WEBVTT Kind: captions; Language: en

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Thank you.

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All right.

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Thank you. We're fun.

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We're going to play one
more for you or two more.

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Five more minutes. Five more minutes.

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Yeah. Yeah. All right.

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Let's do a Leskovachko or something.
Some kind of chill.

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Something groovy. Feel free to get
up and dance if you feel like it.

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Dance like no one's really looking at you,
but that it will be on the

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Internet forever until the end of time.

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All right.

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Why don't you gentlemen go and
stand up and stage over there?

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Yeah, over there? Is this better?

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That was the plan.

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Oh, okay. Cool. We'll do it.

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We can do Min [...] Shavia though.

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Let's do it.

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Suvina El Shavia.

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Go over here because then you
won't have the light in your face.

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Right now.

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[...]

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All right.

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Suvina El Shavia.

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One, two, three, and...

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All right.

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All right.

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All right.

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All right.

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Let's do it.

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Let's go, Leskovachko.

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I'm kind of happy, funky and happy.

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Hope it's setting the mood right for the bash.

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Come on.

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Yeah.

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All right.

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All right.

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All right.

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All right.

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All right.

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All right.

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All right.

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All right.

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All right.

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All right.

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All right.

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You see no one dancing, what's going on?

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I don't want to lose their seats, you know.

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Yeah, they want to lose their seats.

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You can get up in your seat
and dance in your seat.

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We'll give you a prize.

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If you're not going to dance,
turn to page 25, Psalm 12.

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One, two, three, four.

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One, two, three, four.

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One, two, three, four.

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One, two, three, four.

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One, two, three, four.

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One, two, three, four.

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One, two, three, four.

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One, two, three, four.

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One, two, three, four.

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One, two, three, four.

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One, two, three, four.

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How do you do?

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Excuse the position, just practicing my yoga.

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Well, now that you're here,
we may as well get to know each other.

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My name is Peabody.

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I suppose you know yours.

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I guess you're wondering
about this contraption.

00:13:37.001 --> 00:13:38.001
It belongs to Sherman.

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He's my boy.

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Here, Sherman. Here, boy.

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Shake hands. Say hello.

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Hello.

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Smart as a whip, isn't he?

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So I built this for Sherman's birthday.

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Happy birthday, Sherman.

00:13:53.000 --> 00:13:54.000
Gee, thanks, Mr. Peabody.

00:13:54.001 --> 00:13:55.001
Well, what is it?

00:13:56.000 --> 00:13:57.001
Well, actually, it's a time machine.

00:13:58.000 --> 00:13:59.000
I call it a way back.

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We just set it, turn it on,
open the door, and there we are.

00:14:04.001 --> 00:14:05.001
Or were, really.

00:14:06.000 --> 00:14:09.001
But all in all,
it's just the thing for a boy in an apartment.

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Hey, Sherman?

00:14:12.000 --> 00:14:13.000
Well, I thought it was.

00:14:14.000 --> 00:14:15.001
Of course, he's only a boy and...

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Mr. Peabody,
that's the nicest present anybody ever had.

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Yes, yes, of course, Sherman.

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No doubt about it.

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Every dog should have a boy.

00:14:36.000 --> 00:14:37.000
Ha-ha!

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Hello, hello, hello!

00:14:40.001 --> 00:14:41.001
Hello, everybody!

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Oh, look at this wonderful audience.

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I was told to remind people that if more
people come up, please try to scrunch

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into your seats,
because otherwise we'll have people

00:14:50.001 --> 00:14:52.000
sit on the floor and fire marshal.

00:14:52.000 --> 00:14:54.001
So, hey, everyone.

00:14:54.001 --> 00:14:57.001
Thank you for coming to our
wonderful October celebration

00:14:57.001 --> 00:14:59.000
here at the Internet Archive.

00:15:00.000 --> 00:15:01.001
Let's see what kind of energy...

00:15:03.000 --> 00:15:08.001
I know you're all just sitting there on
top of a full of tacos and God knows what

00:15:08.001 --> 00:15:11.000
else,
but let's get that energy right back up again.

00:15:12.001 --> 00:15:15.001
My name's Jason Scott, and...

00:15:16.001 --> 00:15:18.001
I'm Tracy Jakewith, your co-MC.

00:15:23.000 --> 00:15:27.001
Always like to ask this every year,
how many people here, this is your first time

00:15:27.001 --> 00:15:29.000
in the great room?

00:15:29.000 --> 00:15:30.001
Ha-ha!

00:15:31.001 --> 00:15:34.001
Well, welcome home, because many of you
have been here in one way or another.

00:15:35.000 --> 00:15:38.000
Behind you are machines that are part of
the Internet Archive's Wayback Machine.

00:15:39.000 --> 00:15:42.000
When people are connecting to us every
time you see something blink, that's

00:15:42.000 --> 00:15:45.001
somebody out there finding out about
somebody else's embarrassing Geocities page.

00:15:46.000 --> 00:15:47.000
It is...

00:15:47.000 --> 00:15:52.001
And of course, it is truly a great room,
a renovated place that has the servers,

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and we try to have wonderful events here.

00:15:54.001 --> 00:15:57.000
This is the headquarters
of the Internet Archive.

00:15:57.000 --> 00:16:02.001
And if you've had the question that everyone
has about what is up with the creepy

00:16:02.001 --> 00:16:08.000
little statues, if you work here for three
years, we make a little statue of you.

00:16:09.000 --> 00:16:11.000
We don't have stock options.

00:16:16.001 --> 00:16:21.000
So, anyway, so this is the 20th century
celebration, where we are going to be

00:16:21.000 --> 00:16:24.001
having some absolutely
wonderful presenters tonight.

00:16:24.001 --> 00:16:26.001
Tracy, what kind of people do
we have coming in tonight?

00:16:27.000 --> 00:16:33.000
We've got people from old-time 20th
century books, software, film.

00:16:34.000 --> 00:16:39.000
We've got archivists of all types,
because we've archived the 20th century, and

00:16:39.000 --> 00:16:44.000
we're going to bring it to you tonight
with our 20th century time machine.

00:16:47.001 --> 00:16:50.000
Just so you know,
we don't normally have one of these.

00:16:50.000 --> 00:16:51.000
This is a very special time.

00:16:51.001 --> 00:16:52.001
We're so glad we have this.

00:16:52.001 --> 00:16:56.001
It's a fully functioning time machine that
is capable of bringing amazing figures

00:16:56.001 --> 00:16:59.000
from the past to tell you about
things that are going on.

00:16:59.001 --> 00:17:02.001
And, of course, if you've been at the
Internet Archive, you know we have this

00:17:02.001 --> 00:17:04.001
beautiful panoply of materials on there.

00:17:05.000 --> 00:17:09.001
We've got websites, we've got movies,
we've got music, books, and software, and

00:17:09.001 --> 00:17:13.000
we are constantly growing at the rate
of terabytes a day, just pulling

00:17:13.000 --> 00:17:15.000
things in to provide them out there.

00:17:15.000 --> 00:17:17.000
So we're going to have some
exciting announcements.

00:17:17.000 --> 00:17:19.000
We're going to have some amazing things happen,

00:17:19.000 --> 00:17:20.001
but I think it's time to get going.

00:17:20.001 --> 00:17:22.001
So let's go wire this sucker up.

00:17:24.001 --> 00:17:24.001
All right.

00:17:25.001 --> 00:17:26.001
So what do you think, Jason?

00:17:26.001 --> 00:17:27.001
Should we go back in time?

00:17:28.000 --> 00:17:29.000
Should we try this time machine?

00:17:29.000 --> 00:17:30.000
I think so.

00:17:30.000 --> 00:17:30.001
I think so.

00:17:30.001 --> 00:17:31.000
Let's press some buttons.

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All right. Let's do this.

00:17:33.000 --> 00:17:37.001
Let's go back to, I don't know, 1912.
1912. That's a good time.

00:17:37.001 --> 00:17:39.000
Right, good year. Things were going well.

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Hope you don't get any diseases.

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But other than that, the music was beautiful.

00:17:44.000 --> 00:17:48.000
And let's summon Alexis Rossi,
our director of access and

00:17:48.000 --> 00:17:49.001
media, to come in and talk about it.

00:17:59.001 --> 00:18:01.000
Oh, my God.

00:18:03.001 --> 00:18:05.000
Time machines are quite a ride, you guys.

00:18:05.001 --> 00:18:06.001
Just I'm going to tell you.

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Good evening.

00:18:08.001 --> 00:18:13.001
I would like you to close your
eyes and listen to something.

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I've got an old mule and her name is Sal.

00:18:25.000 --> 00:18:27.001
Fifteen years on the Erie Canal.

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She's a good old worker and a good old pal.

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Fifteen years on the Erie Canal.

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That's the sound of America
in the early 20th century.

00:18:39.000 --> 00:18:43.000
That was actually published in 1912,
the year I just came from.

00:18:45.000 --> 00:18:51.000
About three million recordings were
produced on 78 RPM disks, just like the one

00:18:51.000 --> 00:18:56.000
you heard, from about 1898 till the 1950s.

00:18:56.001 --> 00:18:59.000
That's when the long-playing records came in,

00:18:59.000 --> 00:19:01.000
LPs, the things you're familiar with now.

00:19:02.001 --> 00:19:08.000
A lot of that music never made it forward
into a format that you can actually

00:19:08.000 --> 00:19:13.000
listen to now. 78 RPM disks are incredibly
brittle, and I can tell you that

00:19:13.000 --> 00:19:15.000
from experience for making this hat.

00:19:16.000 --> 00:19:20.000
They break apart in your hands
when you just picked them up.

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That's all that happened.

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No one has anything to play them on anymore.

00:19:25.000 --> 00:19:30.000
And all of those millions of recordings
that were made in the early 20th century

00:19:30.000 --> 00:19:33.000
cannot be heard anymore.

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That's why we started the Great 78 Project.

00:19:41.001 --> 00:19:46.000
The goal of this project is to digitize
as many of those three million

00:19:46.000 --> 00:19:48.000
sides as we can get our hands on.

00:19:49.000 --> 00:19:53.001
So the way that starts is
someone donates disks to us.

00:19:54.000 --> 00:20:00.000
And usually these are collectors who have
spent 10, 20, 30, 40, or even 50 years

00:20:00.000 --> 00:20:01.001
putting these collections together.

00:20:02.000 --> 00:20:05.001
And like I said, they're very fragile,
so the first thing we do is we take

00:20:05.001 --> 00:20:07.000
really good care of them.

00:20:07.000 --> 00:20:12.001
We put them in new sleeves, we put the
bubble wrap around them, and then they get

00:20:12.001 --> 00:20:16.001
shipped to our partners,
George Blood, LP, and Philadelphia,

00:20:16.001 --> 00:20:18.000
who do the digitization process.

00:20:19.001 --> 00:20:21.000
The first thing that happens
is they get cleaned.

00:20:21.000 --> 00:20:24.001
These disks are 100 years old in some cases.

00:20:25.000 --> 00:20:26.001
They have dirt in the grooves.

00:20:27.000 --> 00:20:31.000
They get cleaned, they get vacuum dried,
and then the next thing that happens is

00:20:31.000 --> 00:20:33.001
we take a photograph of the labels.

00:20:33.001 --> 00:20:37.000
We preserve that photograph
of the label in the digital

00:20:37.000 --> 00:20:38.001
item so that you can reference it.

00:20:39.000 --> 00:20:43.000
We also use it to pull metadata about
the side that you're looking at.

00:20:44.001 --> 00:20:46.000
And then of course we digitize it.

00:20:46.001 --> 00:20:50.001
If you saw this outside,
it was on the side yard here.

00:20:51.000 --> 00:20:57.000
There's actually four tone arms on this
turntable, and each one of them has a

00:20:57.000 --> 00:21:03.000
different sized stylus, size or shape
of stylus. 78s were not standardized.

00:21:04.000 --> 00:21:06.000
LPs are, but 78s were not.

00:21:06.000 --> 00:21:12.001
So we actually record four versions of
it all at the same time so that you

00:21:12.001 --> 00:21:14.000
can choose which one you prefer.

00:21:16.000 --> 00:21:21.000
But the thing is, even though we've done
about 35,000 sides at this point, and

00:21:21.000 --> 00:21:23.000
we're adding...

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Brewster loves the big numbers.

00:21:25.000 --> 00:21:27.001
And we're adding about 5,000 sides a month.

00:21:27.001 --> 00:21:33.000
This really isn't about big numbers,
and it isn't about the cool turntable

00:21:33.000 --> 00:21:34.001
or any of the other hardware.

00:21:34.001 --> 00:21:37.001
It's really about preserving people's memories.

00:21:39.000 --> 00:21:43.001
I would like you to think
about Argentina in 1935.

00:21:45.001 --> 00:21:49.001
The world was recovering from the
Great Depression, which affected the

00:21:49.001 --> 00:21:51.000
entire world, not just the United States.

00:21:52.000 --> 00:21:58.000
Buenos Aires was celebrating the 400th
anniversary of its founding as a city, and

00:21:58.000 --> 00:22:01.000
the tango was experiencing
a resurgence of popularity.

00:22:01.001 --> 00:22:08.000
It was moving from working class neighborhoods
and bars into giant ballrooms with

00:22:08.000 --> 00:22:13.000
orchestras. 1935, Argentina.

00:22:14.000 --> 00:22:16.000
A woman named Tina Arguimedo.

00:22:17.000 --> 00:22:19.001
She was a 20-year-old newlywed.

00:22:20.001 --> 00:22:23.000
She and her husband loved to dance.

00:22:24.000 --> 00:22:28.000
And she started collecting 78s
of the music that she loved.

00:22:29.000 --> 00:22:31.001
She did this for 20 years.

00:22:33.000 --> 00:22:37.001
When her husband died, she moved to the
United States to live with her daughter.

00:22:39.001 --> 00:22:43.000
This is Tina over on the left,
her daughter and her granddaughter.

00:22:46.000 --> 00:22:48.001
Tina had to sell pretty
much everything she owned

00:22:48.001 --> 00:22:51.000
when she came to the United States.

00:22:51.001 --> 00:22:55.001
But she kept that music,
because music is our memories.

00:22:55.001 --> 00:23:00.001
Those things were important. 16 years

00:23:00.001 --> 00:23:03.001
ago, she died.

00:23:05.000 --> 00:23:09.000
And Lucretia, her daughter there on the right,
didn't know what to

00:23:09.000 --> 00:23:10.001
do with those records.

00:23:10.001 --> 00:23:12.000
She didn't have space for them anymore.

00:23:13.001 --> 00:23:18.001
So they went to a family friend,
Deborah Simkovich, who kept them together.

00:23:18.001 --> 00:23:21.001
She's also from Argentina.
She's a composer of music.

00:23:22.001 --> 00:23:26.000
And she decided she would take those records,
and she would keep them

00:23:26.000 --> 00:23:28.000
together and keep them for posterity.

00:23:29.001 --> 00:23:34.001
Many years later, Deanna, that's Tina's
granddaughter in the middle of the photo,

00:23:34.001 --> 00:23:37.000
heard about the Great 78 Project.

00:23:38.001 --> 00:23:42.001
She had never actually gotten
to see her grandmother dance.

00:23:45.000 --> 00:23:48.001
Because by the time Deanna remembers,
her grandmother

00:23:48.001 --> 00:23:50.000
had already suffered from a fall.

00:23:50.001 --> 00:23:54.000
She had a spinal injury. She suffered
from pain. She couldn't dance anymore.

00:23:54.000 --> 00:23:57.001
But she did remember those 78s
sitting in the living room.

00:23:57.001 --> 00:24:01.000
And she remembered how her
grandmother passed her love of music

00:24:01.000 --> 00:24:03.000
down to her entire family.

00:24:04.001 --> 00:24:11.000
So Deanna went to Deborah, and she said,
I would like to take those discs and

00:24:11.000 --> 00:24:16.000
donate them to the archive so that
everyone can have access to that music.

00:24:17.001 --> 00:24:19.000
Deborah agreed, thank goodness.

00:24:20.001 --> 00:24:25.001
And today we've just started the Tina
Argymetto and Lucretia Hug collection.

00:24:25.001 --> 00:24:26.001
That's Tina and her daughter.

00:24:32.000 --> 00:24:37.000
This is just the beginning.
It's actually about 650 discs.

00:24:38.000 --> 00:24:43.000
So we'll end up with about 1200 or 1300
sides from that in this collection.

00:24:43.000 --> 00:24:46.000
And it's tangos, it's boleros, it's mambos.

00:24:46.000 --> 00:24:50.000
It's all of this music that
Tina loved to dance to and

00:24:50.000 --> 00:24:51.001
that we all now get to benefit from.

00:24:53.001 --> 00:24:58.000
It turns out we actually have
Tina's granddaughter Deanna in the

00:24:58.000 --> 00:25:00.000
audience here today.

00:25:00.000 --> 00:25:03.001
I'm not sure where she is. And there she is.

00:25:06.000 --> 00:25:11.000
We also have Deborah Simkovic with us,
I believe, and she's here.

00:25:12.001 --> 00:25:18.000
Thanks to them, we've actually been able
to start digitizing these records and

00:25:18.000 --> 00:25:21.000
making their families cultural
available to everyone.

00:25:22.000 --> 00:25:27.000
So of course our goal here is
actually to do 3 million of these.

00:25:28.000 --> 00:25:29.001
And this is a wonderful start.

00:25:30.000 --> 00:25:35.001
We've also had about 20 other collectors
donate discs to us, large collections of

00:25:35.001 --> 00:25:37.001
things that we're going through right now.

00:25:38.000 --> 00:25:40.000
We have about 200,000 discs already.

00:25:40.001 --> 00:25:44.000
But this project is about to get a huge boost.

00:25:45.000 --> 00:25:47.001
And I would like to bring out
someone next to talk to you.

00:25:47.001 --> 00:25:52.000
This is David Leonard,
the president of Boston Public Library.

00:25:52.001 --> 00:25:57.000
And I am going to change the date here to 1927.

00:25:58.001 --> 00:26:02.001
So he can come and talk to
you about all of the wonders.

00:26:03.000 --> 00:26:04.001
Please welcome David Leonard.

00:26:14.000 --> 00:26:15.001
Good evening everybody.

00:26:16.000 --> 00:26:20.000
I am thrilled to be here in
person at the true heart of the

00:26:20.000 --> 00:26:21.001
internet here in the Bay Area.

00:26:26.001 --> 00:26:32.001
The Boston Public Library was established
by charter in 1848, a little before the

00:26:32.001 --> 00:26:34.000
date that we're looking at right now.

00:26:34.000 --> 00:26:39.000
But our mission was to make our
information and resources available to

00:26:39.000 --> 00:26:41.000
everybody, free to all.

00:26:42.000 --> 00:26:48.000
The Public Library was a bold,
groundbreaking, and outside the box idea to

00:26:48.000 --> 00:26:52.000
improve education, cultural life,
and society as a whole.

00:26:53.000 --> 00:26:57.000
To propose something similar
today would be absurd, laughable.

00:26:57.001 --> 00:27:01.000
Why on earth would someone want
to make society's knowledge store

00:27:01.000 --> 00:27:02.001
available to just everyone?

00:27:02.001 --> 00:27:08.000
This is like something from science fiction,
some fictitious Jedi archive.

00:27:10.000 --> 00:27:16.000
Who in their right mind would propose
this open library, an idea based in civic

00:27:16.000 --> 00:27:21.001
equity, instead of simply hoarding knowledge
behind paywalls and access barriers

00:27:21.001 --> 00:27:24.000
restricted to the wealthy and elite?

00:27:28.001 --> 00:27:33.000
By these standards, thankfully,
some of us are not of right mind at all.

00:27:35.001 --> 00:27:42.000
Almost 170 years later, now in the 21st
century, with a society and social fabric

00:27:42.000 --> 00:27:48.000
that is as much global as it is local,
the exact same challenges of equity, equal

00:27:48.000 --> 00:27:51.001
access to information,
and the pursuit of knowledge persist.

00:27:52.001 --> 00:27:54.001
Perhaps even now are more pressing.

00:27:55.000 --> 00:27:59.001
I'm sure you have your own particular
examples of our society under threat.

00:28:01.000 --> 00:28:06.001
Not only do we need a level playing field
for everybody in our society, but the

00:28:06.001 --> 00:28:13.001
true democratization of information and
knowledge available to all is also at the

00:28:13.001 --> 00:28:18.000
heart of opportunity for innovation
and leadership in a knowledge

00:28:18.000 --> 00:28:19.001
and service-based economy.

00:28:20.001 --> 00:28:26.001
This library and principle of open
access is both a public good and

00:28:26.001 --> 00:28:28.001
a competitive differentiator.

00:28:29.000 --> 00:28:32.000
It can be humanity's
competitive differentiator.

00:28:33.001 --> 00:28:38.001
The BPL is happy to celebrate its
partnership with the Internet Archive that

00:28:38.001 --> 00:28:40.000
now goes back over 10 years.

00:28:40.001 --> 00:28:45.001
We count one of the Internet Archive's
first scanning centers as a partner-in

00:28:45.001 --> 00:28:47.001
-residence at the Central Library in Boston.

00:28:49.000 --> 00:28:56.000
Brewster Kael and the Archive's leadership
in technology, engineering, and indeed

00:28:56.000 --> 00:29:01.001
in the area of copyright and first-use
doctrine, which is the legal basis for

00:29:01.001 --> 00:29:07.000
library lending itself, has in turn helped
BPL itself become a leader in the area

00:29:07.000 --> 00:29:13.001
of digital services, bringing its mission
of free to all, forward in time to the

00:29:13.001 --> 00:29:15.001
20th and 21st centuries.

00:29:16.001 --> 00:29:22.001
And so we are thrilled to announce today
our participation in Internet Archive's

00:29:22.001 --> 00:29:29.001
new Great 78 Project and have authorized
the transfer of 200,000 individual

00:29:29.001 --> 00:29:32.000
78s and LPs.

00:29:40.000 --> 00:29:46.000
These come from our Sound Archives collection,
a collection that without this

00:29:46.000 --> 00:29:50.001
initiative would simply remain in storage,
uncatalogued and

00:29:50.001 --> 00:29:52.000
unavailable to anyone.

00:29:53.000 --> 00:29:59.001
This great project will deliver digitized,
multi-format access to the musical,

00:29:59.001 --> 00:30:04.001
vinyl legacy of the 20th century
before it disappears forever.

00:30:06.000 --> 00:30:12.000
It is the continuation of new initiatives
such as this that allows the BPL and

00:30:12.000 --> 00:30:16.000
its partners to scale the now
shared mission of free to all.

00:30:17.001 --> 00:30:23.000
Archives and libraries are the necessary
public vehicles for the transmission of

00:30:23.000 --> 00:30:26.001
information and knowledge from
one generation to the next.

00:30:27.001 --> 00:30:32.001
And so to all at BPL and our partners
who have worked and continue to work

00:30:32.001 --> 00:30:38.000
tirelessly on digitization and broader
access projects across all formats,

00:30:38.001 --> 00:30:45.001
paradigms, apps, mashups, visualizations,
and to Brewster and to Wendy and all

00:30:45.001 --> 00:30:50.000
at the Internet Archive, thank you for
all you do and for inviting us to be part

00:30:50.000 --> 00:30:52.001
of this celebration and this next project.

00:30:53.000 --> 00:30:57.000
Please join me in a round of
applause for all who give to

00:30:57.000 --> 00:30:58.001
make this vision a reality.

00:31:16.001 --> 00:31:17.001
Brewster Cowell.

00:31:17.001 --> 00:31:24.001
I want to say thank you very much
to David Leonard and the Boston

00:31:24.001 --> 00:31:26.001
Public Library. Let's give it up for them.

00:31:30.000 --> 00:31:32.000
They're completely great.

00:31:33.001 --> 00:31:39.000
And for recognition of all of the work
that they've done over the years, we'd

00:31:39.000 --> 00:31:45.001
like to present the 2017 Internet Archive
Hero Award to the Boston Public Library

00:31:45.001 --> 00:31:47.000
to David Leonard.

00:31:54.001 --> 00:31:58.000
Brewster, thank you so much.
This is a great honor for all of us.

00:31:59.000 --> 00:32:02.000
Well, I'd like to say a little bit about
the Boston Public Library. If you go

00:32:02.000 --> 00:32:04.001
there, please do. It's Copley Square in Boston.

00:32:05.000 --> 00:32:09.000
And I am inspired every time I walk
through the doors because carved above the

00:32:09.000 --> 00:32:14.000
door is free to all,
which is a pretty darn great motto to live by.

00:32:14.000 --> 00:32:18.000
And thank you to the Boston Public Library
for bringing that very much to life.

00:32:21.000 --> 00:32:27.000
Nope, nope, nope.
You get to stay up here. No way.

00:32:28.000 --> 00:32:33.000
The Boston Public Library is the first
library to go and digitize a full

00:32:33.000 --> 00:32:38.001
presidential library and make it publicly
available with no restrictions at all.

00:32:38.001 --> 00:32:43.000
It's the John Quincy Adams Library
and made it available on the net.

00:32:43.001 --> 00:32:49.001
They were the first library to go and
digitize and lend modern books, to go and

00:32:49.001 --> 00:32:53.001
take in-copyright books, digitize them,
and lend them to their patrons

00:32:53.001 --> 00:32:55.000
and make that available.

00:32:55.000 --> 00:32:59.000
And that was six years ago
and really leading the way.

00:32:59.001 --> 00:33:05.000
And also, they're now the first public
library to go and build a full audio

00:33:05.000 --> 00:33:09.001
collection and put that as
online as we're allowed to do.

00:33:09.001 --> 00:33:15.000
And this is why I'd say it's a really good
day to have the Internet Herald Art go

00:33:15.000 --> 00:33:17.000
to the Boston Public Library.

00:33:22.001 --> 00:33:26.001
And I'd like to say a little
bit about what exactly this is.

00:33:27.000 --> 00:33:33.001
So this is a sculpture that's made
by Jeremiah Jenkins, who has been

00:33:33.001 --> 00:33:39.000
an archive Internet artist in
residence over the last year.

00:33:39.001 --> 00:33:43.001
And he's been wrestling with the whole
idea of permanence in the digital age.

00:33:43.001 --> 00:33:48.000
How do you go and write on a medium like
the World Wide Web, which has an average

00:33:48.000 --> 00:33:53.001
life of 100 days before a web page is
either changed or deleted, and how do you

00:33:53.001 --> 00:33:56.000
make it last a long time?

00:33:56.000 --> 00:33:59.000
And he thought about mediums
that did last a long time. For

00:33:59.000 --> 00:34:00.001
instance, cuneiform tablets.

00:34:01.000 --> 00:34:06.000
We have them from the Babylonians,
the Sumerians, the Akkadians, from thousands

00:34:06.000 --> 00:34:08.001
of years ago, and they're still living.

00:34:08.001 --> 00:34:14.001
So what he did is he took important
web pages and he put them in clay.

00:34:15.001 --> 00:34:21.001
This is the Boston Public
Library's homepage cast into clay

00:34:21.001 --> 00:34:27.001
to be able to make it so that when
we are the ancients that the people

00:34:27.001 --> 00:34:29.000
will be able to see what it is.

00:34:29.001 --> 00:34:31.001
And he's gone the extra mile
of not just having it in

00:34:31.001 --> 00:34:33.001
an ice plaque that'll be above ground.

00:34:33.001 --> 00:34:37.001
He's gone and dug a hole and
buried it in the desert.

00:34:40.000 --> 00:34:44.001
And he's assured me that he's done
it above the future sea level.

00:34:45.001 --> 00:34:51.000
So I think this is an appropriate casting
in stone of some of the accomplishments

00:34:51.000 --> 00:34:54.000
of the Boston Public Library.
Thank you very much.

00:35:01.000 --> 00:35:07.001
Well, if we're going to build a time
machine for the 21st century people to

00:35:07.001 --> 00:35:12.000
understand and be able to run around in
the 20th century, we're going to have to

00:35:12.000 --> 00:35:14.000
bring all sorts of things online.

00:35:14.000 --> 00:35:18.000
We've got music coming online from the
first half of the 20th century, but what

00:35:18.000 --> 00:35:20.001
about books?
How are we going to get books online?

00:35:20.001 --> 00:35:25.001
Well, we've got a couple approaches towards
bringing the 20th century online and

00:35:25.001 --> 00:35:28.000
I'd like to go over one of them.

00:35:28.000 --> 00:35:32.000
And to do this, we're going to have to
change the time machine one more time.

00:35:35.001 --> 00:35:42.000
We're now in 1942 and the
idea is to bring books to

00:35:42.000 --> 00:35:46.000
the time machine so that people
can experience it as it was.

00:35:46.000 --> 00:35:50.000
How do we go and make it so we
have books available to all?

00:35:51.000 --> 00:35:55.000
Well, one of the things that's holding us
back in the library world of going and

00:35:55.000 --> 00:35:58.000
making it so that anybody can go and
transport themselves back in time

00:35:58.000 --> 00:36:00.000
into the 20th century is copyright.

00:36:00.001 --> 00:36:06.001
The copyright, which is meant to be a
balance and to go and protect and encourage

00:36:06.001 --> 00:36:11.001
authorship and publishing, has actually
gone and been used to make it so that we

00:36:11.001 --> 00:36:14.001
can't make access to certain
things that long should have

00:36:14.001 --> 00:36:16.000
been accessible by anybody.

00:36:16.000 --> 00:36:20.000
But let's go and sort of look
at a little bit why we're here.

00:36:20.001 --> 00:36:25.001
Well, in the Constitution,
there's a carve out that says, yes, publishers,

00:36:25.001 --> 00:36:30.000
authors can go and make works available
and it's protected for a limited amount

00:36:30.000 --> 00:36:37.000
of time to be able to go and have this
privilege of government protection

00:36:37.000 --> 00:36:40.000
to go and make their works publicly available.

00:36:41.000 --> 00:36:47.001
Limited time and what limited time
meant to Ben Franklin and the founders

00:36:47.001 --> 00:36:52.000
when they cast it into law
was 14 years renewable once.

00:36:53.000 --> 00:36:57.001
So you'd have 14 years to go in and exploit
your works and then it goes into the

00:36:57.001 --> 00:37:00.001
public domain unless you wanted another
14 years and then you get that.

00:37:00.001 --> 00:37:07.000
So if we were to roll that forward till now,
we would have copyright such that

00:37:07.000 --> 00:37:12.000
almost everything in the 20th century would
be public domain. Public domain would

00:37:12.000 --> 00:37:14.001
mean that you could build on it.
You could reuse it.

00:37:14.001 --> 00:37:16.000
You could make plays out of novels.

00:37:16.001 --> 00:37:21.000
You could translate it into other languages.
You could read it for free. You

00:37:21.000 --> 00:37:23.000
could be living in that way.

00:37:23.000 --> 00:37:29.000
But that isn't what happened over the
course of the last couple centuries. There

00:37:29.000 --> 00:37:36.000
have been powerful forces by powerful people,
including this man, Jack Flinty, to

00:37:36.000 --> 00:37:39.000
go and make it so that the copyright
term is longer and longer.

00:37:39.000 --> 00:37:45.000
Therefore, the point of copyright
has been receding. And so the

00:37:45.000 --> 00:37:52.000
law was changed in 1976 that
basically dialed back copyright such

00:37:52.000 --> 00:37:54.001
that it went back to 1923.

00:37:55.000 --> 00:38:00.000
So from 1923 and back, it's out of copyright
and public domain. Therefore, we can

00:38:00.000 --> 00:38:04.001
have it available to anybody in the 21st
century. But beyond that, there are

00:38:04.001 --> 00:38:08.001
restrictions and there are issues and
there's ways that we have to work around to

00:38:08.001 --> 00:38:11.000
try to get things out there.

00:38:11.000 --> 00:38:17.001
And that wouldn't be so bad if copyright
would stay a limited term and we could

00:38:17.001 --> 00:38:22.000
year by year be getting more works into
the public domain. But it's been like

00:38:22.000 --> 00:38:27.000
Groundhog Day where there isn't new
public domain works coming into

00:38:27.000 --> 00:38:30.001
the public domain.

00:38:30.001 --> 00:38:36.000
And the reason why that is, is there has
been some forces afoot. Sonny Bono was a

00:38:36.000 --> 00:38:43.000
pop star in the 1960s and he got elected
into the House of Representatives in the

00:38:43.000 --> 00:38:49.001
1970s. And he had a point of
view that his wife stated was

00:38:49.001 --> 00:38:51.001
he wanted copyright to last forever.

00:38:51.001 --> 00:38:56.001
Well, it couldn't do that because it's
a limited term. But they did make a

00:38:56.001 --> 00:39:02.000
copyright term extension that his wife
named after him, the Sonny Bono Copyright

00:39:02.000 --> 00:39:08.001
Term Extension Act, which basically made
it so that for another 20 years, there

00:39:08.001 --> 00:39:13.001
wouldn't be new books being put
into the public domain each year.

00:39:13.001 --> 00:39:17.001
So you'd basically go around, another year
would go by, and we'd still be living

00:39:17.001 --> 00:39:22.000
the same public domain books.
It wouldn't move forward. It would be Groundhog

00:39:22.000 --> 00:39:28.000
Day. This struck some people as not
the right thing. For instance, Harvard

00:39:28.000 --> 00:39:35.000
Professor Larry Lessig,
who thought this was unnecessary

00:39:35.000 --> 00:39:39.000
to encourage new people to
do this and ridiculous.

00:39:39.000 --> 00:39:45.000
And so he took it to court lawsuit to go
and say that this was unconstitutional.

00:39:46.000 --> 00:39:52.001
And it went up the chain until it got
to the Supreme Court. We even at the

00:39:52.001 --> 00:39:58.000
Internet Archive made a bookmobile where
we went and drove across the country

00:39:58.000 --> 00:40:02.001
making public domain books
from digitized books and

00:40:02.001 --> 00:40:04.000
handing them out and giving them out to free.

00:40:04.000 --> 00:40:08.001
And we made books in front of the Supreme
Court as they were arguing this case.

00:40:09.000 --> 00:40:16.000
But alas, we lost. And the law stood.
And so there haven't been a new book

00:40:16.000 --> 00:40:22.001
put in the public domain since I was an adult.
It's been going on and on where

00:40:22.001 --> 00:40:24.001
it's just basically stalled.

00:40:24.001 --> 00:40:30.000
But that's not the end of our story.
There's a wonderful woman named Professor

00:40:30.000 --> 00:40:36.000
Elizabeth Townsend-Guard at Tulane University.
And she is probably the world's

00:40:36.000 --> 00:40:40.000
expert in how long copyright
lasts in all sorts of places.

00:40:40.000 --> 00:40:46.001
And she noticed that in the Sunny Bono
Copyright Act is an Easter egg. And this

00:40:46.001 --> 00:40:51.001
Easter egg is a gift to libraries.
It's a bone for libraries that if it's in the

00:40:51.001 --> 00:40:56.001
last 20 years of copyright, it's kind of
complicated. If it's in that period and

00:40:56.001 --> 00:41:03.000
it's not for sale, then we can
digitize it and make it available for

00:41:03.000 --> 00:41:05.000
free. It's pretty cool.

00:41:07.000 --> 00:41:14.000
So we started working with a
couple of her students to be

00:41:14.000 --> 00:41:18.001
able to take this period to try to figure
out what in our collection could be

00:41:18.001 --> 00:41:22.001
done. So Tommy and Stan are interns here
at the Internet Archive. And they were

00:41:22.001 --> 00:41:27.001
working with our systems to try to figure
out how during that period of time can

00:41:27.001 --> 00:41:30.001
we go and find books that are available.

00:41:30.001 --> 00:41:37.000
And tonight I'd like to say that one of
those books is this book. This book is

00:41:37.000 --> 00:41:42.001
called Your Life, A Popular Guide to
Desirable Living, published in 1938 and

00:41:42.001 --> 00:41:45.000
written by my grandfather, Douglas Lertin.

00:41:50.001 --> 00:41:56.001
I have one copy of this book and I have
two sons. And according to the law, I

00:41:56.001 --> 00:42:01.000
can't make a copy and give it to the other son.
This doesn't seem to make any

00:42:01.000 --> 00:42:05.001
sense at all about a book that's
been out of print for 60, 70

00:42:05.001 --> 00:42:08.000
years. This doesn't make any sense.

00:42:08.000 --> 00:42:13.001
But now we can digitize this and we have.
And it's now available not only to my

00:42:13.001 --> 00:42:19.001
sons, but anybody that wants to know a
popular guide to desirable life. And it

00:42:19.001 --> 00:42:24.001
turns out that there are lots of other
books as well that are in this category.

00:42:24.001 --> 00:42:29.000
It looks like there are hundreds of
thousands of books that are in this category

00:42:29.000 --> 00:42:35.001
in our libraries to be able to do this.
And as a way of saying thank you for

00:42:35.001 --> 00:42:39.001
leaving an Easter egg in this law,
we're now made the Sonny

00:42:39.001 --> 00:42:41.001
Bono Memorial Collection.

00:42:47.001 --> 00:42:54.001
As you may know,
his pop best song was I Got You Babe.

00:42:56.001 --> 00:43:01.000
And to sort of give an idea of what we're
trying to do to this sort of Groundhog

00:43:01.000 --> 00:43:05.001
Day kind of moment of the public domain
doesn't move. I thought I'd play a short

00:43:05.001 --> 00:43:10.000
clip from the famous movie
Groundhog Day when Bill Murray is

00:43:10.000 --> 00:43:11.001
struggling with some of the books that [...
] working on.

00:43:12.001 --> 00:43:41.001
[...] think that's one of the same issues.

00:43:43.000 --> 00:43:47.000
Okay, that was great.
Next we're going to welcome to the stage, Rick

00:43:47.000 --> 00:43:49.001
Praylinger. Rick is an internet.

00:43:50.001 --> 00:43:55.001
Rick is an internet archive board member.
He's a librarian. He's professor at UC

00:43:55.001 --> 00:44:01.000
Santa Cruz. He's a writer, a filmmaker,
and he's also a founder of the

00:44:01.000 --> 00:44:02.001
Praylinger archives.

00:44:02.001 --> 00:44:09.001
And we're going to welcome Rick from 1942,
44, excuse me.

00:44:11.000 --> 00:44:13.000
And let's welcome him from the Time Machine.

00:44:21.000 --> 00:44:25.000
Good evening, everybody. Thanks so much
for coming and for supporting the archive

00:44:25.000 --> 00:44:28.001
with your presence and your many kindnesses.
As you

00:44:28.001 --> 00:44:30.000
know, I'm a moving image archivist.

00:44:30.001 --> 00:44:34.001
And over the last, I don't know,
10 years or so, I've become increasingly

00:44:34.001 --> 00:44:39.001
interested in home movies. Forget about
the rest. Home movies are cinema to me.

00:44:40.000 --> 00:44:42.001
Home movies are the movies that most of us.

00:44:42.001 --> 00:44:46.001
Well, I wish more people did,
but most of us don't save them. You know, their

00:44:46.001 --> 00:44:51.000
family encounters, their the home,
their travel, their ceremonies.

00:44:51.001 --> 00:44:58.000
We have perhaps a thousand Christmases
and 500 birthdays. But the thing about

00:44:58.000 --> 00:45:02.001
home movies is that they tend to be
records of everyday life in an extremely

00:45:02.001 --> 00:45:04.001
detailed and granular way.

00:45:04.001 --> 00:45:10.000
They're records of the kind of everyday
experience that we wish we could remember

00:45:10.000 --> 00:45:15.001
better. So at the archive, we're scanning
them quite aggressively and there's

00:45:15.001 --> 00:45:19.000
already a thousand more
online and many more to come.

00:45:19.001 --> 00:45:25.000
But home movie makers also did something
that we don't often think of. They were

00:45:25.000 --> 00:45:30.001
witnesses to great historical events.
And tonight, I'd like to show a film that

00:45:30.001 --> 00:45:34.000
turned up in a completely
unexpected manner on eBay.

00:45:34.000 --> 00:45:39.000
Several years ago, I was trolling eBay
late at night and I found a film that

00:45:39.000 --> 00:45:43.001
nobody else was interested
in and bid on it and won.

00:45:44.000 --> 00:45:48.001
And when it came back, we put it on the
projector and we found that this was

00:45:48.001 --> 00:45:53.001
actually a rare and disturbing
historical record of a very

00:45:53.001 --> 00:45:55.000
dark time in our history.

00:45:55.000 --> 00:46:02.000
This film was shot in Jerome,
Arkansas in 1944 at the so-called

00:46:02.000 --> 00:46:07.001
Jerome War Relocation Center,
which was a concentration camp where Japanese

00:46:07.001 --> 00:46:13.000
Americans were sent mostly from the
Central Valley and where they were

00:46:13.000 --> 00:46:15.001
incarcerated for three years.

00:46:15.001 --> 00:46:22.000
As I play the film, I'd like to invite
a very special guest to come up to the

00:46:22.000 --> 00:46:26.001
stage and help talk us through it.
Seb, would you come and join us?

00:46:27.000 --> 00:46:32.001
I'd like to introduce Saab Masada,
who's come all the way from Fresno to be with

00:46:32.001 --> 00:46:36.001
us tonight. Thank you, Saab, for

00:46:36.001 --> 00:46:40.000
coming. Should we roll the film?

00:46:43.000 --> 00:46:50.000
Wendy called me and that Rick had discovered
this film. I was so excited because

00:46:50.000 --> 00:46:56.001
I'd never seen a film of our camp.
This is the camp. It was built

00:46:56.001 --> 00:47:02.001
in a swamp lands of southeast Arkansas
and it was the last one to be built

00:47:02.001 --> 00:47:05.000
because they had to clean out
the swamp and the forests.

00:47:06.000 --> 00:47:13.000
This is a picture of some of the agricultural
crops that those of us in the camp

00:47:13.000 --> 00:47:16.000
had to raise to feed ourselves.

00:47:16.001 --> 00:47:23.001
The guard tower, which was pretty
much abandoned as soon as we got

00:47:23.001 --> 00:47:28.001
in because the government learned
that we were not dangerous. This

00:47:28.001 --> 00:47:30.000
is a graduation scene.

00:47:31.000 --> 00:47:38.000
This was a 1944 camp film
because the government was

00:47:38.000 --> 00:47:43.000
closing it in order to make room
for a secure prison for German POW.

00:47:44.001 --> 00:47:51.001
These are pictures of trucks that
our family had to ride to Rohwer,

00:47:52.000 --> 00:47:55.000
which was the camp that we were sent to.

00:47:56.000 --> 00:48:02.001
Here, these people are being brought
to the train to be shipped to

00:48:02.001 --> 00:48:09.001
the Arizona camp and to Colorado and
perhaps some of the other concentration

00:48:09.001 --> 00:48:13.001
camps to make room for the POWs.

00:48:16.000 --> 00:48:21.001
I was watching this film and was really
excited because I didn't know that there

00:48:21.001 --> 00:48:26.000
was such a film that was taken of our camp.

00:48:27.000 --> 00:48:31.001
This film apparently has not
been seen publicly in 77 years.

00:48:38.000 --> 00:48:44.001
This film will tell America that these
concentration camps that we were in

00:48:44.001 --> 00:48:50.001
was not a myth. They were real. So it's
a historical record of the proof of what

00:48:50.001 --> 00:48:54.001
had happened to 120,000
Americans and legal residents.

00:48:59.000 --> 00:49:06.000
A trial was held in 1983, which proved

00:49:06.000 --> 00:49:12.001
that the government had lied and that we
were put into this prison for up to four

00:49:12.001 --> 00:49:19.000
years, actually, based on a lie by
our government and by General DeWitt.

00:49:19.000 --> 00:49:25.001
A student yesterday at the high school
in Fresno told me she couldn't believe

00:49:25.001 --> 00:49:28.001
that this had happened on a based on a lie.

00:49:30.001 --> 00:49:34.000
So how old were you when
you were brought to camp?

00:49:34.001 --> 00:49:38.001
I was 12 years old. And when I got
out of the freshman in high school.

00:49:40.001 --> 00:49:41.001
What was the lie?

00:49:43.001 --> 00:49:50.000
Well, our culture taught us to not
focus on any negative attitudes. And so

00:49:50.000 --> 00:49:56.001
they kept us busy with all kinds of activities,
schools, Boy Scouts, Girl Scouts.

00:49:57.000 --> 00:50:04.000
And so that helped us to survive.
But the bad part of it was that all

00:50:04.000 --> 00:50:10.001
these traumatic experiences were buried.
And so most of my generation

00:50:10.001 --> 00:50:12.000
did not want to talk about it.

00:50:12.001 --> 00:50:16.001
And today, those who are still
alive can hardly remember because

00:50:16.001 --> 00:50:18.001
it's been buried so deeply.

00:50:19.000 --> 00:50:26.000
And so we go to schools to talk about
it so that this history will not be

00:50:26.000 --> 00:50:32.000
forgotten. As George Santagliana said,
those who forget the past are condemned to

00:50:32.000 --> 00:50:35.000
repeat it.
And we don't want it to be repeated again.

00:50:42.001 --> 00:50:49.001
But the 2016 election,
I heard echoes of what I heard in 1942,

00:50:50.000 --> 00:50:57.000
where the politicians were using the
terror of the fear of terrorism to

00:50:57.000 --> 00:51:02.001
target the Muslims and people from
from the south of our border.

00:51:03.001 --> 00:51:06.001
Those are the trains that were used.

00:51:10.000 --> 00:51:16.001
And those who were the last to leave,
probably those who were being shipped to

00:51:16.001 --> 00:51:23.000
rather by truck to rower were saying
goodbye to their friends. There were over 8

00:51:23.000 --> 00:51:28.000
,000 of us in prison in this camp in Jerome.

00:51:32.001 --> 00:51:37.000
So we're going to this film will be
available in full. You've seen five minutes

00:51:37.000 --> 00:51:44.000
of a 15 or 16 minute film that will be
available on the archive tomorrow. And

00:51:44.000 --> 00:51:48.001
it'll be, I hope, a great tool for
teaching and for consciousness.

00:51:50.000 --> 00:51:54.000
I know you speak about the incarceration
quite often, and I hope that this

00:51:54.000 --> 00:51:56.000
is useful to you as well.

00:51:56.000 --> 00:51:57.001
It will be. Thank you.

00:51:59.000 --> 00:52:05.001
We were I'll never forget, May 16, 1942,
because that's when the army truck came

00:52:05.001 --> 00:52:11.001
into the front yards of a farm in Fresno
and all nine of us, our family piled in

00:52:11.001 --> 00:52:16.001
and we were taken to the Fersall Fairgrounds
was suddenly turned into a prison

00:52:16.001 --> 00:52:23.000
for over 5000 Americans and legal
residents only of Japanese ancestry.

00:52:23.000 --> 00:52:27.001
We were there for six months and we
were shipped to Jerome, Arkansas.

00:52:28.001 --> 00:52:35.000
It turned extremely cold and beginning
of November. In fact, we had some snow

00:52:35.000 --> 00:52:41.001
and the campus was still being completed
and so our our barrack had no heat.

00:52:41.001 --> 00:52:47.001
And my father caught pneumonia and 21
days after we arrived, he died in a

00:52:47.001 --> 00:52:54.000
makeshift barrack hospital. The thing that
I regret about that is we didn't have

00:52:54.000 --> 00:53:00.000
a time to grieve as we were in our camps,
our relatives were in other camps.

00:53:00.000 --> 00:53:06.001
And we had no kitchen to invite people over.
And so I just went on and played as

00:53:06.001 --> 00:53:11.000
if nothing had happened because none of
my friends knew my that my father had

00:53:11.000 --> 00:53:16.000
died. And I really regret that that experience.

00:53:17.001 --> 00:53:19.000
Yes. Yes.

00:53:20.001 --> 00:53:21.001
Well, thank you.

00:53:21.001 --> 00:53:27.000
So thank you so much for taking the
trouble to come and join us tonight. Very

00:53:27.000 --> 00:53:29.001
much. Appreciate it. Of course.

00:54:05.000 --> 00:54:06.001
Thank you.

00:54:06.001 --> 00:54:07.000
Thank you all.

00:54:09.001 --> 00:54:14.001
I'm now going to turn the way back,
turn the time machine ahead a few years to

00:54:14.001 --> 00:54:21.000
1972 and introduce our wonderful director
of partnerships, Wendy Hanamura.

00:54:41.000 --> 00:54:47.000
Thank you, so for coming all the way from
Fresno. He's 87 years old and he drove

00:54:47.000 --> 00:54:49.001
himself from Fresno with his beautiful wife,
Marion.

00:54:53.000 --> 00:54:59.001
And thank you, Rick, for preserving this
incredible piece of Japanese American

00:54:59.001 --> 00:55:06.000
history. See, before I was an Internet
archivist, I was the daughter and the

00:55:06.000 --> 00:55:11.001
granddaughter of American citizens who
were locked up behind barbed wire in the

00:55:11.001 --> 00:55:16.000
same kind of camps that sob and Marion
were locked up in World War Two.

00:55:17.000 --> 00:55:23.000
So I know that we need these time machines
because we can fast forward 50 years

00:55:23.000 --> 00:55:29.000
when there won't be people like sob to
tell their story and we will need to

00:55:29.000 --> 00:55:33.001
remember these stories without
the people to tell them

00:55:33.001 --> 00:55:35.001
first person like you heard tonight.

00:55:36.000 --> 00:55:43.000
And even though I'm a filmmaker and film
is so important to me, the thing that

00:55:43.000 --> 00:55:46.001
changed my life was not a piece of film.
It was actually a book.

00:55:48.001 --> 00:55:55.001
It was this book, Executive Order 9066.
I found it in the

00:55:55.001 --> 00:56:00.000
Glenview Public Library in Oakland,
California, when I was in the sixth grade.

00:56:01.001 --> 00:56:05.001
This book changed my life because
flipping through its pages, seeing these

00:56:05.001 --> 00:56:11.001
photographs was the first time I felt in
my gut what had happened to my family

00:56:11.001 --> 00:56:16.000
when I understood that that camp that
they always talked about going to was

00:56:16.000 --> 00:56:19.001
actually a concentration
camp in the deserts of Utah.

00:56:22.000 --> 00:56:28.001
This book changed my life. But here's the
thing. This book was published in 1972.

00:56:29.000 --> 00:56:31.001
It's out of print and very hard to find.

00:56:32.001 --> 00:56:38.001
And now I have two beautiful sons.
One of them is in college. His name is Kenny.

00:56:39.000 --> 00:56:44.000
And last semester he was taking a class
on race and ancestry. And he called me

00:56:44.000 --> 00:56:48.000
and said, Mom, Mom, I need some information
about what happened to Grandma and

00:56:48.000 --> 00:56:49.001
Grandpa in World War Two.

00:56:50.001 --> 00:56:57.000
So Executive Order 9066 would have been
a great book for Kenny. But like so many

00:56:57.000 --> 00:57:00.001
of his generation,
he does almost all of his research online.

00:57:01.001 --> 00:57:07.000
So for him and many others,
if a book isn't digital, it's as

00:57:07.000 --> 00:57:09.000
if it doesn't even exist.

00:57:11.001 --> 00:57:18.000
Now, Kenny could have found just a snippet
of this book in Google Books. And it

00:57:18.000 --> 00:57:21.001
turns out that the only place he could
actually check out this book and flip

00:57:21.001 --> 00:57:25.001
through its pages is on our own site,
Open Library.

00:57:32.001 --> 00:57:39.000
But here's the thing. This is one of
millions of books that are missing from our

00:57:39.000 --> 00:57:44.000
digital shelves. Life changing books.
Books that could mean so much to students,

00:57:44.001 --> 00:57:46.001
to educators, to journalists.

00:57:46.001 --> 00:57:52.000
Books that represent many,
many voices not heard in this country.

00:57:53.001 --> 00:57:59.000
That is a problem that the Internet Archive
believes we can solve. We believe we

00:57:59.000 --> 00:58:02.001
can fill the digital shelves
with a missing century of books.

00:58:03.001 --> 00:58:07.000
Now, how do we know that they're missing?
Well, take a look at this graph. It

00:58:07.000 --> 00:58:12.000
shows you all of our e-books, all of our
digital books, by decade of publication.

00:58:12.000 --> 00:58:18.000
We're doing okay up until 1923. You know
why that is, because those books are out

00:58:18.000 --> 00:58:21.000
of copyright.
And then we're doing okay again starting about

00:58:21.000 --> 00:58:23.000
1990 in the digital realm.

00:58:23.001 --> 00:58:30.000
But in between those dates, there is a
huge gap of knowledge. Why is that? Well,

00:58:30.001 --> 00:58:33.000
copyright restrictions,
e-book restrictions, lack of

00:58:33.000 --> 00:58:35.000
resources to digitize these books.

00:58:35.000 --> 00:58:40.000
And you know what, folks? It's not just
the Internet Archive. Take a look at

00:58:40.000 --> 00:58:46.000
this. These are the books in the Amazon
warehouses. That same chasm exists

00:58:46.000 --> 00:58:48.001
between 1923 and the digital age.

00:58:49.001 --> 00:58:54.001
So where are these important books,
these out-of-print books, these orphan works?

00:58:56.001 --> 00:58:58.001
They sit in our libraries.

00:59:00.001 --> 00:59:06.001
Here's what we're proposing to the world.
We believe that we can digitize and

00:59:06.001 --> 00:59:12.000
make available to everyone four million books,
the equivalent of a great

00:59:12.000 --> 00:59:14.000
major public library online.

00:59:14.001 --> 00:59:20.000
We're calling this project Open Libraries
because we and our partners believe

00:59:20.000 --> 00:59:25.000
that we could create a network of digital
libraries across this land offering

00:59:25.000 --> 00:59:28.001
these books free of charge to
people who really need them.

00:59:29.000 --> 00:59:34.000
Now, this is a big project and it will
take a lot of resources. And we thought we

00:59:34.000 --> 00:59:40.000
had it because this year,
the MacArthur Foundation offered $100

00:59:40.000 --> 00:59:46.000
million to one organization that could
solve one of the world's big problems.

00:59:47.000 --> 00:59:53.001
1900 people applied, 800 proposals were judged,
and they picked eight semi

00:59:53.001 --> 00:59:57.000
-finalists, including the Internet Archive.

01:00:01.001 --> 01:00:08.001
Now, we didn't end up winning the
$100 million, but

01:00:08.001 --> 01:00:13.001
we won something else. MacArthur
challenged us to think big, and we did.

01:00:13.001 --> 01:00:19.001
And we gathered with us like-minded people,
the lawyers, the librarians, the

01:00:19.001 --> 01:00:23.001
service providers, many of whom are here
in this room tonight. They've flown in

01:00:23.001 --> 01:00:25.001
for this week to be with us.

01:00:26.000 --> 01:00:33.000
And why would they do that? It's because
they know, just as we do, that for so

01:00:33.000 --> 01:00:36.001
many communities,
e-books can be a game changer.

01:00:36.001 --> 01:00:42.000
If you're blind, if you're low vision,
if you live too far from a library, if you

01:00:42.000 --> 01:00:47.000
can't get there during working hours,
if you can't afford to buy a book on

01:00:47.000 --> 01:00:52.001
Amazon, having a library digitize their
books and lend them free of charge

01:00:52.001 --> 01:00:54.000
makes all the difference.

01:00:55.001 --> 01:01:02.000
There's another thing. What about
reader privacy? Librarians are staunch

01:01:02.000 --> 01:01:04.000
defenders of your privacy.

01:01:11.000 --> 01:01:15.001
Librarians won't sell your information
to the highest bidder. Librarians won't

01:01:15.001 --> 01:01:20.000
tell people what you've been reading.
We have the chance to build a service

01:01:20.000 --> 01:01:24.001
across this nation based on the
morals and values of our profession.

01:01:25.000 --> 01:01:30.001
And in this era of disinformation,
this time of post-truth, I think we have never

01:01:30.001 --> 01:01:33.001
meted trusted sources of information more.

01:01:41.001 --> 01:01:47.000
So I want you to dream with me and
think five years from now when we have

01:01:47.000 --> 01:01:51.001
digitized and made available four million
books. What will that mean for our

01:01:51.001 --> 01:01:56.000
children and our children's
children and for teachers who will

01:01:56.000 --> 01:01:57.001
have these things at their fingertips?

01:01:59.000 --> 01:02:06.000
Well, here's what I hope.
I hope that my children will know what made me

01:02:06.000 --> 01:02:12.000
tick. They'll understand the media that
I was passionate about, and most of all,

01:02:12.001 --> 01:02:17.001
they'll learn from the many,
many mistakes that we have made. Thank you.

01:02:27.001 --> 01:02:32.001
I'm going to try my hand at this time machine.
Let's see if I can make this work

01:02:32.001 --> 01:02:39.001
from 1972 to 1985.
I'm going to summon up Jason Scott, our free

01:02:39.001 --> 01:02:42.001
range archivist. Come on, Jason.

01:02:50.000 --> 01:02:55.001
Hello again. Am I on? Got me on? Oh,
that's fantastic. Hey, everybody. Hey there.

01:02:56.000 --> 01:03:01.000
So, yeah. So I got a bunch of hats at the
archive besides this one. So besides MC

01:03:01.000 --> 01:03:03.001
and Loudmouth and just everybody's nightmare.

01:03:03.001 --> 01:03:09.001
I am also the software curator at the
Internet Archive. So what that means is,

01:03:10.000 --> 01:03:14.001
you know, we have books, movies, music,
texts, everything else, but we also have

01:03:14.001 --> 01:03:17.001
software. And I think we're the largest
software collection in the world. And if

01:03:17.001 --> 01:03:21.001
we're not, show me it. I'll download it.
Add it to ours will be the biggest.

01:03:25.000 --> 01:03:30.000
So we have this software library,
and to me it's not really enough to have images

01:03:30.000 --> 01:03:34.001
of the floppy disks or the CD-ROMs or to have,
you know, basically a bunch of EXE

01:03:34.001 --> 01:03:38.001
programs. You got to access it.
I mean, you go to the Internet Archive and you

01:03:38.001 --> 01:03:42.000
look at a book. You read the book.
You look at a movie. You, you know, see the

01:03:42.000 --> 01:03:46.000
movie and so on. Well, at the archive,
we have something called browser-based

01:03:46.000 --> 01:03:50.000
emulation. So I'm very proud of.
We've had it for a number of years now,

01:03:50.000 --> 01:03:51.001
and it's been amazing to see.

01:03:51.001 --> 01:03:58.000
Basically, at the archive, for many of
our projects, tens of thousands of items,

01:03:58.000 --> 01:04:04.000
you see something that's neat. An image
comes up of what it looks like. You click

01:04:04.000 --> 01:04:10.000
on it and you're playing it. We do that
through a necromancy of JavaScript and

01:04:10.000 --> 01:04:15.001
scripting that is just crazy. But it works.
You click on it, boom, Apple II is up

01:04:15.001 --> 01:04:20.001
there. Click on it. Boom, arcade game is
up there. You know, we got arcade games.

01:04:20.001 --> 01:04:25.000
We got consoles. We got all sorts of
home computers, obscure and fantastic.

01:04:25.001 --> 01:04:31.001
You're correct. So this year, you know,
we've been working hard to add more and

01:04:31.001 --> 01:04:35.001
more platforms. And as the platforms
get more complicated, it involves more

01:04:35.001 --> 01:04:38.001
people. So this year, we added this platform.

01:04:42.001 --> 01:04:47.001
That's right, the Macintosh. One of the
engineers behind the Macintosh is in the

01:04:47.001 --> 01:04:50.001
room. I didn't ask him if I had permission
to point him out, but I know you're

01:04:50.001 --> 01:04:57.001
out there and I love you.
So the Macintosh was a huge turning

01:04:57.001 --> 01:05:02.001
point in computer graphics because people
could now use a desktop metaphor in a

01:05:02.001 --> 01:05:07.000
real mass way. We started having the mouse
and menus be the way things were done.

01:05:07.001 --> 01:05:11.001
I mean, it's the harbinger of the way we
live now. Plus, it's the cutest little

01:05:11.001 --> 01:05:16.001
thing, isn't it? It's like a little nine
inch screen, black and white. Anyway, we

01:05:16.001 --> 01:05:21.000
emulate it on the archive. And I want to
quickly just thank all these different

01:05:21.000 --> 01:05:24.001
people who have played a part. James Friend
is in the audience to say hi, James.

01:05:26.000 --> 01:05:30.001
And James is in the audience too.
We've had people from all around the world

01:05:30.001 --> 01:05:35.001
contributing to make this just happen.
So if you go to the Internet Archive, you

01:05:35.001 --> 01:05:39.001
can see these different classic programs.
You know, you've got a Crystal Quest,

01:05:40.000 --> 01:05:45.000
Shuffle Puck, Mac Right, you know,
that hot game of Mac Right. And you can

01:05:45.000 --> 01:05:50.001
utilize all of these wonderful programs.
And we've done this before. And the way

01:05:50.001 --> 01:05:53.001
we've done it before is what I call the
shock and awe method. We just drop 1000

01:05:53.001 --> 01:05:57.001
programs on you and hope it all works.
This time, we've had somebody going

01:05:57.001 --> 01:06:01.000
through personally. So thanks for Stephen Cole.
He's been testing them and

01:06:01.000 --> 01:06:06.000
working on them. Just a volunteer in London
who's just been working to add them.

01:06:06.001 --> 01:06:08.001
So if you click on them,
they're pretty much going to work.

01:06:08.001 --> 01:06:14.001
And for the people who are like, what,
what my Mac? What? How's the airbook?

01:06:15.000 --> 01:06:20.001
So just understand that this was what
Macs used to be like. They were one bit

01:06:20.001 --> 01:06:27.000
graphics on or off. But people could do
amazing art with them. Right. So like

01:06:27.000 --> 01:06:31.001
games like I see everyone's like Dark Castle,
everything lights up, everyone's

01:06:31.001 --> 01:06:35.001
playing Dark Castle, we'll still be there
tomorrow, please don't worry. But Dark

01:06:35.001 --> 01:06:39.001
Castle is one of those games. It was an
arcade game. It was so beautifully done.

01:06:39.001 --> 01:06:45.000
And that is all black and white graphics
on a nine inch screen. And this fact

01:06:45.000 --> 01:06:49.000
caught the attention of Adrian LaFrance
at the Atlantic. And she wrote part of

01:06:49.000 --> 01:06:54.000
her article in Mac Right on our site,
so that she could talk about it. So it got

01:06:54.000 --> 01:06:58.000
a lot of attention. In fact,
it got the attention of the premiere of Canada,

01:06:58.001 --> 01:07:01.001
Justin Trudeau, who tweeted.

01:07:05.000 --> 01:07:10.001
So, so here's the thing, right?
We all know we're living in the big dystopic

01:07:10.001 --> 01:07:15.001
timeline, right? So the premiere of Canada
tweets about this. And immediately,

01:07:15.001 --> 01:07:19.000
there's all these people who are like,
the head of state has said something, I'm

01:07:19.000 --> 01:07:25.000
angry, which is fine. Like,
don't waste your time playing games, save our

01:07:25.000 --> 01:07:28.000
country, you know, just the kind of stuff
people do, they whatever. But one of

01:07:28.000 --> 01:07:33.000
the persons said, stop with the pandering.
And I've been thinking ever since

01:07:33.000 --> 01:07:39.001
then, to who? What members of the
electorate are you trying to shift with

01:07:39.001 --> 01:07:45.001
your love of Dark Castle? Strange

01:07:45.001 --> 01:07:52.001
moment. So there's all sorts of programs
in here, for instance, spelunks, which a

01:07:52.001 --> 01:07:56.000
lot of people might not know,
but it was done by the Miller brothers, random

01:07:56.000 --> 01:08:00.000
Robin, who went on to create missed,
which is the seminal program that many

01:08:00.000 --> 01:08:06.000
people think basically cause CD ROMs to
be accepted as a medium. So spelunks is

01:08:06.000 --> 01:08:09.001
up on the archive, don't quite have missed
a little bit. But it's still for sale.

01:08:10.000 --> 01:08:15.001
It's really popular. But let's go a
little farther than that. Okay. So

01:08:15.001 --> 01:08:22.001
August 11th, 1987 was a very special time.
Bill Atkinson created this

01:08:22.001 --> 01:08:26.001
amazing program along with a bunch of
other programmers and created something

01:08:26.001 --> 01:08:33.001
called hypercard. Do we have any love
for hypercard in the house? Any of

01:08:33.001 --> 01:08:36.001
my stack bros and stock sisters in the house?
Good, good, good, good.

01:08:38.000 --> 01:08:42.000
All right. So here's the thing about hypercard.
Hypercard was this incredible

01:08:42.000 --> 01:08:48.001
thing that came out in 1987,
where it was a combination art programming and

01:08:48.001 --> 01:08:54.000
linking system which allowed just anybody
to essentially, this is how we would

01:08:54.000 --> 01:08:58.001
describe it now, make a web page before a web.
You would have a thing where you

01:08:58.001 --> 01:09:02.001
would be able to bring up a page,
put text and graphics on it, click on it, and

01:09:02.001 --> 01:09:06.001
be able to cause other things to happen.
And it was really easy to use for web

01:09:07.001 --> 01:09:10.001
streaming and [...] going on in the world,
and people loved it. Academics loved

01:09:10.001 --> 01:09:14.000
it. They could do teaching stacks.
People loved it, they could do photo albums.

01:09:14.001 --> 01:09:20.000
People could do weird jokes. It was amazing.
Problem is, after a while, Apple

01:09:20.000 --> 01:09:24.000
kind of turned away from it. And by the
early 2000s, they just basically dropped

01:09:24.000 --> 01:09:28.000
it as a product. And they had truly honestly
dropped it as a product by the late

01:09:28.000 --> 01:09:33.000
90s. So it was in danger, it's been in
danger of disappearing. And as soon as I

01:09:33.000 --> 01:09:35.001
put up the Mac emulation,
people are like, oh, hooray. my

01:09:35.001 --> 01:09:37.001
Mac, my HyperCard stack.

01:09:38.000 --> 01:09:40.000
So I'm like, all right, let's bring it.

01:09:40.001 --> 01:09:44.001
So people have all sorts of
crazy HyperCard stacks, okay?

01:09:45.000 --> 01:09:49.000
I will not apologize for the
content of the HyperCard stacks.

01:09:49.001 --> 01:09:53.001
This is true computer folk art.

01:09:54.001 --> 01:10:00.000
This is, everybody got a shot to make
whatever program they wanted to and make it

01:10:00.000 --> 01:10:03.000
run,
and they go in every direction of sadness, of

01:10:03.000 --> 01:10:04.001
wonder, of happiness and danger.

01:10:04.001 --> 01:10:06.000
It's everything they want.

01:10:06.001 --> 01:10:09.000
If you're gonna get offended, don't stop by.

01:10:09.000 --> 01:10:12.000
But if you're gonna be amazed,
please do stop by.

01:10:13.000 --> 01:10:19.001
So we actually have over 3,000 HyperCard
stacks up now, and we're continuing

01:10:19.001 --> 01:10:21.000
to add them constantly.

01:10:21.001 --> 01:10:27.000
And in what I think is a beautiful piece
of work, we had the 30th anniversary of

01:10:27.000 --> 01:10:29.001
HyperCard in August, if you run the math.

01:10:29.001 --> 01:10:31.000
Anyone who saw the other one, they knew that.

01:10:31.000 --> 01:10:37.001
But Andrew Ferguson made a site for us,
which is out there,

01:10:37.001 --> 01:10:39.000
and it's called HyperCard Online.

01:10:39.001 --> 01:10:41.000
That's what the site looks like.

01:10:42.001 --> 01:10:43.000
All right?

01:10:44.000 --> 01:10:48.001
If you are sitting around, and there are
some of you out there who are sitting,

01:10:48.001 --> 01:10:53.001
sorry if I'm gonna go geek here, with a .
HQX or a .SIT of your old HyperCard

01:10:53.001 --> 01:10:58.001
stack that you loved so much,
drop it in here, and we'll put it up.

01:10:59.001 --> 01:11:04.000
So we've had people putting up dozens of
HyperCard stacks, and people are playing

01:11:04.000 --> 01:11:06.001
them, and they're enjoying them,
and they're living again.

01:11:07.001 --> 01:11:13.001
Some of them are, like I said, all range
of creation, but they are a part of us

01:11:13.001 --> 01:11:17.000
from the 20th century that we are
now making live in the 21st century.

01:11:17.001 --> 01:11:21.001
It'll work sort of on your phone,
will make it better as time goes on, but you

01:11:21.001 --> 01:11:26.000
can certainly play it on your laptop or
your desktop and be able to experience

01:11:26.000 --> 01:11:29.000
the wonders of the Macintosh and
the wonders of HyperCard again.

01:11:29.001 --> 01:11:32.000
So that's the time machine that
we're bringing to you from

01:11:32.000 --> 01:11:34.000
the past to the future.

01:11:34.001 --> 01:11:35.001
Thanks very much.

01:11:35.001 --> 01:11:36.000
[...]

01:11:36.001 --> 01:11:36.001
Whoa!

01:11:38.000 --> 01:11:38.000
Whoa!

01:11:38.000 --> 01:11:38.000
Whoa!

01:11:38.000 --> 01:11:38.001
Whoa!

01:11:38.001 --> 01:11:38.001
Whoa!

01:11:40.001 --> 01:11:41.000
Whoa!

01:11:44.001 --> 01:11:45.000
Whoa!

01:11:45.001 --> 01:11:46.000
Whoa!

01:11:47.000 --> 01:11:47.001
Whoa!

01:11:47.001 --> 01:11:48.000
Whoa!

01:11:55.000 --> 01:11:55.001
Whoa!

01:11:58.001 --> 01:12:00.000
She's my boss, but I would have said it anyway.

01:12:00.001 --> 01:12:01.001
Let's do it.

01:12:01.001 --> 01:12:05.001
Let's bring out Mark Graham and
Vinay Goel of the Wayback Machine.

01:12:17.001 --> 01:12:19.000
Thank you so much, Jason.

01:12:19.000 --> 01:12:20.001
It's really great to be here tonight.

01:12:21.000 --> 01:12:22.001
You know, it doesn't get any better than this.

01:12:23.000 --> 01:12:24.000
I'm in a room with friends.

01:12:24.001 --> 01:12:28.000
I get to talk about one of my favorite
subjects, the Wayback Machine.

01:12:28.001 --> 01:12:32.001
And if it's, you know, any test of the
people that I met out in front here, I

01:12:32.001 --> 01:12:34.001
know that many of you two have a special place

01:12:34.001 --> 01:12:36.000
in your heart for the Wayback Machine.

01:12:36.001 --> 01:12:37.001
What is the Wayback Machine?

01:12:38.000 --> 01:12:39.001
Basically, it is a time machine.

01:12:40.001 --> 01:12:44.001
It's something that you can use
to travel back and experience the

01:12:44.001 --> 01:12:46.000
web of the 20th century.

01:12:47.000 --> 01:12:50.000
You can find websites that no longer exist.

01:12:50.001 --> 01:12:54.000
You can go to web pages that now
are very different than what they

01:12:54.000 --> 01:12:55.001
were when they were first published.

01:12:57.000 --> 01:12:59.001
And we're really grateful for all of that.

01:12:59.001 --> 01:13:03.000
You know, and yet here in Silicon Valley,
we're pretty familiar

01:13:03.000 --> 01:13:05.000
with the Wayback Machine.

01:13:05.001 --> 01:13:10.000
But it wasn't until quite recently that
it's become a bit of a household word.

01:13:10.001 --> 01:13:16.001
And and that's well, because of one person,
I think you might know who I mean.

01:13:17.000 --> 01:13:20.000
OK, sorry, I know there he is.

01:13:21.000 --> 01:13:27.000
And can I say, you know, that this new
administration, they've they've erased so

01:13:27.000 --> 01:13:28.001
many things from from the web.

01:13:29.000 --> 01:13:34.000
And almost overnight, the Wayback
Machine has become every journalist's

01:13:34.000 --> 01:13:36.000
first go to tool.

01:13:36.001 --> 01:13:40.001
And it's become a source of
truth for for so many of us.

01:13:41.000 --> 01:13:43.001
But listen, don't don't take my word for it.

01:13:43.001 --> 01:13:45.001
Let's hear from something someone who actually

01:13:45.001 --> 01:13:47.001
really knows a lot about the subject.

01:13:49.000 --> 01:13:53.000
Six days before the election,
November 2nd this year, a retired general named

01:13:53.000 --> 01:13:59.000
Michael Flynn tweeted this quote,
you decide NYPD blows whistle on new Hillary

01:13:59.000 --> 01:14:04.001
emails, money laundering,
sex crimes with children, et cetera.

01:14:05.000 --> 01:14:09.001
Must read that must read tweet
about Hillary Clinton and her

01:14:09.001 --> 01:14:11.000
sex crimes with children.

01:14:12.000 --> 01:14:13.001
That's now gone.

01:14:15.000 --> 01:14:19.001
And now former general Michael Flynn,
who believes stuff like that and spreads it

01:14:19.001 --> 01:14:23.000
around, he's now slated to be
national security adviser.

01:14:24.000 --> 01:14:28.000
Michael Flynn this week tried to
quietly disappear that tweet.

01:14:28.001 --> 01:14:32.001
He tried to delete it,
except thanks to the Wayback Machine.

01:14:32.001 --> 01:14:34.000
God bless you, Internet Archive.

01:14:34.001 --> 01:14:36.000
God bless you, Wayback Machine.

01:14:36.000 --> 01:14:39.000
Thanks to them,
nothing ever really disappears anymore.

01:14:39.000 --> 01:14:43.000
So he didn't try to take it down,
but he can't make it go away.

01:14:44.000 --> 01:14:46.000
All right. Yeah.

01:14:50.001 --> 01:14:52.001
God bless you, Rachel Maddow.

01:14:53.000 --> 01:14:56.000
Yeah. And and we've been warned, right?

01:14:56.001 --> 01:15:02.000
So in 1996, the Internet Archive
started backing up the Web.

01:15:03.000 --> 01:15:07.001
And at that time, the Web was two terabyte.

01:15:08.001 --> 01:15:10.000
Two terabyte, all of it.

01:15:10.001 --> 01:15:12.001
And how do we know that?

01:15:13.000 --> 01:15:16.000
Well, because we brought it
back for you here tonight.

01:15:16.001 --> 01:15:20.001
That's right.
The Web of the 20th century, Vinay.

01:15:27.001 --> 01:15:29.000
All right. Very well done.

01:15:30.000 --> 01:15:33.000
The so two point two terabytes.

01:15:33.000 --> 01:15:35.001
This sculpture here is
titled the World Wide Web.

01:15:36.000 --> 01:15:39.000
Two point two terabytes in sixty three inches.

01:15:39.001 --> 01:15:45.000
It was created by the artist Alan Raff,
and it was commissioned and it's been

01:15:45.000 --> 01:15:48.000
living in the Library of
Congress for the last 15 years.

01:15:48.001 --> 01:15:51.001
And we brought it back here
to its home this week.

01:15:52.000 --> 01:15:53.001
And you're now seeing it for the first time.

01:15:55.000 --> 01:15:58.001
Wayback Machine today, however, is 20 petabyte.

01:15:59.001 --> 01:16:02.000
OK, so how much is 20 petabyte?

01:16:02.000 --> 01:16:08.001
It would take about 10,000 sculptures
like this to equal 20 petabyte.

01:16:10.000 --> 01:16:13.001
Well, gratefully, hard drives have gotten
a lot more compact over the years.

01:16:14.000 --> 01:16:19.000
In fact, a big chunk of the Wayback
Machine is right behind you in those six

01:16:19.000 --> 01:16:21.001
towers back there with
with the blinking lights.

01:16:22.001 --> 01:16:26.001
I say a big chunk of the Wayback because
we've actually got it in other places.

01:16:26.001 --> 01:16:33.000
We subscribe to this site,
this concept of lots of copies keep stuff safe.

01:16:33.001 --> 01:16:37.001
And so we're trying to help to
preserve the 20th century and

01:16:37.001 --> 01:16:39.000
keep it safe for future generations.

01:16:40.001 --> 01:16:46.001
So over the past 20 years,
we've archived about 300 billion web pages.

01:16:47.001 --> 01:16:52.001
In fact, in the time that Vinay and I are
up here on stage, we will have archived

01:16:52.001 --> 01:16:58.000
about a half a billion web pages. 500,000 web

01:16:58.000 --> 01:17:00.000
pages just in the time that we're up here.

01:17:00.001 --> 01:17:06.000
We do this 24, 365 working to preserve the

01:17:06.000 --> 01:17:07.001
web for future generations.

01:17:08.001 --> 01:17:12.000
You might ask yourself, yeah, it's a lot.

01:17:12.000 --> 01:17:13.001
So a lot of numbers, a lot of web pages.

01:17:14.000 --> 01:17:16.001
But she might ask yourself,
like, well, OK, well, so what?

01:17:16.001 --> 01:17:18.001
You know, I mean, like, why is this important?

01:17:19.001 --> 01:17:20.000
And, you know, as well.

01:17:20.000 --> 01:17:26.001
But we've seen this last year, especially
having a memory, a collective memory of

01:17:26.001 --> 01:17:29.001
our of our consciousness is super
critical because there are people

01:17:29.001 --> 01:17:31.000
out there who are trying to erase it.

01:17:32.000 --> 01:17:36.001
EPA data, climate change data,
NASA science, all of it.

01:17:37.000 --> 01:17:38.001
All of it is really fair game.

01:17:38.001 --> 01:17:45.001
In fact, just last week, FEMA deleted
information on their web page about the

01:17:45.001 --> 01:17:49.000
percentage of people in Puerto Rico
who had access to electricity.

01:17:50.000 --> 01:17:50.000
Yeah.

01:17:50.000 --> 01:17:55.000
And a few people noticed that we noticed
that we, of course, had archives of

01:17:55.000 --> 01:18:00.001
those web pages with the information and
it got spread around on social media.

01:18:01.000 --> 01:18:05.000
And this Washington Post story tells a
story about how about a day and a half

01:18:05.000 --> 01:18:08.000
later,
that information was restored back to the Web.

01:18:08.001 --> 01:18:12.000
Now, I don't really know what happened,
but I like to think there was an example

01:18:12.000 --> 01:18:15.001
of the Wayback machine being
used to speak truth to power.

01:18:23.000 --> 01:18:27.000
So this last year, with the support
of the Arnold Foundation, we've

01:18:27.000 --> 01:18:29.000
rebuilt the Wayback machine from scratch.

01:18:29.001 --> 01:18:33.000
Last year, we launched a very rudimentary
search searching for websites.

01:18:33.001 --> 01:18:37.001
You can now access the Wayback machine
from iOS apps and Android apps.

01:18:38.000 --> 01:18:41.000
We've got browser extensions
for all of the major browsers.

01:18:41.001 --> 01:18:46.000
And we've worked with Wikimedia Foundation
and that we've corrected millions of

01:18:46.000 --> 01:18:49.001
broken links out there on the public web
that otherwise would have would have

01:18:49.001 --> 01:18:52.000
resulted in the dreaded 404 page not found.

01:18:52.001 --> 01:18:55.001
But now they'll point you to pages
preserved in the Wayback machine.

01:18:56.000 --> 01:19:00.000
But we wanted to like we have a special
special thing we want to share with you

01:19:00.000 --> 01:19:06.000
tonight, and that is basically this is
where we're introducing now the most

01:19:06.000 --> 01:19:11.001
innovative evolution in the history of the
Wayback machine to help bring the 20th

01:19:11.001 --> 01:19:13.000
century into the 21st century.

01:19:13.001 --> 01:19:18.000
So I'm proud to introduce now Vinay Goel,
the senior engineer for the Wayback

01:19:18.000 --> 01:19:23.001
machine who created and invented
this new Web Search 2.0.

01:19:29.001 --> 01:19:32.001
Thank you, Mark, and good evening, everybody.

01:19:33.001 --> 01:19:37.000
The Wayback machine was released to
the general public in the year 2001.

01:19:38.000 --> 01:19:44.000
For the next 15 years, our users browsed
archived versions of web pages by typing

01:19:44.000 --> 01:19:49.000
in a URL into this box that you see here
and then browsing archived versions.

01:19:50.000 --> 01:19:54.001
But how about you when our user didn't
know quite didn't know exactly what you

01:19:54.001 --> 01:19:58.001
were looking for? To that end,
we took a big step last year.

01:19:59.001 --> 01:20:04.001
We released a version of Wayback Search
where you could type in keywords and

01:20:04.001 --> 01:20:09.001
discover the home pages of
hundreds of millions of websites.

01:20:10.000 --> 01:20:11.001
So here's an example.

01:20:15.000 --> 01:20:21.001
So today we're happy to preview for you
the natural next step in the evolution of

01:20:21.001 --> 01:20:26.000
Wayback Search.
We present to you Wayback Search 2.0.

01:20:27.001 --> 01:20:32.000
With this new version, yeah, whoo,
with this new version, you will now be able to

01:20:32.000 --> 01:20:37.000
type in keywords and discover not just
the home pages of millions of websites,

01:20:37.000 --> 01:20:40.001
but also billions of individual web pages.

01:20:46.000 --> 01:20:48.000
Well, let's give it a shot.

01:20:48.001 --> 01:20:53.000
It's the turn of the 20th century and
I'm looking for web pages related to

01:20:53.000 --> 01:20:59.001
climate change. So I would come in here,
start typing climate change, and then

01:20:59.001 --> 01:21:03.001
I'd filter it to years 1996 through 2000.

01:21:07.000 --> 01:21:08.001
It's a live demo, so wish me luck.

01:21:13.001 --> 01:21:14.000
There you go.

01:21:15.000 --> 01:21:15.001
Third time's a charm.

01:21:18.000 --> 01:21:19.001
Search and here it is.

01:21:20.000 --> 01:21:25.000
It's showing you web pages from the
Wayback machine that were first that first

01:21:25.000 --> 01:21:27.000
appear on the Web in the 1990s.

01:21:28.000 --> 01:21:31.001
Many of these web pages are no
longer on the live Web today.

01:21:32.000 --> 01:21:35.001
A Google search will not return these pages,
but here they are

01:21:35.001 --> 01:21:37.001
preserved in the Wayback machine.

01:21:45.001 --> 01:21:47.000
But wait, there's more.

01:21:47.001 --> 01:21:51.000
For the first time ever,
you will also be able to search through

01:21:51.000 --> 01:21:52.001
billions of images.

01:21:53.000 --> 01:21:59.001
In this case, billions of images related
to climate change from the late 1990s.

01:22:01.000 --> 01:22:02.000
Why stop there?

01:22:03.000 --> 01:22:07.001
Search through hundreds and millions of
audio files like this one talking about

01:22:07.001 --> 01:22:12.001
how the small organisms in the Great Lakes
are threatened by climate change in 99

01:22:12.001 --> 01:22:18.000
or 2000 there. Video files like these
QuickTime movies on classes related to

01:22:18.000 --> 01:22:22.001
climate change.
Other media files like PDFs like in this case.

01:22:24.001 --> 01:22:29.001
The original text of the Kyoto Protocol
for climate change in the 1990s, all of

01:22:29.001 --> 01:22:31.001
this data at your fingertips now.

01:22:36.000 --> 01:22:40.000
So this is a lot of data.

01:22:40.000 --> 01:22:42.000
It's a lot of data at your fingertips.

01:22:42.001 --> 01:22:46.001
So you might come across cases when you
want to limit the results to specific

01:22:46.001 --> 01:22:50.000
websites. Now, here at the Internet Archive, we

01:22:50.000 --> 01:22:52.000
love animated gifts from geocities.

01:22:53.001 --> 01:22:55.000
So let's try to find them here.

01:22:55.001 --> 01:23:01.000
So I'm going to filter my search to
just geocities. So I type in site colon

01:23:01.000 --> 01:23:05.001
geocities dot com, followed by say snow globe.

01:23:10.001 --> 01:23:12.001
And there you have it.

01:23:14.000 --> 01:23:18.001
Fun animated images of snow globes
from our beloved geocities.

01:23:21.000 --> 01:23:26.000
So from climate change to animated images
of snow globes, whatever your personal

01:23:26.000 --> 01:23:31.001
rabbit hole, we invite you to time travel
the web with us in the Wayback Machine.

01:23:32.000 --> 01:23:32.001
Thank you.

01:23:33.001 --> 01:23:35.001
Right on. All right.

01:23:35.001 --> 01:23:35.001
[...]

01:23:52.000 --> 01:23:54.000
have other Jason's been here?

01:23:55.000 --> 01:23:57.000
What did they tell you?

01:23:58.001 --> 01:23:59.001
There's going to be this election.

01:24:00.000 --> 01:24:02.001
So, oh, hey, hey, it's me.

01:24:03.000 --> 01:24:03.000
OK.

01:24:04.001 --> 01:24:07.001
So are you having fun?

01:24:12.000 --> 01:24:15.001
Well, you've been sitting through our
presentation, some of our amazing things

01:24:15.001 --> 01:24:18.000
that we've been showing you
functionality with the Wayback

01:24:18.000 --> 01:24:20.000
Machine, with software, with books.

01:24:20.001 --> 01:24:22.001
This is going to be a great year coming up.

01:24:23.000 --> 01:24:25.001
I promise it's going to be a really fun time.

01:24:27.001 --> 01:24:28.001
So what's next?

01:24:29.001 --> 01:24:29.001
[...]

01:24:31.001 --> 01:24:33.000
The three main things, right?

01:24:33.000 --> 01:24:34.001
We have dessert downstairs.

01:24:35.000 --> 01:24:35.001
That's right.

01:24:36.001 --> 01:24:38.000
Dessert from three twins ice cream.

01:24:38.001 --> 01:24:43.001
We've got dancing outside in the
back of the archive with DJ Fast.

01:24:43.001 --> 01:24:46.000
Ready,
spinning 78s and all sorts of great music.

01:24:47.001 --> 01:24:51.000
And we might have exaggerated
about those little

01:24:51.000 --> 01:24:52.001
cards with the stickers you have.

01:24:53.001 --> 01:24:56.001
We told you if you got every sticker,
you'd get a special prize.

01:24:57.000 --> 01:25:00.001
Well, everybody gets that special prize.

01:25:03.001 --> 01:25:07.001
So go downstairs and claim
your Internet archive black

01:25:07.001 --> 01:25:09.001
beanie with a logo right in the front.

01:25:12.000 --> 01:25:15.000
Let us let everyone know as you walk down
the street who your favorite website

01:25:15.000 --> 01:25:19.000
is, it's a very 1990s idea, isn't it?

01:25:19.000 --> 01:25:20.001
It is. Let's go there.

01:25:21.001 --> 01:25:21.001
All right.

01:25:22.001 --> 01:25:25.000
All right.
Well, I guess that's really just that's it.

01:25:25.000 --> 01:25:27.000
Has it been a good time for you?

01:25:27.000 --> 01:25:28.000
Thanks to everybody.

01:25:29.000 --> 01:25:29.000
[...]

01:25:32.000 --> 01:25:33.000
Thanks again.

01:25:33.001 --> 01:25:35.001
Go on out. Have a good time.

01:25:36.000 --> 01:25:38.000
Thanks to everyone who worked on it here.

01:25:38.000 --> 01:25:39.001
God bless you, Santa Rosa.

01:25:39.001 --> 01:25:40.000
Good night.

01:25:41.001 --> 01:25:42.001
Thanks for coming.