 Kia ora. My name is Adam Hyde. I'm a New Zealander living also sometimes I mean to say hello to small world New Zealand living in Berlin and around the place. I have a number of different hats that I wear. I started an organisation called Floss Manuals, which is a rights free documentation about free software. It's a completely voluntary effort. Also founded a platform called Book Type, it's been around for 60 years or so, it's a collaborative book production platform, and a methodology called Book Sprints, which I started five years or so ago, which is what I want to focus on now because it's most closely aligned to notation and notation. So Book Sprints in brief is a rapid production methodology. It brings together a group of people, six to twelve people, to work collaboratively, often in the same space. It's very much about concurrent production. It's about the real-space interactions, although it can also happen in part remotely or entirely remotely. It's an intensive collaborative process, and it's also a very good participative learning environment. So if you have a group of experts in a room, they all learn from each other, and if you have a mixture of experts and non-experts, it becomes a really fueled participative learning environment. And I'll talk about this a little bit because this is a little bit about what I was asked to discuss. So this is what a Book Sprint basically looks like. A whole lot of people sitting around a table somewhere nice, working together. This is what it also looks like. Food is probably the most important ingredient from a Book Sprint. I pay the role of facilitator, by the way, because it's a heavily facilitated process. So some of the early examples, we started off with a very vague methodology put to work on very concrete material, and now we sort of have a very concrete methodology that we're putting to work on increasingly more vague material. But we started off, for example, with free software, very concrete things. This is a Book Sprint we did in two days. So we produced a 350-page book about introduction to the command line. And it was a two-day Book Sprint, and it's a fantastic book. So just to give you a sense that the development process is very fast, which is one of the things I want to talk about with regard to annotation. Oil contracts, all this content is free. It's a very immersive collaborative environment. It needs to be freely licensed, and not only that, but people have to have a feeling of collaboration. It's a single authorship, but everybody is in this together. Oil contracts is one kind of risky experiment with five oil company contract lawyers and some watchdog groups and government personnel. The question was, could they collaborate, and they collaborated really fantastically well as it happened. This is another Book Sprint we did about notation systems. We've also applied it to the humanities with a group of four professors looking at digital aesthetic practice through the lens of some avant-garde practice. That was extremely interesting. And just recently, just last week, in fact, with the University of Amsterdam, there's a first Book Sprint involving, or second Book Sprint actually, involving students from a media studies course this time from the University of Amsterdam to produce works in a Book Sprint that then get assessed. And then towards what one of my personal aims is to see Book Sprints used by students to produce textbooks, open textbooks. Students create the textbooks and it's consumed and improved by students. So Book Sprints use a lot of annotation and I just want to put in the notation into the annotation because I don't see the difference actually and I think it's quite an interesting discussion about what notation is as a personal or a shared system and how they develop because this is a very important part of intensive collaborative practice that you develop a language together which is commonly referred to as a notation system. And that notation system might just exist for a very short period of time for the duration of the sprint or it might go beyond that. And annotation is this understanding, I guess, of another layer on top of these things. We seem to go in between each other and also I think this is very much true of how publishing and publications are changing. We've always had this idea of a printed page and the annotation is a layer that sits on top of it but as we go more and more into the digital sphere there's no need to make this differentiation. So the interplay between the layers is a little bit more confusing and the question of what is annotation and notation I think also comes under this kind of semantic re-under re-orientation I think. Anyway, so this is what some of the sort of systems that we use, commonly known as post-it notes and we use analog scribal devices for the notation. And I also, one of the important things to point out in this is that I very much love the idea of the interplay between the analog and the digital of having analog notation systems alongside digital notation systems. Anyway, and them informing each other. So generally we make lots of notes and these systems become very complicated. This is kind of the mapping of some concepts in the Humanities Sprint we did about Andre Malereau in Imaginary Museums. This is Dr David Berry explaining some idea of how he wants to remap this. Notation and Book Sprint talking about concepts. And we also use also drawings. This is a notation systems Book Sprint where we had Dragons and Turtles as the title. Dragons being thereby dragons. When you start talking about notation systems you can very easily fall into talking about language itself which is a dragon. We know it's there and we don't want to talk about it or all of our ideas out of the water. Turtles, the Terry Pratchett idea of the universe sitting on a turtle and what's under that is another turtle. This unpeeling of meanings built on notation systems which I guess is what annotation is about. We tend to annotate everything as we go including people and giant cats. People have their own personal annotation systems too. They come up with these pages to describe their own ideas to themselves and it's augmented by discussions and then it makes it into the notation, makes it onto the wall, makes it into the book, this kind of thing. And then it just started to do some experimentations with creating visualisations of the timeline and notating this as well to understand the dynamics of Book Sprints. And then we print stuff out and we sit on the ground and we notate it again and we look at it, chop it up, get the scissors out and restructure it, analogue and then digitally. So a couple of things that Book Sprints that are important from these kind of notations and annotation systems is that the spatial relationships are very important and also in that, I mean, also that they are ambient, that they actually occupy space around us. And they require a lot of graphical elements and it requires a development of a language, either a personal one or a shared one that this is critical to develop a system that we all kind of understand and it's very difficult for people to enter into a Book Sprint once it started because they don't have the shared understanding, the shared language in shorthand and notation and annotation. One other thing I just very, as I finish up very quickly want to talk about is that Book Sprints is a rapid production environment as a concurrent production environment and that's increasingly becoming the web and the web is, if you've just seen, for example, Firepad just released, you know, this is meant to be a text production system and there's a lot of things like this, you know, but as they get better and better and as we become more fluent in them, text production starts to look much more like chat rooms and there's a big question about, you know, what does that mean for notation systems. For example, in Book Sprints, rapid production of text, the question of annotating stuff is actually disruptive, it actually slows the process down if you're talking about digital annotations. You know, I want to mark this thing here and you have to go and look at it and interpret it and come back to me, this slows the process down and you actually want people to make direct edits as fast as possible. So, in this kind of rapid concurrent environment, the needs for annotation change and I think they require much more shorthand visual cues and I haven't done a lot of thinking about this, I'm largely a practitioner but I think some of these things are just starting to get interested in to see how they could help this process. A couple of things thanks to Nick for pointing out the Times Emphasis thing, you should check this out, it's just for providing emphasis which gives a microlink to content within news articles and going back to the beginning, Doug Engelbert's Purple Numbers, the idea of looking at enumerated paragraphs and saying, as a way to negotiate space to say, Paraca 40, what do you think about that? In this kind of rapid production environment, it's a critical thing to be able to utilise. Thank you.