 Thank you, Martina, and thank you to all the organizers and to all of you that are watching from all over the world. I'm going to talk today about the headache that as a curator I've been proud to give Peter Oleksik, who will speak later on today and many other of my beloved conservator colleagues at the Museum of Modern Art. And I will touch on both physical digital design and also digital digital design just to let you know a little bit of the evolution of the role of digital at MoMA in the past few years. I've been at MoMA for this point 28 years, so it's a really long time. And, you know, it's really, first I have to share and then I start, okay, it's always a little bit laborious when we have to move from the focus to the slideshow. So the collection of MoMA is pretty much like this, you know, on the one hand, you know, beautiful Hoffman stools from the beginning of the century that need a certain type of restoration. On the other hand, instead, the honey pop, the Puginio Shioka chair that needs a different type of restoration. You can see that chair with the imprint, you know, you open it up like a Chinese lantern, then you sit on it and it acquires the imprint of your butt. So you can see my own butt there, but this slide is just to talk about the extreme complexity of the work of the conservator at MoMA. And today I'm going to basically make a keynote that introduces the work of these heroic colleagues. Before that I would like to give a little introduction about the role of digital at MoMA. This masterpiece that you see in front of you is the first website for MoMA 1995, and it was coded by yours truly because at that time MoMA didn't really know what a website was. And when I asked for it, they didn't know who would need to sign off and how much to give me. So they gave me a budget of $315 that I used to take out to dinner, a graduate student of the School of Visual Arts who taught me HTML and who helped me code it. So here it is in all its glory. You can still find it in the website of the Museum of Modern Art if you look for mutant materials in contemporary design. But the interesting part of this is that it was one of the first uses of digital at MoMA to think of archiving. So the reason why I wanted this website and other curators after me wanted that website was to have the checklist in a reliable place where everybody could access it. At that time, we could only have very little images of course, but still it was a document and because it was in HTML and not in flash as many other websites that came later, it is still there, still alive and kicking and still accessible to all. So that was one of the very first application and many more came. You know, after this website, the Museum opened its own official website, many other colleagues had ancillary websites then the MoMA website started. The rest is history, but I would like to move to many years later another wonderful application of digital in curatorial work. I'm showing tools to you right now. And this beautiful tool was in Leah Dickerman's exhibition Inventing Abstraction. In that happened in 2012. For that exhibition, Leah asked our colleagues in digital design to create a network map of all the different influences in abstraction at the beginning of the 20th century. It was a groundbreaking way to update a very famous map of modern art that Alfred Barr had designed by hand in the middle of the 20th century so all of a sudden digital allows curators to present more complex designs and more complex histories. And to show you another curatorial application of digital is the work is the project design and violence that I started in 2014 at MoMA after getting a rejection for a physical exhibition that would explore the different manifestations of violence in contemporary society. Recently MoMA decided that maybe it was not a good idea to have an exhibition of Kalashnikov's and self guided bullets and so my co curator, Jaymer Hunt and I decided to migrate to a WordPress site without asking for anybody's money and permission. And after a while MoMA embraced it in its own website and he didn't publish the book, but what was beautiful as a curatorial practice in this particular kind of project was that Jaymer and I were able to have a real dialogue with our, with our audience. We were able to ask for authoritative small essays about each one of the single objects that we would present. But at the end of each essay, we were able to ask a question of the audience. Questions like serious questions like will the natural violence of nature eventually be co opted in human conflict like will we fight like animals is execution always ugly. Can we create can we redesign a violent act to be more humane. And the, the conversations were amazing for one particular post which was about the redesign of the slaughterhouse by Temple granding to make it more palatable to human beings we had 150 comments, something that we would never have been able to have in a physical gallery. This idea of curatorial life in all dimensions is something that remained with us also when we started acquiring digital objects. We acquired digital objects of all kinds. I will get to the 3D objects 3D printed objects at the end of my presentation but I wanted to give you more of a gallery of other examples. We acquired visualization design, especially starting with the 2008 exhibition design and the elastic mind, and then in 2011 with the exhibition talk to me, and this is just one example. The Wind Map by Fernanda Viegas and Martin Wattenberg that you can still find online accessible to all that shows using official meteorological measurements at any time shows the movement of the winds over the territory of the United States in lifetime. And this inserts one of the big first issues of digital collections, how do you collect a live exhibition, how do you collect something that is happening in the world anytime. And we will discuss those legal issues later on, but I think that our general councils in many institutions have had a ball, a hard time but also a lot of fun in the past few years. Another complex exhibition that inserts a new problem in our discussion is this exhibition of reactive books by John Mehta. John Mehta was one of the first people to transform interaction and interface design into art, and these are many apps that can be manipulated by visitors through different input devices from keyboards to actually from big or small keyboards to actually joysticks, but they have to play on a certain type of computer at least at the beginning. It's a choice John says that he would be neutral that it would be okay to have contemporary screens, but as curators we try to also find the right hardware something that my colleague in my colleagues in performance and media always have a really hard time dealing with, to the point that there are actually companies that are manufacturing old cathodic tube monitors in order to play the art of a few years ago. We also acquire digital fonts and even in that case really interesting what do you acquire. Do you acquire the files and this introduces us to another main issue that is the in the end user license agreement and how to negotiate it in order to have an exhibition or an object in the collection that is permanently there, even though it is still subjected to an end user license agreement. And you'll see afterwards and I can tell you now that we don't have any Apple fonts because Apple was not amenable to change that EULA and the same happens when I will talk to you about collecting video games with Nintendo. We also acquired this was really funny that the, the relationship, the conversation with general counsel with Nancy Adelson in particular when we acquired the at sign. And she said well Paula thank God this is not a video game, and this is not legally challenging even though it intellectual it is intellectually challenging so you see here some of the acquisitions the on off sign the at sign completely in the public domain so it includes a new kind of complexity or the Google Google map pin sign. We even acquired and this is something that makes bio design close to architecture, we acquired the physical 3d printed representation of a virus that was created using software by Adobe systems so you see that digital that pervades all of our different parts of the collection, but it is the applied design exhibition in 2013 that in a way gives you a sense of the digital at moment applied design meant that design can be applied to all dimensions physical metaphysical digital, and that it is still a form of design where the code takes the place of safe plastics resin or would. It was an exhibition that had many of the video games that are now in our collection, and also many of our 3d printed objects, you see here a vision of some of the video games together with the wind map. And here is like a little bit more of an overview of the video games that are in our collection. And you see also here some of our 3d printing and that's really what I will focus on right now. We started collecting 3d printed at the end of the, at the beginning I'm sorry of the 21st century with the first examples coming out of in particular a manufacturer in Belgium called MGX, and we had examples that were made in resins and that still were very expensive because the bats to produce that kind of 3d printing had to be very big and were available on the in certain places in the world. We acquired the work of Patrick Juan the the one shot tool we acquired works in which a video of the continuous digital file were stopped at different stills and the still was then sent to a 3d printer that would print it at hoc in an infinite number of possibilities. And we acquired that beautiful wooden table by the markers on in which handcraft would be mixed with 3d cutting and laser cutting, in which you know you would see a Rococo piece of furniture's profile turn into a week at ours by using digital cutting that then would allow the slices to be put by hand, and we acquired the work by Joris Larmann, that was using a special program that was developed for the car industry in Germany, Opel in particular that would simulate what nature would do if given a certain set of forces it had to develop branches or bones, and you see it here this beautiful chair in aluminum. Design and the elastic mind in 2008 was another big occasion to acquire works that were 3d printed and as you know very well there's many different kinds of 3d printed but laser sintering in particular had a big moment at that time, and enabled our conservators to start thinking of how to maintain those particular materials. There are also other examples of 3d printing in the collection that I'm proud of. This is Marcus Kaiser that invented a 3d printer that uses desert sand and beams of sun to then center it so you see here a little vessel that is made using sand of the Sahara desert. And it gives you this vessel that is at the same time timeless could have been designed and manufactured millennia ago, but at the same time it's very timely because the characteristic veins that are typical of laser sintering or light sintering are present in it. It's a challenge for our conservator because it has a certain friability but still, you know, it's what would life be if we didn't have to like give trouble to our colleagues every now and then. More recently we have been acquiring objects that are very pragmatic you know 3d printing as you know very well can be a tool to experimenting almost artistic way or conceptual way or it can be very pragmatic 3d printing is has been used in the medical industry and the automobile industry for decades. And now it is also being used for such such examples as replenishing the coral reef in the ocean by 3d printing ceramics, trellises that can then be seeded with some with some little pieces of coral and then put into the ocean so that they can actually replenish the coral reef in a few decades. So these are some of the most recent acquisitions and I don't think that they will create too much trouble for our conservator colleagues. They are from the exhibition broken nature. From the same broken nature come also new different types of 3d printing, for instance, this beautiful work from the algae platform in our where by the particular lab is teaching many people all over the world to harness the byproduct of our pollution which is the algae that proliferated everywhere. And with a few chemical processes transform them into bioplastics that can then be 3d printed into vessels coming from the material culture of that particular place. So it really is amazing how how how interesting 3d printing can be in also trying to replenish the culture of a particular place. They have already had experiments that happened in Apple with some contemporary Dutch designers, but then they also worked at it in Istanbul, and they worked on material culture from Turkey into making these beautiful vessels. It's almost like a fab lab you might remember the media lab and the fab labs. The beginning of the 21st century when they were thinking that 3d printing machines could be deployed all over the world with these portable labs that could work with solar energy and be also used all over the African continent, for instance, or other parts of the world that were not electricity and help people locally build their own tools. So it's really the same kind of instinct that happened before that is now pursued by many designers and engineers with the same passion but in different forms with different materials more resistant materials and in different parts of the world. The recent exhibition, Mary Oxman material ecology gave us new types of 3d printing and new types of applications of materials that create new challenges. The whole idea behind Mary Oxman's work is to merge human intervention, robotics and computation and natural agents such as silkworms to create together a new type of architecture and design that is grown instead of built and of course that is perishable. Actually, in some cases, the perishability is built within the materials. You see here the beautiful silk pavilion that she designed for the exhibition it was a new commission for MoMA, but behind it in the big wall you see a series of, say, materials that can be 3d printed they use pectin and other naturally available matters that have a prescribed form of perishability so you can build a life cycle within the material. Mary worked very closely with several 3d printing labs to experiment on new types of printing using different materials she was among the first back in 2008 to actually 3d print with three different plastics and more recently she has been able to incorporate also live bacteria in the work that she's doing and even melanin. You see at the bottom right a new prototype of work that uses melanin the idea is that in the future we might be able to actually have facades of building that get darker as the light of the sun becomes stronger and therefore create a sustainability that is almost self generated. Of course, it's about 3d printing the channels where melanin will flow and at this point it's still very prototypical but it's something that she's really working on. And as you can see here from some of the pages of the catalog, her philosophy is clear. On the right hand side you have death masks, very beautiful 3d printed using the bacteria or even the flow of breath from the dying person. On the left hand side you see her experiments with silkworms and the pavilion that was installed at MoMA was developed using 17,500 live silkworms that then were left to dial their own death instead of being boiled as they usually are in the silk industry so it was also this idea of working together with the animals and working together with bacteria and viruses in a way that is as copacetic as possible. And this is perhaps the next challenge for my conservator colleagues, this was the video that people would see on 53rd Street as they were walking by. In the Neri Oxman exhibition and also Broken Nature were in the galleries on the ground floor, and were ways for people to really peek into a brand new world of materials and the big video would give a sense of the materials that were behind the window so it really is interesting to see how far we've come and how challenging the work has become for museums at the beginning of course there was almost like an arch the materials for 3d printing at the beginning were very fragile and very like sensitive. They become stronger and stronger and more and more resistant to any kind of manipulation and exposure but at the same time designers have included and have inserted a new type of complexity. So this is the end of that of biology, we'll see that what the future will bring an escalators will be ready for it. Thank you very much, and I am now going to stop sharing the screen, and take your questions.