 Museums are always changing with the society and sometimes it's a kind of evolution, sometimes it's because of political pressure and sometimes it's because of technology. To make it really complicated from the beginning, something that I want to talk to you about it is about Niklas Luhmann called auto-poesis means it's a communication system that learns by its own in using it. If you sit next to someone and they ask you what you're doing and you talk about an exhibition and then they ask you how many objects do you have on storage and that's exactly the moment when you have to tell them probably 80% on storage and 20% on display. So that means that most of our rich collection makes a museum a museum is not seen by the public, not used, not for research. I think we have to change that and with the new technology we have a chance to have a different approach. But just to introduce you a bit in the collection I show you a few objects. It's more or less random. This is Japan 16th century and armor. Salvatore Dali, poster for the Alps French Railways. Brian Long, box-shell chair. We have around two million objects that are not on display. So this is just a small variety of a huge collection. This is the collection. Who is our audience in the future? It's not related to it but let's think a little bit about the audience today what we call digital natives. Could digital natives today live without the internet? 75% say no. Last year if you think about the increase of education on the internet it increased by 11%. So there is a demand for it. What is the percentage of 18 to 24 year-old access to video online? 91%. The average UK adult now spends more time per day engaged with digital than they do sleeping. Is it yes or no? Yes they do. How many times a day does an average digital native check the smartphones a day? What do you think? At least 45 times. So how do we bring those objects and this together? What do we have in our museums for a very long time even in the 19th century is something we call open storage, transparent storage, working with our collection. This is the V&A ceramic and glass collection but there's still a difference between the audience, the use of the client however you call them and the objects and research and conservation and the curator. We have something in the V&A that we call Gloth Worker Center. I think it's very random museums world. So you can check in if you're interested in textiles. You can check in online. You have a meeting, you arrange a meeting with the curator. You can see textiles. You can work with the curator. He will support you. He takes a while. It's like like going to an archive for working in a library. And we have a lot of experts or people are just interested in textiles and other objects coming to the museum and work with our curators. So there is an interest, there is a demand to see more than just a curated show or gallery. I like this slide. Do you know what it is? It's our storage facility. It's outside London and it's a form of Prusmus Alpanko. And we call it deep storage. We have two of those bunkers. The Tate has three and the British Museum has five. I don't think it's a secret. If there is an object in deep storage, it's forgotten. It's perfectly stored. It's very well done. But don't try to come to the V&A and ask that you want to see one of those objects in there. Or this beautiful Frank Lloyd Wright office is in deep storage. So it will take ages till it comes out of the deep storage and used somewhere in the V&A. So how can we combine both? This is already technology of the 1990s. Again, I don't want to ask our curators to put a Ming vase on top of that shelf or a beautiful textile and then this robot will come and take it out. But what I mean is there's a lot of amazing technology of logistics that you can use in a completely different way. It needs development, it needs more, it needs research, but you can do different things. We have to bring both together. There must be an opportunity to do that. My interest or my suggestion is that we use digital technology or as Tim said, the digitalized collection to change the accessibility of our collection. It means you are an expert or let's put the other way around. You are from Iran. You're born in Tehran. You've never been in Tehran, but the V&A has an amazing collection of objects from Persian Iran. So you want to see more in the museum, more than it's on display. It looks probably in the end more like a store today. But you check in, you work with the curator, you receive more information and you create probably something like your own exhibitions with three objects, with five objects. Maybe it's there for a few hours, maybe for a few minutes. Maybe you leave it there in our storage facility. It's more like an archive. So you create your own exhibition. What we ask you to give us is your expertise, your knowledge. We want to learn from you. So if you are a researcher and you work on Syria, it's like Wikipedia and objects in three dimensions. I think there's even another opportunity, another possibility or a challenge. That means do we really need courageous shows today? Yes, we need it. It's like writing a book. We need your opinion. I think we need even more. We need, let's say, something that's called like a headline exhibition. This is an object probably you know it. It's a 3D gun that was invented in Texas about a year ago. It was in the media everywhere. Our curators went to Texas, talked to the young man who invented it, received all the information. We had it on display just for a short time. It means it was a reaction, an immediate reaction on what happened in public. It's about information. It's about explaining what's going on. But at the same time it's, and Jim I think we have the same opinion, it's about the real object. It's about the aura of the real object. So what we want to show is the object and give more information at the same time. But it doesn't mean it's an exhibition. It could be there only for a few days or a few weeks. It's more like a headline in a newspaper. Or even more important, I'm sure you heard about Pegida in Germany, in Dresden, this very strange movement that started just a few weeks ago. It's a very right-wing, very xenophobic movement. What is it exactly? We have the objects to give you a more background to understand what, not to understand what it is, but at least to explain what happened there. There are reactions on it from artists who try to comment like this one. His name is Manal Halbuni. He's an artist from Syria, living in Dresden, working in Dresden, studied at the Academy of Arts. And what he did immediately, he asked, if you are a refugee, if you have to leave the country, what do you take with you? So he arranged those cars like someone who is just leaving and they put in Dresden right in the middle of those demonstrations. There's a possibility of an immediate reaction that is combined with the technology of displays today, logistics, but at the same time a digital approach and working with the knowledge of our creators and our conservation. Thank you.