Can we be real for a moment? The dating marketplace is riddled with emotionally dysfunctional people. That's right, I said it, emotionally dysfunctional people. Sometimes I call it emotionally constipated human beings, but the reality is, is whether you're a man or woman, the dating marketplace is, it's a mess out there. It's an S show out there. I don't curse in these videos. So what I wanna lean in today is the conversation about being used and being with men who are unable to commit.


In Nartu Kedunas, the Katsina state brother, where the governor Amino Bello Masari has called on the Nigerian elites to be more supportive of the federal government by avoiding unpatriotic conduct, the director general of media, Katsina government house, Abdul Labaran, disclosed this in a statement issued to Nisman on Sunday. Labaran said the governor made a call in his ideal Kaberu message. According to him, such conduct of the Nigerian elite cast the country in a bad light. Masari also charged the Nigerian elites to borrow a leaf from their counterpart in those foreign parts and guard Nigeria's sovereignty.


All right, here's a new one. No sound. Nice. The email says the sword's falling down isn't done yet. Please regard which is funny. I remember looking at a shot last week, I think. I had this as well. All right. First impression was that this felt weird as much as I like it.  There's something going forward, forward, forward, and instead of falling, we're stopping the hover and then going forward this way. I'm not quite buying the physics of this. I know it's exaggerated, but still it still has to have a little bit more of a little bit of something in there in terms of reality. And then there's something that felt odd about that cut. You're doing, let me see. It's probably just fine, but it felt weird. Do you have a right? Also, he anticipates that. Watch out. Oh, smush his face here and then over one frame go back. Left, and watch out. Yeah, not final yet, but watch out in the sections and stuff. And then right one. Well, that's correct though. I mean, she finishes that swing and then goes for the in the face. I think cutting wise, I would have, it's just something where I'm not quite reading this. And maybe it's because like this kind of covers her feels like it goes straight back into this. And then we just have a couple of frames of this going back into this. I don't feel like we're connecting enough with this. Yeah, I think it's so fast and kind of the same height, both arms. I don't know why for me this registered the same as if it was this, this arm. And then suddenly cut to like a different action into this. And I think you can easily shave a couple of frames. So once we're here, the next frame will be here. Cut that out a little bit. And maybe it's something where you do a punch, punch, and then this one could be like this guy could be something where you do punch this way, right flat punch, maybe less like this, but maybe a punch in his stomach and it's more like a back. And then as he's down here, the other arm comes in more in a big arm is already here, here. Boom. And then it downwards. Get bigger arc and then potentially on this frame, keep that actually here to three frames, finishing that move something so that we connect this a bit more. So A having a bit more contrast in these actions, so just not so repetitive and then connecting these two a bit more and then cutting out a couple frames over the beginning here from the mechanics thing. It's a bit stiff. How the body goes up and down and how the head and the arms react to it. You can lose that up a little bit. I feel like there's some stutter or something going on right there. You can see this other route goes forward, stops a bit and then pops forward a bit stops again. Little pop there. So watch out what your translate is doing. Same thing on her right there. There's like one frame pop in there. And then after that, it feels like we have a run, run, run, run stop. And then that feels just a bit like she's contemplating things versus, oh, I have to stop and wait. So the couple things is that she has so much speed coming in. And then the stopping is here where this leg is almost behind her. And she's leaning forward and then goes back. I'm not complying the physics of this where we are already over this and then how she can return like to me would also be a bit more dynamic to go here where that foot is out like this and even almost sideways a little bit to get into like a nice little line like that. And she could even have one arm still there getting ready and then gets into another pose to get into this. What is she buck? She's blocking like this. She could even bring her foot back and maybe change that pose a little bit. It's very destructive here as you know, but imagine that's again further forward. So here she could be here. And then as she goes back, you know, then she could pull maybe her leg back into this. This will be cool with some sparks. And then I'm not quite buying this here right. So she goes cha cha cha cha cha cha. And then it's it's like a minimal amount of a minimal minimal is the amount of anticipation going back where we barely see things in terms of her face and silhouette. And then suddenly goes forward into this. And I don't know if it's that that's mostly a slide because I see this here. It's not the camera. So it would be something where I would you know, I could be something where it goes clink clink clink clink clink but then she brings that one arm back. One arm is still covering her and you know, good sparks. And then that's that big telegraphing anticipation to then go into this. And then the rest ending is fine. It just take those kind of moments. She just feels a bit more underwhelming in terms of just opposing and the force like that's cool. Like I love that. Like that's a great frame. And even at the end she could go and have a bit of a raise of her arms and then bring them back down. I like the last little take that type of thing. And then the post could be either you know, she's leaning away from the action like I'm done with you or leaning a bit more into this and going come on what more but this is a bit default mirrored. So I think that last post could also kind of reflect her state of mind just a bit more if that makes sense. Alrighty, that's mostly that little cleanup here and there.  It feels cool. It's just a bit it's just a bit wonky in terms of the momentum and the physics and the turns and all that stuff. It gets a bit magical video gamey where you have an action then combo and something else gets activated. And then I would also offset these arms here on that. She's out of control. He's a bit more of a flailing type of arm move into that. I mean he could he could after that already drop this and only have one held up and land. Just a thought. But that's it. All right. Thanks. All right. There's an email you can sign up. You can start whenever you want. You can submit whatever you want. You get 16 submissions. Either way, a like and subscribe would be awesome. All right. Thank you.


For the CircuitPython Parsec today, I wanted to show you the CircuitPython Web Workflow. This is a workflow particularly for ESP32 based boards that allows you to deal with files and code on your device wirelessly. So you can see here I have a Metro ESP32 S2 Express. It is plugged into a big USB battery bank. It is not plugged into my computer, so there's no data coming through wires, but this has Wi-Fi on it. And one of the amazing things about the Web workflow is that the setup is dead simple. If you take a look here in my browser, this browser is using a web server that is running on the board right now to serve up this code editor. If I click on open, this is the file system of the Metro. So that's showing me I've got my settings.toml file, my code, my libraries, the boot out text. I'm going to click on this template, settings.toml file. It's a fake one, so you don't see my credentials, my actual ones. But all you need to do to make the Web workflow work is have a settings.toml file on the board with your Wi-Fi router, SSID, and password filled in. That will automatically cause the board to try to get on Wi-Fi as soon as it boots. And set up a Web API password. I'm just using a default here, password with a zero. If you set that file up on the board, then the next time you reset it, you'll be able to go to a URL that's simply circuitpython.local. So let's do that from scratch. I'll go circuitpython.local. Here is the device info, it tells me what board it's on, the version of circuitpython running, the host name, and the IP address that it's been assigned on my network. Now I can click on a file browser and go look at the files that are on the board. We can also edit those files right here in a sort of a bare bones way. Or we can go to this full code editor. So this again tells me a little info about the device. I'm going to go ahead and close that. And now I can do things like open up the code.py file. When I open that, I'm now dealing with your typical code editor for circuitpython. This is just bringing in a NeoPixel library. And you can see here when I adjust the color, I can save that code, and I'm just hitting Command S on my keyboard. And now I've changed the color to blue. I can go ahead and comment that code out and do something a little more interesting here. So now I'm going to save that file. It is going to restart the board. And now we're doing a little rainbow color display of the NeoPixel on the board. You can also check out the serial editor if you have serial output and get right to the REPL directly over Wi-Fi. So you can imagine this is really useful for projects where it's not easy to access the board. It's hooked up to power. Maybe it's a solar thing. You don't have an easy way to get a USB cable and a laptop into it. As long as you are within Wi-Fi striking distance, you'll be able to log in with the web workflow and code your circuitpython right on the board, no wires involved. And that is an introduction to the web workflow in Circuitpython. And that is your Circuitpython Parsec.


Hey Peter, I see that CBLT has some news and another acquisition. What's going on? Hey, nice to see you Chris. Yeah, we've been after this property for some time. It is adjacent to, in between, our property called Copper Prince. The Gerson Fault runs from west to east, or east to west, right across the two properties. And in 1996 it was recommended that somebody buy both of these properties and it's not worth doing work on either one of them unless you own both of them. And that makes sense because one person doing the work just proves up value for the other owner. We are the first owner in history to consolidate title to these two properties along the Gerson Fault. There's a historical gold mine on the Falcon. No production data on it because it's patented lands and nobody told the government what they were doing. We have been able to track down some reports that indicate this is going to be a very, very fun, interesting property to work. In the news release, you said there was some historical gold resource. What can you tell us about that? About 13,000 ounces at a little more than 7 grams of gold per ton, non-43-101, so the usual caveats apply. And it was an internal resource, they called it a mineral inventory, calculated internally at Falken Bridge, so I have no idea what metrics went into the calculation of that. So what exciting thing are you going to do then this new consolidated property? Data aggregation, of course, put together a plan, usually going to start with sampling and mapping and make the big decisions after that. You look at the report that Bailey put out in 1996 about the five samples he took, and they asked it 33, 50, 53, 38, and 40 grams of gold per ton. There's earlier reports from 1923 talking about seeing visible gold in the wall of the shaft and visible gold in the dumps. That's a pretty exciting property. And for those who may not know much about your Copper Prince project, where are these located? Beside the Falken Bridge Glencore Smelter inside the city of Sudbury.  So we don't have to report to the government, but we like to because we like the district geologist. It's one of the best programs the government's ever funded and we like being in good terms with them. So CBLT has usually lots going on. Maybe you can give us a quick update on things going on on your Lithium project and any other M&A you might have happening. Sure, our geologist in Manitoba has already made one visit to the property, took a round of samples, did more mapping, and those samples are in the lab as we speak. We've been told we'll get a 21-day turnaround on that. All right, we'll see what happens there. We're doing some work in Thunder Bay or east of Thunder Bay at our Big Duck Lake property. We've been told by the other geologists that it's a Moose Lake porphyry lookalike and it's Moose Lake porphyry that hosts the Hemlow area, the Hemlow Gold Mine. We're going to go back in, we're looking for zinc along the top. There's a historical gold resource in the middle of 59,000 tons, predating 43-101, and there's high-grade copper at the bottom that has never been explored. So the team has some work to do there. So there's three properties having field work. We're probably also going to revisit the Burt Pond property in Newfoundland. Now, Burt Pond is beside a former producing VMS mine, your usual stew of minerals, but the current thinking is that that granite may also be lithium baron. It has never been tested for lithium. You test for gold, you test for silver and nickel and the rest of the biggies, but that area has not been tested for lithium. So our geo is doing some research and will likely be in the field pulling some possible lithium samples. Interesting. So and a lot's going on there, how are you going to fund all this for the summer? We have cash in the bank from our successful investment into CISCOM. We have some other M&A underway that will if closed further fund the company. We always have M&A underway and that will be a backbone for doing a critical mineral flow through financing in an amount to be determined at a price to be determined. We haven't announced that yet to the public, but anybody can figure that out. So how does that critical minerals flow through work? Call your accountant and ask. It just gives a much bigger benefit to the investor if your target is one of the 30 critical minerals identified by the government of Canada in the Income Tax Act. And which are your projects out of that condition? Well, if we're looking for lithium in Newfoundland or in Pond, obviously lithium in southeastern Manitoba, we have cobalt at the rest of copper prints. Copper prints looks like this. There's a shear that runs through it. Chironian is down here. Arcane is up here. So the arcane is what melds copper prints to Falcon Gold. But down at the south, we have historically explored for copper, gold and cobalt, and we've reported good cobalt numbers from the south. So it'd be easy to get back there. And if we're looking for zinc at Big Duck Lake, zinc is on the list of 30 critical minerals. You're covering off all the minerals. As far as news flow is going to go for the next couple of months for your investors, which I must admit I am as one. What can investors look forward to for news flow for the next couple of months? Well, the fact that we're starting these work programs, and then as the results trickle in, we'll be publishing the results of those work programs and the results of the M&A, which is underway. It's a tough time out there raising capital. But the M&A activity that we do seems to support the fundraising. The company's 14 years old, 70 million shares out, never did a consolidation because we've always been able to do profitable M&A to keep the company funded. Well, thanks for your time today, Peter. Always a nice seeing you, Chris.


Welcome to this last lecture in Physics 1308, Introduction to Electricity and Magnetism. In this lecture, I'm going to cover thin lenses and the human eye. To begin the discussion of thin lenses, we have to look back at the law of refraction, and also known as Snell's law, and the way in which light moves from one material into another. So to refresh here, we could imagine that we have a situation where we have one material, like air, over on one part of our picture, and then there's a boundary between air and another material. So for instance, we can imagine that we have here some glass. Now what distinguishes air from glass for the purpose of optics is the index of refraction of these two materials. So we have N1, which is the index of refraction of air, and that is pretty much very close to 1.000. So we'll just write that as 1.0. And we have N2, which is the index of refraction for glass, and that varies depending on the type of glass, but we can imagine that we have an index of refraction of about 1.6 for the glass in this example here. Now what I'm going to do is I'm going to send in a ray of light and that ray of light is going to originate in the air and it's going to strike the surface of the glass. Some of it will reflect, but I'm interested in the part of the light that is going to refract, that is pass through the interface between the air and the glass and then travel inside of the glass. So for instance, I might imagine sending an array at an angle like this and we know that we then have to consider the relationship between that light ray and the normal to the surface of the glass where it strikes. So for instance, I've drawn a nice red dot here to indicate where the ray strikes the glass and I can just put a little dotted line through here that represents the normal to the surface. So this right here at this point where I've drawn the ray striking the glass makes an angle of 90 degrees with the surface of the glass. Now we can write the angle in the air part of the problem as theta 1. That's the angle between the ray and the normal to the surface where the refraction is going to occur and the ray is going to exit and it's going to exit at a different angle. The light ray will bend. We know from the discussion of Snell's law the light ray will bend because the speed of light inside of glass is different than the speed of light inside of air and this causes the wavelength of the light to shift slightly and the net effect of this is that the trajectory of the light ray changes when it goes from air to glass or if it were to go from glass to air that would also happen. So we have some different angle here and we have the refracted ray. So here is our refracted ray and it's going to make an angle with respect to the normal of theta 2 inside of the glass and Snell's law allows us to relate the two. So Snell's law is simply n1 times the sine of theta 1 must be equal to n2 times the sine of theta 2. Now we can rearrange this equation to write the ratio of the sines in terms of the ratio of the indices of refraction. So let's go ahead and do that. What I'd like to do is I'd like to get the ratio of sine theta 1 to sine theta 2 in terms of the ratio of the index of refraction of the glass over that of the air. So with a simple rearrangement I can go ahead and do this. I can say sine theta 1 divided by sine theta 2 is just equal to n2 over n1 and because of the indices of refraction that I've picked for this example this ratio is just 1.6 because it's 1.6 divided by 1. This then allows us to look at the ratio of the sines. We see that the ratio of the sines of the two angles is going to be 1.6. Now the sine of a small angle is a small number and the sine of a larger angle as you approach 90 degrees for instance is a larger number. So what this tells us is that the sine of theta 1 divided by the sine of theta 2 is a number greater than 1 and that implies that the angle theta 1 is greater than theta 2 because the sine of theta 1 is greater than the sine of theta 2 according to this equation and that implies and if you're not sure about this go and play around with the sine for a little bit this implies that theta 1 is greater than theta 2 which is exactly what I've drawn in this picture. So in this refraction we have that this angle theta 1 is a larger angle than this angle theta 2 because we're going from a material with a low index of refraction into a material with a higher index of refraction and in general this will always be true. If you go from a material with a low index of refraction and you pass into a material with a high index of refraction relative to the original medium in which the light was propagating you will reduce the angle with respect to the normal that the light ray is making. Now let's take the principle that we've just looked at with refraction where you go from a medium with a low index of refraction to a high index of refraction and let's apply this to what's known as a lens. A lens is nothing more than a system of materials designed to change the path that light takes so light will enter the material at one angle and it will exit the material on the other side at a different angle and by adjusting the properties of the material one can cause the light to follow very well-defined predefined paths that allow you to focus light to a point or defocus light away from a point and by doing all of this we can build up optical transportation systems. So let me sketch a lens. I'm going to make the lens slightly rounded on one side just a little bit and then I'm going to have just a really thick bit of material in here and then I'm going to have that same slightly rounded face on the other side. So these slightly rounded faces for the purposes of this course I'm going to keep a nice simple shape. I'm going to make them semicircular. That is, these are part of some very large circle with radius, for instance, for the right-hand side, R2 and then similarly over here you can imagine that this face is part of some other large circle with radius R1. So the radii of curvature of the two sides of this glass system let's just call this glass some index of refraction N2 these are semicircular faces of glass that you can imagine having been cut from a very large sphere of glass with very large radii R1 and R2. Now just like in the mirror case I'm going to define the optical axis to be a line that passes dead center through the lens so let's label this the optical axis. The optical axis is a convenient reference point for images and objects and focal points and focal lengths and all that stuff that we used for mirrors and we're going to repeat that now for not for reflection but for refraction. Now the whole purpose of this is to show you what the transportation of light looks like through this system. So let me send in a ray that comes in parallel to the optical axis so here's my incident ray and it's parallel to the optical axis which is this black dotted line here. Now it's going to refract when it strikes the air glass interface so let's write this N1 and we can call this air we've already handled that situation before that's an index of refraction of about one. The glass is an index of refraction of something like 1.6 it's a bigger index of refraction so we know that once we draw the normal to the interface between the air and the glass whatever the angle is between the incident ray in air and the normal it will be a smaller angle inside the glass. So the normal to the surface of a circular interface is going to lie along a radial line of the circle from which the glass is cut. So this is a very large radius circle so we might imagine that the normal looks something like this it doesn't have, it makes an angle with respect to the optical axis that is not zero but it's very slight as we can see here we know that the refracted ray is going to come out at a very slight angle to the normal inside of the glass so we exaggerate that by having it lie almost on top of that normal see it has a slight divergence there there's my ray and there's my refracted ray so we have an incident ray making an angle theta one with respect to the normal and we have the outgoing ray inside the glass making an angle theta two that's a lot smaller than the angle between the incident ray and the normal on the outside that ray is going to continue to travel inside of the glass and it's going to strike the glass on the other side where it meets the air and we have to just repeat the refractive process again we have to draw a normal to the surface of the air glass interface and our refracted ray will make a larger angle outside of the glass than it did inside of the glass because now we're going from a large index of a fraction material to a lower index of a fraction material and there we go so we'll call this angle theta four and this angle theta three so the relationships that we expect between all these angles is that theta two is less than theta one and theta three is less than theta four so this is the basic principle by which any kind of lens works parallel rays coming in from the left will refract at the first boundary they will bend inside the material as a result of that refraction they will experience a second refraction over on the other face of the material and then they will bend even further and in this particular configuration this results in a parallel ray being bent toward the optical axis on the other side of the material and this is known as a converging or focusing lens it takes light that comes in parallel and it bends it down toward the optical axis on the other side you can imagine that another ray that enters down here at the bottom following a similar set of arguments so here's our normal we get a refraction that results in a smaller angle on this side and then we have a second refraction here and we get some refracted ray on the other side we see that a ray that enters the bottom of the lens on the left side will be bent up toward the optical axis on the right an array that enters at the top on the left side will be bent down toward the optical axis on the right and you can see why this gets its name as being a focusing lens now I didn't do a great job of drawing this if I'd drawn this as a perfectly smooth circle and got my normals exactly right then of course these rays should have converged maybe right on the optical axis but you get the idea this is an example of a converging lens and here you have convex glass faces on both sides and the effect of those convex glass faces is to cause a light rays to bend toward the optical axis if they came in parallel on the left side of the setup that was an example of a converging lens system but we can also imagine a diverging lens system here instead of having a convex glass face we just have to make a slight concave glass face on one side lots of material and then a similarly slight convex face on the other I will draw my optical axis and then I will send in a light ray up here parallel to the optical axis now in this case the circular face bends away from the light ray so the radial line that points back toward the center of the circle points back this way unlike in the case of the converging face where it sort of tilted down here it tilts up we get a slightly smaller angle with respect to the face we get a second refraction over here and this ray will bend away sending a light ray down here again we draw our normal to the surface we have a slight angle here and we have the normal that way and we get an even more pronounced angle out of the other side of the interface this is what is known as a diverging lens and you can see why it causes parallel rays from the left to pass through the glass diverging away from the optical axis on the right and here, whereas the focal point was on the right hand side of the lens before here if we extend our rays back to where we think they came from on the other side we see that they converge actually on the side of the lens where the light originated and this is a very handy point to define real and virtual images for lens systems so let's go back to the concept of images again a real image just like in a mirror a real image for a lens system is located in a place where it physically could in fact be observed with a screen you could put a screen in that location and you could actually see the image of the light from the object on the other side of the lens real images form on the side of the lens opposite the object that is, if I have a light from an object starting out over on the left side I expect for a real image for a lens system that the focused light, the focal point for the refracted light will lie on the other side of the lens so on the right hand side of the lens a virtual image on the other hand it lies on the same side as the object and you can see already that a converging lens forms, has the potential to form a real image on the opposite side of the lens and a diverging lens forms a virtual image on the same side of the lens where the object is actually located if you try to put a screen there you just block the incident light from the object and you wouldn't be able to form the image on the screen unless diverging lenses are extremely important in optical systems and you need both converging and diverging lenses in order to transport light for all kinds of applications like medical imaging and non-invasive, well invasive but non-surgical imaging techniques like endoscopy now before moving on to a demonstration of lensing systems what I would like to do is I would like to discuss thin lenses which are the things we're actually going to use for the rest of the class so I've been showing you essentially thick lenses to motivate the refraction process but we can instead switch to a related class of lenses known as thin lenses and these are lenses whose thickness is much smaller than the distance of the object from the lens that's it so if you imagine having an object like a person standing on the optical axis of a lens and we were to put a thick lens far enough away from them so that the thickness didn't really show we could imagine that a converging lens could be represented simply as two semicircular faces glued together with very little material in between them or similarly we could imagine a diverging lens again here's the person a diverging lens simply being represented as two semicircular faces but concave rather than convex so here we have converging and here we have diverging and it's actually much easier to represent these lenses using a simple symbol and a typical convention for converging thin lenses is to simply draw them like this and for diverging thin lenses is to simply draw them like this so this just represents a thin lens a lens whose thickness is far smaller than the distance of the object the distance is involved for instance of the object to the lens system you can use a line with two arrow heads for converging and a line with two reversed arrow heads for diverging and the idea here is that any light ray that enters will be bent converging lens will bend the light toward the optical axis diverging lenses will bend the light away from the optical axis so you can very quickly sketch these pictures and draw some light rays and you'll be good to go now just as in mirror systems it's very convenient to analyze lens systems in the way that light moves through them using this concept of principle rays so for instance if I imagine that I have an object over here some distance p away from the lens system so this is my object I'm just going to use a simple upright arrow to represent that object in this case you can use principle rays to analyze the transport of light through the system so for example if you have a lens that has a focal point given by f that point might be located over here and because lenses for instance are symmetric it's the same distance on either side so light entering from the left can pass through the focal point on the right lenses are typically some kind of symmetric or semi-symmetric system so the focal point of a lens applies equally on either side of the lens this is distinct from a mirror because light can't penetrate a mirror the focal point lies on either one side or the other of a mirror now the principle rays that we will use to look at the transport of light through a thin lens system one we'll just use parallel rays that's one of the rays we looked at with mirrors and we'll look at it again with thin lenses a parallel ray comes in parallel to the optical axis so if I imagine a ray coming from this point here coming in parallel to the optical axis these light rays will be bent through the focal point of the lens so here is my parallel ray now another kind of principle ray is a central ray this is a ray that passes dead center through the optical axis of the lens so in this case that would be a ray that starts out at this point passes through the dead center of the lens and actually passes through undiverted that's a central ray so any ray that passes through the dead center of the lens right through its optical center will essentially look like it's undiverted and it will continue on its way on the other side of the thin lens system now of course you can also have rays that go through the focus the focal point so we will have focal rays we can look at that as a principle ray that's another ray that you are free to draw that's a ray that passes through the focal point of the lens on the object side and then comes out parallel to the optical axis on the other side so this one is a focal ray I didn't do a great job of trying to draw the focal point as symmetric on either side but basically where these rays converge over here represents the location that is equal to the location that I started with on the object and so I would here draw my image over here and we see that it's inverted so this is a converging lens and we see that when we have the object to the left of the focal point of the converging lens we wind up with an image that is real and inverted now we can continue to analyze lens systems of these principle rays and to do that what I'd like to do is not keep drawing these by hand I'd rather have a computer do all this stuff for me so that my pictures are prettier and more accurate so what I'm going to do is I'm going to switch now from this hand drawing nonsense to using a simulation of optical effects that is provided by the University of Colorado's FET demonstration system so this is the optics lab demonstration system by the FET simulation suite you can see here that we have a very nice system we have an object over here that we can move and I've elected to have the simulation show principle rays so here you see the focal ray passing through the focal point marked with an X of this converging lens it comes out parallel to the optical axis on the other side we see the central ray passing through the optical center of the lens undiverted and then coming through the other side and we see a parallel ray coming in and then being bent through the focal point on the right hand side of the converging lens and they all meet up over here you see when a computer does this it looks a whole lot prettier than what I do I've actually set the refractive index of this lens to be 1.6 and you'll notice it has a certain diameter so that just changes basically the lens so that just changes the diameter of the lens itself and you can affect the radius of curvature of the glass and you can alter the curvature in such a way that you also alter the optical properties of the lens itself so I'm going to leave that at 0.8 meters for the curvature radius that basically means that this glass has a rounded surface that is as if it were cut from a big sphere of glass whose radius is about 0.8 meters now you'll see that I have it set up to show virtual images when those occur we haven't gotten to that quite yet but we will get to that in a moment and what I'm going to do now is I'm going to change our little object here so we have something a little more akin to what we've been using an arrow and I'm going to put that arrow pretty firmly right on the optical axis so I've now laid that arrow right on the optical axis and you see here that my little sketch that I did a moment ago for a converging lens when the object is located to the left of the focal point that's not too bad I actually got that pretty good considering how crummy my drawing was you see that the resulting image is in fact inverted on the other side and it's real it's on the opposite side of the lens from the object which is on the left image is on the right now let's see what happens as I move my object closer and closer to the focal point we see that what's happening is that as I move my arrow closer to the focal point the rays are having to diverge away from one another and never mind this this is just an effect here to show you how the ray would bend if it passed through the lens on that end it's getting bigger the image is getting larger on the right hand side it's still inverted but it's a much larger image and so you can kind of see that if you want to enlarge an image of something if you have an object like writing on a piece of paper over here and your eye is over here on the right and you want the writing on the paper to be bigger you want to move the paper closer and closer and closer to the focal point of the lens system now let's see if I can rein this in a little bit so I'm going to see the refractive index here let's take it up to like 1.8 just so we can see everything still on the screen here alright I'm going to continue to move my object closer and closer to the focal point and right at the focal point we get into an interesting situation at the focal point all the rays coming out the other side are parallel that is they don't focus on the right hand side when you stick an object right at the focal point of a converging lens you can't form an image on the other side we'll see this reflected in a bit when we look at the lens equation the thin lens equation which is very similar to the mirror equation now as I move my object inside the focal point we see that now the rays do converge but they don't converge on the right hand side of the lens rather they point back at a focal point on the left hand side of the lens now we're making a virtual image there's no way I could put a screen over here and get this image to form alright so what's kind of neat about this is that this is essentially the operating principle of a magnifying glass so a magnifying glass uses curved surfaces of glass you can hold it in your hand and the surface of the glass is curved such that the focal point is very far away from the central point in the lens if you lay the magnifying glass over a piece of paper you will see on the other side of the glass a large an enlarged upright image of the writing for instance that you're attempting to magnify a magnifying glass that I've just created here so if my eye is over here on the right hand side I will appear to see the rays from the object converging at a point behind the object but enlarged and upright and that's exactly what we want from a magnifying glass we don't want a magnifying glass to invert text and enlarge it then we can't read it we want it instead to have the text to be upright and that's why we have to put our eyeballs over here and we can see the rays that are refracted they appear to come from an object that's behind where the actual object is located much bigger and upright so this is the operating principle of a magnifying glass you put your object inside the focal length of the magnifying glass lens and you put your eye on the other side and the rays that come out all appear to come from a point back here behind the lens this is a virtual image you put your eye over here and you'll see the rays as if they appear to converge back behind the lens where the paper is located so that's how you get a virtual image so this very nicely demonstrates how you can use a lens and an object to create different kinds of images you can create a real inverted reduced image if you move your object far from the focal point if you move your object closer to the focal point you'll get a real enlarged an inverted image and if you move your object within the focal point you can get a virtual enlarged upright image that winds up being on the same side as the object itself and that's the basics of how a converging lens will work a diverging lens will only ever form a virtual image that lies on the same side of the lens so that's one of the neat things about a diverging lens the converging lens has a much more rich set of structures that much more rich set of outcomes that can occur and that's why I demonstrated here but a diverging lens is also useful but it always forms a virtual image on the same side as the object itself now the workhorse of thin lenses is an equation known as the thin lens equation and it won't look too surprising to you it's simply that one over the object distance plus one over the image distance is equal to one over the focal length of the lens now again sign conventions play a very important role in this business P which is the object distance is always positive now whereas for mirrors where P defined the side where positive image distances were to be defined rather for lenses we have i greater than zero when it's on the opposite side from the object so this is the key distinction between mirrors and lenses for mirrors images are real that is i is a positive number when the image forms on the same side as the object but for lenses the image is real that is i is positive when that image forms on the opposite side of the lens from where the object is located so just to complete this i less than zero you're on the same side as the object and this defines real i positive just like before and i negative defines virtual now for focal lengths f is greater than zero for a converging lens and that's because parallel rays focus on the side of the lens opposite the object so you can kind of see a pattern here when the image forms is positive when it's on the side opposite the object the focal length of a lens is positive when it focuses parallel rays on the side opposite the object f less than zero is a diverging lens and that's because parallel rays focus on the same side as the object so that's the thin lens equation and this allows you to locate images given focal lengths or figure out the focal length of the lens given the image distance and the object distance so this is the kind of thing you'll have to play around with now of course in addition we have the concept of magnification again and just like with mirrors the absolute value of the magnification is equal to the height of the image divided by the height of the object so this is the image height this is the object height and M is a signed quantity and again we have a situation where the sign recalling again that the real images for a converging lens formed on the opposite side of the lens and were inverted so those eyes were positive but to get an inverted image you have to have a negative number so this is just the negative of the ratio of the image distance over the object distance so this gives you both the magnification factor and a sign that means upright or inverted so if M is greater than zero we have an upright image and if M is greater than zero we have an inverted image that's all that sign means otherwise take the absolute value of M and you get the magnification factor magnification factor so it's the same game as with mirrors M equals negative I over P and the absolute value of M gives you the ratio of the heights of the image and the object about that thin lens situation so let's think about a thin converging lens here you have a focal length that's greater than zero so F is a positive number of course we have that P is a positive number and let's look at the lens equation for different situations so the lens equation is 1 over P plus 1 over I 1 over F now let's focus on images so if P is greater than F that is if the object is located very far from the focal point of the converging lens then we can figure out what the image is going to do so we have 1 over I is equal to 1 over F minus 1 over P now let's put in some numbers let's say that the focal length of this lens is a convenient 1 meter and let's put the object distance at a whopping 4 meters away from the lens so that is 4 times the focal length now we can plug into the lens equation we have 1 over I equals 1 over 1 meter minus 1 over 4 meters so we have 1 minus 1 fourth which is 3 fourths so we have 1 over I equals 3 fourths inverse meters or 1 over meters so we can solve I is equal to 4 thirds of a meter so we see that we have a real image that forms as we saw in the computer simulation we have a real image that forms and it forms at a distance of 4 thirds meters which is just slightly longer than 1 meter so it forms a little bit close closer to the lens than the object but still further than the focal length on the other side and we can also see that this is going to be an inverted image because M equals negative I over P and this is going to be negative 4 thirds over 4 which is negative 1 third so we wind up with inverted reduced image compared to the object it's 1 third the height of the object that's the 1 third and it's a negative sign in front of that so it's inverted so we can play around with the equation and very quickly see what we saw in the computer simulation if you put an object at a larger distance than the focal length then you get an inverted image that's real you can continue to play this game so again let's imagine that F is 1 meter and P is now 2 meters so we have 1 over I equals 1 over 1 meter minus 1 over 2 meters and that leaves us with 1 over 2 meters or 1 half meters to the minus 1 so that I is equal to 2 meters so we see here that again we get a real image and it's magnification factor negative I over P is negative 2 meters over 2 meters is negative 1 so when you put an object at twice the focal length when P equals 2F something interesting occurs when you get a real image it is inverted but it is un-magnified it's the same height as the object so that's a special case when P is equal to 2F you wind up with a real inverted image whose height is exactly the same as the object now let's go inside the focal length let's put F equal to 1 meter and P equal to 0.5 meters or 1 half of a meter so now we have 1 over I equals 1 over 1 meter minus 1 over a half is 2 meters to the minus 1 so we wind up with 1 meter to the minus 1 1 meter to the minus 1 minus 2 meters to the minus 1 is negative 1 meters to the minus 1 so I equals negative 1 meters so here we have a virtual image because I is a negative number we can look at the magnification factor this is negative of negative 1 meter divided by 1 half meter which is equal to negative 2 which is equal to positive 2 so here you get an enlarged upright image of the object that's virtual so a virtual enlarged upright image height is greater than that of the object by a factor of 2 and it's upright we have a positive sign on the magnification and it's virtual because it forms on the same side of the lens as the object that is at a negative distance so I hope that this gives you the groundwork for playing around with thin lenses and the last thing that I'd like to do before closing out the formal material in this course is to talk about the human eye


Allergic diseases are becoming increasingly prevalent and severe in developed countries, and feed allergies are among the most common. The immune response involves numerous cell types and populations, which can sometimes be disrupted, leading to different diseases such as allergies. Antihistamines and corticosteroids provide relief from symptoms, but immunotherapy is the only treatment that can reverse the disease. However, specific immunotherapy has drawbacks such as being time consuming and producing side effects. Adjuvants like nanoparticles are being explored to reduce these side effects in preclinical assays. This article was authored by Carlos Gamazo, Carmen D'Amelio, Gabriel Gastamenza, and others.


client, we have running embedded closed captioning, and we also have sign language interpreters. At the end of each session throughout the fair, the speaker will take two questions, or more than two even. You may ask questions live at Ustream and Twitter. If the speakers do not have time to answer all of the questions received, please feel free to direct your questions to inquireatnara.gov. Our hotline for genealogy questions will be open today from 1-4 Eastern Standard Time. We'll have archivists available to help you with your research questions. The toll free number is 1-855-309-8404, and now I'd like to introduce our first speaker this morning, Damani Davis. His topic of his topic, the title of his topic is Genealogy in the Freedmen's Bank, Records of the Freedmen's Savings and Trust Company. If you are seeking freed African American ancestors in the post-Civil War era, this talk is for you. Damani Davis shows you how the records of the Freedmen's Bank, Freedmen's Bank Savings and Trust 1865 to 1874 are a valuable resource. Damani Davis is a reference archivist at the National Archives Research Services Division in Washington, D.C. He's been with us in this position since 2005. Damani has lectured at various local, regional, and national genealogical conferences where he focuses on the African American presence and federal records. A native of Philadelphia and a veteran of the First Gulf War, Damani pursued his undergraduate studies at Coppin State University in Baltimore, Maryland. From there, he received his Bachelor of Arts degree in History in 1998. He further pursued his studies at the Ohio State University, where he received a Masters of Art degree in History in 2001. Please join me in welcoming Damani Davis. Good morning, and thanks, Diane, for the excellent introduction. Today's presentation is on the Freedmen's Bank, officially known as the Records of the Freedmen's Savings and Trust Company. The Freedmen's Bank is an excellent source of documentation on the African American family under the Civil War. For those who are researching African American ancestors, one of the most difficult periods is the period during slavery when there's very scant documentation on those who were enslaved. But the records of the Freedmen's Bank is one of the federal records that we have here to kind of fill in that gap. Now, although the Freedmen's Bank was initially chartered for those who were, for the benefit of those who were ex-slaves, it was not only limited to African Americans. Throughout the South, there were also white southerners and also recent immigrants who took advantage of the Freedmen's Bank services. But today's presentation is going to focus on some of the African Americans during that period. Now, in using the Freedmen's Bank as a federal record to trace African American ancestors, do not confuse the Freedmen's Bank with another institution during that period, which was known as the Freedmen's Bureau. Oftentimes, we have researchers who come here to the National Archives and interviewing those particular researchers. They state that they've researched their ancestors in the Freedmen's Bank or in the Freedmen's Bureau. But in further discussions, we find out that the person actually researched one or the other and had the two different record groups confused. The Freedmen's Bank is very easy to research. You can research it through a name index. It's now available on Ancestry. It's available here at the National Archives on Microfilm and on CD. Now, to give the historical background of the Freedmen's Bank, the Freedmen's Bank actually was formed to meet a pressing need that was occurring during the Civil War. As African Americans began to participate in the U.S. colored troops, many of them began to draw wages for the first time. Oftentimes, these were individuals who had never been paid or had never earned official wages as workers because they had no financial experience and no financial institution to help them manage their money or their wages. Many officers in the Union forces tried to meet this need by forming local financial institutions for their benefit. But eventually, John W. Alford, a Congregational Minister and abolitionist from New York, decided to form a national organization to fulfill this extensive need. John W. Alford served as a clergyman or an attache to Sherman's Army during Sherman's march through the South. He had gone to Savannah in 1864 accompanying Sherman's troops and during that period he observed the conditions of recently free blacks. Those who were serving as U.S. colored troops. Because of some of the problems that he saw, John W. Alford returned to New York and met with philanthropists and leading businessmen in that particular city on January 27th to plan a benevolent banking institution that would provide black soldiers with a secure place to save their money. To provide black soldiers with a secure place to save their money and at the same time encourage the values of thrift and industry in the newly free African American community. After the Freedmen's Bank was founded, it was first headquartered in New York City but it later moved to Washington, D.C. in 1867. It was initially designed as a trust that invested solely in government bonds and was not focused on profit. A board of 50 trustees was authorized to manage the bank. However, later as the bank began to expand and attract many depositors, the bank's policy or the management gradually moved away from the bank's initial policy. As a result, the bank collapsed due to a combination of changed investment and loan policy, the panic of 1873, overexpansion, mismanagement, abuse and fraud, and some fraud amongst the upper management. It is estimated that over 70,000 depositors had open accounts in the Freedmen's Bank with a total number of bank deposits totaling over $57 million. Here at the National Archives, we have surviving signatures of depositors for 29 of the various branches of the Freedmen's Bank that existed. At its peak, the bank operated a total number of 37 branches in 17 states and in the District of Columbia, making it one of the first multi-state banks in the nation. Mobile Alabama, Atlanta, Georgia, and Columbus, Mississippi, and Lynchburg, Virginia are three of the branches or four of the branches without indexes. And as you look at some of the cities that have Freedmen's Bank, you notice that not all of them were in the south. We had Freedmen's Banks in a branch in St. Louis, Missouri, New York City, Philadelphia, Pennsylvania, and so forth. But for the most part, the Freedmen's Bank branches were dispersed throughout the south. Okay. Now, what kind of genealogical information can you find in the Freedmen's Bank records? Okay. Here at the National Archives, Microfilm Publication, M816 has the registers of signatures of depositors with basic identifying information on each of these depositors. And on these cards of deposit, you can find the names of each depositor, their account number, age, it gives their complexion and physical descriptions, the date that they originally made the deposit or opened the account, their place of birth, the place where he or she was raised, occupation, names of spouses, children, parents, siblings, and sometimes there are brief remarks on each of the cards. For those who are trying to identify the names of former slaveholders, sometimes the names of former owners and mistresses on the plantations are given. And for anyone who is doing African American research and you're trying to break that 1870 barrier and trying to get back into some of the earlier records, oftentimes the name of the slaveholders can be the most valuable piece of information you can find. And sometimes you can get that from the Freedmen's Bank records. We have other records here for those who are interested in the larger administrative functions of the Freedmen's Bank. Microfilm M817 index to deposits and ledgers for the Freedmen's Bank gives some of the administrative information and M874 journal of the board of trustees and ministers of committees and inspectors of the Freedmen's Savings and Trust Company. Now I'm going to get to some examples of Freedmen's Bank records. Here's a basic Freedmen's Bank records of an individual named Henry Adams. On this particular record, Henry Adams provides some of his basic information concerning his life which was required to open his particular account. He gives the date on which he opened his account, June 26, 1872, states that he was born in Jasper County, Georgia, raised in Louisiana. His residence is Shreveport, Louisiana, at the time he opened the account. He was age 29. He gives his complexion of physical description, black. Occupation at the time was a woodchopper, but for genealogical purposes, the valuable information is when he gives the names of his parents and his siblings, states that his father's name was Samuel Carter. His mother's name was Millie Carter. He has siblings, also James Carter who lives in Georgia, Dennis Winnie and Nancy in Louisiana, Eli Carter in Robinson County, Texas, Squire Carter in the Soto Parish, Louisiana, and he gives the names of Nelson, Zechariah, Catherine Collis and Judy Peggs, but doesn't give where they live. For you who may be a potential descendant of Henry Adams, this can be a very valuable find if you did not have this information. Another example is that of Captain OSB Wall. OSB Wall was the first African-American commissioned captain in a regular army in the United States. On his particular Friedman's Bank record, again, it gives his physical description, he's described as 510 for complexion, he's described as Malato. It gives the names of his children, Edward, Steven, Sally and Belle. His place of birth is Richmond County, North Carolina, and his residence is Oberlin in Lorraine County, Ohio. He was in Ohio at this time because he was sent to Ohio by his father. His father was actually his former master, but once he got to a certain nation's father's symptom to Oberlin in Ohio to be educated and gave him his freedom. At this time, he was also employed as an agent for the Friedman's Bureau. That is very valuable because the Friedman's Bureau is one of the other federal records that we have here at the National Archives, and if someone is a descendant of OSB Wall, you could then, after seeing this information on his Friedman's Bank account where it shows that he was employed as a Friedman's Bureau agent, you can then try to go through the Friedman's Bureau records to see if you can find more information on OSB Wall. That's something that we emphasize here at the National Archives. Within all of the various federal records that we have, they only give a piece or only a portion of the biographical information on your ancestor, but they also give clues that can lead you to other federal records that can be useful, and I'll show how that can be done in a few slides. Here's one more example of John Wesley Cromwell, who was a historian, journalist, educator, lawyer, and former slave here in Washington, D.C. He was born in Richmond, I mean, in Portsmouth, Virginia, and was raised in Philadelphia. He later moved to Washington, D.C. to attend Howard University and became one of the famous journalists and activists here in Washington, D.C. in the late 1800s. His occupation at the time that he opened his Friedman's Bank account was a teacher here in Washington, and he gives the name of his father, Willis H. Cromwell. He states that his mother at this time is dead, but he gives the names also of his brothers and sisters, Levi, Willis, Armstead, Martha Ann, and Esther Nash. Okay. Now I'm going to show how, using Friedman's Bank records, you can then try to use clues provided in the Friedman's Bank records to navigate other federal records. Here is an example of an individual named Ruben Penel, and his first Friedman's Bank account that we found, which was opened in 1867. On this particular account, he gives the name of his former master and mistress during the period in which she was enslaved. His master's name is given as Martin Stalter, and his mistress was named, well, is listed as Betsy. Gives his physical description, five-four light brown, and the names of one child, Benjamin Penel, states that his place of birth was King William County, Virginia, and his residence at the time he opened this account was 18th Street between L and M in Washington, D.C. He later opened another account in 1873, and something that I want to point out is that something that's common when you're in any of the records that you may investigate is various discrepancies that you may find. Just notice that in every type of record or every example of a record that I have on this individual Ruben Penel, there's going to be a different variation on the spelling of his name in each record. Okay? Here, the first record is Ruben Penel. His 1873 account, his first name is spelled differently. And on this particular account, when he's listed as age 62, his complexion, his physical description is given again. His residence remains the same at 18th Street between L and M. His occupation is a laborer.  That was not given on the first Freedmen's Bank account. Okay? Now, with Ruben Penel, I searched some of the Freedmen's Bureau records that we have here at the National Archives and was able to find a marriage record for Ruben and Eliza Penel. In the marriage records from the Freedmen's Bureau records, it gives Eliza Penel's maiden name as Henderson, Eliza Henderson, which again is oftentimes a very difficult piece of information to find when you're doing genealogical research trying to track down the maiden names of married women. The family is listed again in the 1880 census, another federal record that you can make use of here. Again, his name is spelled differently. In the census, the way the B is spelled, it really looks, it appears to be a G. So I actually wrote it that way just to show that sometimes there can be discrepancies and when you're, especially when you're doing research online, if the name is spelled the way it looks on the census, it can differ from how you're expecting the name to appear. And if you're key in that name in and nothing comes up, we advise researchers to try various virgins of the name to see if you can find something because sometimes if you enter this into the database and you adhere to that rigid idea of how the name should be spelled it wouldn't necessarily appear. But here Ruben Penel, age 67, huckster, states in the census that he was born in Virginia. His wife Eliza Penel is listed as age 35. She's wife, keeping house, born in Virginia. And Mary E. Penel, their daughter, was age six, was born in Washington D.C. Okay, another example is from Alfred Pope. His first freedman's bank account was opened January 25th, 1870. But this particular account was made on the behalf of a larger committee. It was not a personal account. It was an account made on behalf of his church which was Mount Zion Church in Georgetown here in Washington. On his particular, on this first freedman's bank account it states, a draft signed by three of the banking committee, accompanied with the passbook, will always be payable. Banking committee, Edgar Murphy, Barton Fisher, Alfred Pope, and John H. Williams. But on the particular account, for some reason, John H. Williams' name is crossed out. I assume that means he was no longer a member of the banking committee at the church. Later, Alfred Pope has another freedman's bank account, August 18th, 1871. It gives basic information. His residence is Georgetown, occupation, night scavenger, but this one gives the name of his wife, Hannah Pope. Hannah Pope also opened her own freedman's bank account August 18th, 1871, the same day. Her residence is given as Frederick Street in Georgetown for occupation. It states she lives at a shop. Children, there's listed a Catherine. And she also lists her mother, Barbara Williams. Now for Alfred Pope, after finding his freedman's bank account, I wanted to see if I could find other federal records that we might have here at the National Archives that documented his existence. Alfred Pope had an affidavit of freedom in the local Washington D.C. district court. On his particular affidavit of freedom, it gives some insight into some of his background and some of his experiences. The bearer, Alfred Pope, a colored man who will hand you this note was a servant of the late Colonel John Carter of this town. By Colonel Carter's will, Alfred was set free and is now with my consent as executor in the enjoyment of his freedom. Alfred caused this necessary certificate of his freedom to be entered on record in your office and had in his possession a certified copy. About a week ago, his dwelling house took fire in the night and it was destroyed with all of his furniture. Alfred wishes to leave the district in search of employment and wants to obtain a copy from the record of the evidence of his being a freedman. I would accompany him to your office to offer in person my testimony in the foregoing facts, but I am very unwell and unable to do so. Will you be so kind as to render him the service he needs by giving him the renewed evidence of his freedom in paper form? Very respectfully, John Marbury. I also found information on Alfred and Hannah in the Freedman's Bureau records. For the Washington D.C. field offices, there were marriage records that were used to give an official recognition of marriages for individuals who were previously enslaved. During slavery, individuals married in their own ceremonies on the plantations. Sometimes that would consist of jumping the broom. Sometimes they would have clergy men who would officiate the wedding. Sometimes the wedding would have the sanction of the slave owners, other times not so. But these were individuals who considered themselves to be husband and wife even though they were enslaved. But the reality of slavery was the fact that it was an institution in which marriage was not officially recognized. So one of the first functions of the Freedman's Bureau was to provide official marriage documents for individuals who were now free and who had considered themselves married. And many of these marriage documents, these recently freed slaves, provide the dates in which they considered themselves to have been originally married. On this particular form, it has Alfred and Hannah Pope, I mean Alfred Pope and Hannah Cole, which was her maiden name. Again, these marriage records can be very valuable in that it gives the maiden names of the wives. The Pope family was listed in the 1870 census, which was the first census in which all African Americans were listed. In the 1870 census, Alfred is listed at age 46. He's a common laborer. Hannah, age 40, is listed as keeping house. Their children, Catherine, age 20, is teaching school. Rachel, 18, is teaching school. Alice, 16, is at home going to school. Barbara, 13, is at home going to school. Alfred, age 10, is at home going to school. And it's William, age 7, John, age 5, and Emma, 1. They are again listed in the 1880 census. Alfred is age 56 at that time. It states that he keeps a wood yard. Hannah, age 51, is listed as keeping house. Rachel, one of their daughters, 28, is a dressmaker. Barbara, age 23, is a school teacher. Alfred, Jr., age 20, works at the wood yard. John, 14, is going to school. Emma, age 11, is in school. And Lulu, age 8, is in school. Again, that's just showing how these records, once you find an individual in one type of federal record, always go based on one piece of information you find. Potentially, you can have a fine clues to investigate other federal records. Again, Alexander Stewart, this is his Friedman's Bank record. This is another example of an individual providing that crucial information, the names of, you know, the former slave holder.  Because outside of those slave holders records, there is no other type of documentation that you're going to find that can help you trace those particular ancestors. We often, we often get researchers here at the National Archives seeking information on slaves. Slavery was not a federally regulated institution, meaning it was considered a private, it was an issue of private property, private business transactions. So those records would have no federal connection and thus would not be at the National Archives. Most of the records here at the National Archives are going to be these various forms of records that were produced during the period of the Civil War, during the period of emancipation, because this is the first time that the federal government is going to have direct administrative activity connected with people who were formerly enslaved. So that's going to be, of course, the Friedman's Bank, the U.S. colored troops for those who served in the military during the Civil War, Friedman's Bureau records, Southern claims records. Okay, so for instance, if you're a descendant of this individual, Alexander Stewart, you may not have, in all of your research, you may not have known the name of the former slave holder. But just from looking Alexander, looking up his deposit in the Friedman's Bank, bam, you have the name of his former master, Albert B. Bessie and his mistress, Jane. From that point, after exhausting your research and federal records, you can then go to the local level. His birthplace was Prince George County, Maryland, and his residence is Bare Re Farm at this time. So, you know, if he was born in Prince George County, Maryland, his chances are he was enslaved. During slavery, he was still a resident of Maryland. You could then try to track down Albert B. Bessie and see and try to locate that family's records, whether they exist in a local court, whether they're at the Maryland State Archives, whether they've been collected by some of the local universities and so forth. But that's the same process and procedure that you would go about on any state. Once the name of the slave holder is identified, you can really get great insight into these ancestors. Okay. Alexander Stewart had a second account. This one is from September 29th, 1871, Bare Re Farm. It's his place of residence. He's a laborer. His wife's name is Mary. Children, Henson and Edward, and his mother, Mary. Siblings, Henson and Eliza. Again, Alexander Stewart and Mary, who was referred to in the Freedmen's Bank records, were also in the Freedmen's Bureau marriage records. In the marriage records, Mary's maiden name is given as Henson. Okay. Alexander Stewart and Mary Henson in their residence at the time of their marriage was Prince George County Maryland. Okay. One more example, just showing this basic information that you can find within the Freedmen's Bank accounts and that you can then use as, you know, just a foundational type of document to then look into other federal records. Here's the Freedmen's Bank account of Frank Over Jr. His account was opened on June 12th, 1871. He was a resident at the time of Washington, D.C. 424, First East. He was age 21 at the time he opened the account. Physical description, dark complexion. His father was named Frank, mother named Josephine, and siblings Elias, Andrew and Annie. Here's our Frank Over's manumission record that was found in the records of D.C.'s district court gives the name of his owner of Venorondo Polizzi and Frank Over was manumitted on 10th of August, 1861, which was close to a year before D.C.'s official emancipation. In his particular Affidavit of Freedom, the description is given of Frank Over and then this Frank Over is actually the father of Frank Over Jr., who opened the Freedmen's Bank account. On this description it states, to all whom it may concern, be it known that I, Venorondo Polizzi, have released from slavery, liberated, manumitted, and set free my Negro man, Frank Over, being of the age of 30 years and able to work and gain a sufficient livelihood and maintenance. The Frank Over's family is found in the 1870 census, which again is the first census that counted all African Americans, meaning individuals who were formerly enslaved are now being counted and identified in the census for the first time. Francis Sr., the father is age 49, his occupation is coach survey. He owns $1,000 in real estate according to the census. His wife Josephine, age 42, is keeping house. Their son Charles, age 22, works at a clothing store. Francis Jr., who opened the Freedmen's Bank account, is age 18 and works at a dry goods store. Andrew, age 16, is in school. Virginia, age 14, is in school. Anne, 11, is in school and Walter, age 9, is in school. Also within the household there are several boarders who are living there. And this is something that was very common, especially in urban areas as people began to move in from the countryside. Oftentimes those who already were established in the household would take in boarders as a means of supplementing their income until the boarders would then work for a while and eventually get their own dwelling place. The boarders are named as the Ackerson family. There's Edward, age 32, Mary, age 24, and Edward, age two, and John, one years old. Okay, 1880 census. Again, the family is documented. Francis Over is age 58. He's a laborer at U.S. Coach Survey. Josephine, age 52, is still keeping house. Frank H. Overs Jr., age 29, is a porter. Virginia Over, 24, is at home. Anna Over, age 21, teaches school. Walter T. Over, age 20, is a servant. And Josephine Over, 17, is in school. Okay, now for those who would like to read more about the Freedmen's Bank, we have an excellent article in the National Archives Quarterly Journal Prologue. The name of this article is the Freedmen's Savings and Trust Company in African American Genealogical Research by our former colleague, Reginald Washington. And you can access all of our older prologue articles on the National Archives website at archives.gov. Okay, thank you. Are there any questions at this time? Thank you, Mr. Davis. We do have two questions that came in from the UStream account. The first question is about women. How common was it for women to have accounts with the Freedmen's Bank? Just off hand, I don't have actual, off hand, I don't have actual statistical, any type of statistical breakdown, but in my own exposure or experience and, you know, looking at these particular records, it was somewhat common. I've seen several, well numerous, a decent portion of these accounts were opened by females, by women. Thank you very much. We have a second question that came in, and this one is about names on the account, and they're specifically, they're wondering, are there any of other names on the account searchable, or is it just the account holder? From my experience, it depends on where you're searching. I think these records are now available in digitized format on ancestry.com, and I think they are now searchable by any name that appears on that particular account. Here at the National Archives on our CD version, I think it's limited to the person who opened that particular account, but even with that, I would, the one caveat I would give is even if you search by that person's name in the digital format, if nothing comes up, don't take that as the final say on that particular individual. Anytime you're dealing with information that's being put into a database, and especially when it's being transcribed from a lot of these written documents, oftentimes can be, you know, have very difficult spellings to make out, and as far as the letters and so forth, there can be discrepancies. So that's just one caveat. Keep that in mind. Thank you so much. And while we were sitting here, we got another question that came in. This is for Libby Tidwell. She wants to know, is anyone gathering the business records of slave owners in a centralized place? The most recent information that I've been able to get concerning that type of project is something that the Library of Congress has embarked on. There's a project, I can't recall the exact name of it, but there's a project in which they are gathering the plantation records of former slave holders. So throughout the south, they're gathering these records and making these records available on microfilm, and eventually I think they're going to have those records available in a digital format. Now the details of that, I'm not knowledgeable enough of it to go into any deep details, but I know that's a long-term project that they have embarked on. At this point, the Library of Congress is trying to gather as many of those records as possible. And keep that in mind. What we have here at the National Archives and what they do at the Library of Congress are kind of supplemental. Again, we have every record that has a federal connection. So we wouldn't have those plantation records here since that's not that wouldn't have had federal jurisdiction, but you can find that at the Library of Congress right now. Thank you so much. Actually, we have a couple of more questions that have come in if we have time, and I think we do. The next question is, how common was it to find institutions as account holders such as churches or schools? Again, I don't have any, many of these questions are, you know, really great research topics. That's something that, you know, we can do here as far as trying to break down some type of statistics on the proportion of those that were women, you know, the proportion of accounts that were representative of, you know, collective institutions and so forth. But just from an unofficial type of analysis of it, I would say predominantly the accounts were opened by individuals, but there are enough accounts representing collective entities that if you have a particular institution such as a church in mind, I think as a, just, you know, a potential, just from a potential research objective, you can try to identify that institution in these particular records. If you know that there was a particular church in a county that was had, was overseen by a particular field office during this period, again, the Freedman's Bank is going to, during this time, is the only, oftentimes the only, the only financial institution available throughout the south in particular. And it's going to, it was one of the first multi-state financial institutions of its time in American history.  During the period of the Freedman's Bank, most banks and other financial institutions were local. So the Freedman's Bank was one of the first multi-state financial institutions and oftentimes it's going to be the only ostensibly secure institution in many of these areas.  So, yes, if you're looking for information on a particular institution, I think that would be a very good research topic. You know, just to quickly check the Freedman's Bank records to see if there was anyone who made a deposit on behalf of an institution. Even if you search by the name of that particular institution and nothing comes up, I would suggest that you identify individuals who were associated with the particular institution, such as a church, and see if, you know, even though the account was opened in the name of an individual, perhaps once you look at the account, you know, similar to Alfred Pope's Freedman's Bank record, you know, once you look at the account you may see some type of notation or extra information on there indicating that the account is open on the behalf of a larger institution. So also in your research try to identify individuals who may have, you know, proceeded to do that on the behalf of an institution, such as the person who was the treasurer of a particular institution. Damani, we have one last question that has come to us through Twitter. The person asked, wondering how often a former master was listed on these records. Was it common? Why would they include it? At this time, oftentimes it's one of the questions that's asked. Now with the Freedman's Bank records, the information provided is going to vary from record to record, you know. So there's not going to be a situation where in every case the name of the former master is given. Again, you know, I don't have any statistical information to say, you know, the names of the masters are given this many times as opposed to not given, but it's something that occurs often enough that I think the Freedman's Bank records are one of the great pieces of information you can use to get to identify the names of former slave holders. It's one of those few pieces of federal records that you can use to do so. So not in every case again, but that the names are provided often enough that, you know, if you haven't found the name of the, you know, the owner, so the slave holders elsewhere, you can potentially find that information in the Freedman's Bank records. Thank you. As you can see from Damani's talk and his comments on your questions, speakers will be answering questions at the end of each session. If you want to send them in live, you can do that on our Ustream or Twitter. If we don't have time to cover all of the questions, please feel free to direct your questions to inquire i-n-q-u-i-r-e at narra-n-a-r-a dot gov-g-o-v. This afternoon, Eastern Standard Time, one to four, our hotline will be open where archivists will be able to, they'll be available to help you with certain questions that you have on your family research. That toll-free number is 1-855-309-8404. That's 1-855-309-8404. Thank you.