 The problem that we're interested in engaging with here is a broad problem, but also with a kind of site-specific component. And that is, what are all those screens doing in museum spaces? As museums, which are institutions that are deeply dedicated to creating staging, structuring experiences of physical artifacts in a certain kind of viewing space, grapple with, first of all, the increasing prominence of digitally-based forms of art practice, media-based art practices, but also with a larger question of how their traditional object-based collections could interact with a world where data is like a kind of halo that surrounds us in everything from our everyday activities to the kinds of cultural and social and economic experiences that we have. And not surprisingly as a feature of this new set of realities, museums have started to install wall-sized media spaces into the design of their either existing structures or future structures. In the case of the Fogg Museum, which as many of you know is undergoing, is really completing a really kind of dramatic expansion of its traditional plant, there is a designated room that has a media wall. So the question that we're interested in addressing is, what should one, what could one do with such media walls that somehow interacts with the core mission of a museum as a structure, particularly a university museum, a museum that has a particular vocation, not just to prepare high-quality programming, but also to be involved in research and teaching. So our group is going to be working out a series, I think, of programming scenarios, ideas about ways of expanding the visitor experience through this media space that will be part of the Fogg. But again, this is a case study that's applicable to a number of other kinds of cultural institutions, including libraries and archives that are experimenting with these kinds of media walls. And especially I think what we're interested in thinking about is how those parts, those invisible parts of an institution like a museum, which in the case of most museums is by far the bulk of their permanent collections that sit in storage, often invisible even to the very guardians of those collections, how we can somehow create experiences of collections as aggregates using visualization tools, for instance, allow visitors to somehow experience an institution through its collections, to not only navigate those collections, but interrogate them, to make those processes part of the museum visit experience, whether it's on-site or off-site. The other piece I think that we're going to be actively thinking about is the dialogue between those physical collections and these sort of data-driven ways of engaging with collections. What are the emerging, the interesting, the engaging models of curatorial practice that would link these kinds of environments, build a bridge between forms of exhibition practice, of curation that are deeply rooted in the tradition of modern museums, but that somehow add value, expand the sort of range of experiences, the richness of experiences one can have in a face-to-face encounter with a physical artifact? So those are the broad contours of what we're going to be doing. Yeah, I think what's distinctive about engagement in these ideas in the context of this initiative is that we have a case to contend with. We have a physical space that's undergoing transformation. We have an institution that's undergoing transformation. And museums are very challenging institutions to work with. They're very exciting institutions to work with because they afford us such great riches, such great experiences. And yet they have a number of constituencies to whom they're answerable, especially in the context of an academic museum, multiple and often competing missions and interests. And to a certain extent, ultimately, it's a zero-sum game. It depends on who steps up to make these marvellous ideas that we have possible. So the case is an immersion not only in these kinds of very exciting questions about how museums and the objects in them interact with the world, but how that world interacts with the museum, in a sense, and how we actually get something built. So we'll have the opportunity to work with curators, art historians, with designers, with technologists, and spend time thinking about how these institutions body forth in the world. So that engagement with the challenges of real, I think, is something that I'm very excited about.