 Alright, why don't we go ahead and get started again welcome back. You're at the first day of the virtual event for the CNI 2021 fall member meeting and we have a really wonderful session coming up I think. So I'm glad you came back and joined us. Let me very briefly introduce the session and get out of the way because we don't really want to hear from me we want to hear from our guests today. So, the council on library and information resources has for a number of years been running an absolutely wonderful program called the clear post doctoral fellows program. Here they take mostly I think pretty recent PhDs and give them an opportunity to do things with libraries and the cultural memory sector broadly. And these folks have cadre after cadre done just wonderful wonderful work. And back in the times before the pandemic. We used to invite every year the current cadre of clear fellows to be with us at our membership meetings and they had an opportunity to meet a lot of our member reps. Their work is very much in the same community as our work. And they find jobs and roles ultimately at our member institutions, and they would bring fresh and fascinating questions and comments to the discussions and presentations that happened at our meetings. And like so many other people coming into a community, they were greatly disadvantaged by the move to the virtual environment. So one of the things that CNI has been doing ever since we have had to move our meetings to the virtual environment and we will have to see what happens going forward whether the best solution is virtual in person or a mix of the two. But what we've been doing is inviting a few members of the current cadre every session, every meeting to join us introduce themselves and talk a bit about the work they're doing and about how they're seeing the environment and the challenges going forward into their careers as clear fellows and beyond. Perhaps to talk a little bit about their aspirations. And as they move past their clear fellowships into broader professional roles and we have with us for clear fellows today. And Trushka, Kevin, Francesca and Laura, and I'm so grateful to them all for being here today. I'm going to get out of the way now and invite each of them to share with us for about eight or nine minutes and then we'll field a question or two at the end time permitting. So, welcome. Thank you all for being here. And why don't we just go in in alpha order that seems to make as much sense as anything else. So, over to you, Patricia. Good afternoon everyone. I am Dr. Patricia Moise, and I am based out of Grinnell College in Grinnell, Iowa, and I am a 2020 fellow working with the Waterloo Center for the Arts in Grinnell College in digitizing the largest collection of publication art. And kind of was throwing off I was kind of getting excited I was like okay great I'm P. So I should be last. But in order to kind of share with you guys the work that I've been doing. I'm kind of prepared a short slide, and I'm going to go ahead and share that with you guys right now. Screen one and share. And let me go ahead and put that in exhibition mode. Right. So, thank you so much for the invitation I'm very, very much honored to talk about not only the work that we've been doing but the kind of experiences that they've been based on. And so it was like how did coven welcome me to clear. And in that effort. There were so many things that was happening because at that time, I just completed my doctor of design and cultural preservation at LSU. I was writing the high of being the first of this program for the state of Louisiana, and I defended right as coven hit. And so I was happy that I was the first one out the gate and the last one out the gate. And then we were supposed to do an exhibition, and then cove it shut it all down. And my whole mindset was, I'm going to be on Bourbon Street live in my best life, because we did not know what tomorrow was going to bring. And then Claire called and said that I was selected to have this what I consider to be a dream job. In the process, then it was thinking about how to relocate to Iowa. I am a patient descent. I've always lived off the water. So this was the first time that I was coming into middle America. And when we arrived at Grinnell, we ended up have enough, I swear I didn't bring it with me, but we had our first hurricane. The derecho came across the Midwest, and we were impacted. And for the first week, couple of weeks, we were living in and out of hotels we did not know when campus was going to be open. It was a town of 9000 so there was severe impact to the town to to how we were going to operate on top of coded. So there was a lot of how do I establish myself how do I make myself known here. How do I follow the lead when I'm being isolated in my home. And within, and this is still not the start of school and this is not the start of the project. Then right after the derecho. Unfortunately, we had an incident that did not make national acclaim, but it was very impactful. A gentleman was lynched in in Grinnell. And that brought some a great level of trepidation for me as to why am I here, what am I doing, what is this all for, especially when the news trickle down to my family and friends, who were very much concerned with my placement here in this project. As I moved forward from this trauma in this drama that was circulating the town and the school. It kind of helped me to reassure the work that I needed to do. Because with this effort, one of the things that was personally crossing my mind was that myself as a black woman as a black mother, as coming from a large family, when you are in a space that is endangered. I don't understand what that landscape is. How do we establish our sense of normal normality, especially since at the same time that this had happened. My brother had flown in from Miami to spend time with me, and I was, and he's my baby brother very much into that matriarchal protect the family mode and started to think historically what we've established in the home, how we've established our society, and some of the things that we look for as archival indicators of cultural life. And then I started to realize of how we have these conversations, these prayer circles these table conversations these games that we play to keep our family safe, and then I started to realize the importance of my role here, looking at Haitian art and culture, especially being Haitian, and especially in a strange location like the middle of Iowa to have all of this. What we brought about was in the sense of isolation of, we were not allowed to teach for the first year on campus so there was no campus life. So my orientation really was looking at myself and thinking that I don't live in the enclaves with a Haitian culture or Haitian society, such as Brooklyn, Miami, or New Orleans that I have lived in, where there was a direct responsibility or reinforcement of who you are and why you're here. And so I looked at the collection in the same way that this was, who am I in the middle of the corn, what is this collection in the middle of the corn. And so what I was able to do was be very, very aggressive in my efforts to approaching the project. So we were initially working with the Waterloo collection. And so that has 12,600 objects we were able to photograph all of that in the first year. So when I was working with my supervisors and working with this community, their intent initially for me was that I was going to design the plan and build it, take the two years to just kind of plan it out. And so I was like, no, I need to build this baby. I need to make sure that by the time that I leave in my two years, that we know that I was here. So I said, figure it out, they're going to love me or they're going to hate me but they'll never forget me. I was very aggressive with that. And then from the Waterloo and then started to learn how there is an entire map of the United States where there is Haitian art collections everywhere. I really started to expand my scope and really take a look at the different things that we needed to consider. So the fact that Haitians speak four languages, how will we going to be able to translate all of that. What were some of the structural needs so we were able to, I was able to kind of build some foundational guidelines for myself. And then we reached out and we talked to other partners across the United States that were associated with Haitian communities, and we were able to talk to them about coming on board with this project. And that helped me to really build some feet to this project and helping to negotiate and navigate with my identity as part of my narrative. And so, in talking to these communities, really trying to see how much does the community play in these institutions and how they plan to archive their work and display future works, especially with the dynamics of what have we learned from COVID with our engagement of reaching into the community, gathering from the community, and how much ownership does the community have moving forward. So, in our first year, we've been able to write two grants, wrote a hidden collections grant with Claire, as well as an NIH grant to build up this project. And so in moving forward, we definitely, and I feel like we should definitely challenge the scholarship of looking at how things are conceptualized, looking at how that sport artists like myself that are born outside of Haiti. How do we contribute to that narrative, and then also breaking the legacy of endangered spaces, bringing that forward into the community. I don't know how much time I have left. If somebody will let me know how much time I have left, but let's see what I wanted to share was that there is a wonder in the finding of when you're working with works like this. And what I hope that my time had clear and my work at Grinnell does is to help me look at the different ripples and how we're challenging how information is gathered and stored. So one of the things that I went back to was my mother tongue. Speaking of clay, I realized that through the Library of Congress or through the Getty Foundation, we have very Western ways of defining things but in our language. We have very acute words and so we didn't I just didn't want to just go and say, Oh, we're just going to keep up with best practice because when I saw that there were gaps in the practice. So I created this methodology that I call going beyond proven us where we are trying to eliminate the silent and dispel and stop utilizing the words of unknown or anonymous or anonymous that are currently used right now in Haitian art. So it was a quick snapshot of how I was able to unpack what we've usually what we have come to utilize as five lines of data in mark and expand that into now 120 lines of data, and then doing so, we're able to put back the narrative and help connect the stories and just the object the exhibition, the cataloging the auctions by giving a bigger footprint to the Haitian cultural experience. So by looking at the spaces that we've been in before and looking at the spaces we're going to continue to be in. I'm looking at things that have never been in the data before, which is the exhibition history, curatorial notes and catalog history, and therefore creating more intersections of who we are as Haitian artists. So, my hashtag is always making your ripple count. In conclusion, I wanted to share that as an artist and as an archivist and as a librarian. I'm looking at spaces that artists can utilize and reference their own in their own traditions, as opposed to relying on museums or critics to build the narrative that we bring ownership to our own voices. We're a digital age and we understand that the digital realm is not the only place that we can account for, but we have the ability to negate the silence that we've seen in the Haitian art culture, and start to dismantle some narratives and bring about some new ways of thinking. So, thank you guys very much. Thank you for that. That's fascinating. I will just extend an invitation, please think about at some future CNI submitting an in-depth look at what you're doing here. There are so many fascinating pieces here that are relevant that obviously we can't get into in the small amount of time here. But thank you so much for that. Francina, over to you. Hello everybody. My name is Dr Francina Turner, and I like Petrusca, but a little different. I was in the process of writing my dissertation. When I found out that I had been selected as the clear fellow for the Maryland Institute for technology and humanities. I'm a really interesting experience because what I do in my postdoc is exactly what I want to do in my career and also exactly kind of what my dissertation was about. So it all seemed to line up pretty well. In the early phases, COVID caused me the sort of constraints of COVID meant that I got a job offer before I was finished with my dissertation and had to do a mad dash to finish. So that was the most interesting and the shoveled time of my life really. And then in terms of how COVID affected my project, my project is relationship based, and I did not relocate to the city in which College Park in which my postdoc is located. I relocated to my hometown. I'm in Fayetteville, North Carolina, and I do all my work virtually to College Park. So when you're doing a project that's very much relationship based that can be that can make for some tense times or at least some uncomfortable times. I'm going to put some links into the chat of kind of what I'm working on. The first link is to the landing page for our overall project. I'm working on a sub portion of that, and then to the one page of describing the project. So the project I'm working on, I'm an oral historian essentially, and it's called a part of the Repair of History in University Archives initiative for the University of Maryland's University Archives. My project is the Black Experience at UMD. It's the first kind of official oral history project for the University of Maryland. And when we deposit hours and do the, session it into the library will be the test case for putting oral histories and making them available in the system that they have. I am not on a team of one. I work collaboratively with the project heads, which would be Leo Hughes Watkins, who's a university archivist and my supervisor advisor mentor. Leah Brown got a wonderful opportunity and left the institution a couple months ago. So, but in terms of the project that I do, it is a team of one because I've done all of the archival research which took several months. And then developing the relationships and doing oral history interviews. I had a goal of 10 within by this time point by the end of December. I felt with COVID that maybe I wouldn't be able to build the relationships that oral history necessitates, but I was able to do that and I got triple that number of interviews and we have more scheduled and I've developed working relationships with different organizations related to Black alumni of the University of Maryland. So that's actually worked better than I hoped. A lot of the fears I had didn't pan out the way I was scared they might. Also, I did have some experience doing this kind of work completely virtually because I wrote my dissertation about my hometown while I was in Illinois. So I had to use make use of a digital archives and develop relationships to oral history interviews virtually, which is the same thing I've done in this situation. The project was precipitated by the murder of Lieutenant Collins on UND's campus by the student and also by the death of a student athlete named Jordan McNair. And so the question that we were asking is how do you, how do you memorialize or mourn something that's ongoing what it will how are black students experiencing this campus and the surrounding community. I've also done a great deal of work in creating and disseminating social media blurbs around a project and doing a lot of outreach. What's coming next next semester and for really the next year is while I'm still collecting oral history interviews and transcribing and doing all of that direct work. We're also looking at different kinds of public facing exhibits, panel discussions. Micro site for our individual project, giving talks, presenting at conferences, things of those nature, trying to organize those topically. And the most impactful part of what I've done is that one that is the first kind of expansive oral history project for the institution. UMD didn't admit black students into the late 1950s, and there's not been this kind of research done on the collective black population before. I'm also always excited to contribute to connecting black communities across time and space, and we're doing that I've interviewed people in every decade that students have been able to go to the institution. And this project is the first of several sub projects. We also have one around LGBT students around the black Greek letter organizations, and then going forward some other ethnic organizations or ethnic groups within the institution. And so COVID, the effects of COVID this really meant I had to be creative and I had to trust myself that I could develop relationships regardless of kind of not being there. I think the one big thing that was an issue is that I'm not familiar with the campus and there are ways that people tell their stories that are very connected to place. So, going forward into the next semester, I'm going to make several trips to familiarize myself with the space and things of that nature. And so yeah, that's what I have. I've really enjoyed my work, and it's been an amazing experience to be able to do to continue to do the kind of work that I love. And so going forward in terms of my own personal plans is I would like to continue to do this kind of work or history projects, and I love the resulting public facing ways that we can make that we can collaborate with the communities we interview and research to make that information and those stories available publicly. Thank you so much for that that there are so many interesting elements in that the place versus doing it online and so much that was just great thank you. Thank you. Let's see Laura I think you're next. Yeah, wonderful. So, I have a little bit of a color script but I've written like a little speech just because my anxiety won't let me not do that. So, thank you to everyone at CNI and to Claire for offering the clear fellows these frequent opportunities to present especially when we can't be there with everybody in person. So, like Francina and Patricia, I'm a 2020 clear fellow in data creation for African American studies and I'm here in my office today at this university in Nashville. But as hopefully haven't taken on too much of a twang, you might be able to guess that I'm originally from England in Oxford and moved to the US in 2015 to get my PhD in English at the University of Mississippi. So, I graduated in May with zoom dissertation defense and virtual graduation video ceremony and are we all, you know, very used to those now, but which at the very least included a cameo from Morgan Freeman, who loves the university's basketball team and has his joint in Clarksdale so that somewhat made up for it. So, people ask me kind of, you know, what, how did you end up here. And the longer I stay the more I'm like, I don't know it just keeps just keeps coming. But I originally went to the University of Mississippi to carry on researching William Faulkner. So to be in situ of his papers, his grave, his house, and carry on examining the themes that I looked at in my undergrad thesis and masters. I'm still part of that world somewhat. I'm the treasure for the Faulkner Society work with the Faulkner in the UK network, but I'm just so much more immersed now in Southern Studies American literature and history, more broadly. So my dissertation was called on Southern soil, the art and ecology of racial uplift 1895 to 1950, which, aside from reading books all the time, also involved helping the ecology society do composting. And this counts the soil and my dissertation so helping them sift stuff is definitely relevant. And that looked at how authors like Booker T Washington Du Bois and Zora Hill Hurston were using soil as a symbol in their works to look at African American progress in the early 20th century. So re-centering of focus back into the South, rather than the North in the Great Migration. And just like kind of roundabout where I guess it meant my application to the clear fellowship ended up being really serendipitous. I was finishing the second chapter of the dissertation, which was the Du Bois chapter. And looking at the jubilee singers and the architectural jubilee hall, and then a friend posted. I was looking for a clear postdoctoral fellow. And I was just kind of, okay, that's really, you know, seems kind of cosmetic, which I mentioned in my application. And now I'm sitting here right now, just about seeing this fire of jubilee hall in the back and still can't really get over it. So for the remainder, I just thought I'd talk about one particular project for the sake of time that I have the privilege of working on here, which really gets to combine my interest in architecture, landscape, African American history, with the particularly strong collections that we have here at the John Hope and Aurelia E. Franklin Library, where I use most of my employment, because I'm also on a 1-1 teaching load for African American studies, which is a great component of the fellowship as well. And Fisk was generously awarded one of Claire's Digitizing Hidden Collection grants this year. And because of this, the Franklin Library is now going to be able to digitize the Fiskiana collection, making the materials much more accessible through a central searchable portal. So that from what we've learned from the restrictions of COVID, you know, having that more digital presence and metadata online that can be accessed by students, alumni, scholars, the community. And the Fiskiana collection, as its name would suggest, is really showcasing just the rich history of Fisk to inform institutional memory and really go kind of global. So we have connections to Haiti, the Caribbean, Dominican Republic, England, India, the Fisk jubilee singers went. So there's all of these kind of connections. And the collection is very diverse in terms of material to get to grips with. So we have yearbooks, individual photographs, account book ledgers, student examinations, programs, prospective student booklets, newspaper reports, lectures, and really just kind of anything, you know, really, it's, you know, if if an alumni called and said, you know, I participated in homecoming in 1966 and I really wanted to remember what the theme was. And that's what the Fiskiana collection is is helpful for. And now, you know, I feel like a kind of similar, you know, intimate way of Francina's interviews and oral history collections of that real connection to the university. Some treasures that are within this collection are a tour diary and account book from the jubilee singers on their 1871 World Tour, kind of like hotel expenses, travel dates, and these kind of things. Student exam keepers that were sent to the national exposition in 1884, which is a centennial founded of Nashville, showing, you know, Fisk's central position in the city. And minutes for meetings of Beta Kappa Beta Society, which is the literary appreciation group started at Fisk, which show heavy involvement from WB Du Bois when he's at the university, which cover about 20 pages of the whole agenda book. And through the ledgers and the accounts, you know, we get to see the growth of the college from 1866 through to today, looking at when cornerstones are laid for buildings, how student numbers increase, and then, you know, famous names and visitors so Martin Luther King, Langston Hughes, Franklin Roosevelt, programs for homecoming in jubilee day, really just, you know, you're holding on to some of these items and seeing the aura of alumni and students and scholars past. So from, from my part, I'm in charge of the data management plan and the workflow, which involves especially outlining guidelines to the ingest we're still getting this down, right. Fisk is still a living breathing college and we want as much history collected as possible, but that means that as part of the data management plan, we need to know how we deal with the materials when we receive them. And also the archival practices for born digital materials so currently in the physical archives we have the presidential papers from at least the heads of Fisk up to perhaps the last outgoing president. And so putting into place a way in which we archive emails and memos from the current president who's, you know, is only really sending digital material now. So I'm filing on processing materials as they come in a few materials we have left. I'm also compiling a finding aid for the collection using archive space and publishing on the web page for the special collections, which I want to be consistent navigable so I've kind of taken over the processing side from a volunteer who was helping to and certain files are like Fisk jubilee singers also jubilee singers singers jubilee so I would love it if we could have the jubilee singers just under J and homecoming just under H. The more digitization manager is onboarding sin and so I'll be helping them with metadata in the portal, the more digitization site side, and making a research project out of it. So getting that scholarly side, and writing an essay as, you know, Clifso kind of invited us like to give a potentially CNI or other partner conferences. So, yeah, I've really learned a lot in my time as a clear fellow which is super flown by the African American studies fellows have been blessed by melon to get a two year extension which I think is going to be really beneficial for the knowledge and skills that we acquire. I've learned so much already that the traditional trajectory I'd had in mind for myself post PhD it always been, and you'll stay in academia and you'll be a professor and you'll read books and research and teach all the time. Now I feel like the fellowships really broaden my horizons and I'm looking more into the library archive museum sphere. So, in the spirit of manifesting by getting these words out into the universe. My ultimate goal I think at the moment would be to go back to one of my favorite places in the world which is the Bodleian library and give back to that institution, helping them with archiving and development. So, thank you to clear my colleagues in the physical collection and to see an online fellow fellows. Thank you so much. That's that was wonderful. Let's get right on to Kevin and Kevin I know we're running a little late. We've got a break after this so if you need to, if you want to go a couple minutes long. Don't worry about it. I'll try to be quick as well. Be mindful of people's times. Let me share my screen. Can everyone see my screen is it. Okay, it says I'm sharing. I first want to start by saying how incredibly grateful I am as a social movement and digital humanists for the clear community. I'm a part of the 2019 clear community and it had been very grateful one for just the recognition that comes with being a part of such an incredible group. And I think part of the job market scene right now is a direct result of the legitimacy provided to the type of work that we do. Provided by institutions like clear. So I'm really grateful for the opportunity and the people behind kind of this black data curation community that I'm a part of. I got hired in 2019, August of 2019, and COVID has greatly impacted the the work and trajectory that I had for myself. Originally, my postdoc was located with the color conventions project at the University of Delaware, and part of what I discovered as I was merging myself with the with the group is that we were also in transition from the University of Delaware to Penn State. As we were finding we were creating the Center for black digital research and folding in the color conventions project into this just new center, which meant that I would be part of the founding team of the two only black digital and its kind in the country my original position was as project manager for the African American history culture digital humanities initiative at the University of Maryland. It was a really unique opportunity one, because I was being part of a new enterprise by everyone, but also to have my postdoc transition from one institution to the next. And right in the middle of COVID presented new challenges that, as you can imagine, it was just difficult physically moving but then also the new networks that we had to negotiate, and also transitioning over the data from one institution system to the next, just all new challenges that we were not necessarily prepared for under the conditions that we will provide it. Let me see if I can switch this. Funny story. I have not met most of them in person yet because of the conditions of COVID, but we work with each other every day. It's really been a really interesting community of support. Some of our students are still with the University of Delaware. Many of our students are currently at Penn State. And COVID in some ways have provided us an opportunity to keep our community fluid and allowing those who were working from distance to stay in conversation with us so it's really expanded our opportunities to work pretty significantly. As I mentioned, the center began that transition in the summer of 2020. I moved from the University of Delaware to Penn State at that time around April, and it really transitioned the work that we were doing. Certainly as in the hiring process, what we agreed to was transferring again this data from one institution to the other. But in the middle of COVID, at the beginning of COVID, I should say what we found that there was a need for us to be engaged with our communities. And that was going to be a bit of a challenge for a few reasons one obviously is COVID but then also Penn State is in the middle of the state where the communities are imagining communities are at the both the extreme ends of the state right three hours in every direction to major cities. So the opportunity commanded us that we provide opportunities for public humanities engagement that was going to one be something that was actionable in the time of COVID but then also accessible to communities that just can't get to campus. Because of that, I founded the dig black studios which allowed us a digital arm to host events to help us one process process the moment that we were in a lot of the work that we ended up doing on a unexpectedly was putting down the day to day research that we were doing and picking up the the work of processing the moment and trying to provide a historical context as best we could to one the pandemic to the political issues that we were dealing with and three this the kind of collective anxiety that was circulating around our communities. From that we started with panels that we then streamed to our YouTube channel. And then transitioned into various events I think by the end of the year from 2020 to 2021 we did about 25 events. We transitioned from processing the moment back into our regularly scheduled kind of research and public engagement in that way. And we found that there were there was a greater community than we originally imagined who was interested in the the local history that we were able to tell. One of our signature events of that time was the Mary and Shaq carry event series, Mary and Shaq carry was a prominent black figure, kind of up and down the east coast and transitioning into Canada. We were able to where the event was originally planned to be a conference style event that was going to be held in Wilmington. Because of COVID we transitioned it into a series of about five events, totaling the year and turn those into panels and live discussions with communities online, and it allowed for communities that we just and if we're being honest around how we host our events really don't have access to the college campus as best as we would like so that looked like elderly homes that looked like schools that looked like people who are employed nine to five who are able to view us on cell phones and tablets instead of having to leave work to come to campus. It allowed for a more holistic view of what we imagine and what we articulate when we talk about community. We were able to successfully do this with our other signature event the Douglas day where we partner with local institutions to do crowd community crowdsourcing across the country. Because of COVID we had to do this a little differently normally we would we would all locate in a particular institution physically go there and bring the local community out and also invite pockets of community across the country to also participate in the crowd crowdsourcing event. This year we asked everybody to do this from home. And we use the digital to link all of these different, you know, you can imagine and having different pockets of community versus having everyone be at home. We had to reimagine how to be in community online, and we were able to successfully complete the very church to real archive. And it's just, you know, finding ways to be together when we were told not to leave the house was really the challenge of the last year and a half or so as you can imagine. In addition to that, the team and I were able to to put out some of our schedule scholarships, so we have the in the spring of 2021, we were able to successfully get out our edited collection book, which is really more of a community driven document. This is the combination of scholars, students, various classrooms who took on exhibits and other types of scholarship within the color conventions. And COVID there was a real threat at one point in time that this this edited collection wasn't going to come out because of COVID. Doing a bit of project management work here to kind of still get the process of a publication of this sorts out was really a bit of a challenge but we were able to do so. We did the best we could to still have a book party and have the celebration that comes with completing such an elaborate project. And our students, our students seem to enjoy the process. And our last signature event here that we'll talk about is the mural arts project. If you've been in the city of Philadelphia you know that part of the culture here is around these new these sites, these mural art sites. We have been asked to, to create a site at the Philadelphia airport. We're working with local artists to come up with the designs that we will then put up that will be related to some of the historical scenes related to the color conventions related in in the local Philadelphia area. This particular event taught me a lot around the utility of digital humanities related projects for for urban communities. Yes, telling the stories through art and and the conversations that that can promote that's that's certainly part of it. But there's also this other less spoken of our responsibility of the DH project, literally being able to acquire resources of funding for that community right so we pay we're able to pay artists were able to pay speakers they're able to use that money in their communities, the way that they see fit, and to have those conversations with those artists and those speakers and, you know, you know, thinking about the marketplace $1,000 for a lecture is, you know, fairly common but for that particular artist who was also identifies as an activist in some spaces as an educator in some spaces that money is doing so much work for them in ways that we just can't see. And there's a, I think a responsibility on our end to be mindful of that and particularly in a time where again with the society shutting down for a moment. That's the only source of income for a lot of those gig economy employed workers at the time, and artists. Before I say my thank you again. The answer to the question of what has covered done to my own trajectory I think I would sum it up and saying that it gave it a great pause on one end. And being on the market. I saw I was able to witness all of the jobs that for a particular time go into a hiring freeze because they didn't know what was going to happen with their own budgets and the anxiety that that produced for me. I just stepped in and extend our contracts for an additional two years when I seriously did not know the natural ongoing kind of system of the of the Academy was falling apart that that moment was greatly appreciated. But at the same time, you know, moving into a new year and moving into a new normal to see so many jobs out there right now related specifically to black data curation black digital humanities both on the faculty side, and within the library. I think clear has been at the forefront of legitimizing this space. And I don't think it's an accident that so many of the jobs particularly on the east coast have been related to data studies and justice work as universities are trying to find new opportunities to be at the forefront of those conversations and to be quite honest to be the confirmation that these institutions have to their local communities. So, I would like to thank clear for the opportunity and to help it in their, their, their work in legitimizing the space. Thank you. Thank you so much that the scope of these projects. Which seem to be ahead of schedule and, you know, doing even more than they thought they could under extremely adverse circumstances is just wonderful to hear. I don't think we have a lot of we have time to take questions although I would invite people to pop them into the chat and perhaps our fellows can stay with us for a couple minutes to answer chat questions. But let me just thank you all for that was just a wonderful wonderful set of presentations. You know, this is this is such an important part of our future that you're mapping out so I very much appreciate you taking time to be with us today. And keep us posted please. We're going to go on break for about eight minutes until four o'clock Eastern. We'll see you at the next session set up and all. Thank you again.