 Okay. Good morning and welcome to this week's edition of Encompass Live. I am your host, Krista Burns, here at the Nebraska Library Commission. Encompass Live is the Commission's weekly online event. Yes, it's a webinar, where we cover anything that may be an interest to librarians across Nebraska sometimes and across the whole country, depending on what our topic of the week is. We do these sessions live every Wednesday morning at 10 a.m. central time and so you can join us on Wednesday mornings, but they are all recorded, so if you're unable to join us on Wednesdays, that's fine. You can always go and watch all of the recordings that we have available out there for you. We have commission staff that do presentations here, so we present our own things, and we sometimes bring in guest speakers as we have this morning. This morning we actually have part two of a series that we're doing. Karen Kier is from the Nebraska State Historical Society, and two weeks ago, we did part one of the digital preservation session, and we're on to part two this week, and then two weeks from now, the first week in March will be part three of the wrap-up of going through all this. Yes. So I will just hand over to Karen to go ahead and take it away for this section. As Chris just said, my name is Karen Kier, and I am the photograph curator at the Nebraska State Historical Society, and part of my job duties is I'm also in charge of the digital imaging lab there. So this is a topic that's near and dear to my heart, because as we make all these amazing digital images, I want to make sure that they are available to the public and preserved for a number of years to go ahead. So first off, if I break into a coughing pit, I'd like to apologize ahead of time. It seemed to have caught a bit of a cold, so we'll muddle through this. But I want to thank the Nebraska Library Commission for giving us this opportunity to present these webinars on the importance of digital preservation and how to create and manage a plan to protect your digital content. Okay, let's turn the mouse. There we go. So today we're just going to go over a little bit of introductions. I'm not going to spend too much time going over what we talked about last week about digital content and stuff. The recording for that one is already available for the whole session that we did the first part online on the Encompass Live website, so you can always go back and watch that to catch up. Yes. So mostly we're going to concentrate on our store models and the protect model as part of the depot training method. I was encouraged to go to this training through the Haskell Heritage Network, the Neurosis Historical Society recently received a grant to help set up this network. We're in the planning stages right now, so keep an eye out for more training opportunities for collection caretakers, which include emergency preparedness, which we'll talk a little bit about today, and paper materials as well. So if you'd like more information, please visit our website, the Nebraska State Historical Society's website, which is NebraskaHistory.org, or the Saving Treasures website, which also has some great information on it to do about that. So what depot is a training session through the Library of Congress is Digital Preservation, Outreach, and Education. I attended a train-the-trainer workshop in August, and the idea from the Library of Congress is they came up with this great model to preserve digital content, and in order to get it out, they couldn't figure out a way to get it to as many institutions as possible. So their idea was is that they'll train trainers in every state, and then these trainers will then be responsible for presenting these models to everybody. We had a wonderful training session in Indianapolis where I learned lots and lots of information, so hopefully I've retained everything and trained to present it to you today, at least on the two models we're talking about. So the depot's mission is to defoster national outreach and encourage individuals and organizations to actively preserve their digital content and doing this through a collaborative network of instructors, contributors, and institutional partners. And today, when we're talking about STOR, you'll see why that collaboration is going to be so important. So what is digital preservation? It is the active management of digital content over time to ensure it's ongoing access. Once a physical item has been digitized or a digital item has been created, you can't just put it on a shelf and expect that in 50 years from now you're going to be able to open it. We know that media goes obsolete, files go obsolete, files become corrupt. So this is, we need to come up with a plan in order to be able to access that information in the future. So we put in a lot of time and effort. So what the Library of Congress has developed is these models, these six modules that help break down this planning session into six easy to follow steps. We talked about how to identify your digital content through an inventory and how to select what the most important content will be to preserve and manage over time. So today we're going to talk about long-term storage and how to protect that from both minor and major disasters. And then on March 6, we'll be the last in the three-part digital preservation series and we'll be covering how to create provisions for long-term management and then the types of considerations that will be for long-term access. So this is one of the slides that I used last time as well. And I think it's a really nice thing. It shows how all six of these models build together and work together in order to help maintain, manage, and protect and provide access to your digital content. Did I just go backwards? I skipped a slide. There we go. That's why. Okay, so let's move on and start talking about the store module of the digital preservation. Storage is not digital preservation, but it's also not digital preservation. So I know that's a little confusing, but I think as we go through this, we'll understand what I mean. So what is storage in the context of digital preservation? It's important to understand that backup and storage is not synonymous. Digital content that has been selected for preservation needs to be stored in ways that align with good practices. While system backups may be part of the preservation strategy, a backup is primarily intended to restore an entire system if it crashes and that includes all of the resident files. Preservation, on the other hand, treats a file individually and seeks to care for the content of those individual files forever or however long that is. Common practice is to store content in a format that is ideal, that ideally is not software dependent, uncompressed and unencrypted. This content or the file may be in a variety of forms, whether it be text, video, or images. And it has been identified and described, which is where the metadata piece fits into the preservation puzzle. The file plus its corresponding description is often referred to as the digital object. So when I'm talking about the digital object throughout this presentation, that's what I'm talking about, not only the file, whether it be TIF or video, but also the metadata that goes together. And for preservation storage purposes, you will need at least two copies stored in two different locations. It's important to start with the basics. No software or system is going to make up for digital content that hasn't been prepared well enough for preservation. It should matter what the object contains, but it does. It shouldn't matter what the object contains, but it does. We have strategies that work well for specific types of data, for specific types of file formats, for example. Each institution will define the baseline for the metadata base on the needs and their resources. But you must have enough metadata to be able to identify the characteristics of the provenance and the provenance of the digital object in order for it to ensure its viability. When possible, use common file formats and keep track of where your content is stored and who has access to it. You want to store multiple copies in at least two locations, and I'm going to say that over and over to the hang. Simply managing well-formatted files in association with metadata to manage it and use it is a big step towards good practice. So I don't know about you, but every time I say the word metadata, I actually cringe a little bit inside. I'm not a librarian, so metadata is not a natural thing for me. I'm a historian and a curator, so sometimes I'm a little out of my element talking about metadata. But all metadata really is data about data. Because, after all, a digital file is really, in its essence, just a string of numbers, zeros, and ones. And then it's translated from a computer to provide the computer in a software program. Metadata is what makes that digital file understandable to humans. It tells us what the object is, how it can be used, how we can use that object in the future, and it allows us to trace that object over time. So when I say that storage is not digital preservation, that's because storage doesn't always take into account the importance of metadata, which is what really enables long-term preservation. Metadata is essential for preservation. The community has identified no single, very specific definition of preservation metadata. It does, however, include all the information needed to manage, find, and use digital content over time, and what that exactly means is open to discussion. There is some basic steps to gain control of digital content using metadata. For example, how do you document exactly what an object is, and what is the content for that use, or the context for that use, and what will the future generations need to know to be able to both access and efficiently make use of that item? In the digital world, versions and copies are easy to make. How do you know, how do you verify that this object is authentic and unchanged over time? All those questions and more are answered by Metadata. Do you have a question? Yes. Not about metadata. About the two copies thing. Yes. We'll talk about that a little bit more later on. Yes. Just two copies in two locations mean two copies in one place and two copies in another, so four in total or just one in each place and two. What they're saying is a minimum of two copies. One in one location, probably your server on site, and then another copy in another location. This can be where the collaboration comes in. If you're working with the Library Commission, you would keep a copy of our digital content and we would keep a copy of your digital content. It's two separate locations. Here in Nebraska, we are in tornado land. Think of what would happen if your building was wiped out by a tornado and your servers were taken out by a tornado. Somewhere separate from there that you still have that digital object. Exactly. We'll talk more about the possibility of collaborations and cloud storage later on in the program. Just thanks. Great. A great example of metadata is from iTunes. I think most of us have an iTunes account or some sort of music account. Your iTunes library doesn't really contain MP3 as those files are stored elsewhere on your computer. Your iTunes library contains the metadata about each of those MP3 files and a link to that file. That metadata tells you what that file is so in this example, my MP3 file is a podcast. The information attached to the file tells me the name of the show, the artist, the album, and the year that it was produced. Depending on what that file is, it may also have a composer and a track number or two. That's the basic idea of metadata. It's easier to relate to. Metadata gets added to all kinds of files and you probably are not even aware of it. On the left is metadata for a Word document and then the other one is for a JPEG just downloaded from the internet. It shows how metadata is often generated without even realizing it and how it's a file attached to another file, basically. It's that package of information that's important to present. Okay. It's important to remember that in order to preserve a digital object, you're going to need more than a descriptive aspect of the metadata. That information is very important in the library role so it is what we're most familiar with. We catalyze things and add subject terms to it and we write finding aids. But there are other types of metadata that we need to be aware of when thinking about preservation. Where does that object come from? How can I use it? How does it relate to other digital items in our collection? What kind of file is it and is this file unchanged from when it was received? Consider briefly what administrative metadata you may need. For example, you'll probably want to track what formats your content is in so that we can find that content that needs to be migrated to formats before it becomes obsolete. Administrative metadata usually includes technical information about that format, also so migration to newer formats can be as effective as possible. Structural metadata is primarily for digital objects which have multiple parts such as a 50-page pamphlet. Future users will need to be able to determine what the order is for delivery, how the files relate to each other, and what is described by metadata. Descripted metadata is what we're most familiar with. It is the information that describes the item, provides context, and enables us to use the item efficiently. Above and beyond these three preservation metadata usually includes verification that the original is unchanged, that a document trail of everything done to this object over time, a unique identification for the item within your system, and any necessary contextual information beyond that is already in the description. Over time it's necessary to know what the primary substance of your context is. Knowing if it's a tip doesn't tell you if the content is primary textual or image. Yet when it comes time to migrate it to newer formats you may have to choose the new format based on whether it's important to preserve the text or the image displayed. To preserve the substance of the object you need to know its context. Fixivity is a term used to verify the object is unchanged. MD5 checksums taken at the time of the deposit and checked on a regular basis serve to ensure the fixivity of the content. Reference is how you refer to an item within your repository. Each object needs to have its unique identifier. In the museum world we use object identification numbers for each object so we use that as our object item. That's something you can just make up your own system. Yes. And the context is necessary so that others in the future can make sense of this object and how it's going to be used. Remember, what you will get out of storage is only as good as what you put in. Objects need to be prepared for preservation. How many copies is enough? In a minimum you need two copies in two locations. Optimum is six copies. In addition to metadata, digital preservation requires multiple copies. Has anyone ever heard of the acronym LOX? Yes. And that's L-O-C-K-S-S which I should have put on the screen and forgot. It means lots of copies keep stuff safe. And it's the name of the open source library-led digital preservation system built on the principle that lots of copies keep stuff safe. In the digital preservation world, the most often cited number of copies to be managed for your preservation is six. But your organization will need to decide how many copies you think is sufficient to preserve your content. As long as there's at least two, optimally in different locations, storage is cheap. Storage is cheap and getting cheaper by the day, but it's still not free. So as you are storing large video files, for example, it might not be worth it to have six copies. A lot of people are storing files in the cloud. All that means is that you're taking advantage of that shared network infrastructure so that you are not managing every server where your content resides. Anytime that you email a file to yourself, as well as saving copy to your hard drive or a server, you're creating an extra copy that is stored in another location. So like this preservation, this presentation, I have stored on probably six different locations because I was a little paranoid about the weather this today, and I want to be able to answer that. It's in at least two places right here. I can tell you that. All right. So many organizations have a set of high-resolution images stored on gold CDs as an artifact from when offline storage was good practice, because that's what the possible technology was, and it was affordable. However, the community has moved away from offline storage like CDs and DVDs as a good option for preservation. For us, it became there's just so many CDs that we were taking up shelf space that should have been for artifacts. So there are now hosted services and collaborative groups, such as MetaArchives, that organizations can join to meet their preservation obligations. It's also necessary to make comparisons to make good decisions. Most important for you to know is what you have. Understand the resources and options available to you and make the best decisions you can, knowing that technology will continue to change and with it, your possible options and requirements. Storage partners are trusted institutions that agree to work together by storing content for each other. A service agreement is usually defined so that each partner knows what to expect and to avoid liability concerns and other aspects. One example is the APN Net and another is the MetaArchive, which I'm sure you guys can find more information about or maybe already know more information about. Should you decide to use a service that relies on cloud computing, here's a brief definition. Cloud computing relies on shared computing resources, whether having local server servers or personal devices that can handle applications. Cloud computing now applies to large-scale computing, such as supercomputing or grid computing, to deliver personalized information and services to organizations and individuals. To do this, cloud computing networks, large-scale groups of servers and others with low-cost computer PC technology with specialized connections through high-speed data processing tours across them. So it's like you have your information stored on an endless number of servers that all work together to link together. Just be careful to read the fine prints for these services. Most preservation services ensure that they have no liability should your content become compromised, damaged, or lost. And if they don't get a payment on time, you may lose your content. So read the small print. Many larger institutions use repositories to handle their storage and preservation. There are multiple repository formats out there from open source to proprietary, but no one system will be able to do everything. It's important to remember that you're choosing a repository system that even the free open-source ones come with cost, and at some point you're going to want to move your content to somewhere else. So what you want to make sure is that it's easy to take content out as it is to put in. If you decide to implement repository software to manage your digital content, be intentional about what you do. Figure out your requirements and determine whether the option you're considering will work for 60 to 80% of what you want to archive. Here are some aspects you might want to consider when choosing your repository. Will it manage all of your content or only certain formats? Is it easy to use? How well supported is it? Is it unlikely to be over the years to come? Many repository systems claim to be compliant to standards. Usually that means that it can map its functionality to basic modules of OASIS or the guidelines for open archival information systems. Most systems can take content as well enough and get it back out. They may try to cover a full range of policies and procedures, but usually fail. Another area that systems oversimplify our preservation planning. There's often not significant support for managing content over time. For example, managing content before or after a migration from one file format to another. Choose the best option for the present and be sure that you can retrieve it in your content in full because over time it is likely that better options will emerge. There are a growing number of available solutions, some for specific types of material like locks and portico. And then there are ones for specific locations. Some of these are examples of open source software and some of them are black box vendor solutions for varying degrees of openness about how they will work. Some are library community hosted solutions and some have full fledgling collaborative solutions. But again, it's up to you to find what is going to work best for your institution. Just know that there are a lot of things out there for you to choose from. So do what we do best, which is research. There are now hosted Conservations and Collaborative Groups that organizations can enjoy to meet their preservation obligations. It's necessary for organizations to compare to make a good decision. Community has moved away from offline storage. I think I have a similar device. I did miss this one. Okay. We can fix that. Sorry. Okay, slide in there twice. That's what I get for moving things around. Okay. So in this module we've discussed the difference between backup and preservation. That digital content is comprised of files with their associated metadata. And that these elements were taken together to taken, that these elements taken together are referred to as digital content. We noted that the importance of making at least two copies in two different locations and the need to utilize common file formats whenever possible. We have learned the importance of metadata and how it uniquely identifies the object and establishes their authenticity. It is the metadata that tells us the life story of the digital content. We've explored storage options, whether online, nearline, or offline, and things to consider when choosing the appropriate solution for your institution. However, there is no one perfect solution for all content or for every institution. It is important to remain flexible and keep in mind that those constructs upon which you base your identification and selection of your collections for preservation in the first place. You may need to employ more than one solution. For the State Historical Society, our video files, our video preservation files are very, very large and they are treated separately from our digital images collection. The result of addressing these storage issues is that your institution will develop a storage management policy and how many copies will you store and where? How will you verify that the files do not change over time? You will need to identify the storage services or partner agreements and ensure that you have a system in place to monitor those copies for errors and change. You also need to plan for media replacement as media is rapidly changing. Whatever we store content, wherever we store content, it is now going to change over time. So be aware that your choices, decisions need to be reviewed periodically and to ensure that they are meeting your needs. Does anybody have questions about the store module? We are going to move on to protect. If you have any questions, use the questions section of your GoToWebInternet interface. I have that right here on the laptop. I can pass on any questions you have about what Karen just talked about with the store module. We are covering a lot of information very quickly. Think of anything, type it in whenever you do. Even during it like we had earlier, I will interrupt as needed. Let's talk about protect. Most of the time digital preservation stories aren't all that interesting, especially as the physical ones. The truth is, emergencies happen in the digital world just like the physical one. If you can't open a file that you need, there is a serious problem. When we talk about digital preservation, what exactly are we protecting content from? We don't want our files to change. We don't want them to become obsolete and we don't want them to get into the long hands. We may be mandated to keep certain information for a period of time, and then disasters do happen. The building housing your servers burn down and there's no offsite backup, then that's a serious problem. Once the content needs to be protected, this includes everyday concerns such as who has access and whether that file has changed, as well as emergency contingencies such as a business such as disaster planning. We need to address roles and responsibilities for physical and virtual access to digital content throughout its life cycle. Have you ever lost content? Have you ever had a close call? I'm sure all of you can probably tell some sort of horror stories. I know that I can. Whether it work or personal. Yes, I'm sure. Everybody's had a computer crash. It's scarier when it's the server. We just recently had one of our servers just die. I couldn't get access to it at all. I was freaking out because I was sure that it was something, but it ended up being just the motherboard. They replaced the motherboard. The content was fine and not damaged, but there was that few days when they were testing it. I had a few sleepless nights. This common and often is sensitive to do more about preservation, disaster planning, and business continuity through preservation. We do have one question. Yes. I want to clarify. The main difference between backup and preservation is the inclusion of metadata? Yes. A lot of times, when you do backup your files or your IT person backs up your files, what they do is they compress it. We know that we don't ever want to compress our data for preservation reasons, because when you compress it, you lose little bits of that information. Of the actual visual object itself. Absolutely. That's the main difference. I hope that makes sense. Yes. Thank you. Day-to-day threats to digital content exist. Continual caution and awareness are necessary. What are your policies and procedures for access to your online and offline content? Who has access to it? How is authorization managed? Staffing changes. It's important to document your policies and procedures. Then review current practices, access methods on a regular basis. The gist of this model is that you need to be ready in case of a disaster. You need to know where your content is, who has access to it, what risks might exist to your digital content, and then you really need to incorporate digital content into your disaster planning. I'm sure a lot of us have disaster manuals. Hopefully. Hopefully. Definitely should. This should become part of your disaster manual. Another chapter in the disaster manual. You can't wait until a disaster happens you need to be ready. Many organizations only realize gaps in their readiness when something actually happens. I'm sure nobody was prepared for Hurricane Katrina, for example. Being prepared is good practice. It saves time and money. Readiness protects investments in digital content. We want to be able to preserve problems and to do so, it helps that we can predict that what is the most likely risks and threats to us. We also need to be able to detect errors or damage, and we need to have policies and procedures for response and repair of those when damage and loss occurs. Don't get so carried away in identifying risks that you fail to identify appropriate responses to that. Disaster preparedness needs to focus on the response. It may be helpful to think of the levels of damage and what the appropriate responses to each level. For example, you may have one set of policies and procedures for a loss or damage of a few files, and you may set up a different procedures in the event that your server crashes or your storage media is lost. Scaling up or down, what scaling up again, what if a hurricane or tornado wipes out much of your infrastructure? These are the things that keep us up at night. Planning needs to be made that addresses different levels of scope so that you can respond appropriately and prevent loss. We do have a question that's more of a practical one, and it's related to what you were just mentioning there about figuring out what you're going to do, and the question is, is there a way to fix a damaged file? That's why you have more than one copy. Well, yeah, exactly. I think it kind of depends on what type of file it is. It's going to vary. It is going to vary. But again, that's where we go back to the multiple copies in multiple places. Yeah, say something that I did one time, I personally did one time, was I accidentally overwrote a master TIF file. Here I am, the person who's supposed to be in charge of the digital imaging lab, and I overwrote a master TIF file and converted it to a low resolution JPEG. And had we not had that... A copy of that somewhere else, there was no repairing that. Right, even if you've changed it, it's a done deal. There is no undo button for once you hit save. So it kind of depends. It's going to depend. You might need to get a techie person, someone who's got more of that kind of knowledge than either of us can do that, recover previous versions, if that's something you've done. But really what you really want to do is just have extra copies no matter what, so in case something does happen to one either by accident, by destruction, by nature, or by human. There's something else you can just say, go back and get the original from somewhere else and replace it and now you're good. And I know that that six copy sounds excessive, but there are instances where that does become very important. And at least two copies is always good. In physically different locations. In physically different locations. So when a tornado hits here, we still have it somewhere else. And it doesn't have to be all six copies don't have to be in different locations. Like for us, we have the dueling, I'm sorry, I'm not an IT person, but the, what do you call it, where the one server backs up the other server automatically, mirrors it. There we go. Yes, mirrors. Yeah, mirror servers. And those are in the same room, but then I have another copy in a different location as well. So then, so I have at least three copies. Okay, so I hope that answers your question, but most of the time I get the answer from the IT person. Nope, you're gonna find a new cotton. Where's your other copies? Yeah. Okay, so on to emergency protection. Often digital content is left out of disaster planning. So find out what the status is for maintaining and restoring digital content in your, at your institution. It can be challenging to get people to focus on emergency planning when there isn't an emergency, but if they don't, when the emergency happens, it'll be too late. Make sure information about emergency response isn't only available online or in a digital form. Make sure that the key people can have access to it, even if the internet access is down or computers are unavailable. Run through this practice scenario annually to make sure people know what to do. Our disaster manuals not only are on our desk, but several of us have them in our homes as well with the key numbers and things, and it's also available online and accessible. Remember that we're storing all preservation copies within some days after an emergency, maybe sufficient. Users will want to access, restore, restored right away, but preservation happens over time and doesn't have to move as quickly as access does. The focus should be on ongoing updating planning rather than on a, producing a static disaster plan. The thing that sits, the disaster plan is the thing that sits on a shelf in a red binder. You need to a comprehensive program tailored to your institution, one that is reviewed at least annually by management and staff who, management and staff who are involved. Think through what should be restored first. If I go backwards, I need to go backwards again. Think through what should be restored first. It's not possible to do everything at once. What is an acceptable timeframe for restoring core functions if possible, minutes, days, weeks? Sometimes restoring means rebooting computers or servers that may have shut down abruptly. Sometimes it means fixing equipment and facilities before they can be used again. Planning should identify who's, who determines priorities in the event of an emergency, and restoring data content should be on that list. The National Institute for Standards and Technology Guides provides us a useful framework for disaster planning, and I believe that should be on the resources page that you have links to on your site. Yeah, that will be added. Yeah. Business continuity may involve such things as getting your primary website up as soon as possible. A business recovery program may be needed to specify the order in which servers or services are restored, how and by whom. The cyber incident reports plan may include your procedures for when your servers are swamped by such things as a denial of service attack. Continuity of operations is planning for how to keep your services going when your infrastructure has been compromised. Do you have an arrangement with a partner to mirror your site and bring it up, and bring up the mirror if yours goes down? Disaster recovery is how you respond to disasters, and I do mean disasters, whether it be fire flood or tornadoes. An IT contingency plan may include identifying services who could host your Web's access should your local server room be destroyed. And an occupant emergency plan takes into account for your staff. Do you have backup people trained to take over in an event that you lose key personnel? This diagram distinguishes between the things that may be effective, facilities, IT, and business. And the arrow map that planning documents to phases in an emergency protects, sustain, recover, and resume. Training for emergencies that include what to do about digital content should be provided to all staff and emphasize with regular reminders. There are lots of resources out there that can help. No one needs to start from scratch. Check out some of these disaster planning resources, and select one for use as a model for your own disaster planning. The Jail R4 Conservation Center does have links to disaster, a great disaster manual, and how to set up disaster manuals. But at this time, we don't have anything for digital content, but it is a good place to start for your institution, and you can build from that. So the outcomes of the protection model is that you are prepared should something happen to your digital content. You know who to contact. You know how to put things right. And if there's anything you can do to migrate for a disaster, then you've already done it. All right, so that is the end of the store and protect. On March 6th, we will talk about manage and provide. So is there any questions? If you have any questions, type them into the questions section of your GoToWeb on our interface. We have at least another 10 minutes or so. We can do those any questions, comments, thoughts, anything you want to say. We'll wait to see if any of you does come up with anything. As we said at the beginning of this, I know some people came in in the light of the presentation and documents with links to a lot more resources will be available when the recording goes up. The first session of this three-part series that was done two weeks ago is the recording and all of its links and documentations are already available on our Encompass Live website. That was the inventory and select module. And then as you said, in two weeks on March 6th, you can come for the manager. Oh, okay. Can you flip back to the Disaster Plan resources a couple of slides back? Yes, there you go. Some of the main ones that are the Library of Congress Prevention website has some great information. And since they're the ones who created these modules, I'm sure they have some great funds for digital content. The Northeast Document Center has a wonderful one for physical items as well as digital images. And another one that's not on here that I find very helpful is the National Park Service has a great website as well with lots of information. Their Conservatory Grounds are amazing. They're doing a lot of things out in nature, so I'm sure they've got to deal with all the water, fire, flood. And they've had to deal with a lot of their sites being hit. They've got sites all over the country, so they were there for Katrina. They were out in New York for the big storm out there. Sandy. Sandy, yeah, as well as here in the Midwest dealing with storms and tornadoes. And the Beatrice one had flooding. The Homestead National Monument had flooding, I think it was four or five years ago. But they had a disaster plan, and they had minimum damage. But you cannot project damage, and it might be as simple as a busted pipe. Right, yeah. You're going to surprise you get an email before you come into work. Oh, yeah, down in the basement, the pipes burst, and all those things we kept safe down there archived manuscripts are now soaked. What do we do? Yes, exactly. Sometimes it's not nature. Yes, yeah. Any other questions for Karen while she's here today? And part of the, part of the Haskell Heritage Network is going to focus on digital planning, disaster planning. So if you don't have a disaster manual in place and are now in a panic about getting one, please stay tuned for our upcoming workshops and things. Be able to help you get one together to write one up. Yes, yes. And you can always contact the Ford Center. They'd be happy to help you plan for one too. All right, well it doesn't look like anyone's typing any urgent messages at the moment, so I think we'll wrap it up for today. Thank you very much, Karen, for coming by again. You know you're sick. We've got lucky and beat the, beating the disasters or possible snow, lizard, apocalypse, whatever they want to call it. Yes. We'll see what we end up with here. Yes, everybody go check your backup servers before it comes. So thank you everyone for attending this morning's session. And I said, Karen, I'll be back in two weeks, March 6th, 4th, Part 3, the final part of the preservation sessions that we're doing. But I hope, so thank you for coming today. And there we go. Next week on Encompass Live, it is the last Wednesday of the month, which is traditionally our tech talk with Michael Sowers, who is the Technology Innovation Librarian here at the Library Commission. And he has, he does tech news of the month, anything interesting, things that have come up. And this week he, and he also brings in guest speakers, interviews, and this month he's got Matt Hamilton from the Anything Libraries in Colorado talking about their studio initiative, which is new things they're doing with digital learning and programming at the libraries in Colorado. So hopefully sign up and join us for that session next Wednesday morning. Also Encompass Live is on Facebook. So if you are a big Facebook user, Facebook is where we go. I took a little time. You can follow us on Facebook where I announce any, whenever new sessions are coming up, when the recordings are ready, and any maybe news items might be related to any sessions that we have done. So follow us, like us on Facebook, and you can get some information from us there. Other than that, we are wrapped up for today, and I hope you'll join us next week. Thank you very much. I'll see you next time. Bye-bye.