everybody it's Eric Johnson from Airtay Throws Nation and in today's video we're gonna do is an analysis of Frederick Dockers in a huge 77 meter big throw in Rabot, Morocco just a few days ago. So we wanted to kind of look at the things that make Docker so good and so consistent. Obviously one of the things that he does as we talk about in the throwing chain reaction is he has a very consistent setup. If you look at this throw or any of the throws really throughout the season you'll notice that the beginning and the start he's very comfortable with the discus and as he moves himself into position he kind of goes here with his arm swing he's gonna go what we call is our three position start he's gonna set up the throw he's gonna take a long want pre-wind a long wind and you're gonna notice now one of the things that we say is a little tricky to understand is when we see a throw where we're trying to maintain the centerline at the start of the throw and he does do that you'll see that he has movement here but you're gonna notice the key thing is when he moves the hips he creates a ton of separation and stretch reflex between the hips and that is going to help him create what we refer to as that big pillar too and so as he creates this shift to the left again getting around the left leg is the big key for any throw or so or the entry side so we're gonna notice the length of the entry arm we're gonna notice how the position of the foot is turning ahead it's past nine o'clock so one of the things you're gonna notice too is the weight is forward how he moves right hip with the left foot so as he moves into the throw you're gonna notice that he's really leading and this left side is pulling everything long and into the middle of the circle he's gonna get an incredibly wide sweep you're gonna see that high wide sweep leg knees are out and you're gonna notice that how high the foot is and how level the foot is at this point the position of the knee driving doping down into the throw he's really pushing that knee to the sprint point you're gonna notice that we see the left arm and sweep leg counterbalance and again notice the angle of the body and the disc is back this is what we refer to as pillar three this is where he's applying speed into the throw and this is where we look at the transition so now he's gonna start transitioning from the sprint leg to the middle right the delivery leg and so you're gonna notice this is where the rewrap occurs he's gonna keep the shoulder long and away you can see the high point of the disc is back here and this is the key noticing where he loads and lands he stays on the ball the foot and that knee from this point is just gonna continue to be really pushing ahead of the toe throughout the throw you'll notice that that's another difference when we broke down the Daniel stall so consistent and it's that that constant acceleration and lack of hesitation and you're really starting to see this with dockers over the last couple of seasons now look at how he stays on the right you're gonna notice he lands on the ball he's got that high point here he's got the left arm is really counterbalancing him over the right leg which enables him to keep his chest over the right knee and so at this point you're gonna see how the knee is going to be moving ahead and watch the elevation of the heel so you'll see that the knee and you'll see that the hip are gonna be driving into the throw and the direction that they're going to be facing so as he comes down you'll notice this is what we refer to as pillar 4 and there's 5 we notice the block foot coming flat to the ground the elevation of the delivery leg heel so again that's the push of the knee and the hip into the throw and then you're gonna see how he maintains that heel that foot on the ground pretty through this point through the delivery but he'll elevate whereas stall will keep it down even a bit longer so Frederick keeps the left arm a little wider and again but you're gonna notice the contact at the delivery point both feet are still pretty much on the ground and look where the hip is facing the hip is facing into the sector down this way and that pulls the disc is forward and that's why you see most elite throwers their release is at this point right you're gonna see that right back here he's moving so fast so on this breakdown you're gonna see that the hip is ahead and the shoulders ahead and that's what creates the whipping motion of the discus and you can see it's not the motion of throwing this way he's rotating all the way through so that the discus whips around now let's let's go back and this was what they had called they had initially called it a foul if you look on the throw it's all pretty clean you can see that there was clearly no foul and obviously the video review showed there was no foul and obviously set a new diamond league record so one of the key things again just kind of looking at it and we'll look at it in full speed you'll notice again super quick and we'll go all the way back to the beginning we'll look at it one more time at full speed so we'll just look at that setup watch the control and the comfort with the discus little swing setup and then you're gonna watch him just takes offing nice and consistent throughout the whole throw constant acceleration and again this is the things that we talk about but here's some of the key points we love the counterbalance point here you're gonna see the the left arm and you're gonna see the sweep leg and they start to work because he's so long here the hip again moving with the left side and you'll notice again that left foot is leading ahead is not dropping early if you load the foot with a lot of young thorns or do is load around here then they're trying to get on and turn on a loaded axis the key here is to get the foot around and drive into the throw this is where he creates the sprint you'll notice that line especially back here is where you're gonna see the check the discus is back behind the hip the sweep legs going nice and wide and again this is where in my opinion the throw is really made this is what we refer to as the chain reaction the setup the pillar one two three really enables him to just crush the rest of it now again pillar four five six you have to work all these positions and clearly he's been very disciplined thrower and he and his coach Julian Robinson have done a phenomenal job but the key thing here is he sets up so efficiently and he can enter in the ring so dynamically that when he's going to be landing you're going to see how he's loaded up that knee bend he's got that heel not dropping and again he's able to really accelerate into the throw very dynamic load of the ground through the reverse which is the key you're not seeing a big jump you're seeing everything come through very efficient and this is what people have been kind of talking about for a while he's been hitting 68 meter throws and you can kind of even see his expressions we come on the ring he's not entirely doesn't look like he's as happy as he could be and he just looks like he's missing a little bit on some of those 68 meters in here just looks like he connected a little cleaner through the finish and that's what resulted in a huge PR and world lead so it will be fun to continue to watch him and Daniel Stahl as they compete in Diamond League meets for the summer and leading up to the world championships so it should be an absolutely awesome thing to watch in the huge fan love this guy's technique and we use him as a technical model quite often because he does so many things I think he's around six foot four he looks even taller he throws incredibly long clearly he's got a very long wingspan but he really maximizes his size and his leverage and he's incredibly quick so a great technical model again but just super clean pay really close attention to this position notice how the hip is moving with that entry side and the length of the entry arm so the path is what we talk about is that super long path that's pulling them into the circle notice the arm will open and then right here's where you're gonna start to see some rewrap of the shoulder a little bend at the elbow so that allows that lower body to move ahead he continues that extremely long path again with that the block side arm as the block comes down look at the extension of the block arm that's gonna enable the long path so that that discus can get around and the hips can get ahead of the discus through the delivery again just an awesome throw so just again here at Airtate Throws Nation we're big fans of throwing we can have a huge appreciation for what high-level throwers do and again part of the intention on videos like these are to really look at the things that make a successful throw not so much critique and and give our opinion is regarding what we think can be better and how he can throw farther but rather break down what what goes into a nearly a 71 meter throw a 232 foot throw inside a stadium so we just want to look at that and we always say look at the positives will look at again their stylistically there's gonna be differences between Frederick and Daniel and Piotr so you know we'll see all those differences but we're gonna look mechanically you're gonna see a lot of the similarities how they're hitting all their key positions and what we refer to as the six pillars throughout the throw so again we hope this is helpful just kind of give you some extra insight what we think is going on or what I think what these guys do so well and what makes them so awesome and so fun to watch it's just a as a huge fan of throwing it's a really cool thing and coaching athletes you definitely have a great appreciation for what these athletes and coaches are accomplishing so congratulations to Frederick and coach Robinson and thank you for watching and if you like this video be sure to hit the thumbs up give us a hit the subscribe button and comment below if you have any other questions or things you'd like to see thanks so much we'll see you on the next video be sure to check out our next videos be sure to subscribe visit our website for free videos click the links below we have links to our free mini course check out our websites for camps and different detailed information throw farther faster by understanding the science with the throwing chain reaction system thanks so much for watching


Freedom is opening a stock option program for you, everyone in the Freedom family. You will be able to own stock options in Freedom and when we have a successful IPO, those options will be worth a lot of money. How much money? Well, let's look at Facebook. Do you know how much money the CEO of Facebook earned in the year that they went IPO? $2.3 billion US. He was the highest paid person in the entire United States in that year, Mark Zuckerberg. Now, okay, the head guy got a lot of money. How about the next guy? Well, the next guy earned $1.1 billion from his stock options on the Facebook IPO day. And there's a lot of people who earned hundreds of millions of dollars. It's not just for the big guy. When you have a successful IPO, everyone who owns stock options can get rich. For example, when Microsoft was starting out, they gave stock options to everybody, including the secretaries who answered the phones. Now this isn't Bill Gates or his assistant. These are the people who say, hello, this is Microsoft. How can I direct your call? These secretaries became millionaires on the Microsoft IPO. You can Google it. The stories are out there. That's true. If you have stock options in a company and that company is IPO is big enough, even secretaries become millionaires overnight. So we figure since you, the freedom family, all the channels in our network have helped us grow to where we are today. And you will continue to help us grow as a family to IPO. Shouldn't you get rewarded for being part of that growth? Yes, you should. And I don't mean just the big channels. I mean everybody. We are going to treat everyone fairly, just like Microsoft treated even its secretaries, to help reward you for being part of the freedom family. Now this is not just for the channels partnered directly with freedom. It's also for the channels partnered in networks powered by freedom. When I say freedom family, I mean everybody, not just a few people. Now there is a lot of details to share and I will make more videos about this if you tell me in the comments below that you're interested and that you want to learn more. And I'll share with you a lot more of the details as we roll them out. In other words, we don't have the stock option program right now today. We are researching exactly how this should be done because it's never been done before. Has a network ever offered stocks to its YouTube channel partners? No! Actually almost every network out there doesn't even go IPO. They go acquisition. Someone buys them. You know, AT&T turned in group. They bought full screen. Maker Studios was sold to Disney and so on. BBTV was sold to RTL Group. Every major network out there isn't going for IPO. They're going for a cash out for the main stakeholders in the company which isn't you, the YouTube partner. How many YouTube partners gained from an acquisition? None. That's what we want to solve. That's what we want to fix. With freedom, my commitment to you is that we all grow together as a family and we help each other. And I want to help you get what you deserve when we go IPO. Now, a lot of you are going to have a lot of questions. Ask them in the comments below. I read every single comment and we try to reply to the most important ones. I'm going to very eagerly wait to hear what you have to say because I personally am very excited by all this. This is the first time it's ever been done on YouTube before. And let's see how it goes. Who am I? I am George, CEO and founder of Freedom. And you've been watching and we will grow together as a family because this is the Freedom family. You are part of it. We are all part of it. And we're all growing together. So grow with us and partner with Freedom. That play now button right there on the video bar is all you need to click to get started.


The study proposes a bat origin for SARS-CoV-2 by identifying a SARS-CoV-2 related coronavirus in wild Rhinolophus acuminatus bats from Thailand and showing that their seer can neutralize SARS-CoV-2. This article was authored by Superporn Watraplusa D, Chi Watan, Patra Paul Manin, and others.


I'm with Matrix Industries and we are an energy harvesting company that has a technology that converts heat to electricity. Hopefully the LEDs are lighting up on this hat. This hat is basically converting the heat from my head and using it to light up the LEDs with no batteries or capacitors. I'm gonna walk you through a story about how we were able to take a R&D technology from the lab in academia and transition it into a viable business that today is earning us revenue and we're selling, you know, our first product. So I'm gonna walk you into how we were able to do that. It's taking a material science R&D technology is very difficult. So we'll start with what the company is, what we actually do. We have at the moment very high efficiency, very high performance solution that converts heat to electricity using thermal electrics. Thermal electrics are solid-state materials that officially convert heat to electricity. They've been around for a long time and we've been able to pioneer and innovate around this technology to create the world's best performing thermoelectric systems. Our first application that we launched two years ago is a smartwatch that I'm wearing here on my wrist. It's powered by my body heat and it allows me to power the watch without ever having to worry about charging it. And it's a typical smartwatch. It counts steps, calories, that kind of thing and it's all working off my body heat. To date we've raised around 30 million from top-tier investors so that's just really quick overview of what Matrix is about. So I'm just gonna take one slide here to tell you about kind of the background of the technology because probably a lot of you are not familiar with thermoelectrics. It's not a very common thing that you hear about every day. So in order to have a very good thermoelectric you need two things. You need a material that conducts heat really poorly like glass. Yet it has to conduct electricity really well like a metal and those two properties are not commonly found in nature. They actually kind of go against each other. So what we've done is we've taken properties, electrical properties of copper, thermal properties of glass and combine them together into our own material that we call the Matrix Gemini. And what it is is a material that is a bulk nanostructured material with nanostructured defects that slows down the movement of heat yet allows the electricity or the electrons to go through without impeding the motion of the electrons. So that's the reason these two features are important is you want to maintain a temperature difference in order to generate a voltage, in order to maintain a large temperature difference so that you can get a large voltage. You want a material that has a very low thermal conductivity. All right so how do you take this basically R&D project that my co-founder Douglas and I worked on when we were PhD students and converted into a real viable business. It's a really hard thing to do as you can imagine. When we first started out we were really naive. We thought this material could do so many things. It has so many great applications that we could go into but then you kind of get you know hit in the face with reality. In terms of building a business you've got to find your product market fit and that's a really hard thing to do especially when you know you're starting out and you think you can do all these different things. So the answer to finding product market fit for us at least was to go out and actually talk to and engage with customers. This was critical right. You can't just sit in the lab and dream about all these different opportunities and applications. You actually got to go out and see if the customer will actually buy what you're trying to sell because if there's no customer there's no business. So we went out and we thought well let's talk to the automotives. You know there's so much heat from the combustion of a gasoline in a car that you could recycle and turn into electricity for the vehicle save on fuel efficiency. None of the automotives cared. It wasn't that big of an impact. It wasn't that important of a problem to solve for them. We went out and talked to companies that were making steel or glass where there's tons of enormous amounts of heat that you could recycle and generate power to maybe lower the apex of the plant and again there just wasn't that pain that pain point for them. It was only really when we went and talked to wearables companies that we really got their interest. They're like wow if you can do that that's pretty cool and so we decided let's make a smartwatch and in fact let's go and see if we can license the technology to all these different wearables companies. Turns out that that's also very hard to do especially when you're just starting out and you have absolutely zero credibility. My co-founder and I are first time entrepreneurs and no one believed that what you know what we were trying to sell so we were like let's let's just do it ourselves and that's sometimes what you have to do and and that's what we did. Another thing is once we started looking at wearables and found that there was a pain point and a need for our technology we looked at other different types of markets that this technology could go into. Smart agriculture where you're putting sensors in the ground that are monitoring water content things like that where you don't have to charge or replace a battery. Smart cities where you want to deploy thousands or even millions of sensors but you're not going to go around changing a million batteries. Same with smart factories so the motto for our company really eliminate charging and enhance efficiency and we really wanted to look at energy harvesting as the place for our technology to kind of live and find solutions for. So our first product was the smart watch as I alluded to. We launched it on Indiegogo as a crowdfunding campaign two years ago. We raised 1.7 almost 1.7 million dollars. The watch right now manufacturer.foxcon we've shipped more than 30,000 and it's something that's now given us actual credibility to the point where before we would go and try to find you know customers or businesses to you know actually make interest you know make our technology interesting to them. Now they were coming to us and reaching out to us and wanting to partner and we've actually grown the business beyond just the wearables and we've got partnerships with other companies because we were actually able to manufacture and provide a full solution product and it sort of just you know our credibility went from zero to you know a finite number. So what is our kind of key innovation or innovations? We really have three kind of fundamental pillars or technology foundational pillars. The Matrix Gemini is the actual thermoelectric, very high efficiency, low cost. We have the Matrix Mercury which is something that we actually had no idea when we started the company that we'd get into. It's a boost converter. It basically boosts the small voltage coming off the Gemini to a large usable voltage and when we looked at the market for boost converters initially they were awful. They were super inefficient. They'd throw away two-thirds of the energy output from the thermoelectric and they had very high turn-on voltages. Our boost converter has the world's highest efficiency and lowest turn-on voltage that enables a lot of the different applications that we're getting traction in beyond just wearables and going into IoT and sensors. So this was actually an innovation that came after the fact that we had no idea we'd do, that we actually ended up doing just because it provides the full solution for our technology and our partners. And then the Matrix Luna is also a new development that is able to store heat. So these three things combined together allow us to actually capture temperature fluctuations in the air, in the environment, to generate power. So you actually don't even need an obvious heat source. You can actually put this thing outside and the temperature variations from the day and the night are enough to generate power. And again, we want to use this for IoT and sensors. So we call it the power station. It eliminates charging. It's practically always on and with zero maintenance. It enables all sorts of different sensor and beacon platforms. Going back to the applications I mentioned before for smart ag, IoT, smart cities, that kind of thing. Again, this type of technology only came about from kind of the hard grind that we were in for the development of the watch. And as soon as we moved from this kind of narrow thinking from the lab where we were just focused on the material and just the small little component and really thinking about the entire system, the holistic picture, that's when we really kind of became a company. As I mentioned, we actually got inbound interest for the first time. People are coming to us rather than the other way around. So our technology has a solution for many different types of partners. We're really focused on wearables and IoT. We want to go in beyond just the watch or this funny looking hat. We want to go into smart cities, smart agriculture, smart factories where you wanted to deploy millions of sensors, but you're not going to replace a million batteries. We already have made some headway into those markets with some of our beacons and HVAC sensors. And again, it all came just to kind of summarize and wrap it up. It all came from the idea that you had to provide a solution to your customer. You had to find what their pain point is and solve it for them. And you couldn't just, you know, when we again, when we were starting off, we thought we could go into so many different applications. We could do so many different things with this, just one little component material. And it was only until we realized that we had to build a full solution that people began to become interested in what we were doing. So I thank you for your attention. And I hope you're enjoying Slush.


Oh, that kicks ass! So after doing my headshot review, I said I wanted to review the Raid series, and the Raid movies are some of my favorite martial arts films in recent years, if not almost of all time. The first one was actually a kind of a hidden feature for me. I remember going to the movie theaters in 2011, if I'm correct, 2012, and seeing this big poster, this big cutout poster of a guy standing in front of a building, this big apartment block, and for some reason it gave me a little bit of a diehard edge. I didn't see it in theaters, but then after that I heard from word of mouth and just on the internet that the Raid was a movie you wanted to see. So the incident came out on DVD, I went and rented it, and holy shit, I was blown away. The movie starts off kind of generically, in the sense that there's a guy who's kind of training, he's saying goodbye to his wife, he tells his father, I'm gonna go get him back.  Some of them are cocky, some of them are kind of quiet, some of them are afraid of what's going on, but what the main idea is that they're going after this mob boss that is at the top of this apartment block. He owns everyone inside, most of the people inside are criminals, but not as all as it seems. They meet up with this kind of shady police sergeant at the building, and then they go in and everything goes wrong. From the instant that they are discovered, absolute carnage happens. And some of the most ridiculous machine gun fire I've ever seen, where M16s seem to have unlimited rounds, and people are taking a million bullets and sometimes not even flinching from it. The funny thing is that everyone was telling me that this was a martial arts movie, and I'm about 35 minutes in, and there's nothing. And then comes the first hallway scene, where Iko Uyua, the main character who's played Rama, is carrying Baolo or whatever his name is, and then shits gets real with some amazing choreography, with using weapons to using freehand.  The instant I finished it, I called my brother and said, you have to watch this with me. And I watched it again the same day. The film then turns into a cat and mouse game, where in fact, it is almost the opposite of Die Hard. In the sense that Rama and his crew are slowly getting picked off while trying to get to the top of the tower, taking out the bad guys, and it's sort of an even playing field, except if you're facing Rama, then you're fucked. There are interesting moments like when they're hiding in the crawl space and the machete goes through the wall and slices Rama's face, and the intricate shots of that and how tension-filled that scene is. Gareth Evans is a fantastic cinematographer. He knows exactly what to shoot, how to shoot it, and how to edit it. He edits his own movies, usually, and everything works so well in this film. It reminds me of what Robert Rodriguez used to be in the sense that he was a guy who did everything on the job, and Gareth Evans is the same guy. He shoots these fight scenes incredibly well.  He keeps everything in focus. He does really good cuts. He can even take the action away and still keep you thrilled and excited for when it comes back. And funny enough, there's only five fight scenes in this film. I was talking about doing the top five fight scenes of the raid, and in fact, that's all there is.  Admittedly, the story isn't as fulfilled as you would think it is. The potential between Rama and his brother is pretty decent, but there's a little bit more you would have wished from that. Also, some of the fight scenes kind of happened just for the sake of fight scenes, and the conclusion isn't as cut as you would think it is because they do a name drop of someone you had no idea who he was, and this name only matters if you watch the sequel, which is a little bit of a kind of an unfair advantage for people who haven't seen the sequel or for people who had just watched the first movie because that's a little bit of important information that you could have explained a little bit more as we find out when the corrupt cop and the head of the building guy are having their arguments. But either way, this still is an action-packed movie. There's a little bit more emotionality than you would expect of a martial arts film like that, and this film paved the way for, in my opinion, the best one of the series, which was the sequel, which is one of my favorite films of all time. So in the end, I will give The Raid Redemption a 5 out of 7. It is a fun movie. It is an action-packed thrill ride. If you guys are fans of martial arts films or kind of Indonesian foreign action films, you should watch this. It is good because while the fight scenes aren't quite extravagant, they are somewhat limited into reality, not entirely, especially with the end fight scene with the dog.  It goes on forever, but it's still a fun time. So as I said, I'll do a top five fight scenes of this movie. It's not very hard because there's only five, and then I will review and do the same for The Raid 2.  All sorts of probably show you the case that this came in. This is the case for The Raid Redemption. It's pretty awesome. It's part of Art Gallery 1988, so Project Pop Art. There was a few that came out. I think when this came out, there was a bunch of other movies, Drive, Snatch, Leon, The Professional Drive, District 9. I got a few of them, and so did my brother, but I don't know if you can still find these. These were available from Future Shop. So Future Shop doesn't exist anymore for us, so I don't know. See if you can find them. The website is gallery1988.com, so if you guys are interested in that, check it out. These are awesome cases. Alright guys, see you next time.


Macrophages play a critical role in inflammation, a defense mechanism of the innate immune system. They rely on metabolic processes powered by glucose transporters, such as GLUT1, to carry out their functions. Inflammation can be triggered by lipopolysaccharide, LPS. This study investigates how cystathionine gamma-lyase, CSE, and its by-product, hydrogen sulfide, H2S, affect the metabolic process of macrophages during this inflammatory response. It was found that LPS increases GLUT1 expression, which is regulated through nuclear factor, NF, Kappa B activation and phosphatidilinositol-3 kinase, PI3K, activation. Silencing CSE decreases NF Kappa B activation and GLUT1 expression, indicating that H2S plays a role in metabolic function in macrophages during pro-inflammatory response. Additionally, it was discovered that GYY4137, an H2S donor molecule, has inhibitory effects on LPS-induced NF Kappa B activation and GL. This article was authored by Alex Cornwell, Samantha Fetitova, Sarah Cowan, and others. We are article.tv. Links in the description below.


Because crop fields and livestock enterprises are often located away from headquarters, farmers and ranchers regularly operate tractors and farm equipment on public roads. In addition to common safety concerns of operating transportation vehicles on roads, operating farm machinery presents increased safety concerns because these machines are normally much larger than cars and are normally operated at slow speeds. State departments of transportation regulate traffic laws and rules pertaining to operating farm equipment on public roads. In the United States, these traffic laws can be different in each state, so it's important to know and understand the laws where you live. Some states provide exceptions to some public road regulations for farm equipment. The regulations described in this video refer to North Dakota regulations. Most farm equipment operated on public roads other than interstate highways are exempt from height and width regulations if operated between sunrise and sunset and within 60 miles of the operator's farm headquarters. However, pilot cars are required for all equipment exceeding 14 feet 6 inches in width, 18 feet in height, or 120 feet in overall length. In lieu of the pilot car, over-width equipment exceeding 14 feet 6 inches but not 16 feet may be equipped with lighted rotating or flashing amber lights that are visible from the front and rear at 500 feet. Equipment exceeding 18 feet in overall width requires a North Dakota Highway Patrol escort. Farm machinery and equipment are required to display a slow-moving vehicle or SMV sign whenever operated on public highways. SMV signs are intended to alert automotive drivers to reduce their speed. The SMV emblem has a red-orange fluorescent triangle at its center surrounded by a highly-reflected red border. The maximum travel speed for farm machinery equipped with an SMV sign is 25 miles per hour. The emblem shall be mounted point-up in a plane perpendicular to the direction of travel. It shall be placed centrally at the rear of the vehicle, unobscured, and 2 to 6 feet above the ground measured from the lower edge of the emblem. It may be permanently attached to equipment when practical. Portable emblems shall be mounted by using bracket sockets and identification emblem brackets specified in the American Society of Agricultural Engineers Standard, ASAE 5277. A faded or damaged SMV emblem should be replaced immediately with a new emblem. Dusty and muddy signs should be cleaned. Tractors must have a rollover protective structure, or ROPS, that provides a safe environment for the tractor operator in the event of a rollover. ROPS can be a cab or frame. ROPS affords some safety during tractor overturns, but operators need more protection. All operators of tractors equipped with ROPS must wear seatbelts. Without a seatbelt, the operator will not be confined to the protective zone. Tractors and self-propelled units of farm equipment must be equipped with two single beam or multiple beam headlamps, and at least one lamp displaying a red light visible when lighted from a distance of 1,000 feet to the rear of the vehicle. In addition, tractors and self-propelled units must be equipped with two red reflectors visible from 600 feet to 100 feet to the rear. The American Society of Agricultural and Biosystems Engineers Standard S279.10 established recommended lighting and marking for farm equipment for road travel. The standard recommends six features related to lighting self-propelled equipment and tractors. One, two standard headlamps should be mounted at the same height and spaced as far apart as possible, the same distance on either side of the center line. Two, rear-facing work lamps should not be used on highways. Three, two red tail lights should be mounted at the same height as far apart as possible and the same distance on either side of the center line. Tail lights should be at least three feet from the ground and not more than 10 feet. Four, tractors and other large self-propelled equipment should have flashing amber lights marking the sides of the vehicle to reduce the danger of side swipes. The lamps should flash in unison at 60 to 85 flashes per minute. Five, in addition to the red tail lights, the equipment should have turn indicators and six, two kinds of conspicuity material visible to the rear should be used. Retro-reflective material, which is material or a device that reflects back to the light source and red-orange non-reflective fluorescent material. Conspicuity material visible to the front should be yellow. Every towed unit of farm equipment must be equipped with at least one lamp displaying a red light visible when lighted from a distance of 1,000 feet to the rear or two red reflectors visible from all distances within 600 feet to 100 feet to the rear when directly in front of lawful lower beams of headlamps. In addition, if the extreme left projection of the towed unit extends beyond the extreme left projection of the towing vehicle, the implement must be equipped with at least one amber lamp or reflector mounted to indicate as nearly as practicable the extreme left projection and visible from all distances within 600 feet to 100 feet to the front and at least one red lamp reflector mounted and visible from the same distances to the rear. Lights must be illuminated one half hour after sunset to one half hour before sunrise. Every farm tractor and self-propelled farm implement when operated upon a highway must be equipped with at least one brake which may be operated by hand or foot. Every farm tractor and self-propelled farm implement operated singly or when towing any other vehicle must be equipped with a mirror so located as to reflect the driver of view of the highway for a distance of at least 200 feet to the rear of the vehicle. Many regulations pertaining to the operation of farm equipment on public highways are more strident at night. The exemptions for height, width and length do not apply to farm equipment during the hours of darkness. Farm equipment should only be on public roads between sunrise and sunset. Avoid traveling when visibility is poor. A particularly dangerous situation occurs when tractors or other farm equipment starts to turn left just as a motorist is about to pass. Rear-end collisions occur when a motorist travels too fast and doesn't see the tractor until it is too late to stop. Another common cause of traffic accidents with farm equipment occurs when extra wide equipment forces a motorist off the road. Following safety precautions does take a little more time, but being safe is your number one commodity.


Please welcome very warmly Mr. Adam. He'll tell you about the data mining in the last election in Israel. Thanks. Thank you Okay, good afternoon everyone. My name is Yuval Adam and as the title suggests I came here from This I came here from from Israel to talk about the Israeli population census about what it is About what we can do with it and eventually why it matters If you want to follow the slides online, they're online right now on this URL. It's a bit Lee 28c3-dm. I see So that's for the introduction So back in 2001 Things started surfacing on various file sharing yet works on the internet What looks like a standard Microsoft access? Program even though it's right to left because it's in Hebrew Actually has beneath it a very interesting database and it's one that has actually never been seen before And The database is actually the official Israeli government database that holds the entire The all the personal details of every single Israeli citizen Either alive or that has a season has lived in Israel in the past So all the details of every Israeli citizen are in this database and can be looked up through that horrible UI This data is the data that hasn't been collected in the Israeli census ever since the declaration of independence of Israel back in 1948 So does been collected ever since and the leak like I mentioned started approximately around 2001 It is actually leaked several times and the last leak happened in 2006 so So what does this data have? So the data schema once we take a look at the database underneath we see basically most of the Most of the data that you would expect the government to hold of his citizens So we have a unique identification number which is given to any person the day He is born or if he immigrates Israel if he's an adult So unique identification number and then we have obviously the name of the person the date that he was born again with With a country that he was born in the gender status that can be single married divorced or deceased the current address and phone number and then we have Interesting foreign keys that actually point to this person's parents to his father Okay, thanks So foreign keys that point to the person's parents to his father and to his mother and if that person is married Also foreign key to his spouse There are also some other fields and metadata which I won't talk about and not too interesting The entire database holds approximately 9.2 million records so as of 2006 that That's equivalent to roughly 7 million citizens in Israel and then two and a half or 2.2 Which are deceased or whatever So so that's a data schema so when again when this thing came out in 2001 I was 17 years old, and I didn't really know what to do with this other than look up famous people that I wanted to find their phone number and That's all I knew what to do with So that was back then and and fast forward to today and kind of interested in what we can learn from this data Looking at the big picture Mining this data is not only a technical challenge But to me I think it's also important to understand where this leaves us as a society now that all this data Is out there in the open so So the first thing There you go. The first thing that I that I asked myself was Was how easy is it to find someone in this database? Obviously people identify each other by by their names and not by unique IDs. We're not just numbers were people with names So the first thing I wanted to find out is given a name. How easy is it to find a specific person? And it turns out that it's pretty easy This is the the uniqueness distribution function Basically telling us that given a single up here of a name and a surname There is a 50% chance of that name being unique So 50% of the names in Israel are unique to that specific person And obviously that function goes up. So we have a 60% chance of a name being shared by Two people at most then we have a 70% chance for finding at most four people that name And then it goes up to 100% on the graph But 100% we reach at the most common name in Israel, which is shared by I think more than 2,000 people So so that's what the unique uniqueness distribution looks like Now obviously like I said people share names and we can always look up people by other by other fields So if we for example take a person's name and a surname and then look him up Against his city. We have 87% chance of finding one single record That goes up to almost 100% once you look up a person by his name and his date of birth And then you can always you know look up people by their name and filter by various criteria You know against whatever you know that the person that you're looking for matches So finding someone in this database is not a tough task at all The second thing that I noticed is that if you remember from the data schema We actually have the I did the unique identification number for every for every person And then we have foreign keys Like I said to to the person's father to his mother and to his spouse if he is he or she is married So in this example, we have the person went to 34 with his ID You know these parents are one two and three four and then you know Very easily we can see that the father one two has again parents one two and three four's mother three four They're married to each other Pretty easy stuff foreign keys So when I saw this I was thinking the logical thing to do in this case was take this thing And throw it into a graph and see what happens and see if I can try to match Not all the population, but most of the population throw it into a graph and see if I can find connections between each other And the easiest way to see how this works is to follow an example So let's take for example a subject that was born in 1985 And let's assume that for simplicity that generations are roughly 25 years apart So for this person we we have his data and we know who his father and his mother are and they were born in say 1960 And then for those people again, we have we're just following the the root of the father for the mother's the same thing So for the father we know that we know who his parents are and they were born roughly around 1935 So this is what we have so far The interesting thing is that once we get to the people that were born roughly around these years There is no more data as to who their parents are and that is from two reasons one is that Israel exists as a country only from 1948 And back then the population of Israel was no more than 300,000 people So either their parents never were Israeli citizens. They still lived abroad So that is one option and the second option is that those the the generation above them might actually have have lived in Israel the problem is that the data isn't consistent and unfortunately for for people roughly around those years say up to about 1950 5560 we don't always have Parental records and the data isn't always consistent. So going above that generation is a little bit difficult But what we can't say is that for this person if if we know who his grandfather's grandmother is That spans easily to his uncle and to his cousin so So given this person For most people we are able to go up all the way to the father and the grandfather and from that Generation to span out to uncles and cousins so essentially giving us the opportunity to map out Families spanning all the way to uncles and cousins Okay, so what does this graph look like so like I said we have approximately nine million nodes And using this data only only the the strict foreign keys that we use We get approximately 420,000 connected components which if you divide it by the nodes it's an average of families of 20 people so essentially using this that only we can We can build a graph of families of up to 20 people and then span relationships from there It's interesting to note that The graph connectivity can be much stronger if you use other metadata and other heuristics which I won't go into now because we don't have time but But this connectivity can definitely be approved can be improved and then you can all you can spend for relationships further apart So that's about building a graph now I mentioned it very shortly at the beginning The data has been leaked Over over a period of almost ten years So the first leak that we know of dates back to 1998 that the version of the data dates back to 1998 and then The data has actually leaked several times up until 2006. So usually when leaks happen They are Recognized and plugged immediately not in Israel in Israel the leaks happen again and again and again and again and again over ten years Which is kind of sad so this actually puts us in a unique situation because We actually have the opportunity to analyze the data as it changes over time over a period of ten years which is a lot of time and a lot of data and So the question is asked is What can we learn if we take two versions of this data and diff them again one against another an old version against a new version And what will we find out? So Diffing basically gives us three types of results. The first result would be new records now. These are kind of trivial cases new records can be one of two things either Children that were born sometime between the old version of the data and the new version So say a child that was born in 2005 would not exist in 2001. Obviously, we would exist in 2006 We have another case which is people that have emigrated to Israel and we can know this From the date of the birth. So say someone that was born in 1960 60 would expect him to be In the old version, but he's not and he is in the new one So we can verify that by looking at the country the country of birth of this person And some other metadata and we can conclude that this person has in fact emigrated to Israel at a certain period between these two years So new records are pretty easy Then we have updates now updates again fontidu categories one is is standard updates on on the data of a person so people Can change their name people can change their their addresses their phone numbers Things like that so data that can change. We would expect it to be different between the old version and the new version And then we have people that have passed away sometime between these two years. So a person that was Existed in 2001 sometime in that between those years passed away is now marked as deceased He is not deleted from the database. So people if you're in the database are in there for life or for death or for whatever So so again, those are pretty easy which brings us to the last and most interesting case Redactions people that exist in the older versions say in 2001 and do not exist in 2006 If you're like me you're going Yeah Sorry Yeah, they found they found the category of the status change. Yeah, and questions for the quick save the questions for later I'll save some time for that so So again redactions we have no idea now Honestly your guess is as good as mine. I have no idea what these things are okay I really can't say anything more than that because I honestly don't know Now this is under the assumption that the data has leaked from the same source Across the entire period. So obviously there can be problems if you take data that has not is not consistent with the older versions For for various reasons. So assuming that the data has actually leaked from the same source and is consistent These are some sort of redactions that means Someone sometime decided that this person existed back then and does not exist anymore Again, your guess is as good as mine and Data redactions are interesting in another context also relating to Israel and That is that Israel has a law that requires every map vendor to pass a satellite imagery that it wants to publish through the government essentially giving the government a chance to Sensor whatever the government thinks is should be censored Giving us an interesting interesting case that Google for example is not required by Israeli law to to do whatever While Israeli map site is so basically giving us A map of the same area with one one place that isn't censored and the other one very neatly photoshopped So so this is interesting because if someone wants to redact a piece of information If he if he can count on that data being the single source of data Then you're fine as long as the Photoshop guy did a good job Then you then you managed to hide whatever it is that you wanted to hide But the moment that you have another version of the data to to to diff against that's where the problem start Essentially making the redaction not only useless But but even harming the efforts of hiding whatever is that you want to hide because now you can say hey wait There's something here that I don't know what it is from from this from this zoom But if I zoom in I might be able to and you know and they're gonna say wait So I want to zoom in and see what someone's trying to hide for me So so this is a very interesting dilemma. So what's the problem with all this? So sensitive and private data has been leaked and social engineering has obviously become much more easier And we know for a fact that in the past several years This data has been used for various Identity theft scams and other scams mostly related to money But this data actually has been out for ten years and how do we adapt to to this situation because what's done is done We can't take this data back and it's not going to change and the problem is the problem is that Is the future is that we haven't actually learned anything or learned much from from this case and how we adapted to to new laws Earlier this year The Israeli parliament passed the biometric data law Essentially, it's a law that allows the Israeli government to to regulate the creation of smart ID cards So essentially ID cards that enable biometric data collection For the for the purpose of making authentication much stronger than what is today with with the existing ID cards and Mitigating the problem of fake double ID is Israel has a problem that a lot of its IDs are actually fake and people have double identities For for not the reason that you would think but but for your reasons of usually for criminal activity So that's a problem that the Israeli government would want to would want to take away Therefore the passes law the problem with this law, which is generally a good idea Seeing that the world is going to use much stronger identification means Biometric passports, etc. So so so the the direction is definitely good. The problem is in the details as always The system should work something like this the government issues new smart identification cards that have the ability to save data on them and The moment that a new citizen receives identification card the government takes two of his fingerprints Hashed them and throw them on the card. So essentially the car now has hashed by metric data of this person, which is fine And the next time the person wants to go to the bank for example He would show them a card. They say, okay, this is you Let's see your fingerprints fingerprints hashed them match it against the card The person is who he says he is and this is fine again This is going with most of the standards of how the world is going with biometric passports We also know That all the as we've seen all the identities are saved in a central database Which again is something that is pretty normally would expect a government a modern Western government to to have some sort of Records of who the people are that live in the country. So again, this is fine as long as this thing doesn't leak as it has Now the problem starts with what this law also lets the government do and this law essentially gives the government The opportunity to put all the biometric data Unhashed and unfiltered in this database and they're saying that loud and clear So the government essentially wants to start building a database that now has not only our personal records But also our biometric data and saved in a very non-secure way And this is a problem Now We all know that once a database database like this exists everyone wants their hands on them. So So from from starting off from a project of a single government office Now all of a sudden lots of people want their their their hands on this database and everyone everyone need needs access To this database from the police to whatever And again, this is a problem The Israeli public has expressed a lot of concern over this law Unfortunately Parliament has not actually addressed Any of the of the concern raised from the public so much that in fact Professor Adisha meal, which if anyone knows is the s in RSA clearly a guy we should not listen to also the the recipient of the 2002 cheering award and he actually reviewed the law and all of its technical specifications and actually Gave some feedback as to what can be improved so that the law still maintains the purpose Required by the government will also maintains the privacy of the citizens much more strongly and even that feedback has actually been Been denied. So that says something about how much due process went into this law I'm gonna cut it a little bit short so I can leave some time for questions So I'm gonna end on this note We've seen that all the data of Israeli citizens is out in the public and we've seen that for the for a period of 10 years Nothing has been done to to stop that leak So in that situation, I would be asking would it be wise of us to start collecting more data by your metric data in a Database that we know is not sufficient enough to hold this and I think Society should be much more closely monitor the data collection policies that the government maintains on them. Thank you very much We do have an additional five minutes for questions, so please put your hand up if you have any There are more than before so yeah, oh just a quick question. How many deletions did you have in the database? It's hard for me to say I can't really say because I honestly I Don't really know it's it's a little bit of a problem. I have no debt more than more that on that so sorry Okay, any more questions right there in the back I can't use a microphone You counted the doubles and So far of the names and what is the most common name in Israel the most common name Wow? I Think David Cohen or something or Moshe Cohen or something any like Jewish name you can think of it's probably the most unique Okay, do we have any question from the IRC? Wait, I'll get you a microphone There's one question from Crocodile area. It's how can we get a copy of this database? Wow, okay I'll say that it's not it's not that easy, but it's definitely not impossible Like I said this data is out in the open It's harder to get it today than what it used to be several years ago But if someone is inclined to he can definitely find this data. So yes, it is possible Okay, we've got another question from the audience Yeah, the record deletion one guess would be That it's Might be people who just went out from Israel and gave up the citizenship Do you know about the process what they do with their data? That's an interesting angle And it is possible. I it's kind of again It's kind of hard to say because the data is not always consistent I'll just say that I know of cases of Again giving up your citizenship is not something that you would usually do But there are people that do not live in Israel anymore that still exists in the database I can tell you that I don't know what the exact citizenship status But that is definitely an option. Yes How do you know or ensure the authenticity of the data and is there any possibility or Means to find whether there were Intentional poisoning of the data for various purposes guiding or I don't okay So we do know first of all, we know that the government acknowledged this leak And it has acknowledged it for the for all the period that this data has been leaking So that the data definitely came from a government source And we also know that from the various metadata that we see on the database In regards to to poisoning the data that is definitely possible again. This this data is Leaking all around the internet. So it's definitely possible for someone to find it corrupt it in some way and and and throw it away I'd say that it's not entirely That's not something that you would commonly see just for example all the ID numbers Have check digit at the end of them and from a simple check you can see that all of them are indeed consistent So that's just one field and you can always verify them against other fields But I again it is definitely possible. I have no data confirming or Okay, we have two more questions from the audience Hi The Israeli government has been relatively reluctant to publish numbers regarding the number of Israelis who are actually leaving the country So moving away does the database actually have any information about this? How are you know, how are people actually moved away and left the country marked in the database? Yeah Well again people leaving the country aren't really recorded I mean that's not a field that the government would would hold as to where this person lives right now So that's not something that is recorded in this database There is various metadata you can try to guess from as to is this person let's say active Is he somewhere around? That's not something that I researched entirely, but it does exist so And again, that's as long as people haven't given up their citizenship which like I said I'm not sure how it is exactly processing the database. So there's no real dad on that Sum it up. Okay. One last question Is that did you show a simplified database scheme or is it really not possible to track data like? Devotion or adoption or something like this? Okay, so it's it's definitely possible not directly from from the fields that that we've seen but using various heuristics such as Looking at several children of a person and seeing that some of them have different mothers Then you can assume you can conclude that this person has any divorce and has children from from other from other parents So Yeah, pretty much it so you can conclude it by looking at the data from a higher level, but not from the specific fields So yeah, there's a lot they can you can learn just from you know from looking at various fields and making different conclusions at fur from the data Okay, thanks everyone. Thank you very much you are


i think that there would be many changes and for one that would be a lot more tolerance towards us because everyone says that they're tolerant but really it's they're not it's all very performative if if neurotypical people want to be good allies they would start making better changes


You want to get started now? Sure, if we can. Yeah, we can just let them, you know, let anybody else that comes in as, you know, they come on into the Zoom session. Thank you guys very much for showing up to hear the Atri Museum today present on really how we use history to look at things like empathy and, you know, additional dynamics within our historical canon. So I wanted to introduce you very quickly to the education staff at the Atri Museum. We have Sarah Wilson joining us, Katherine Herman joining us, and Veronica Proctor as well. They are the education department at the Atri Museum. I have worked with them for about three years and they're here just to present to us today. So thank you so much for showing up to support this. Thank you. Okay, ready? And here's the link. Yeah, we've got the link there. We're good to go. All right. Thank you so much again for coming on in. Okay, so I will kick things off. Thank you, Dawn, for that wonderful welcome. And I'll say my name is Sarah Wilson. I'm the Director of Education and I'll let my other two colleagues introduce themselves real quick. Katherine, do you want to go first? Hi, everybody. Thanks for having us today. My name is Katherine Herman. I'm the Education Outreach Manager at the Atri Museum of the American West in Los Angeles. And I work with classroom teachers to create boutique programming that fits the specific needs of that teacher in their classroom. And together with my colleagues, one of whom is Veronica, who you'll hear from in a bit. We develop programming to supplement and complement the work that is already going on in the classroom. Thank you, Katherine. Veronica, you want to introduce yourself? Yeah, my name is Veronica Proctor and I am an Outreach Coordinator in the Education Department. And I support classroom teachers as Katherine described. So thanks for having us today. And I'll note that the three of us represent only about a fifth of the actual department. There are quite a lot more people in our department who really focus on onsite programming, which of course has all been moved online right now. So first, I want to help you get to know the Atri. For those of you who are unfamiliar with it, the museum is located in Griffith Park in Los Angeles, which is the ancestral homeland of the Gabrileña Tongva. We're going to talk about our mission quite a bit. And so I'll just share that the Atri's mission is to bring together the stories of all peoples of the American West, connecting the past with the present to inspire our shared future. With a name like Atri Museum of the American West, many expect to encounter costumes, props and memorabilia from Hollywood Westerns. They also expect to encounter the archetypal narratives pushed by those same Hollywood Westerns in the content that we share. Our goal is to expand people's understanding of Western history, whether it's stories from 10,000 years ago, or something that happened yesterday, as well as who are the peoples of the American West. We do this with the help of a collection that contains over 600,000 objects, two-thirds of which are from Native and Indigenous communities from North America, Central America, and South America. Our collection contains historical objects like the California stagecoach you see at the top left-hand corner, artifacts that blur the line between art and object like an Indian motorcycle, historical garments like the jacket worn by a Chinese railroad worker that you see on the top right-hand corner, and the Serape worn by California Governor Pio Pico that you see in the bottom right-hand corner. And paintings like the Nissen and Maidu artist Harry Fonseca, painting is in the left-hand corner, and film memorabilia like this poster for a Polish release of the movie Seven Brides for Seven Brothers. When the museum reopens, exhibitions will include contemporary Native Californian art about resistance and resilience, iconic garments representing the American West, such as a plaid flannel shirt and a loha shirt and denim jeans, Native Californians and their relationship with the environment, an ethnobotanical garden, a community-led exhibition about Griffith Park, the true history of Cowboys going back to the Vicaros of Mexico, women in the archives, and how pop culture has imagined the American West since the 19th century. Prior to the global pandemic, we welcomed 40,000 K-12 students to the museum for our on-site programs and another 12,000 students for our outreach programs. And now I'm going to turn it over to Catherine, who's going to talk to us about empathy. Thanks, Sarah. So again, my name is Catherine. And let's talk about what empathy is. It's a term that we've all heard. It's a term that we all embody. But what is it and why does it belong in the museum? Merriam-Webster defines empathy as the action of understanding, being aware of, and being sensitive to the thoughts and experiences of another. In other words, imagining feelings that one doesn't necessarily actually have. And at the Autry Museum, we like to say that history is a series of choices that people make. So no matter what time period or event you're studying, you can always bet that people were involved. Museums are also uniquely positioned to address empathy, specifically in history museums. The Autry's mission statement, as Sarah mentioned, asks us to tell the stories of all peoples of the American West. And so at the Autry, we've ultimately been given instructions to help our audiences learn about people, the choices they make or made, and the consequences, good or bad, of those choices. So today, Sarah, Veronica, and I will be sharing examples of educational programming at the Autry Museum that really sort of center around empathy as a universal value. We also want to acknowledge that we know not all of you work in an education department. If you do, we hope that these programs we discussed today sort of spark ideas about programs that you can create at your own institutions. If you don't work in an education department, we hope that you can think about sort of where and how empathy plays a role in your department or your institution as a whole. And whether you work in collections, education, conservation, library, archives, what have you, ultimately, we're all working with communities and with objects that belong to those communities. All right. And also, we just, we think our programs are awesome and we hope you like to hear about them. So, Sarah, next slide, please. And again, please. Okay, thanks. So today, I'm going to share with you a sort of introduction to empathy projects we did with eighth grade students at one of our local schools. This project has a really simple structure and is easily replicable and is by no means a proprietary project. We've seen it elsewhere. Lots of teachers are using projects like this. And so this is sort of our version of it. So a few years ago, we partnered with a classroom teacher who wanted his students to learn about community and identity. You can spend years working to understand, you know, your own community and your own identity and how you fit within the larger context of a community. So we decided to choose a theme underneath the larger community and identity umbrella and settled on having students explore their family's migration stories, which again is another topic upon which you could spend, you know, years investigating, but we only had a couple months so we made it work. So together with the classroom teacher, we settled on a compelling question or a driving question, which would sort of lead the project. And that question was why are you here? So our goal was to have students find out from family members why they moved to the particular neighborhood that they did. And in some cases, how? And to use that information from all of these oral histories that the students would collect to tell a story about the larger makeup of the community. And to do that, we decided to focus on universal themes. It can be really hard for people of any age to relate to things that we learn about in history. I mean, we hear all the time in the education department, I'm sure many of you do too. Miss, why do I have to know this that happened like 100 years ago? And that it's a it's a challenge we all face. And so the way that we approach that in our education department is by pulling out universal values, right, things like happiness, struggle, freedom, fairness, things that we can all latch onto at some level. Next slide, please, Sarah. Thank you. So our process was really simple. We created a set of questions that students could use during the interview. We created the questions with the students. We taught the students basic oral history interviewing skills, and we sent them on their way. Once students had collected their oral histories, they then transcribed them and worked with our education staff to pull out similarities, differences and themes that they noticed throughout all of the stories that the class had collected. Then we had the students group the stories into overall themes, which were things like education, a better future, needing to lead to find safety and happiness. Then we had the students use what they learned and the information they gathered to create an exhibition in their classroom about their community and who lives there. And finally, we had students create a visual representation of that oral history. So we had them turn their analysis into something visual, like an art piece or a poem. And we had them prepare some talking points for an exhibition opening so that when their families came on opening night, they could share their process and what they learned. Next slide, please, Sarah. So this is what the room looks like on opening night. It was designed to be a simple, quiet space where families could sit down and listen to the oral histories without a lot of distraction. Of course, the interviews that we had people listen to, we had their permission to share them. There were plenty of families who requested that their interviews stay private. And so, of course, we respected that. We also had plenty of the interviews available in both English and Spanish so that the majority of visitors could enjoy as much as they could. We also had students sitting out at a table in front. I think maybe that's the next slide. Sarah, if you want to go to the next one. Oh, this is the, yes. You can go. One more. Thanks. So we had students welcoming visitors, handing out cookies and water and sort of explaining to them what they would see inside. And after a semester of these students being super nervous and unsure about what this night would look like, it was awesome to see them just sort of beaming with pride and to see their families really proud too, because their families were involved. So again, like I said, this type of project is easily replicable in the classroom. All you really need is students, family members, or members of the community that they're close with, a recording device, a computer, and some headphones. Sarah, you can advance one more, please. So what did we learn? There were a lot of significant takeaways for us at the conclusion of this project. And the first is that empathy is multifaceted. There are so many ways that we can teach empathy in a museum. We really just have to choose the path that is most appropriate for the project, the goals, and for our institution. So in this specific project that I just spoke about, we really focused on perspective recognition, right? We weren't asking students to step into the shoes of their interviewees per se. Instead, what we were doing was introducing them to the idea that these people they live with, people who many of us may take for granted on a daily basis, have faced significant challenges in order to create a better life for their children and for their families. The other takeaway was that this project began a conversation at home about core values, which then trickled into conversations in class, which led us to believe that empathy really starts at home. And so that's another reason why we love doing these kind of projects with students. And finally, though this may seem obvious, you cannot teach empathy in 55 minutes or even in a semester long project like this. Empathy is a muscle that needs to be exercised in order to remain strong. And our hope with this project is that a conversation had been started at home and in class that will then carry over once the aughtry leaves the partnership. So that's that on that. Sarah, I'm going, or Veronica, I'm going to hand it over to you. Great. Thank you, Catherine, for sharing that project with us. I always enjoy hearing about that. Sarah, next slide, please. All right. So again, my name is Veronica. We are the West documenting community and identity in the 21st century is an example of an aughtry classroom curators project, which is our outreach program. It's an example of a project highlighting community that we worked on before the pandemic with Cal State LA. The idea for this exhibition was created by Dr. Don Dennis. And she curated this exhibition with her history 2020 students during the fall semester of 2018. And this exhibition challenged the stereotypical myths of the American West through photography and caption labels. The image here on this slide is of a booklet about the exhibition that I will talk about in a bit. Next slide, please. So we provided support to Dr. Dennis and her students in a number of ways, one in which was facilitating different workshops at Cal State LA. During an American West workshop, the students explored the concept of the imagined West and where that concept came from. And we discussed with the students how the American West isn't just a time period from the past, but it is a place that includes its past, its present, and its future. And that place includes all of the animal, the land, the plants, and the people in it, including these students, American West communities. Next slide, please. So we also provided support to Dr. Dennis and her students by giving them pre-admission to the Autry Museum to visit our La Rasa exhibition. The students were able to view photographs from the La Rasa publication in the exhibition, which were a powerful tool for documenting the marginalized voices of the Chicano community during the Chicano community, sorry, during the Chicano movement of the 1960s and 70s. Next slide, please. So since the students were photographing their American West communities, we facilitated a workshop focusing on photographing community and identity using different principles of design, like contrast, patterns, and leading lines. We did encourage the students to think about what made their American West communities unique so that they could tell and capture the story that they wanted to tell about their communities through photography. Next slide, please. So these students also were writing caption labels to go along with their photographs. So we facilitated another workshop on label writing at Cal State LA, and we taught the students how to write and teaching caption labels for their photographs, and we returned to Cal State LA a few weeks later to facilitate a feedback forum. During this feedback forum, the students were able to share drafts of their caption labels with us, and in return, we gave feedback to the students that they could use to refine their final caption labels. Next slide, please. So the final way that we provided support to Dr. Dennis and her students was by exhibiting the photographs in a gallery at the Autry Museum for several weeks. We also published all of the students' caption labels in an exhibition booklet, which you can see in the bottom image on the slide, and this was for visitors to reference as they looked at the photographs. You can see the visitors in the top two images referring to this booklet as they're looking at the photographs. Students had the opportunity to share their photographs and their caption labels with visitors at a student exhibition opening. And after the student exhibition opening, the students' artwork remained on display at the Autry Museum for several weeks. Next slide, please. So Changemakers is the next example of an Autry classroom curators project highlighting community that we collaborated with Cal State LA on before the pandemic. Dr. Dennis also developed the idea for this exhibition and curated this exhibition with her History 2020 students in the fall of 2019. And this exhibition showcased different present day Changemakers from the students' American West communities photography and caption labels. And we provided similar support to Dr. Dennis and her students on this exhibition as we did with We Are the West 2, except for two changes. Next slide, please. So instead of having the students visit one exhibition at the Autry Museum, we had the students visit several exhibitions at the Autry Museum, including our Human Nature exhibition, our Communities of the American West exhibition, and our Investigating Griffith Park exhibition. The students analyzed objects, artifacts, labels, and quotes that represented different Changemakers in the American West past and present using a worksheet that guided them through this process. Next slide, please. And then instead of exhibiting the students' photographs and caption labels at the Autry Museum, the exhibition took place in the students' community at Cal State LA's JFK Memorial Library for several weeks. Next slide, please. So Dr. Dennis's students continued to complete the Changemaker's assignment by coming to the Autry Museum in the spring of 2020. Once the pandemic hit, students no longer had access to the Autry Museum, but we still wanted them to have access to the artworked objects, to the labels, and to the quotes. So we decided to bring the Autry Museum to the students virtually by creating a distance learning activity like the one on the slide that included text and images from the exhibitions so that the students could complete the assignment virtually. Next slide, please. So the last example of an Autry classroom curators project highlighting community that I'm going to discuss with you today is called Art and Activism. And the idea for this exhibition was created by Sonia Hansen, an art teacher at the Maywood Center for Enriched Studies. She curated this exhibition with her art students during the spring semester of 2019. And this exhibition looked at the role that art plays in activism. And the exhibition did take place at their school. Next slide, please. So we also supported Sonia and her students by having them come to the Autry Museum, see the LaRossa exhibition. We also had them participate in an Art and Activism workshop at the museum in which they had the opportunity to analyze artwork, labels and quotes that represented different communities and the social issues in those communities as a form of activism. During the workshop, we did encourage the students to think about their own communities and the social issues that affected their communities. And we also encouraged them to think about how they could use art as a way to advocate for their communities. While the students were working on their art, we facilitated another workshop at their school on label writing so that they could learn how they could write caption labels that told the story of their art. Next slide, please. So once the pandemic started, we decided to create two different distance learning activities that were based on the Art and Activism workshop. Both of these distance learning activities are available to middle school and high school teachers and students on our website. The first distance learning activity, which can be seen on the left of the slide, features artwork that represents a desert community and the social issues that affect their community. While the distance learning activity on the right side of the slide features artwork representing different Native American communities and the issues that they experienced during the gold rush. In both distance learning activities, students are given the opportunity to create their own artwork that represents their communities and their social issues as a form of activism. Next slide, please. So since a majority of the Autry classroom curators projects that we worked on before the pandemic included a social action component in which students helped create change in their community, we decided to create an Autry activist distance learning activity that is now available to elementary, middle school and high school students and teachers on our website. In this activity, students learn how to help create change in their community by using a worksheet like the one on this slide that takes them through the process of thinking about their communities and the social issues in them by researching social issues and researching activities that they can do to help create change. And then students choose an activity. They actually take action. They then reflect on their experience of taking action and then they share that experience with others. So thank you so much for giving us the opportunity to speak today. Sarah is going to share another project with you. Take it away, Sarah. Thanks Veronica. So now I'm going to talk about two programs that we had, one specifically an exhibition that we put together and then an educational component for an exhibition. And even though these were exhibition related programs, the Education Department really drove the activities in these programs. So the first one is the Citizen Journalism Project, which was created in conjunction with the La Raza exhibition. Veronica mentioned that earlier. The Autry hosted that exhibition in 2017 as part of the Getty's Pacific Standard Time LA LA Initiative. The exhibition really explored the use of photography as a narrative device in the La Raza magazine and publication. And what's really interesting about this project in the exhibition is that the timing could not have been more perfect. We started working on the exhibition back in 2014, long before we knew what would happen in 2016 with the presidential election. However, we didn't actually get started working on the Citizen Journalism Project until the fall of 2016, when it really became clear that citizen journalists were playing an important role in political coverage, in coverage of stories of communities across the United States, both for good and for bad. We also realized that the same issues raised and discussed in the La Raza magazine and publication during the 1960s and 70s were still relevant today. The issues that were talked about in those articles included lack of safe housing, lack of people who spoke Spanish in public spaces, particularly in hospitals and in government services offices, income inequality, police brutality, gender abuse, women's rights. So all of those things were coming up. The Vietnam War, of course, was also very prominent, but for the most part, when people came through the exhibition, one thing they kept saying to us was, gosh, we haven't solved anything, have we? And so what we wanted to do with the Citizen Journalism Project was create a project that celebrated the contributions of the La Raza editors, writers, photographers, and illustrators show the continuing need for the Citizen Journalism represented in the publication and also engage with new communities and new partners in new ways. So we reached out to schools, friends, and community organizations such as Las Fotos Project and Right Girl. You see their logos here. We also spent time just reaching out to senior citizen homes and that sort of thing. And we worked with each group to create an assignment for each participant. And the assignment was to serve as a Citizen Journalist for your community for one month. And so we had people start doing this in January of 2017. But before we even gave this assignment to folks, we spent time, several sit-downs with each group, with each classroom, with each organization, with each person who was interested. We talked about the history of Citizen Journalism in this country and talked about the need for ongoing Citizen Journalism. And one memory I have in particular is sitting down with a group of fifth graders, so 10 and 11-year-old students, talking about Citizen Journalism and having them ask in January of 2017, but aren't Citizen Journalists responsible for the election of Donald Trump? And so we had to begin grappling with this question of fake news and science and trusting your sources and things like that. And so through these conversations, we were really building communities of Citizen Journalists throughout Los Angeles County. We left it up to each participant to define their own community. For some community was their home, their synagogue, their neighborhood, their classroom, their basketball team, their swimming team, their group of friends, etc., etc. And then we left it open to each participant to decide the medium through which they wanted to share the news of their community. And so some used photography, some wrote poetry, some wrote essays, some set of sketches. It really was quite a variety of material. And so I just wanted to show you just a couple of photographs from the first issue, the first volume, the first issue. And again, the timing was really interesting because people were given this assignment to do beginning in January 17 that in fact we had the kickoff event the day after Donald Trump's inauguration. And so a lot of people were really wanting to share their perspectives on things like immigration, on things like women's rights, on income and equality, on all of that. And one thing that we kept hearing from all the participants, but particularly the really young children, we had people from as young as nine to 89 years old participating. What we heard from children and their parents was that no one really ever asks children their perspective on things. In mainstream media, in the news, we're always asking adults what they think, but we never really ask children what they think. And as well, there are certain groups we ask what they think. And we don't always take into consideration all different perspectives, especially when sharing news and in the mainstream media. So these are the three issues that we created, Signs of the Times, LA LA, Portraits of a Community and the titles of these were taken from the exhibition. And each issue is available on the website. Each issue we sent copies to those who participated. We celebrated each new issue with an opening event at the museum where participants could bring their families, they could tour the exhibition and see how their words really created and made this kind of connective bond between the issues and the stories raised in the exhibition to today and to what's still happening today. So then the other project I want to talk about is our human nature exhibition. We wanted to do an exhibition that looked at Native Californians and how they have used traditional ecological knowledge to maintain relationships with the environments in California and how to take that traditional ecological knowledge and solve some of our thorniest problems today. And part of the problem was that there was no one on our team who was Native, Native Californian. And so we had to go to the communities to really listen to their needs to get the content to actually get the tone of the language for labels correct to understand how best to display objects so that when visitors walked in, they weren't hearing these stories from that kind of curator voice of God approach, but really it was more of a conversation between museum visitors and the Native communities we're serving as advisors for this exhibition. So we started off by holding a lot of community meetings with community members and then we used a filming project with KCET, which is in LA, it's one of our local PBS syndicates affiliates. And so as we were talking to them and recording those conversations, what they said, we really didn't want to try and translate for visitors, we wanted to keep those quotes intact. And so what you see in these pictures that the three that are quotations, these are actual quotations from the community advisors from our Native advisors, they said it better than we could. And so you'll see that around and across the entire exhibition space. But we also realized that a lot of this material, a lot of this content is very new for a lot of people, for most people actually. What we realized was that for most people, they're thinking of ecological knowledge, knowledge about the environment doesn't stem for our visitors doesn't stem beyond turning the lights off when you leave a room, turning off the faucet while you're brushing your teeth and that sort of thing. And so this was so much bigger than that. And it was a combination of both science, ecology, environmental science, as well as culture, language, indigenous religions, tradition, ceremony and all of that. So we realized that we needed to find a way to use the label text and design to bridge that gap between what the Native advisors were saying in the quotes in some of the label text and what visitors knew. We called this meeting the visitors where they are. And so what we did, we were really fortunate, the gallery space was brand new. And so we had an empty gallery, blank walls as you can see. And so we started printing out images. We wrote up very hastily on computer paper and on craft paper questions. We wrote some potential label text.  We gave them post-it notes. I think the Education Department's budget on post-it notes alone is in the thousands for this sort of very thing. We gave people sharpies. We asked them not to write on the walls or else our collections department would hunt them down. But we asked questions and we told visitors as well, as you're reading this material, if things confuse you, if you're not understanding, if you want more clarification, or if something triggers an interesting or an emotional response in you, write that down, pop it on the wall. And then we asked some kind of broader questions and put those down on craft paper and invited people to sit and answer those questions by writing on the craft paper. You see that in that photograph on the bottom right hand corner. So we did this over the course of three months and found a way to kind of bridge where our visitors' knowledge began and where our native advisors' knowledge ended. And so what you see in this particular exhibition is a space that provides room for building empathy from both sides, building empathy from our visitors, but also for our native advisors and trying to share these stories in a way where visitors can continue to ask questions, they can continue to share their perspectives and their thoughts. And so the end result is an exhibition that even though it's open, it opened in 2016, it's evergreen and it's constantly building, it's kind of like an analog Twitter conversation without the mean tweets and things like that. But it's something that is constantly evolving and sharing new information with us. And so that kind of wraps up our portion. We'd like to now open up the floor for questions. So I'm going to stop sharing my screen, but here are our email addresses. If anything that we have said sparks a thought or sparks a question in you, you'd like to ask us more later on. We are happy to help use our skills. And questions, I guess I'm not quite sure, Dawn and Gail, how you've done this in the past. Questions over chat or? We tend to do both, whatever folks are comfortable with. If you want to put it in the chat, go ahead and do that. If you want to just unmute yourself and shout it out, that's cool too. But yeah, go right ahead. Actually, one question I have is, so you definitely mentioned having to shift some programming with the pandemic and not being close to the public and everything. In addition to the worksheets that you created that are available on your website, which is awesome. Presuming schools are going to be at least hybrid for some time now. Are there additional kind of remote learning activities that you're working on or have done? Yep. I'll share my screen real quick with you, Gail. So this is our site. This is our distance learning site. And we have webinars, which are live facilitated virtual classes that students can jump in and join us. Content is animals, California Gold Rush, women, suffrage, transportation, trails west, hidden heroes, which is essentially Veronica's changemakers program that she's talked about. We have lessons and fun activities. So these are the self-paced lessons that Veronica was talking about earlier. We have digital tours, which are essentially the virtual version of our docent-led tours. We also have educational videos. A lot of these are pre-recorded videos of the webinar lessons because we know not every classroom teacher can schedule a webinar based on inequality to access, Wi-Fi, their own teaching schedule, that sort of thing. And then we have additional resources. And right now, we are continuing to expand. We've got primary resource collections coming to us soon from our library and archives friends. We are exploring with 3D maps and online games. And then next semester, we do not anticipate on-site school visits to return in the fall. And so for the fall semester, we'll be doing actual live virtual gallery tours with docent. So this is just a little bit of what we've been up to. Thank you for sharing that, Sarah. I appreciate that. Does anybody have any questions or just wants to contribute to this? Yeah, I thought so Gail too. It was very cool. Any last comments, Catherine or Veronica and Sarah that you want to share with an audience about the atree and the programs and just opportunities there? We're also still working one-on-one with classroom teachers to develop boutique, we call it boutique programming, but whatever they need in their classroom, as long as it sort of fits our mission and scope and bandwidth, of course, we will develop that for the teachers and work with them and zoom into their classroom and leave workshops and things like that. Thank you. Do you want to share the student visual arts? Oh yeah. We also have an annual student visual arts exhibition where we send out a call for submissions. This will actually 2020 was visions of community and the art was all students turned in their art in March, about 200 pieces of art and then we closed down. So we will instead of exhibiting the student art show at the museum this year, we will be displaying it digitally. So we're going to digitize all of the artwork that we've accepted, upload all of the students' labels and hold a virtual exhibition this year. So keep an eye out. Catherine, do you have a date for that virtual exhibition? No. Okay. No. It's informed.  Any other questions from the audience? Thank you guys so much for attending today to share space with the Atchee Museum Education Department. Before we close out, Gail, do you have any updates for our next meeting in March? So our next meeting will take place Wednesday, March 24th, 2 p.m. Eastern, 11 a.m. Pacific. We're going to have our open topic meeting. So if you have anything you want to talk about in terms of what you're working on, any projects to promote and share, just questions about linked data, anything. We're going to be talking about that in March. And then just a quick announcement from my compatriots on the clear side of things. The 2021 Digitizing Hidden Special Collections and Archives program will be opening up for applications soon. There's a link in the agenda to tell you a little bit more about the program this year, as well as links to register for two upcoming informational webinars they have for applicants. So I definitely encourage you to reach out to the folks on our grants team. If you have any questions, I can certainly direct you to the correct folks who can help you with those. But otherwise, that's it from me. And I'm looking, you know, thank you again to the Atchee for joining us today. And I'm looking forward to seeing everyone next one. All right. Thank you so much, everybody. Thank you.