the expansion, in a way, I think will follow the model of creative commons, which also began as a gleam in some collective eyes at the Berkman Center at Harvard. It's now located in San Francisco. It's a large and thriving community, which is serving the whole world, really. So we hope that that kind of a model, or the Wikipedia, Wikipedia-media model, will work for us. We're expanding. And the expansion isn't just geographical, although we would like to signal that by meeting here in San Francisco. It's also, so to speak, sociological. We really want to reach different constituencies throughout the country. We're working hard to cooperate with community colleges. We will have new people coming in from the world of independent research libraries. A great deal is going on. But that means there are decisions to be made. And the steering committee has been working hard, at least, to get through a preliminary phase of decisions, which we will now present to you. And you will get a series of reports on what's been happening recently.  She, as you know, is the director of the Institute of Museum and Library Services, a former library director here in San Francisco. And so she will speak. And then Mackenzie Smith, who is an independent consultant formerly with MIT and Harvard and with Creative Commons. She will bring us up to date on another aspect of things. And then Nate Hill, who is the San Jose public library and a well-known blogger for the Public Library Association. So this will give you some sense of the connecting tissue between these six different work streams that have been meeting all over the country, coming up with ideas, and now are coming up for proposals for action. So I'd like to turn the floor over to John Paul Free, who will be able to look after things and help you to ask questions. Thank you so much. So my job at this session is to spend a few minutes at the outset to describe the consensus that we perceive exists with the DPLA in terms of what, in fact, the DPLA is. And this is meant to be not my own personal views, but the views of this growing community of people who are working on it. And then we're going to turn it over to three people who are going to report out on the work streams, which is where all of the core activity of the DPLA is, in fact, happening. And just to be really clear, those work streams remain completely open to anyone who wants to participate. It is the rolling up the sleeves and the sausage making as Mackenzie calls it. And occasionally we fight and argue and so forth. And if you want to be in the fighting and arguing in a loving and supportive and productive way, join the work streams. But I want to make two things clear in addition to that invitation. The first is what problem are we solving for, or series of problems are we solving for? And then second, what are the elements of the DPLA that we've already decided will be in it and where there are some soft spots and some elements where we have to do further work? So in terms of the problems we are solving for, I think of them as three related problems. One is the collective action problem, which is lots of us in different parts of this great country and in different kinds of organizations are doing very similar things in terms of digitizing material, adding metadata, making it available. And yet we're not doing it in as coordinated a fashion as we might. You could think about this as sort of the human social engineering aspect of standardization or interoperability among these activities. This is something where Bob said there's nothing proprietary about it. There are no mothers or fathers of this effort. It's really saying can we get ourselves much more organized than we've been in the past as we do this in the public interest. And can we do that? I'm totally convinced that we can. This is the can-do American pragmatic spirit and I know we can do it. Solve that collective action problem. Related to that, and Nate will talk about this in particular, is really coming at this from the user perspective. As we have been digitizing materials in all of our various ways, I think very often we've put them in silos where they're actually kind of hard to find and hard to use and hard to bulk download or do other things from it. So coming at this from the perspective of human beings who are trying to access this knowledge for a series of wonderful traditional library and the wonderful not yet imagined possibilities that we heard of earlier, that's a big piece of what we're trying to solve for. And then third, there's a lot of material that's still not available in digital format. And there's much still to be done in terms of mass digitization. We're gonna end the day with a bunch of visionary people who are talking about government records that have yet to be digitized. Even those those are in the public domain, even though we're all paying for them, there's a lot of information and knowledge and lots of formats and lots of places that is not yet digitized. And we need to do that now and in a big push. So we hope the DPLA will be a big push forward in this way and doing it with our friends from Wikipedia and elsewhere as a collaborative effort. So those I think really are the problems that we're solving for. That's still pretty capacious in terms of vision, but I think it's descriptive of what we're trying to accomplish. So what is the DPLA gonna be? There are five elements as we think about the DPLA and apologies to those who've heard these five elements over and over again, but I think as we keep pushing at them, we will in fact make more progress. And what we've done in getting to these five elements is try to expand the agreement that we have around concepts. So as Bob and Doran mentioned, there was one sentence we agreed to back in October, 2010. And then we wrote a four page concept note from last March and now we've got a seven page concept note and coming out of these meetings, we will make that even longer as we have further agreement. This is posted on a Wiki. It's entirely discussable and editable and so forth, but it's trying to get us to have a consensus that we're working toward. And by April, 2013, we will have a functioning working version of this to describe to the world. It's not gonna be done of course a year from now, but there's gonna be something we can all push around. And that comes in these, in essence, part of five pieces. So the first is actually code. We heard from our friends from the independent bookstore world that it would be great to have an open source code base of material. Of course, the libraries have done this for some time, but we are building an open platform with open APIs completely devoted to an open source approach to this that will allow people to build on top of it where we can take that code base and bring it into local libraries or into big institutions, push it around, add various user interfaces on it. This is what David Weinberger and his team will unveil in the afternoon session is an initial sneak peek at what we've been doing on that score. We welcome enormous broad participation in that effort. People who have been doing the beta sprints, for instance, have already been working with this and contributing code. The key thing is nobody can write proprietary code for the DPI light. The whole point is this is shared. It's a source board or a GitHub for the library community and pushing that forward. Second is metadata. We've heard a lot about this already, but this is one area where I think we really are pushing hard and doing already a very good job. We've got within this platform that David will talk about, we have already a bunch of open metadata made available on an open access basis for people to use and reuse. Last week or actually earlier this week on the 24th, we at Harvard released nearly 100% of our records for catalog records and also other metadata. Thank you, Brewster and others who have championed this. This is our gift or our first effort towards realizing the DPLA. This is one institution's effort. There are other institutions, San Francisco Public. I know there are others who are committed to doing this and others who already have putting all of these bibliographic records into a shared repository for anyone to bulk download and do whatever they want with. We've already heard from a number of people they're playing around with it and we will continue at that. I think this is the next open access movement from open access to content to open access to metadata and we hope others will participate and join together in that. Third is content and this is the trickiest zone. We'll hear a little bit more from my colleagues in a moment but the DPLA of course will have content. We've thought about this as having in essence two polls and we're trying to figure out where we fall within that. On the one hand is would this only be metadata? And I think everybody says no, that's not gonna be satisfying if this is just a metadata service. On the other hand is it that we're building this one big colossal huge database, the end all be all of all libraries to end the need to create any more libraries? It's not that either. It really is I think a set of services, a set of a network that will have access to content and figuring out when we digitize materials or encourage it, how will we bring that together? And I think we're working with various ideas of federation and network where we see making access to content crucial for what the DPLA is. In fact, encouraging the digitization of it, probably keeping of some versions of it particularly in the public domain in a reservoir as Carl Malamud calls it that others can bulk download. My sense is that much of the usage of the DPLA will be not just people coming through the DP.LA front door thinking that might be 20% of uses or something but 80% of the time people coming through the Chattanooga library or the San Jose public library where local librarians have taken the code and the metadata and the content and curated it locally for specific purposes. And when they digitize things like what Dwight's doing in the Georgetown County public library, uploading it into this same shared environment. And that's what we're trying to figure out something between those two polls that really does change things but doesn't ultimately ignore what we know about networks and the internet and particularly important here in this space to acknowledge that. So one is code. Two is metadata. Three is content. Four is tools and services. We've also heard from others the need for us to be doing the development of tools and services together. I love Emily Gore's notion of the Scana-Bago getting a bunch of Winabagos with scanners in the back and library students. How many library students are here? All right, this is so great. Okay, library students and retired librarians and active librarians. We want them the core of librarians in Scana-Bagos, driving around this country, finding those local historical societies and libraries and others that have content but don't have the technology and so forth to do it, uploading it for their local patrons and uploading it also into this shared repository. So that's one idea there are many others. Why don't we, the next time iPad apps come up, why don't we code an iPad app one time that people can script and make local rather than having us do it 15,000 times and so forth. I think working with IMLS and others, these are things we can do. And then fifth and most crucially is community. I think that having Wikimedia, the Wikimedia Foundation friends, sorry, I've tripped over it three times over here, to me is absolutely exemplary of what we are trying to do with the DPLA. This is, there are many amazing examples of kinds of networked organizations that have worked. I am completely convinced that the fact that we've had two oversubscribed plenary events, we've got 1,000 plus people on the listserv, it taps into a desire on all of our part to work together and to geek out in favor of creating this particular thing. And I can imagine that in years in the future, just as the Wikimedia crew have pulled together these great events once a year that bring people together to edit articles and argue about the future of Wikipedia, I can see the DPLA having such a similar thing, Lollapalooza slash Wikimedia slash, let's update that metadata. And I think there are those librarians, and we all as librarians and technologists who will want to come together in that kind of a way to create a public resource. And I think what the DPLA in a sense is at its core is the group of people who wish to solve this collective action problem. We do not want to see a future that is one that is controlled by one or a few proprietary interests in this way. And we know that if we join forces as public and private agencies, as local and big libraries, as public and private libraries, we know that we can do better than what we have today. And it ultimately is a community organizing movement. And I think that is fundamentally what DPLA is and will be and can be with your help. With that, we very much encourage you to participate in filling in the blanks that are there. We have another year to go before we launched this in 2013, but it will be better. It will be greater for all of our participation. And with that, I'd love to turn it over to my colleagues who can tell us more directly what's going on. So Susan Hildreth, thank you. Thank you, John. Okay, thank you. Okay, well, I'm gonna talk briefly here. Oh, did I? Am I okay? I'm gonna talk briefly. And in fact, John and Bob did cover a lot of my territory, so that's probably good. But I'm very happy to be speaking with you today. And just reflecting a little bit on what John said, you know, resource sharing, sharing of information is really at the heart of what we all do as librarians and do for our customers. And I'm gonna shout out to my colleagues here in California where our dear Governor Brown has reduced, has eliminated the funding for all resource sharing, but our libraries have a history and a sense of that and they are continuing to do that resource sharing without that funding. So we're gonna talk a little bit about funding in some of my remarks, but I think our essence of sharing is what is going to make the DPLA successful. So we do have a governance work stream. I'm involved in that governance work stream. We had a great meeting yesterday because it was the first time we really had people from other work streams coming in and learning a little bit more about what we're doing. But the first thing, one of the things I'm proudest of that the governance work stream has done is we've adopted an open meeting policy for DPLA. I think we've talked about it a little bit here. We had our first steering committee meeting this morning that was open. We had lots of great feedback there. So we are really trying to model what we wanna see in this organization. So again, all our work streams are open, all our meetings are open. So what did we talk about in terms of governance? It's interesting because really DPLA is responding to challenges as they come forward. So I think some of you have heard about this great opportunity we have to submit an application for funding from the National Endowment for the Humanities, a challenge grant. And in order to do that, we really had to make a determination about our structure. So a 501C3 is the way DPLA is going to be moving forward, but we had some great discussion about what is that 501C3 going to look like? Is it gonna be a membership organization? Is it going to have a board of directors? So I want you all to be assured that people are thinking about these issues and in fact, we're acting on these issues. And if you want to follow our work streams, please do that, you can see what's going on. So some of the key questions are how are we going to plan the transition so that by April, 2013 we have stood up an organization, no matter where it will be. I'm so interested in hearing about the places where it might be. We know, we think it won't be in Cambridge. That's the word from our friends at Cambridge, but we want to, and it really is all of us sharing the work together. So maybe the headquarters isn't that important, but we do have to have some kind of nexus. And I also know that everybody says, well, we wouldn't put it in Washington, DC. So we won't offer that up, although we could have some space there to help you out. But it's really about working together and finding the best way to manage our organization. We also talked significantly in governance, and I know all you're talking about this too, we're gonna hear from our colleagues as well, about membership and participation. What is really the value of DPLA? And I think when we look at that, we look at the supply and the demand side. We want to be able to supply material to the public, but we also wanna be able to have activities that would incend people to belong. And those are issues that we're all struggling with, but it's evolving. We're moving forward, and we're gonna make some real good decisions. I know we are over the next few months at the governance committee, going, developing our bylaws and moving forward with the 501C3. We're going to be identifying a role and structure for a board and executive director. And as Rob Darten said, bringing on an individual with assistance from the board and all of you is really important to move this ahead. So that's one of the key activities of the governance committee as well as the steering committee. And I'll let all those librarians out there know, we're taking advantage hopefully of ALA and Anaheim and having a job description ready for the ED for DPLA. So put your thinking hats on and we can really push this job out there. And I'm sure there are gonna be many other venues, the archivists and all kinds of places, but we are taking advantage of the timelines and activities and we're gonna really try to make that happen. So hopefully you will all put your thinking caps on too about that. Also we wanted to talk a little bit about, and I'll move this forward, about our approach to digitization. And I think John has really covered that well. And I think that that's a concept that we're all struggling with. And I think what we wanna do with DPLA, we really are at that continuum of providing access to metadata and digitized material, but also providing an opportunity to identify and digitize more material so that will be available for our citizens. And what Dwight did about Georgetown, that was just great. And there are many, many other Georgetown's out there that we really wanna try to bring into the fold. And I'm a real believer in local content being important because in the internet digital age, we all see the same thing every day on CNN and NMSNBC and Fox if that's the way you wanna go. I don't know how many people here would go for Fox but we're in a church so we have to be equitable. Anyway, we hear the same thing all the time. And what is unique is what is local and special in our communities. And I strongly believe that what will make the DPLA successful is really making visible and easily discoverable that unique content. So we are constantly talking about that and we really wanna make sure we develop opportunities to take advantage of the regional, local, statewide efforts that are going on. And many of the efforts that are going on, particularly in our public libraries and to some extent our academic libraries have been seeded by federal funds from IMLS either through the state library program or competitive programs. So we really wanna make an attempt to identify those centers of capacity and build on them to help some of our less resourced libraries so they really can participate in this great organization. And I think what is DPLA? John really addressed that very well. I think we are still in the framing stages but it's very wonderful to see so many people here who are willing to get into that discussion with us because the more ideas we have, the more progress we can make. And we also talked a little bit at our governance meeting about funding models. And you know, what is our funding model gonna be? I guess what we wanna think about is we'll build it and the funding model will come. I don't know if that's the best way to go but we have great support from the private community and I also think that we will be able to provide some benefits that even at the local or state level those funds might be able to be tapped and we also might be able to identify federal funds either in the future or federal funds that are already available that we could add digitization purposes to the use of those funds. So I think that we have many strategies for funding but I really do believe that when we focus on what we have to deliver and the benefits we will be able to determine how to fund it. Now in the afternoon yesterday, we had a really exciting meeting I think because the governance committee met with the financial and legal representatives from those work streams and we really I think came up with a plan that we could all work on and we are constantly refining our plans and checking in to consensus for where we're going but I think the business and financial team really felt like they had something to begin to work with as we all articulated what we're hearing more and more from you and other folks involved in the effort. So we looked at, we're looking of course at a startup phase. We wanna get that going as soon as possible so it is really stood up and available to move forward as of April 2013. We're looking at a new organization as we said a 501C3 with a very minimal footprint and I think we are depending on working with the power of our distributed network and that's why it's very important for us. We know there's some nodes of capacity already and we wanna identify even more so that we can create a distributed network in terms of gathering up all the data we want as well as helping some of our less resourced members to really work together. And I think if we can work with that distributed cooperative consortium based model we will be able to maintain a fairly small national footprint. So we've looked at trying to do some general estimation of the cost of those activities and I think the NEH grant has helped drive us to think about what do we really need to keep this effort going and we're looking at perhaps two to $5 million a year. And of course we're hoping that for the first several years that will be private funding but ultimately it could be funded in some other way. That's enough to support some of our activities going and we're really thinking about the first year probably two minute, two million, second year, three million and third year and beyond five million to sustain a core organization. But that's really just the beginning. And I think we wanna make sure that we continue to have our huge vision and this could cost, it could provide much more and it also could cost much more. But we really wanna try to build the DPLA incrementally and I think that there are good business cases to do that. I really think we can start modestly and move forward. That's the plan that we really came up with with the financial stream and the legal stream and I think it is a footprint and an outline that we can begin to develop for 2013. So we wanna start modest and go big. And finally I just did wanna mention that I think we do want to and I heard a lot today already manage expectations. We have great expectations of what we're going to do but we also wanna have some really one or two super duper things that we're gonna have ready on April 2013 and we will be able to do that. When we look at the DPLA, I know Wikipedia and it's always great to hear from Phoebe from Davis, my hometown in California, shout out to UC Davis. Thank you Phoebe for all the work you do with Wikipedia. But even though our program is a bit different, I think that collaboration and crowdsourcing of all kinds of information and data and sharing and helping our customers is really gonna make DPLA work. So Wikipedia is a model we can look at and then we'll really create all our own best practices. But I have been involved in this now for at least over a year and I think in the last several months due to the hard work of all these committed individuals who are doing this along as their other day jobs, we're really making progress. I feel like we are making progress and beginning to see what DPLA is take shape and we've done a lot already in the last day here. Thank you. My name is Mackenzie Smith and I had the pleasure of moderating a couple of the sessions yesterday involving the content and the technology work stream. So I have to confess that I'm not on either one of those groups. So there are probably things that I don't know about the history of them and all the hard work they've been doing. But what I wanted to report on today is kind of where we are at this moment in time and what will be coming in the near future because I think in those two work streams in particular, that's where the rubber meets the road a little bit and we're all staring down the barrel of the gun of April of next year. Because I'm sure you all know how hard it is to actually build something that will evoke what DPLA could be but not be everything that it will become, right? So that is a very difficult thing to do in such a compressed timeframe and one of the things John didn't mention is that this is the point in time where we have to start making very difficult choices about what can be accomplished in such a short time but still show the potential and get people really excited about what we're gonna be building over the next many decades collectively, right? So what we did yesterday and you're gonna be seeing a demonstration and discussion of the prototype platform this afternoon so I don't need to go into any detail of that, just know that that's coming. And also the content works doing content scope have done a great job of pulling together some ideas about how to leverage the existing work that's out there, collections, metadata and so forth to begin to pull together a critical mass of content in particular areas. I think immigration is a theme that's been discussed as one of the potential areas that we can all contribute something to. So what we've been missing a little bit is knowing what that user experience is gonna be and I think Nate's gonna talk about how that process is going in a few minutes but we understand that that's really the key piece is what will you see, what will you experience? Both as a member of the public and as an institution that's participating in it. So I can't really speak to that but what we're gonna do in the content and technology side is do a better job of integrating our work going forward. So the platform has been on their death march to get to the prototype that you'll see today and the content group similarly has been working really hard to figure out what's out there that we can pull together and I know they're planning some surveys and things to continue that work but this is the point in time where we have to kind of integrate these two efforts. So the commitment over the next few months is to start to develop a roadmap that will be publicly available so you'll be able to see when particular events are gonna happen and how you can get involved at that point. A little warning is a good thing usually if you're being asked to give feedback and spend some time evaluating things so we're gonna do a better job of that and similarly kind of general communication about the status of it, maybe looking for people to experiment with early prototypes of what you're gonna be seeing so we're getting feedback along the way. This is a very open, very participatory, very transparent process but people do need to know when to pay attention because we all have such limited time to share and we really need help with these things. So what else can I tell you? I think you will have a chance to give input on what's in and what's out of this first prototype but just be aware that we have to make some choices and not everything will be demonstrated in that platform so you have to use your imagination a little bit but there will be something to see at that point and I think that's really all I have to share at this moment, so thank you. Hello there, so I'm here to report back to you guys from the audience and participation work stream. Why don't I start that by making a big call for some audience and participators in that work stream? We need more people. We are sort of moving into a different phase of things now and I think the best way to look at that is that the audience and participation work stream is sort of turning into something of a user experience department. We are finding that the work that we need to do in that group is going to inform what happens in all of these other work streams and so the technical people can't know what they are making unless we have some good case studies of what the users want. Likewise, the content people can't really decide on content unless we're talking about what the users want as far as the content is, so we've gotten started and basically I'm gonna be pretty brief because what we really realize in this very exciting set of meetings yesterday is that we have a lot of work to do and so we identified the work that we have to do and that has started as a series of use case scenarios of just people and their various information seeking behaviors, segmenting audiences and creating different sort of profiles around those audiences and then creating a narrative that goes along with that. So I think I had a slide that was maybe gonna pop up that okay and so this is super rough, this is the beginning of an outline but you can imagine that we would have all of these different types of users that might come to a DPLA interface of some sort and so what are the problems they're trying to solve? So if we describe those in great detail, we can figure out where the DPLA fits into each of those things and this is just a screenshot but you would be able to kind of click around on all of these things. We also discovered through conversation that we need to not only think about these end user scenarios but also about the institutional scenarios with the institutions as end users, as participants and so we're going to try to create a similar kind of document describing the whole breadth of all of that as well and again we're gonna be looking to all of you to help inform these pieces of this thing and finally I think we had some really good conversation around the different sort of strategic plans and missions that individual institutions have and how the different pieces of the DPLA can mesh well with that because if we can figure that out then we're able to, well we're able to make things make sense on a local level so I'm sorry that I'm being so brief because it's really, it's more that we just wow, we know we have a lot to do now, right? But I can't say enough how much we want more input and more help in this particular work stream as things go on from here so thank you so much and any questions and stuff we can deal with. Yeah. Thank you. Yeah. There are many people who are actually not represented up here on the screen at the stage who have been working very hard. I see Rachel Frick one of the leads of the content and scope work stream. Of course audience participation is chaired by Carla Hayden and Peggy Radd who are not able to be here. I see Paul Carrant is sharing the business models work stream and there are no doubt others in the room but thank you to those who have been working so hard on the work streams. So we have about 17 minutes until lunch and we thought this would be a good time where we've got some mics to pass around if you have questions, hope streams about the deep play and where it is right now, we can have that conversation. As the mics are going around and you're thinking about your questions, couple of notes from me. If you're on the live stream and you wanna send in a question or tweet it, please do and we'll be trying to track those questions down and channel them in. One clarification on what Susan was talking about in terms of budget, we were talking about a two to five million dollar kind of core team budget. I was to emphasize the modest footprints internally not to say we think the DPLA can be built on that kind of money. This is obviously a nine or 10 figure kind of enterprise if we're talking about all the digitization work that has to happen. The point is only that we don't see the DPLA as sucking all of the money into a common place but rather that we're gonna help to coordinate these funders and get money out to those who are already doing this kind of work. So I just wanted to indicate that we're not completely on drugs and we're thinking this is off point so far in terms of scale but our commitment to a small core organization that we're setting up. So who has a question or comment about where we stand? Yes please, if we could get a mic in the middle.  Yes, I'm Ellen Meltzer from the California Digital Library. Can you tell me what's the relationship of any to the Hathi Trust? Sure, in fact maybe we wanna pass the mic back to Professor Courant there who is involved in the Hathi Trust himself but I think he's probably the best person to describe it. Because he's involved in both. There is no formal relationship there I think as mutual amiability and I'm very hopeful that some of the things that you've been contributing that we have will be at least pointed at and in other cases used more in the DPLA as it evolves. The first meeting of the new Hathi Trust board is next week and I'm certainly not gonna commit the Hathi Trust in any way until that meeting. It's a crucial question that one could ask the same question vis-a-vis the internet archive or the California Digital Library or many others and I think it's a core principle of the DPLA to be complementary and not competitive to all the great initiatives that have been going on and I think one way to see this is as a big tent effort or an umbrella effort where we are working toward these particular use cases and ideally we'll amplify this and so each project that has been doing important things hopefully seeing themselves and individuals seeing themselves succeeding through involvement in this effort rather than trying to suck all things into one centralized organization. So crucial question. Martin, yes in the back. Hi, I'm Martin Gomez. A while back there was a discussion I think at a previous conference about kind of the communication strategy. You guys have had some good press recently about the activities of DPLA. Have you started to think a little bit more about communication strategy to people like us out in the field that would help us explain as well as in some ways not to defend but certainly create better understanding among people who are giving us funding, et cetera about what our role might be in either public libraries or academic libraries? It's a great question. Of course you cross over this boundary now, Martin. That's exciting. I don't know Nate, do you want to speak since from the audience and participation viewpoint and obviously someone who speaks to and with the public library community? Sure. Yeah, wow. What did that mean? The voice of God, I think, was speaking. I have a thing here. Well, it just said a nod of agreement that we need to be working on communicating while we all need to be writing about this stuff. We need to be tweeting about this stuff. Like if everybody in this room writes a really solid blog post about this particular incident here, then you're able to, yeah, I don't know what that meant. But you know what I'm saying. If everybody here writes something and then we've got that communication strategy happening sort of informally, do I personally think that we need to have sort of a formal communication strategy? Yes, of course, and I think we all do, but it's something we're working on. So you guys, write and tweet, please. Could I add something? You could and then the mic's going to Luis as well. Yeah, just real quickly and that is that on the DPLA Diplo website, there is a great document called the Concept Note that John has drafted and he's recently redrafted, really reflecting a lot of the activity and some of the high level assumptions and consensus we have agreed to. And I would just encourage all of you to look at that and just take little parts and pieces from it. You don't need the whole thing, but if you wanted to try to look at some talking points to share with your colleagues or staff, the DPLA Concept Note I think is a really good source for you to be familiar with and a good talking point. And before we go to Luis, just two additional points, Martine, one is we've made a slide deck that's sort of a general one that anyone can take and use if you're doing a presentation, if you don't have that, we're glad to point you to it. The other is that we made a formal decision early on that from a communications standpoint, we weren't going for USA Today yet. That what we're trying to do in a way is to get our act together as a library archives, museums, technology, community, and really communicate internally. And I think actually a very important piece of that is communicating with public libraries. And Martine hosted a very important meeting last fall of public librarians and we continue to hear great feedback on how we can communicate with and through public libraries. But I think so far between now and April 2013 until we have something to show, we really are going to keep communicating internally and need, as Nate said, a broad effort to do that. But we certainly are thinking about post that time, what a more formal communication strategy to the American public would be. Luis Herrera. Yes, thank you. I just want to add to Martine's question. I think it's a very important one because we do get questions from various stakeholders. And yesterday in the audience and participation work stream, we did actually make some progress in trying to answer the why question. Why is this important? What does it mean to us to be engaged in? And so we're starting from just several concepts that we really haven't totally detailed out and flushed out, but it's the issue of quality, it's the issue of awareness and accessibility, focusing on the cultural heritage piece. All of those aspects are going to tie in to what you're talking to Martine about that messaging that I think we all need to, we understand the concept, but if we can articulate the message points, we'll have a much more kind of inclusive ownership, if you will, of DPLA. And Nate, I think you did a great job of explaining what we're doing in terms of the user experience, the segmentation, and the narrative that we need to continue, but it's all kind of evolving. And I think we made great progress. Yes, great. I saw a couple of hands up in this segment. We'll quickly bring some mics down, gang. Thank you for speaking into the mic. It will help with the web console. Hi, I'm Julia Mark-Shung. I'm from the State Archives of Mississippi. And I want to find out more about what kinds of institutional nodes you would like, because you have 50 of them ready and waiting. Good. All right. Lots of public content. Maybe a minimum of connection between you and Rachel Frick and Laura Marks and we'll take you up on it. But yeah, we'll keep the mic over here. Sorry. Yeah, please. My name is Janet Bradley, and I'm at the University of Arizona, and in Tucson. And I would like to sort of contribute what I think is a maverick perspective. I heard it partly in, from South Carolina, but not completely. My research area is in self-publishing, both POD self-publishing, and now in digital self-publishing. And I think that those two things are dividing differently, and I think that the two things are dividing differently in POD self-publishing. The real opportunity is local content, not just oral histories, but getting to people to write about their lives and experiences and having workshops. And I think that's a great fit for local content and then having places, as they did in South Carolina, to post that. But the other side of self-publishing is what I really believe is going to be a fairly rapid expansion of readers who buy self-published books at this point in time, but I think that's gonna change. I don't quite know how, but this is a whole, one of my short research studies shows that on Amazon's 100 top-paid books, they do this every day, and consistently, 35 to 40% are self-published. And I think that if libraries somehow don't come to grips with this, we're gonna find ourselves not supplying content that people want to read. There's also an opportunity here because the price points of these books are, it's really bimodal between the publishers, e-books, and the price points of self-publishing, which at the top are $7.99 and are mostly lower than that. So I just put that out. I don't know how it fits, but I want people to consider it. Thank you. We love Maverick Perspectives, among other things, and this was great. I also wanna do a shout-out since you work in a library school, you've had such great support from both library students and actually schools sending students here to this event. We're really grateful for that active engagement. That is, in many respects, a sign of great things to come for this project. Sorry, please. I just wanted to, this is Ivy Anderson from the California Digital Library. I just wanted to follow up on something that the General Woman for Mississippi raised, which is how states can become involved. And this is a follow-up to Susan's comment about the importance of local. And as Susan well knows, because she presided over this program in California, there are models like the local history digital resources program in California, which have, for a long time, tried to bring local content, digitize local content, and make it accessible in a broader way. And I think that that could be a very viable model for DPLA, something that has been developed as sort of end-to-end solution and could be replicable across multiple states. And so that may be a very, it's not quite the Scanabago approach, but it's maybe a version of that. Ivy, thank you. And we take huge, huge inspiration from what you've done and what's happened in Massachusetts and a variety of other models that I think we'll build on. There's a, if we can head to the back there. I see Emily, please go ahead. Hi, this is the Praveen Madan again. The bookstore guy who's trying to say, well, the bookstores. There's two stakeholder groups that I haven't heard a lot of mention about as I've gotten to know DPLA and I'm hearing all of you guys talk. So leaving bookstores aside that I've already made my pitch for, those two stakeholder groups are, one is publishers, book publishers, and I'm curious to hear what kind of response and reactions are you guys getting from book publishers as you're building this. And the second one, again, very important stakeholder group is writers. People who write books. I mean, there's a significant crisis in the writing community. And I'm talking about writers who don't have day jobs at libraries and universities like many of you do. People who used to depend on either book advances for generating an income or doing magazine and newspaper writing to generate, basically earn a living. There's a crisis because there's an expectation that you should now just be writing for free. People are going on food stamps and getting jobs at cafes, at baristas. These are professional writers with the literature degrees and journalism degrees because they don't know how to earn a livelihood anymore. So what are you guys doing to reach out to publishers and to writers and make them part of this thinking? Maybe if you wouldn't mind handing the mic down to a professional writer here in Dorn Webber. But I was going to answer just, okay, I'm glad we take it. I'm trying to spread the wealth here of the responses. We've been very open arms toward both publishers and writers in many respects. I think that there, as you know, both of these communities are struggling with their strategy at this moment. We would love more engagement from the publishing community. And we've had, I see Margie Avery from MIT Press who's been very, very active on the university presses have been very much engaged. We have had a number of the larger publishers participate at various points. I think there's a sense of paying attention to what's going on, but not yet jumping in with two feet to the extent that we can do that collaboratively. Absolutely, that's something we deeply welcome. I don't think we're gonna be able, however, to be all things to all people in this project. And I think we do have to solve for problems that we can. We wanna do it though in a way that's as inclusive as possible. So that is as warm a welcome as we could possibly imagine. And we see this as an ecosystem of production of information and creation and reuse as well as long-term preservation and so forth. So we see the connection there. It hasn't been the community that has been most jumping up and down to participate, although there's certainly been some participation in the sense of paying attention. Emily, yes? Yeah, I was just gonna respond to the last question that was asked about nodes and contributing. So we are actually getting ready to release a survey as soon as this DPLA West wraps up. And those of you who are actually involved in collaborative digitization run organizations like CDL, other kinds of statewide or collaborative projects, please respond to that survey. You'll see it come out. We're gonna try to put it out widely so that we can begin to identify all of these collaborative projects that exist and discuss the possibility of you being these nodes or these content aggregators to provide content. So look for that survey. Thank you so much. Other comments? Thank you, sir. Todd Robbins, I'm a library student. Awesome. I have a question about, so as we're working through kind of the balance between a repository and an aggregator, the discussion of what is the baseline of licensing? So we have creative commons and the Open Knowledge Foundation that has open definition and various standards for open data on the web. Is, do we see the DPLA as something that hosts open content only but then points to other licensed material? Or is it, I mean, what are some of the perspectives on that that you haven't been too involved with the content? It's a great question. And I think there are multiple perspectives still on exactly that topic. So in terms of expectation setting for April 2013, we're gonna be working with public domain content for starters in part because that defers some of the harder questions but also in part because we know for demonstration purposes we can do it. We have a commitment to know new restrictions through this process. So if something is digitized through an IMLS grant that supports somebody doing it or the DPLA directly, there won't be new restrictions. But I think there are open questions and this is one of the reasons that we're toggling a bit between these two, to the extent that something comes with some restrictions, would we be able to ingest that effectively into the DPLA or not? I think that remains one of these hard and good questions and a great one to have input from library students, among others. Mackenzie, I don't know, this is something you've given a lot of thought to in a variety of contexts. Do you wanna address it at all? I think you as a lawyer are much better called. You're great. I like to speak about that. With great caution, you see. Yeah, yeah. That's great. Any other last seven seconds questions? Yes, all right. Hi, I'm Emily. I'm from Your Future Library. Awesome. Yourfuturelibrary.com. And I was just wondering, with local content specifically which has already been discussed, local history content, that kind of thing, I was wondering who will kind of be the caretaker of it, who makes people aware that it's there, because right now usually is someone in the local community who does that, who knows about it, who knows what records are available and often they're so obscure. You wouldn't think of them unless you already knew that they were there. So I'm curious about who will do that, especially say, I don't know, 50 years in the future or something. I know that that's quite distant, but I guess especially as those things go more and more online and won't be passed down. How do you kind of imagine that happening in the present and future? It's a totally brilliant question. Actually, I think it's a great one to end with. Would you like someone to answer it, Maura? I was gonna answer, but please bring it down. But we've got a mic. I can answer on behalf of the archival community, but this is what archivists have been doing for decades is appraising content. But it depends on the users, it depends on the context. And I think that's why we all have to talk about this together. And it shouldn't just be one person's decision. I think... Does that answer your question a little bit? And just to answer it from a DPLA perspective, I think the way we've thought about it is that it's a matter of redundancy on some level. And that's actually one of the things that's worked pretty well with the web too, to the extent that we could create a system whereby there are people who are locally collecting, adding metadata, being supported by the system and keeping versions, where we're also sharing things, perhaps in this reservoir that Carl is talking about, where we can ensure that it's updated in formats and so forth, supported by standards at the national level. I actually think that by working together, we may be able to put a few more great professional and non-professional eyes on exactly that problem going forward. So I actually think it's almost a nice metaphor for where we're headed for the project overall. We are at time here, but I wanna thank very much my colleagues on this panel. And to note just one thing that's crucial about this is that we have people who are working in the federal agencies, all of the big ones, and our secret weapon, as Susan Hildreth, let me tell you, she's amazing at having us, and it's absolutely been crucial for all of us. Thank you, John. But we also have people, independent technologists, working in all manner of places, and hardcore, fabulous public librarians who are crafting this project. And I think we all want more active engagement as much as we've seen from Mackenzie, from Susan and Nate, and have a wonderful lunch. We will see you back here at 1.30. Thank you so much. Good job.


Thank you very much. Hello, I'm Clive Wynn, Director of the Canine Science Collaboratory at Arizona State University. When I was a kid, we had a dog. Benji was his name. There wasn't really anything that remarkable about Benji. He was just an ordinary, smallish, brownish, blackish shelter mutt. He stole any food we left out. Sometimes he disappeared for days on end. He was one naughty boy. But there was one thing about Benji that kept us loyal to him. He loved us. When my brother and I came home from school, we would plonk ourselves down on the sofa, and we would hear and then see Benji charging in from the back garden. About ten feet back from us, he would launch himself up into the air and he'd land on our shoulders and heads, and he'd thwack us with his happy wagging tail and kiss us, and all three of us would squeal in delight to be reunited. That was the special thing about Benji. He didn't keep his love buttoned up. It shone out of every pore in his little body. I grew up on the Isle of Wight, an island about 25 miles long, 15 miles wide, off the south coast of England. I went to college in London, and I got my PhD at Edinburgh University in Scotland. I was thrilled to find that there was such a thing as the scientific study of animal minds. What kinds of intelligence do different species have? How are they like us, and how are they different? In any decent university, the Psychology Department has at least a couple of people studying the intelligence of other species. Usually the animals they study are pretty small. They have to fit into the space available. Animals like rats and pigeons. Early on I got bitten by a rat, so I mainly concentrated on pigeons. But I found my interest in animal behavior bursting beyond the bounds of what I could study in a lab. I realized I wanted to not just understand animal behavior, but understand the relationship between people and other species. And I couldn't really do that with pigeons. I cast around for an animal that would let me realize the full range of what I wanted to understand about human-animal relationships. And I have to admit that in retrospect it could have taken me so long to figure out that I needed to be studying dogs. Dogs have tremendously rich behavior. There are dogs that sniff out cancer and contraband. There are dogs that know the meaning of hundreds of words. There are dogs that help blind people cross busy city streets. Dogs have amazing behavior. But more than that, for anyone interested in people's relationships with animals, there is no animal with which people have had such a rich and long relationship as the dog. Dogs and people have been living together for well over 10,000 years. Of course, I wasn't the first psychologist to think of studying dogs. Does the name Pavlov ring a bell? After a long absence from science, in the early 2000s, dogs were making a comeback. The new wave of dog psychological research wasn't interested in why dogs might slobber when somebody rings a bell. These new scientists had bigger fish to fry. Early in this new century, scientists started claiming that dogs, because of their domestication in close proximity to people, had developed new forms of intelligence not seen anywhere else in the animal kingdom. These scientists argued that dogs had evolved to understand human actions and intentions, much as how we understand each other. Furthermore, they argued that these abilities were apparent in the youngest pups that they could test, and that no other animal, not even the wolf, which is the ancestor of all our modern dog breeds, or the chimpanzee, which is our human closest ancestor, none of these other animals could achieve what dogs could do. Now at first, the studies my students and I carried out confirmed what these other scientists have found. We too found that if you point at a container on the ground, your dog will go to the location that you have pointed to.  In both these simple experiments, which you can easily try for yourself at home, we found that dog successes were taken to mean that the dogs understood that people have minds. Just as we understand, and our children, even at a very early age, understand that different people have different contents in their minds and know and understand different things, these experiments were taken to show that dogs, uniquely among all species, share this human ability to understand what other individuals have in their minds. Now this made dogs completely unique among all the animals that have been tested. Our own view of the things that dogs can do began to change when we branched out from just testing people's pets. First, we were invited to Wolf Park in Indiana to test hand-reared wolves. Testing wolf behavior is tremendously important in this project if we want to understand what domestication has done to dogs because all dogs are descended from wolves. To our very considerable surprise, the wolves at Wolf Park were every bit as good in these tests as anybody's dog that we had tested. At first this was all very controversial, but gradually other research groups have confirmed that hand-reared wolves can be just as good at following human actions and intentions as are any dogs. So this showed that whatever dogs are doing, it was not something that was bred into them during domestication because their wild relatives can do it too. Then people started studying more species, more diverse species, and there was quite considerable success with these other animals. We ourselves carried out a study on bats, hand-reared bats, were just as good at following human pointing gestures as were dogs, as were wolves. This and many other studies on many other species showed that what matters for success on these kinds of tasks is how the animal is raised and not what species it belongs to.


Helicopter Maritime Strike, over 6,000 sailors strong chasing submarines around the world since 1983. From H773, on board USS D. Roosevelt, go Navy!


This study explored the willingness among healthcare providers in Bangladesh to support a greater role for midwifery centers in maternity services. Interviews with 55 midwives, midwifery educators, and final year midwifery students revealed five categories. One, accessibility issues. Two, lack of respect for women. Three, community engagement. Four, integration into the healthcare system. And five, standards of care. The findings suggest that more advocacy, information, and education on the benefits of midwife-assisted childbirth are necessary to increase the willingness of healthcare providers to support a midwifery center care model. This article was authored by Nor Islam Papu, Ida Ober, Orika Berskot, and others.


Hey guys, what's up? It's Kinsey and welcome back to my channel. I am so excited to be filming for you guys today I'm just gonna be doing a nice chitchat get ready with me video today I'm filming for videos this next month is going to be crazy for me So I'm just trying to make sure that I'm just prepared we will talk about that as time goes on I haven't even started on skin care or anything if you guys are new here and you like this video Be sure to subscribe Also, is this not the cutest phone case you've ever seen it's wild flower. This is so me So I just wanted this to be like very chill Sit down to check it ready with me. I really like videos where it feels like we're friends Also, I am so excited to be working with sent for it on this video. Where did I put it right here? I got a viva la Juicy Juicy to our perfume I'm very pumped about it. If you guys don't know what sent for it is it is actually awesome There are so many different reasons why I like sent for it one. I love that they come just in these little Like kind of like travel carry on its sizes am I speaking right? They're really perfect because you can just put them on your vanity or just throw them in a bag Which I think is awesome perfume is kind of like an invisible accessory I think that doing something like simp bird where it's $15 a month and you guys get to try out different perfumes That would be a lot more expensive like the evil juicy is not $15 a month But it's really easy to get tired of a set or to not know if you really want to commit to a set for a long Time and with separate it's perfect They have over 450 designer and niche sense, which is awesome because that means you don't have to commit to a full-size bottle Or something like let's say you really like to do our perfume and you buy this really big bottle of it And then you get tired of it and you never use it so having this is so much better So you just twist it and then you can spray and then you can just take the perfume out like this So you can just you know trade the perfumes and then you can see that this is viva la Juicy Which is awesome. I'm a huge Juicy Couture fan, so I'm gonna be using this all the time I have three other ones these perfumes smell amazing. So this bottle is why I love the white one I'm honest probably gonna trade out the colors. It's just really quite the best and Viva la Juicy is my favorite. So this is my other scent You come in these nice little bags, and then I have this one as well twist it up I don't know how to pronounce these but they smell incredible And I just don't want to butcher it because that would just be very embarrassing So simpered partners with these brands so that you can date the accessory Which is the perfume without fully committing to it They have like Prada Gucci Tom Ford and they're a hundred percent authentic something that I love is that now you can upgrade your Accounts to get two to three cents per month. So if you guys want to use my code you guys can use k and z 30 for 30% off Your first month. I will have it linked down below. So instead of $15. It is just 10 That's absolutely incredible. So now I'm gonna start getting ready I asked you guys for some questions on my Instagram You guys are not flying my Instagram be sure because if you guys want to see the thing that I've been working on For so long that is being an onset to be first. I have it in my bio now So just so you guys know I am trying on your products in this video, but I'm keeping the same skin care So if it gets repetitive, I promise we're trying new things out kind of I'm a simple girl Okay, I like sticking to the basics, but this is gonna be a really easy bright Dewey everyday look something that I've really been liking and I feel very confident in the first thing I'm gonna be using is my are my tiger grass drops. This cancels out any redness absolutely incredible Okay, so people are asking when are the drew videos going live? Well, the drew videos will already be up by the time you guys saw this video Let me know what you guys thought about them down below. That was honestly like Emotionally awesome. That was honestly like emotionally draining. I love doing videos like that those took so long I was literally in my office for like three days straight for like 12 hours a day Doing other stuff too, but also editing those videos. It took so freaking long I'm gonna be using the drunk elephant see from a serum. This is why I always use it's the best stuff ever My gosh, it smells so good I'm a huge drunk elephant Skincare person if you guys want to see a skincare routine, let me know in the comments down below Who do you watch on YouTube? Okay? While I do that. I'm going to put on my virgin marula luxury facial oil I'm out of like everything so I have to Restock up on everything from drunk elephant. Okay, my favorite people to watch on YouTube I love Shane Dawson right now like that series was definitely inspired by Shane Dawson I actually just finished watching or didn't finish. I just watched the Shane Dawson Jeffree star stuff last night on Jeffree's channel because the one on Shane's comes out on August 1st fun fact my 21st birthday What a great birthday present. I'm super excited for that But I've just been loving a series like that that's definitely my favorite and then I love Lord Elizabeth It'll be a jade. What do I do from here? Why am I like forgetting everything that I do my cosmetics CC cream I've been using this for forever, but this is seriously like I cannot find something that is better than this product for a very healthy Dewey natural look. I think it's your skin, but better isn't it? Yeah, your skin, but better. It's true Okay, someone asked since it's been several months. Can you update us on how it's been living in your house? It has been so good living here. I really really love it Everyone just gets along really well, and it's really fun, and it's also nice like living with my cousin because it's family I don't know something about like living with family is really nice, but yeah, it's been super fun. I really loved it I still love the area. I still really love the house I definitely want to stay here for like as long as I possibly can okay moving on to Concealer I'm gonna be using the two-faced born this way concealer. I love the born this way line I'm a really big fan guys. You're gonna hate me, but I still have about found a new cream Contour stick I'm actually gonna read that so I'm gonna use the same one again, but then after that We're trying new things. I think the t-beauty stick. This is like out to favorite non Casey Musgrave song I'm trying to think of my favorite song I have a lot of favorite songs, and they're not all Casey Musgraves My check by Yana very good soon to beat the chase by Yana check it out on Spotify I'm just gonna put this on her story, and I'm gonna look like this Okay, I guess I'm gonna do my eyebrows now, which I'll do off-camera because same thing every single time okay I think I'm gonna do a little bit of baking when you guys watch to get ready with me is when do you normally watch something? Do you normally watch them when you are getting ready or do you just watch it throughout the day? I feel like I listen to music most of the time when I'm getting ready It also takes me like five minutes to get ready normally though because I'm just like not good at makeup So it takes me zero time. Okay. I'm using the born this way two-faced powder Like I said love the born this way line And I'm just gonna do a little bit of baking just some white baking I recently got my ears reappears for the fourth time So now I can wear earrings again and wearing hoops has really changed the game for me The thing is in my time of not being able to wear earrings I purchased probably like eight pairs of hoops and now I have no idea where they are They're asking me for the remainder of my summer plans I'm gonna update you guys on that because I actually have a lot of really cool stuff coming that is going to be Hopefully you guys okay. I'm using this random it cosmetics. Oh my gosh. This mirror is incredible I'm gonna be using this the whole the rest of the video Look at that. Um, it is just your most beautiful you it's this little palette, but I'm just gonna try to use the browser Mmm, see I need to speak but yeah, I have randomly found a Kai shadows palette They're called I'm like last year my drawer. I'm just gonna put a little like kind of champagne color on my lid nothing too crazy Where is this amazing mirror again? I need it So for the remainder of the summer So today as I'm filming this it is July 25th, right? So two days before you guys are seeing this video my best friend from home comes to town the 27th So the day you guys are seeing this because it is my 21st on the 1st So we're going to big where this weekend and then I'm doing the fight 21st festivities And then she leaves and then on August 4th I have orientation for school then I start school again Even though we don't start classes for the 22nd.  Then I have Zoe conference which I'm serving at also like partly first with school Which is August 10th or 11th, but it's like basically a four-day thing for me Which I'm so excited for actually if you guys are in LA definitely come to conference And then I go back to school for like a few days and then I go to Greece with Morgan Yates for 10 days I'm skipping my first day or my first week of school. It's fine. We'll get past it I'm gonna go ahead and brush my powder off, but yeah, it's gonna be really crazy So that's why I'm filming so much and then September 1st We launched something that you guys already pretty much know about but here go my Instagram bio today I'm filming like a really really dope like teaser for it. That's gonna be problem Instagram I don't know if it's in my YouTube channel, but it's gonna be amazing. I am so excited. Okay. Why am I talking to so I'm getting more and more caffeine as the video goes on. What do I do from here? Just my scare. No highlighter Oh, no more. I'm what am I saying a beauty con Becca was there and they gave me this be light palette It's a medium to deep face palette and I'm not that but I self tan the camera always watches me out I'm like slightly tanner in person slightly I love and illuminating powders. That is like my holy grail product. Honestly, it just makes your skin look so much better We're just gonna like kind of slightly try this out because it is definitely Dark I want the one that fits my face better.  I'm gonna use my holy grail mascara, which is better than sex by two face I use a lot of two-faced stuff in this video actually, but this mascara is the best Okay So have an eyelash Didn't get to make a wish awesome. Okay guys, so that is it for my to check it ready with you video I hope you guys liked it and then it was like kind of just chill and relaxing I'm gonna finish drinking my coffee and film for the rest of the day But I really hope you guys enjoyed this video if you guys did be sure to give it a thumbs up and subscribe Don't forget to check out scent bird guys. I really am genuinely such a big fan and you can just throw these in your bags I also use like ten different bags. Alright, so it's just nice to have something always there Yeah, don't forget I have a 30% off discount code Which will be linked down below and you guys can get your first month for $10 instead of 15 But I hope you guys enjoyed this video. I love you guys so much and I will see you soon. Bye