>> Laurie Allen: Thank you
very much for joining us
for this Connecting Communities
Digital Initiative grant for,
for any of the three
grant opportunities
that we're offering through the
Connecting Communities Digital
Initiative for an individual
for the artist or scholar
in residence program, for an
organization whose a library
and archival museum, and for
higher education institutions.
To get some housekeeping
out of the way,
this webinar is being recorded.
And we ask that you use the
Q&A feature in Zoom rather
than the chat feature.
So, please post your
questions to the Q&A.
It's a lot easier for us to
answer those and keep track
of what we're answering.
So, please use the
Q&A for that, okay?
I'm Laurie Allen.
I work in the Digital Strategy
Directorate here at the library.
And I'm joined from the library
from Adriana Malakini
[phonetic],
Giselle Avelis [phonetic],
Sahar Kazmi [phonetic],
Eileen Jakeway Manchester,
and Hope O'Keeffe.
So, you've got a full
cohort of people here to try
to help you answer some
questions that you have.
And we're just going
to get started.
So, the way this is going
to go is we're going
to have a really brief
opening, just overview
of the people program,
and of the Connecting
Communities Digital Initiative
to make sure you're
all in the right place.
We have done a series
of webinars about each
of the grant opportunities
that we're here
to answer questions about today.
So, we've already done and
posted webinars about each
of the three grant
opportunities.
And so in today's webinar,
we're going to spend really most
of the time for your Q&A.
So, this may take the full hour.
We may just be going back
and forth answering
questions the whole time.
Or it may be that, you know,
we do a small just introduction
to make sure that you all sort
of have a baseline understanding
of what we're here to discuss.
And then, and then
we'll, you know,
just spend time answering
whatever questions come up.
And so I'm going to
start with an overview
of the Connecting
Communities Digital Initiative
in little bit, just for a
moment about each notice
of funding opportunity, and
then just turn to questions.
I have a lot more slides.
And I have things to say so
that I can refer to the slides
that we've had from
past presentations.
But we're really here to
talk about the questions
that have come up for you.
But first let's just talk
briefly about the program
in case you haven't been to
one of these webinars before.
This, these opportunities
are all part
of the people widening the path,
of the people widening the
path is a multiyear initiative.
It creates new opportunities
for more Americans to engage
with the Library of Congress
and to add their perspectives
to the library's collections,
allowing the national library
to share a more inclusive
American story.
And it's funded from a grant
from the Andrew W.
Mellon Foundation.
This is a library wide program.
It's a library wide program with
three main programmatic arms.
One is the Internships
and Fellowships Office.
One is the American
Folklife Center.
And one is the Digital
Strategy Directorate,
the home of the Connecting
Communities Digital Initiative,
which we're here to
talk about today.
So, before we dive in to
the CCDI opportunities
for libraries, archives,
museums,
for higher education
institutions, and for an artist
or a scholar in residence,
I'm going to just briefly
mention the other arms
of the people program.
All information about of the
people is linked to from the
of the people website on
the library's homepage.
So, I'm just kind of reviewing
some things that are here,
but you can find more
on the library's website
for of the people and on
the of the people blog.
So, the Internships
and Fellowships Program
has applications open now
for junior fellows
for the summer.
And the Archives, History,
and Heritage Advance Internship
Program is another really
wonderful program funded
through this opportunity.
I encourage you all
to take a look
and see what opportunities
are available
for interns and fellows.
The American Folklife Center
is offering a series of grands,
they are called the
Community Collections Grants,
that support cultural
documentation by communities.
This entails public
participation in the creation
of archival collections seeking
to support contemporary
cultural documentation,
focusing on the culture
and traditions of diverse
and often underrepresented
communities in the United States
from their own perspectives.
This, the American Folklife
Center's grant opportunities are
available for, they'll
be available each year.
This year's grant
opportunity is closed.
The review process
is happening now.
And that will be
announced sometime I believe
in the new year, though I'm
actually not sure it might be
this year.
But they will have future
opportunities in the future.
I really encourage you,
again, check the website,
check the blog to stay informed.
You can sign up to
follow the blog if you
like to make sure
that you're informed.
New funding opportunities will
certainly be posted there.
It's a really cool program.
So, now we turn to Connecting
Communities Digital Initiative.
So, this one is housed in the
Digital Strategy Directory,
which is also the home to
LC Labs, and LC Labs is part
of the inspiration for
this Connecting Communities
Digital Initiative.
Part of the inspiration comes
from the creative and innovative
and experimental work
that's been happening,
that LC Labs has been sponsoring
and supported in undertaking
on behalf of the library to
see what ways technology has
to offer us in reimagining
the library's collections
and how they engage with
the American people.
So, they have a series
of experiments,
they incubate new
programs and ideas.
And you can find
more about their work
at labs dot [inaudible] dot gov.
So, that's one inspiration
for this program.
And another is communities,
artists, activists, individuals,
scholars, students, learners
and teachers, and libraries,
archives, and museums around
the country, sharing stories
about their histories,
using technology
to cross the geographic
borders to create communities
across borders within U.S.
to tell their own stories
and insist on their
own inclusion
in the broader American story.
Especially the communities,
black communities,
indigenous communities,
Asian American, Hispanic,
and Latino communities
across the country
who are demonstrating
their participation
in this American story through
telling their own stories
in their own ways using
all kinds of technology.
So, the library is using this
Connecting Communities Digital
Initiative to try to
find ways to make sure
that our collections,
our digital collections
which we've been
investing and digitizing
for decades are valuable
and useful for folks
who are telling their
own stories.
So, and the stories
of their communities.
So, here's a picture of that,
communities across the country,
the library's digital
collections, what kind of,
what kinds of connections
can we make there.
So, that's a program overview.
And for this, as sort of the
three grant opportunities
that we're offering are, and
I'll talk first about these two,
because these two are the
organizational grants.
The grants to higher education
institutions targeting two
and four year minority serving
institutions, and the grants
to libraries, archives,
and museums.
That's one, those are two
different opportunities.
They're similar in nature.
They're each $60,000.
We'll be awarding one of
each of them this year.
In future years, I anticipate
the program will offer more
of these.
So, those are, those are
offered, and the due date
for those applications
is December 14th.
Oh, sorry, I skipped, sorry, and
here's the one about the grants
for higher education
institutions.
I'm sorry.
Yes, so I think I
already talked about it.
This is about using
the up to $60,000
to support the development
of a digital interface
publication exhibition
or experimental approach
to bringing digital library
Congress materials together
with a course program
or interest group
that will make use
of the product
for educational purchases
at a two
or four year higher
education institution.
Grant for libraries,
archives, and museums,
this is up to $60,000 to
support local cultural heritage
organizations by
enabling storytelling
across a range of programs.
And, again, this
is about designing
and implementing digital
projects, exhibitions,
interfaces, multimedia
products or publications
that use digital materials
from the Library of Congress
to engage black, indigenous,
or other community
members of color.
And then, so those, both
of those opportunities
are organizations.
And then there's one opportunity
available for an individual.
The individual need that work
alone, but the grant will go
to an individual,
to an individual.
And that individual will
have a two year residency.
And that doesn't
mean all in person,
but we're just using the term,
to engage with digital
collections,
demonstrate possibilities, and
share insights for the artist
or scholar in residence
we're looking
for something whose work sits at
the intersection of technology,
race, and cultural heritage
in the United States.
There's so many interesting
takes on what
that intersection looks like,
so many perspectives, scholarly,
artistic, crossing all kinds
of intersectional
boundaries and intersection.
That doesn't even
make any sense.
I'm sorry, intersections.
So, this artist or
scholar application closes
on December 21st.
Okay, for all three of these
opportunities, there is a notice
of funding opportunity
on grants.gov.
It's linked to from
the library's blog.
And we'll put those
links up in a moment.
But you've probably
all seen them.
Hopefully, I think those of you
who are here are probably deep
in the notice of
funding opportunity,
or about to dive into it.
For each of these, the notice
of funding opportunity has,
basically you should read
it, you should use it,
the answers to almost all
the answers to questions are
in the notice of
funding opportunity.
It might just take a
really, really careful read,
or just really using
that table of contents.
The beginning of it
describes the program,
what we're looking for,
what it is, what it's about.
Section C is the
eligibility requirement.
Who can apply?
That's all in Section C. Section
D is all about what do you need
to give us, and how
do you apply?
What do you submit with
your application and how?
And then Section E is all
about what are we going to do
to review those, and what's
the award going to look like?
For each of these opportunities,
oh, this slide has old dates,
I'm sorry, for each of these
opportunities, you can go to the
of the people blog
to find the links.
The links are, the links
are right on the real page.
And then you'll come
into each of the notices
of funding opportunity
has its own page
where we've been adding
questions and answers
as they come in and as we're
able to find answers to them
at the bottom, and where we
have lots more information
about each of the grants.
Okay, from each of these
pages, you can follow the link
to grants.gov, click
on related documents,
and download the forms.
I want to point something
out about this page,
because this is something
that does come up in questions
that we get over e mail.
This zip folder at the top
actually only contains these
two, oops, sorry,
these two items.
So, inside, inside this folder,
you can download the folder
and you'll get two items.
Or you can just download the
two items and you'll have them.
So, you shouldn't need to,
if you can't open the zip,
but you can open these
two, then you have it,
then you've got what you
need, there's nothing else.
So, these are the budget
plan worksheet and the notice
of funding opportunity itself.
And please, yeah, those have
all that you need in there.
Everything, there's a
link to the SF424 form,
which is the only other document
that you need to include.
And then all of the whole
package gets e mailed
to the library.
So, there's a grade
out apply button.
That is grade out because we do
not use grants.gov for applying
at the Library of Congress.
You just send your
package in an e mail.
You can send, if it
won't fit in one e mail
with all the appendices, you can
send it, you know, one of three,
two of three, three of three,
just make sure that
they're labeled.
And that's okay.
And that's in the notice
of funding opportunity.
Okay, and just as a reminder,
again, for these Q&As,
I think we're going to be
looking closely at the notices
of funding opportunity for
the answers, so you can just,
you know, go ahead
and have those open.
All right, this is the
time for questions.
That was a real speed through
all the what is this program,
trying to really make sure
that we're saving times
to get to those questions.
>> Eileen Jakeway Manchester:
I think we can jump
right in, Laurie.
We've got several
open questions.
So, the first one looks like
it's about the artist or scholar
in residence grant opportunity.
And there are two questions.
The first is asking about
what are the expectations
for the theoretical context
section of the application?
Is the project sort of expected
to be attached to
a specific theory?
And then the second question
is more granular about timing.
So, since the program will fund
a scholar or artist and resident
in 2021, 2022, and 2023, this
person would like to confirm
that there will be a 2021 artist
or scholar, or wants to know.
>> Laurie Allen: That
is a great question.
Thank you.
Both great.
Okay, the first one about
the theoretical framing,
I think because the residency
is for an artist or a scholar,
what kind of context is
necessary is probably different
in artistic circles
and scholarly circles.
And what theoretical
framing looks like is going
to be different depending
on what scholarly
discipline one comes from,
or what artistic practice,
what is engaged in.
And so what we're
looking for in terms
of that theoretical underpinning
is help us understand what kinds
of conversations is your
work part of, right?
What if it's part of
scholarly conversations,
which scholarly conversations?
Where is it grounded?
If it's part of artistic
practice,
communities of artistic
practice, which communities
of artistic practice is it from?
If it's from artistic, if it has
a theoretical framing, that is,
you know, an art theoretical
framing, then bring that.
I think what we're looking for
is sort of appropriate grounding
and context for the practice
that you're proposing.
So, if someone were
proposing a scholarly project
and didn't show us that they
know the scholarly conversations
that are relevant to that
project, that would be the thing
that we'd be looking
for there, right?
If someone's going to bring us
an artistic practice to say,
yeah, this work is part of
these communities of practice
for artistic works, or
is in this tradition,
so I hope that speaks
to that one.
The second one is just
honestly when this,
I hope this is the
2021 artist or scholar
in residence will actually be
awarded in 2022 the timelines
for these moved back
for various reasons,
including that we extended the
deadline to allow more time,
because this is the
very first time
that the library has
offered something like this.
And it took us longer than
anticipated to get it launched,
and then it took, and then we
immediately heard from folks
that they needed longer than
we had given them to apply,
and so we extended the deadline.
And so that 2021 artist or
scholar will be awarded,
that's this one, the one
that closes on December 21st,
is the 2021, and that
will be awarded in spring,
late winter, early
spring of 2022.
Okay.
>> Eileen Jakeway
Manchester: Thank you.
That was really helpful.
And I think that, you know,
it really seems like checking
up on the blog and the rest
of the sort of resources
that have been shared would
be a great place to look
for future opportunities.
Okay, so another question.
I'm not sure if this is
in regards to the artist
or scholar in residence grant.
But the question is about
whether or not projects
with a lot of pre
existing research are sort
of more competitive
versus proposals
that are more a discovery
process.
So, this person is interested in
telling stories, but is looking
like they would like to let
the stories that they find
through digging into the
library's collections lead their
project design.
And please, please
do let me know if,
feel free to add
another question
if that was not sort
of all inclusive.
>> Laurie Allen: Okay, so
the reason that the artist
or scholar in residence, so I
think this is for the artist
and scholar residence.
Is that right?
If this is for that
one, I'll say
>> Eileen Jakeway Manchester:
Yep, it looks like, yes,
because that person
asked the same question,
yeah, about [inaudible].
>> Laurie Allen: So, for the
artist in scholar residence,
I'll say it's a two year grant.
It's $150,000 right
over two years.
And the reason that it's
designed in that two year arc,
because that's a long time,
is because we have, we hope
and expect that the work will
be shaped by the selections
that the scholar or artist
engaged with when they,
the digital collections that
the scholar artist engages
with at the library, what
they find, what they find
through collaborating
with our curators,
getting to know people, you
know, we, you know, in the,
I think it's in, I
think it's in Section G,
we expect that between
year one and year two,
in that status update, you're
going to tell us what changed.
And, in fact, one of the
things we ask in the proposal
for the scholar artist in
residence application is
that you tell us how you
anticipate the project shifting
over those two years,
because we, you know,
I think we have worked
with scholars, artists,
researchers who are engaging
with the collections,
and it always changes,
it always changes
when you really dig
into the materials.
And so we wanted to build in
the time and space to do that.
And, of course, the addition of
technology, the addition of sort
of what is not just what is
the content, but what are,
what possibilities does
that content lend itself to,
what are the ways that it
might be reused or reimagined
or rethought using technology
or tools, those are also things
that change when you
actually get into them,
and that everyone who's done
a technical project knows it's
like, it changes a little bit.
So, that's all to
say we anticipate
that there will be
change in any project.
It doesn't mean you can come in
and say I have no idea what I'd
like to do, you know, we
still want to see a proposal
for an idea to explore.
But I think expecting that
it will shift is great.
>> Eileen Jakeway Manchester:
All right, thank you, Laurie.
All right, so I just want to
call attention to a couple
of the questions that we've
answered sort of in writing.
So, someone asked about file
sizes and sort of how to account
for the transfer of large files
as part of your application.
So, it looks like you are
capable of using Dropbox
or [inaudible] transfer,
that there is no limit
for the file size.
And, you know, those two
options seem acceptable.
And, again, just a reminder
generally to all applicants
to use the LSE dash
grants at LSE dot gov
to submit your application
materials.
And so this is another sort
of logistical question.
So, about knowing that
there's an eight page project
proposal limit.
But is there a limit to
the number of appendices
that applicants can include?
>> Laurie Allen: I have
noticed that there is not one
in the NOFO, in the notice
of funding opportunity.
You know, I have noticed
it and thought, well,
that's something I probably
want to add, because, you know,
we aren't, oh, my
gosh, there isn't,
there isn't something listed.
Hope, is there anything
you can say about that?
>> Hope O'Keeffe:
Not, not really.
I'm unaware.
I think given that we haven't
given, provided a limit,
legally I don't think
we can impose one.
>> Laurie Allen:
Okay, thank you.
That's what I thought.
So, no limit on that.
Note to self.
Probably don't want
to say, yeah, so
>> Eileen Jakeway
Manchester: That's great.
So, that answers that question.
So, there is a question here
about the communities
grant for organization.
>> Laurie Allen: This is a
community collections grant.
>> Eileen Jakeway
Manchester: Yes,
could you please speak
to that actually?
I'll make sure I can
follow up in the text
with some links to that program.
>> Laurie Allen: Thank you.
Yeah. So, the community
collections grant,
which is not one of the
three that is currently open,
so that one will, a grant
from AFC along the same
lines will open next year.
I can't, I don't know when it
will open, and I don't know
if it will be exactly the
same, but for this year, yeah,
it was a 12 month grant.
And I think it's
worth pointing out,
it's a really great opportunity.
They awarded 10, or they
have not awarded anyway,
but they will award 10 grants
in this program in this year,
and 10 again next year, and
10 again the year after that.
So, that's, they're awarding 10.
There's, I believe it's,
I believe it's $50,000
for the award, and then an
extra 10 only if you plan
to host an event and you need
the $10,000 for event planning
as attached to your award.
But I really am not
the person to talk
about the AMC opportunities.
And given that they're closed
for this year, I don't,
I can't say what the opportunity
that they'll offer next year is,
how closely aligned it will
be with this most recent one.
>> Eileen Jakeway
Manchester: Great.
And actually, if you don't mind
in another question clarifying
if you were referring to one
of the connecting communities
digital initiative grants,
so the three that
Laurie has outlined,
or if you were also referencing
the American Folklife Center
Community Collections Grants,
which we recognize
there's a little bit
of similarity between the two.
Obviously in focus.
But that would be really
helpful to help us sort
of tailor our response.
Thank you so much.
And also anyone else,
please, we are on a roll,
so if you have more
questions, we are ready for you.
>> Laurie Allen: Okay,
communities grant
for organizations, enter
anything specific in terms
of LS publicity for
LSE collections,
or would LSE be using the end
product in any specific way?
That sounds like an
Hope question to me.
Do you see the question?
>> Hope O'Keeffe: I
see, I see the question.
I don't necessarily
have the answer.
You retain, you retain the
copyright, so it's a question
of what license you
give us for it.
So, there's a bunch of, there
is something of a range.
We are asking in the
individual grants,
the grants to individuals,
we are asking
for I believe some
kind of presentation.
Am I wrong?
>> Laurie Allen: Yeah, I
mean, the grants to artists
or scholars in residence,
we definitely want to, okay,
this is the, they
specify, it's the grant
to libraries, archives
and museums.
I think what we'll say
>> Hope O'Keeffe: What does,
what does the NOFO say?
>> Laurie Allen: The NOFO,
it basically says we want you
to share it as openly
as you can.
And then if there's,
you know, we'd like you
to share it as openly
as you can.
We certainly want to be able to
reuse it for our own purposes.
Giselle, I've got this one.
Yeah, we want to be able to
reuse it for our own purposes.
You retain the copyright
to your own work.
And if there's anything in what
you produce that you don't want
to share that you have
intellectual property concerns
about, traditional
knowledge concerns about,
or anything like that,
just put that in, you know,
add that as an appendix,
that's it, that you want
to make sure that, you know,
noting what you aren't going
to share, but that there's
an assumption that is,
that you'll be sharing and
maintaining your own rights.
Sorry.
>> Hope O'Keeffe: Although
to be clear, if you've got,
if you've got your own website
and you want to put your stuff
up on your own website,
we're not necessarily
claiming the ability
to put it up on our website.
So, if you're sharing, you may
be sharing it directly rather
than through the
Library of Congress.
On the other hand, you might,
you might reach a somewhat
broader audience if you put it,
if you shared it with
our, with our cooperation,
and through our medium.
So, I'd say offhand, I'd
probably say included somewhere
in your proposal
what your sharing,
what your sharing plans are.
>> Laurie Allen: I think
it says in the NOFO that we
like folks to say that.
So, yeah, thank you.
Okay, I say this one
about if you're registered
and approved through sam.gov.
So, then I believe, yes, I
mean, you needed DUNS number,
I think you get that
before you register
with sam.gov, SAM,
is that right?
>> Hope O'Keefe: Eileen, you
had an answer for this one?
>> Eileen Jakeway Manchester:
No, I was just indicating
that we are answering
it live at the moment.
But I think it's
a great question.
[ Inaudible ]
>> Laurie Allen: Sorry.
The, yes, so if you
have registered for SAM,
that means you already
have a DUNS number.
This is for the two
organizational grants.
You have to have
registered for SAM,
and you have to have an SAM ID.
And so if you've got that,
you're great, and you just put
that in and we're good to go.
For the individual,
you can register there,
or there's a form that can fill
out after you've already applied
that we, it's called a vendor
survey form, which will ask
for like your banking
information and that sort
of thing, which we would
only ask awardees to fill
out before we could offer,
or potential awardees to fill
out before we could
offer an award.
So, but for the organizational
grants, yes,
if you have applied, if you
are registered with sam.gov
and you had your SAM ID, then
you're good to go on the,
then you just, you have
what you need to put
that into the application, yeah.
>> Eileen Jakeway
Manchester: Awesome.
And thank you for the question.
All right, I'm going to
give folks a couple minutes.
This might be a great time
for you to just take a look
through the notice of
funding opportunity.
Oh, Hope, raise your hand,
raise your hand, please, Hope.
>> Hope O'Keeffe:
Yeah, no, I just wanted
to remind anyone who's applying
for the individual grant
that there's also a
technology aspect of it,
so that we are looking
for people whose projects have
some connection to technology.
>> Laurie Allen: It's true.
Thank you.
>> Eileen Jakeway Manchester:
Laurie, oh, Adam says thank you.
Thank you, Adam, for your time.
Really appreciate it.
I think I saw one more question.
Okay, Laurie, do
you want to speak
to the higher education grant,
its funding amount and cap?
>> Laurie Allen: Yes to for
12 months for 60,000, yes.
And the IDC cap is 15%.
Sounds right to me.
I believe that is
what the NOFO says.
And that's for indirect cost.
>> Eileen Jakeway Manchester:
Would that be indirect costs?
Right, okay.
>> Laurie Allen: Yeah, that's
for indirect costs, yeah.
And that is, that is, I believe
that's what the NOFO says.
And it's, yes, and that's total
for whoever is claiming
indirect costs, yeah.
And I'll just mention again,
because I talked about the DUNS
and SAM registration for
the organizational grants.
And it's a little, it's been
a source of some confusion
for the, I'm sorry, the DUNS
and the SAM registration
for the library's
archives museums,
and for the higher
education are required.
I just want to be clear,
because this is come up a number
of times, for the
individual applications.
That is to say only for
the artist or scholar
in residence program, if you
are applying for that one,
then you don't have
to give a DUNS number,
you don't have to use a SAM ID.
Instead, you can fill out a
form, which we will provide
to selected applicants
so that before we award,
before they become an awardee,
to get the required information
that we need, which is
like Social Security number
and bank things and
that sort of thing.
So, just, I just want
to make that clear,
because we get questions
about it a lot,
and I know that it can be
a little bit confusing,
so I hope that helps.
But, yeah, if anyone has
any last questions, please,
please drop them in here.
Thank you all for joining us.
And I hope that your
applications, yes,
you can totally use the SAM,
yeah, you can absolutely,
if you have a sam.gov ID, great.
And, yes, and then
fill out the form.
No, you won't need the form
if you have the SAM ID.
They're the same info.
So, you won't need it.
Thank you all for
joining us so much.
And, oh, great, another one.
So, the artist or scholar one.
Someone said what are
some of the budget items?
And so I'll just, I think I'm
going to go down to, okay,
so the budget categories,
and this is true for all
of the grants, but we're
talking here specifically
about the artist or scholar one,
the budget category, so salary,
wages, and benefits, right, for
the, yes, travel, equipment,
and supplies, that's, those
are budget categories that are,
that we would see supporting.
Contractual, that is if
there's someone, some person
or organization or, you know,
company who's, who you want
to contract with for
products or services,
that would be allowable.
And then other costs.
So, as long, so any of those
categories are available.
No, I don't believe you
can have indirect costs
for an individual.
I don't think that that
is, I would have to check.
>> Eileen Jakeway Manchester:
Speak broadly, Laurie,
to what sort of how
indirect costs are described
in the, in the NOFO?
>> Laurie Allen: I have to
go look at the NOFO, right?
I can't, I need to go
look, I don't have,
I don't know off the top of my
head whether it says anything
about indirect costs
in the opportunity.
>> Eileen Jakeway
Manchester: I mean, and, again,
that really is the sort of, you
know, canonical source here.
So, hopefully that's a
good place for you to look.
There's one follow up
question to Hope's point
about these technology, whether
or not technology can be
approached as sort of a subject
or topic of study, or in the
execution of the project.
So, using technology like new
media forms, virtual reality,
or, you know, technological
installations.
>> Laurie Allen: It
is both are welcome.
So, I think the use of or
exploration of technology
as a tool and as a part of
society are both parts of this.
As Hope pointed out, it's
important, it's important
to note that it has to be,
you know, we're looking here
to help the general public, as
well as the Library of Congress,
reimagine our digital library,
right, the digital part
of the library, reimagine
what the digital library means
in the context when considered,
you know, centering the lives,
experience, and perspectives
of communities of color.
And so that the, that's a
really big thing, and, you know,
we expect that the artist
or scholar will have much,
will take much narrower
slices of that giant puzzle.
And so there's narrower slices
can be technical approaches,
very deeply technical, or they
can be theoretical approaches,
or artistic approaches,
but they have to be,
they have to have something
to do with technology,
cultural heritage
materials [inaudible].
And so it can be in either case.
I can't speak specifically
to a particular
so I can see a question here
about like I would be
using this and this.
And I think as long
as there is a,
as long as there's a
technological component,
and it addresses the
intersections of, you know,
cultural heritage and race,
and there's a technological
component,
then it's absolutely in there.
I think we want to hear about,
you know, we want to hear
in the application about
how it fits together.
And I think, yeah, I hope that
that answers the question.
So, you know, eligible,
absolutely,
but certainly looking at what
are the parts of the application
that we're looking for and
making sure that you're speaking
to the questions there.
So, why is the technology
that you're using appropriate?
Those kinds of questions
I think are in the notice
of funding opportunity.
And we want to see those.
And I just got, it just
was pointed out to me
that we haven't mentioned
that if, that this opportunity
or one similar to it, and
these three opportunities,
or ones similar to them,
will be available next year.
And anyone who doesn't, there's
no limitations on applying
if you, if you are awarded, if
you are not awarded this year,
you're welcome and encouraged to
reapply next year just as a note
in case, so throwing your hat
in this year will not
negatively impact your chances
for next year.
I'm just looking for
definitions of indirect costs.
I don't see anything
in the artist
or scholar residence
about indirect cost.
I think that by definition if
it just doesn't make sense, but,
all right, well,
thank you all so much.
I don't see more questions,
so we're here if you need us.
But it looks like they
have stopped, so I will,
I'm going to stop
sharing my screen, and
And I'll say thank
you for your time.
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