 Felly, I originally planned to write this presentation in Iambic Pentamaser, but then I decided against it partly, because I thought it probably wouldn't work. But anyway, this week, the BBC Director General is officially launching the BBC Shakespeare Archive resource, so I'm lucky to be able to give you a sneak preview of the data and the technology that we're using. So, if you're all sitting comfortably, this is the BFI. I'm from the BBC so it'd be right to show you a short film about the research and education space which is our platform that collects information about media and other resources. We're using it to power the Shakespeare archive resource amongst other things. Something bold and new is happening. A technological innovation which will unlock the publicly held archives of many great institutions and inspire new ways of learning in the digital age. The research and education space, REZ, aims to make it easier for teachers, students and academics to discover and use material held in the public collections of museums, broadcasters, libraries, galleries and publishers to enhance learning. The research and education space searches the web, retrieving linked open data published by institutions about their collections, then organizes and indexes it. The index data describes topics and resources and directs applications to where they are located. The resources can be anything, TV programs, radio shows, images, documents or other digital assets. The platform does not republish digital media itself. Instead it finds places where the same topic is described, keeping track of where it can be found and whether it can be accessed. It delivers a comprehensive list of everything about that particular topic. REZ then provides open APIs, enabling anyone to build teaching products that can be simply and easily accessed by UK students, teachers and academics. Most search engines look at everything available across the web. For example, if you search for Bastille, it will display high-ranked material first, making it more likely to get references to the pop band than the French fortress, and it's not always clear who the material belongs to. The research and education space works differently. When you use a product powered by REZ, your search will match the topic of your choice and the platform will provide you with the information about the related resources from all the reliable collection holders it knows about. We want greater collaboration with collection holders to release your catalogs as linked open data. We want the vision of product developers to help us shape the many digital products which can be powered by REZ, and we want to hear from those in education to tell us what you want. We need you to help us make REZ the best in class. So that's the research and education space. I hope you'll agree it's a groundbreaking platform. We can't promise to do away with folly and ignorance, but we're trying our best. But a platform is only as good as the data it indexes, which is why I want to use the next few minutes to tell you about a data set released by the BBC and indexed by the REZ platform. To mark the 400th anniversary of Shakespeare's death, which is happening in April 2016, we are launching this week the BBC Shakespeare Archive Resource to provide schools, colleges and universities across the UK online access to our rich and diverse archive of television and radio broadcasts of Shakespeare's plays, poems, sonnets, and also programmes about Shakespeare, all described by a linked open data set published, and this is the important bit, under an open licence. The collection will include, amongst other things, the earliest British televised production of Othello from 1955, the first televised adaptation of Henry V, all 37 classic productions in the BBC television archive series, and many other things. We've got key classic interviews with Shakespearean actors and several of Shakespeare's sonnets in TV and radio broadcast. Away from the serious stuff, we even have references in entertainment programmes like Only Fools and Horses, Mastermind Deadringers and Blackadder, that is, where they mention Shakespeare, plus more than a thousand still photographs, which include all the ones we're seeing in this presentation today, and this is Leslie Moyer and a very young looking Stephen Tomkinson, starring in an adaptation of The Taming of the Shrew for Radio 3 in 1988. And here is a representation of some of the data relating to a programme about Hamlet. The first line refers to the player, which will make the media available. The second and third refer to the data about the programme itself. The fourth line is the most interesting. It shows where the data is, as well as the synopsis, it also shows that this is a programme about the Prince of Denmark, and you can see we're linking to Wiki data's entry about Hamlet as the proof of that. The fourth link below takes you to genome. That's the project derived from our digitisation of all the back issues of the Radio Times. As you can see, this is an episode of Monitor where Hugh Weldon shares a discussion between Peter O'Toole and Orson Welles about Hamlet. Can you imagine those two in the same studio at the same time? But while the data is linked and open, we can't take the same approach with the assets, and this illustrates one of the challenges faced by media owners in a more open world. It's one thing to openly licence our data. It's very much harder to openly licence the asset the data describes. We are perhaps fortunate to have a relatively permissive rights framework for use of broadcast programmes in educational settings, and that's the era licence. That's a product of the 1988 Copyright Act, which created an exception to copyright for students in primary, secondary and further education that enabled TV and radio programmes to be watched as part of their studies. The Act allowed for a licensing body to be set up so that some income flows back to broadcasters, and now, so long as the establishment holds an era licence and we're fortunate in the UK that most of them do, we can watch your lists of acre rather, can watch your lists into any TV or radio programme broadcasts since 1989 without breaking copyright. So all of this content will be available to people who have authenticated as being in education. We're working with our project partners, the BUFVC, to make the programmes broadcast after 1989 available via their BOV system. We're also working with a company called PlanetEstream who have a similar service. The BBC has separately cleared the programmes broadcast between 1950 and 1988, and these will be available via a BBC branded website, and there's a complex system of authentication in place. But linked to open data from one source, even it is from the BBC, he says modusly, and it is about awesome wells amongst many other things, isn't really much use. You need more than one book to make a library. So here's my first call to action. We need much more data about Shakespeare. I was very pleased to receive a tweet from Richard Light at a linked open data evangelist this morning saying he has actually published every single line of Shakespeare as linked open data. We only found out this morning, so that's a start, a very good news. But scholars of Macbeth will be aware that limited availability of data wasn't exactly what Shakespeare had in mind here, but having just one data set does leave me wanting more. We are talking to other cultural institutions about their data, but our schools and universities need linked and open data sets with the licensing explicitly described, and they need it before Burnham Wood has come to Dunstanane. And I'm sorry I've resisted making bad Shakespeare puns until now, but it really is time. As my name to take Richard III did not say, some data, some data, my kingdom for some data. And Maggie Smith, seen here as Porsche in a 1972 production of The Merchant of Venice is right, as Shakespeare originally wrote, all that glisters is not gold. So here's my second call to action. To make it golden, we need product developers to take our data and turn it into golden digital products. We're using our linked open data to power a BBC branded website hosting the BBC Shakespeare collection, but that's a departure from the approach we'll be taking for the rest of the data in res. So please use our data to power your own products, whatever they may be. So just one thought, I've got a five-year-old daughter in her first year at the South London Primary School, when what would inspire her and her fellow classmates more than some kind of robot ass sitting in the corner of the classroom spouting lines of Shakespeare randomly at points during the day. By the way, that's Ronnie Barker. You might recognise him underneath that ass' kid. So I am going to leave the final word to Roger Daltrey, as that's usually wise, seen here in playing both Dromio of Aeficius and Dromio of Syracuse in a 1983 production of A Comedy of Errors. Thank you.