 Also full disclosure, I'm a media historian. I'm not really a technologist, but I'm learning every day how to speak better to technologists and I learned so much from them. So Media College Project is something that I direct and it's working to get more and better access to moving image archival materials online. And do that in relationship to kind of a wide angle mythology that many people don't understand, which is that moving images are imperiled and they'll turn to dust, but for the essential work of the archives. We live in a world in which there's a thousand cat videos a day and people can't imagine that moving image culture is anything but ubiquitous and inexhaustible, and that's just completely untrue. But boots on the ground, we're really trying to create opportunities to generate a metadata that can enhance search and discoverability and grow the field of scholarship, but also grow the capacity for archives to harvest that metadata back. So it's really information ecology that will help to ensure the history of moving images as a crucial resource for public memory. So this is a WordPress site that is really kind of dedicated to our founding. There was a great symposium at Dartmouth in 2013. Technologists, librarians, scholars, and so forth came together. I have an overview essay and if you're not aware of this collection, I think it's a very important collection that came out last year. It's available for free online and it's about media history and the digital humanities. There's a lot of fantastic work in there and I strongly recommend it. And a little bit of a shout out to Esther. I really think about my work in relationship to this broader notion of modernity. And for me, one of the key aspects of modernity is in fact electronic culture, which we're absolutely familiar with, but it's still a very mysterious thing. And electronic culture famously changes the relationship between how fast information can travel and how fast anybody can move in the physical world. And that kind of difference is still very compelling and mysterious. So I think of modernity in relationship to the great poet Baudelaire, who described it as a combination of contingency, the ephemeral, and the fugitive. And we have so much more work to do on the fugitive. So our context and premises, most digital tools have been built for the sciences. There's a crime need in the arts and humanities, but if everybody tries to do everything, we're doomed. So we need to think forward, think creatively, act collaboratively. And that's very much what our project does. These historical materials are faded, except for the work of the art class, academic and scholarly community can contribute greatly. So we want to augment preservation goals via more online access. Going to add value back to archives and libraries. Scholars and academics can do this by virtue of, especially by virtue of creating time-based annotations, and that's really what we're here to talk about. They can also make materials of an individual archive more searchable across multiple archives. That's the second kind of value add. And they can even become part of the workflow. The best first users can tell the archives what to digitize next and why, and offer advice in those regards. So MEP is essentially a triangle of tools and platforms. MediaThread, which comes out of Columbia University, and is a classroom platform that we're helping to build up as a research platform. MediaThread enables time-based annotations. And it also has another flexible advantage to it in that none of the materials are downloaded. It's a sophisticated pointer mechanism. So the archives are happier with that arrangement, and the IT people are happier with that arrangement. We're putting that in relationship to a very powerfully dynamic digital publishing platform at the University of Southern California, called Scalar, which many of you are probably familiar with. And the third part of the triangle is a tool that we were encouraged to develop after that founding symposium in 2013. It's a tool called Onamine.org. This is my little joke. It's like taxonomy without the tax. I live and work in New Hampshire. You get bonus points. You take away the tax. Dumb joke, but it helps you to remember it, and it's actually kind of its function. It's to build vocabularies that we can deploy. And everybody can be using the same terms, for example, to describe things, which is a very useful thing. We would love for y'all to help us build vocabularies. That would be a great thing. In the middle is a metadata server. That's what we maintain. We want to hang out the metadata, allow the archives to harvest back the metadata, and work with them to develop the right processes for that. So those are our applications. We have wonderful partners. The battery of the program has really been the association of moving image archivists, who immediately saw the value of this and really taught me the value of my own project, which is a really nice position to be in. We have a great project with the Library of Congress that engages this subfield of film and media studies called Domator Studies, very early cinema. Our project with the LSE is their one-of-a-kind early cinema collection called the Paper Print Collection. Happy to tell you what that means at a later date. We're working with the second largest moving image repository in the U.S. as well, which is the UCLA Film and Television Archive. We have a new project with what I think is the third largest, which is the National Archives. But we also work with a number of smaller, more nimble archives, love Library of Congress, love UCLA, et cetera. But you've been in this position. Getting a decision made is like steering the aircraft carrier. These smaller archives can really move quickly and think about new and inventive ways to move forward, and then our other partners. So we want to realize a sustainability project regarding media history as public memory. I can tell you that this mission statement is deeply moving to archivists and librarians everywhere. They really want to work with us for such a mission statement. Develop Network Scholarship, promote and augment this sense of a dynamic ecology of historical media. Support the essential work of the archives. Engage primary research. This to me is the real goal of future online education. I'm not trying to diss anybody, but instead of titrating an intro course over time, engage in primary research right from day one, and really grow scholarship, and innovate new forms of scholarship and publication that computational tools can provide. So this is what MediaThread looks like. You see it's kind of a classroom platform. You can make assignments, blah, blah, blah. Engage a particular text that opens up in your virtual sandbox, and from there you can make subclips, time-based annotations. It gets published in Scaler. This is actually an old version of Scaler. You can see how the networking of those annotations can lend itself to very powerful and engaging forms of scholarship. They have different kinds of visualizations. I'm still a fan of tag clouds. They show you what's underrepresented. They actually generate more questions. Beautiful data. This is what Onami looks like, and we love to have you all helping us out. We believe in open, and more open, and still more open. So we're very excited to work with so many of the standards that have been discussed here today already. Library of Congress, paper print collection, multiple archives, historical news, film collection. UCLA, very important public television show called In the Life that I say gained a lesbian experience and happened to start airing right before the AIDS crisis. It was like the one fundamentally important source of information that was available to most people at that time. Our first international project with the Films Division of India that was literally introduced with Indian independence to produce documentary and informational films. And our new projects with the USIA, and this resonates very strongly, I think, with some of the points that were made earlier. Fascinating new project with the National Archives about the film studio that most of us have no idea about, which is the US Information Agency, which produced 10,000 to 15,000 films during the Cold War. They were illegal to be seen within the United States. So people outside the United States know a lot about the USA. We don't. We're actually learned from the outside. People from outside the US are going to teach us about our cultural product. That's pretty great. They also have a fantastic World War I collection. We're very excited about going back to modernity. We have an NEH-supported development of a semantic annotation tool, which will allow people to annotate specific parts of the frame in time-based ways. We're developing it as a jQuery plugin. The annotations are moved to Fedora repository and designed for accessibility and screen reader compatibility. We're also very excited to be working with a great lab at the University of Maine, the BEAMY lab, that specializes in accessibility issues and particularly low vision accessibility issues. So we can add annotations to existing pages with just a few lines of JavaScript to limit annotations based on time, but also on geometric region. Suggest tags loaded via something likeonomy and identify authors of the text. So we give credit to people for what they have. A second exciting grant that we have working is with the Knight Foundation. This is with a great colleague of mine in computer science, Lorenzo Torosani, who's teaching the machines how to identify objects and actions. This will be a game changer for archives. And we're very excited to be making progress on that using computer vision and machine learning to recognize objects, actions, locations, speech, audio, and written text. So we want to advocate for more digitization, work to develop a scholarly secure tier of access to archival content, drive 21st century scholarship, raise awareness about media history as an endangered state, produce new pedagogy regarding metadata, engage this participation in the dialectic that we know that exists between the close and distant reading, and develop novel approaches that enable crowdsourcing. Thank you very much.