 The next of the beta sprints to present is one of two that in full disclosure are based at Harvard and affiliated one way or another with the Berkman Center. One of the reasons we wanted to have outside reviewers was so that the conflict of interest didn't lead me to approve these things of my colleagues, but I'm delighted all the same that these were chosen. Jeffrey Snap and Cara Oler and their colleagues work on a project called Extra Muros, which I think will give you quite a different slice into the world of what might be possible, and I am very excited to see what they have to say. Over to you guys. Well, the slides are coming up. We did not have the courage to run a live demo, but there is one out by the poster session if you'd like to play around with Extra Muros, and it's been working just swimmingly well today, so we'd be really happy if you had the opportunity to play around with it. What we'd like to do here is to introduce you to Extra Muros, which is a project whose aim is to shape the digital public library of America into a user-centered, multi-media library without walls built on public APIs. And the aim of Extra Muros is to transform the way that people discover, curate, and disseminate collections of books, images, sounds, video, and other media. Extra Muros provides discovery, curatorial, and authoring tools that allow users to effortlessly create their own collections and multi-media projects. And it's built using Ziga, an open-source HTML5 platform that we're glad to say was the recent winner of the Knight Foundation's news challenge. The project is led by MetaLab at Harvard, but it's being developed in conjunction with the Loeb Library at the Graduate School of Design, the Harvard Library Lab, and Ziga.org. Now there are five main components to Extra Muros. The first is shared access. Extra Muros interconnects online holdings from libraries, museums, heritage institutions, local historical associations, and archives across the country, as well as repositories like Internet Archive, Flickr, and YouTube. Visual discovery is the second. Rather than relying exclusively upon keyword searches, Extra Muros allows users to explore collections in intuitive and nonlinear ways, offering icon-based searching, personalized sorting trays, and geographic visualizations of search results that are zoomable. Curation. Extra Muros allows the general public, students of all ages, teachers, and scholars alike to collaboratively curate, author, and share online exhibitions, slideshows, and editions that combine text, digital images, audio, and video. Fourth, multi-channeling. Extra Muros makes curated editions and multimedia projects accessible on iPads and other mobile devices as well as, of course, online. And fifth, we're trying to build a bridge between the local and the national, the national and the local. Extra Muros makes it possible to feature local archives and collections as a function of user location, and envisages the building of DPLA kiosks, of literal physical bridges that will host both local and national curatorial projects. Okay, and let's see, can you hear me out of this mic? I can just use this one, this would be great. Okay, so let's show you a little bit of what we've built so far. Let's see, so one interesting subject that we focused upon is the history of the American landscape, and this is a collection of digitized magic lantern slides from the Library of Congress. They're currently available on the Library of Congress website in digital form, but they're pretty difficult to access, browse, and use. So using Extra Muros, we can search within this collection. Here we're typing in American landscape. We can view it as images or as categories, or even make our own collections. Here we're seeing user-added collections with subjects like astronomy, starry nights, fountains, and the Chicago World's Fair. And now we're looking at just images in the catalog about the Chicago World's Fair. Now, if we go to Flickr, we also find hundreds, thousands more photos of the same exposition. And this is one from the Smithsonian's collection. And we built an extension for the Chrome browser that allows users to easily add text and media that they would encounter. So they can add those to the Extra Muros database. You can also geolocate them. So now we're typing in where the Chicago World's Fair was back in 1893. And you get a lot of other extra metadata as well. So now we're adding it to our database. And if we go back to Extra Muros, then we can see that new media that we've just added. We've also made it so you can do the same kind of thing with YouTube. And so here's a simulation of the Chicago World's Fair from the UCLA's Urban Simulation Lab. So let's also just add that to the database. And let's see. So when we go back to Extra Muros, we can see it all. Extra Muros also allows us to add and incorporate text, audio, video, material from across the web. So now, Jeff, I'm going to turn it over to you. Okay, so we're also developing tools for enabling the public to curate, author, and share multimedia projects, as well as to augment and annotate books. Here's an example, what we're going to be showing you right now of a user-edited version of Robert Riedel's 1984 book, All the World's Fair, that shows the potential for the integration of Extra Muros with Shelf Life, a tool being developed by our friends at the Harvard Law Library Innovation Lab. So we start by creating a new project using the Extra Muros editor, which is what you see right now. We search the database and find the book. We simply drag individual pages from the book to the editing tray on the right to rebuild the book's opening chapter. If you click Preview, as we're seeing right now, you can see what the published version will look like. We can also examine associated books. In this case, we're looking at the Shelf Life stack of books related to All the World's Fair. As a means of excavating footnotes or locating related or similar volumes. Now, let's go back to our augmented edition and see what this looks like after a little bit of editorial work. Here we've highlighted a footnoted citation. Click up, and we see the quotation from the original source. Click up again, and we see the source of the book itself, Lucy Osgood. Now taking advantage of Ziga's multi-linear storytelling capabilities, we decide to develop a separate path relating to the history of this specific book so that in a couple of clicks we can show that Lucy Osgood also donated $12,000 in a collection of books to Harvard University. And in her obituary, she's quoted as saying, there is greater need of intelligent readers than of writers. And she was eminently one, as it turns out. Now, let's go back for a second to Rydell's book, where we come across the Japanese pavilion in a subsequent illustration. First, we saw the illustration from Rydell's book, and then we see we've inserted a lantern slide of the Japanese pavilion from the Library of Congress. Using Ziga, we've also overlaid, as you can see right now, this slide with a simulation video of the World's Fair from UCLA. Extramurals never copies source files. Each piece of media has automatic track back to its original location. If you open the tab, you can go back to these locations. Okay, and I saw that we need to stop. We have quite a bit more that we were going to, well, a little bit more that we were going to show you, but I think we'll skip it. So, since you had the difficulties, do you want to do another beat or two, and we'll just take maybe one question for you guys. Okay. Yeah, sure. So here, this is us showing just another way of visualizing data that you can see it on a map. You can search by location. You can see it by what kinds of media are available in that location. And right now, we decided to pull out images and audio of amusement parks. And so here, we find one, a collection from the Revere Beach Historical Society. Revere Beach, for those of you who don't know, is the Coney Island of Boston. And so, we can just view audio files. So here, we're seeing just the audio files. These are just oral histories from the Revere Beach Historical Society. And so, this last little bit is that we've also made it so you can seamlessly incorporate Google Maps Street View. And so, in this example, we're having someone talk about what used to be there while you're viewing current images of what's there now. Here's a little example. I don't know if we have audio hooked up. It's a charming old guy talking about roller coasters that used to be roller coasters no longer visible, of course. So, in conclusion, what the project seeks to do is to transform the Digital Public Library of America into a participatory public space where users don't just search and retrieve records, but rather engage in individual and collective acts of making and doing. Our vision is of a world in which libraries encourage all citizens to treat the cultural patrimony of humanity as if it were their own, to learn from it, to make things with it, to share these things, and to engage in a lifelong, society-wide process of learning. Thank you. Pretty extraordinary and exciting, you guys. I'm going to suggest one question for this crew so we don't shortchange others, but I hugely encourage you to go to Extramuros on the web. We're out there. It's very, it's nice to have it explained, but it's also amazing to experience it, so please do that too. Is there one person who would want to lob a question at these guys? Yes, please. Hello. How would you handle a service, any of the services that you sort of linked to maybe becoming unavailable or something like that, especially when you very respectfully don't copy any of the source stuff? I mean, I guess for archives and whatnot, it's not that much of an issue, but for something like YouTube where maybe that disappears for some weird reason. We've been building lots of microphone. We've been building in check mechanisms to see if the persistent source of a file changes, and then to notify users if that file has changed within their project. I mean, I would say that the reality is that we have this kind of supposition that somehow digital information is everlasting, whereas we think that paper is sort of the more thing that could go and die at some point. Of course, digital information will die as well. And I think that this project doesn't suppose total preservation. I think that it suggests that we need to think creatively about what forms and where we can build those and where different sources and sites, like what would it mean to archive pieces of Flickr. You don't archive all of Flickr, how with different forms of licensing and different forms of items that can contribute it to a project like DPLA, it might be one way it comes into the system, but then it's archival life might be one that's independent of Flickr itself.