 All right, so my name is Emmanuel Glass, as you've just heard. And so I wanted to talk to you a little bit about what museums have been up to with Tripoli F lately. I work at the YCBA, so I will run through what we are currently working on with Tripoli F, as well as other use cases from other museums. And I will try to highlight about four trends that I've seen currently for museums in Tripoli F. So the first common way museums use Tripoli F currently is to publish it on their online collections catalog. This is a page from the YCBA. You see the red and white icon down below. I'll show you a few more, one from the Frick Collection in New York. The Tripoli F icon is black and white. This one is from the NGA in Washington DC. And this one is from the Getty Museum. This quick run through shows you how different museums have implemented Tripoli F differently. All those pages look a little bit different. But as soon as you bring all of those images in one interface, in one viewer, then the institutional branding goes away a little bit. And it's much easier to compare and study those images. And of course, what would be great would be to actually have projects that really bring museum objects, but also library objects and archival material together. And I'd like to put in for maybe a future award for Tripoli F and have an EFI award. Excuse a bad pun, but I'd love to see that. Tripoli F, the institutional branding does not go away. The manifest, the presentation API has definitely a space for you to put your logo and the attribution. So here you see the lovely Yacht Center for British Art logo. Again, institutional branding in the place where you choose those assets to bring into your Tripoli F viewer. So that doesn't go away. It's there. The way we've thought about Tripoli F here is that we've started at the YCBA is to add it to our online catalog, which started with download functionality for images. Unfortunately, the image ribbon could not show all the images for all the images. This particular painting has a lot of images attached to it, front, back, frame, unframed, et cetera. And obviously, they show much better in a Mirador viewer. It makes for a much better user experience, really. We've done a little bit of experimenting with showing conservation images in the Mirador viewer. And here we're showing different layers of that image. This is a little bit different. Still conservation, but this is not something we would actually show online. Just to drive the point home that Tripoli F could very well be used for private research purposes. So all in all, we can really say that Tripoli F, at very minimum, hits on three old dresses, three different concerns that are usually readily there on museum's mind. One has to do with discovery. There's a vast network of images available. We love the cross-disciplinary aspect of it. Of course, it's great to have glam material right there at our fingertip. And the usability factor is really important. And you've seen examples before of lovely pans, zoom, and compare images. A second use case, one could say, has to do with research. So I've just started talking a little bit about that, again, where we have kind of a behind the scene system at the YCBA to compare all different images from private collections. It also makes use of annotations. And I'm flying through this, but you'll hear more about this in other presentations. And again, private aspect of the Tripoli F APIs. Exhibitions. Exhibitions are a big deal for museums, obviously. And the V&A has done a lovely job presenting material related to the Aquitania Ocean Steamliner material online. They've had a little bit of help from a London-based company called Digerati, which has basically created different ways to interact with this poster. You can essentially choose your path as a user, or you can follow the annotations that are highlighted in white pluses there. I'm sure there will be a presentation on this later, so please reach out if you're interested. Gallery displays are a big deal for museums as well. And I know Jeff is in the room, so thank you for those slides. The Harvard Museums have made a fantastic use of in-gallery displays, Tripoli F in-gallery displays. And this is a ginormous wall. This is actually obviously lab-sized. So the same image is scaled up. This is one of their scrolls. And this work of art, you can tell, is a little bit difficult to work with. It's very long, it's skinny, and so that Tripoli F allows them to do that in a different way. The Art Institute of Chicago also has done very nice work with embedding, you know, Tripoli a viewer in directly in the gallery. This is particularly helpful for objects that are fragile, or you can see only one page at a time. And the final use case I'd like to go over is for publications. So the Johnson papers at the Philadelphia Museum of Art has done this really well. Well, they bring together a material from both the artworks in the collection as well as the archival material. They had a very strict kind of series of requirements, whereby they wanted the curators to be able to select exactly the region of the images from the full images to embed in the essay for the online publication. So they've really worked hard about embedding Tripoli F in their workflow without disrupting too much of that, which is great. They do side-by-side comparison, obviously. And the final, final use case I'll show you is this Paul Mellon Center publication. Again, DJI-T has been hard at work with them, and that offers full-text search of the OCR text. It's, I'm flying through, but if you can reach out to any of us, I've borrowed much from other colleagues who are all here today and the rest of the week, so please reach out. And I will put a shameless plug here for our Thursday Museum panel. And you can see the four people here. I'll be with Richard de Viennese, Stefano from the Getty, and one of your colleagues here, Carsten Heck. So we're very happy to have him with us. Thank you.