 Hello. When the Christchurch Art Gallery opened in 2003, we opened with a very grand audio guide. It was a big production number. It involved the Christchurch Symphony Orchestra and it was more like a radio documentary than an audio guide. You had to see the art in order so it was very much a commentary across the collection. That's how we began. 2005 we switched to a curatorial commentary, beautifully researched and beautifully written, recorded beautifully again by Sam Neal. It was labels read aloud so that's how we had developed by then. But work by work. 2011, we were all set to upgrade ... Sam Neal's stuff was available on iPods that you could borrow from us. 2011, we were all set to upgrade from iPods to iPads and then of course we were closed. We were going to provide the iPads. Between 2011 and 2015 when we weren't there, a lot changed. For one thing, we knew by the end of that period that 86% of our customers actually have a smartphone in their pocket which certainly wasn't the case in 2005 when we began. Civil Defence, who occupied our building for so many months, also left as a legacy a beautiful Wi-Fi system that we never would have probably ... Well, we would have afforded it but we didn't have to. It was a free gift from them and they just left it there so that was cool. We knew when we reopened, during 2011 to 2015, we had a lot of thinking time which is one good thing about an earthquake. We knew that the delivery mechanism wouldn't be something provided by us. It would be something that the people had in their hands already. As far as data capture is concerned, we had a look at beacons and we did a lot of research on beacons. We saw them being used and we thought, yeah, we also went to the trouble of buying one of the ... Is Seb Chan in the room? We went to the trouble of buying one of the Whitney's data capturing pens which you may have seen and we had to fiddle around with that. But the more we thought about the delivery mechanism for our audio, we thought, hang on a minute, we're not a museum. We're an art gallery. You do not, by and large, interact with our art. You just look at it. You do not generally sit on it, ride it, make it go, switch it on, switch it off, watch it move. So anything that stops you looking is naturally to be deprecated. We're talking real reality, not augmented reality or virtual reality. Actually eyeballing the art is we realized the whole point of what we do. So back to the basics. The sort of conversion moment that we had was that we would only deploy audio if somehow there was audio within the work. So we started to look at our opening collection hang, which was hundreds of works, and really look at them hard and say, is there an audio element within that work? We didn't want curators interpreting. We love curators and we love the labels they write and we love their work. But we really wanted the art itself to be the thing that spoke. And so we looked at the works and we saw that a lot of works had a connection with poetry. A lot of them had a connection with music. There was plenty of stuff in the archives of artists actually talking about the work that we were exhibiting. And at this point, I'll just pay you an example. Can we do the one on the left? This is life. The donkey, G.K. Chesterton. When fishes flew and forests walked and figs grew upon thorn, some moment when the moon was blood, then surely I was born, with a monstrous head and sickening cry and ears like errant wings, the devil's walking parody on all four-footed things. The tattered outlaw of the earth, of ancient crooked will, starve, scourge, deride me. I am dumb. I keep my secrets still. Fools. For I also had my hour, one far fierce hour and sweet. There was a shout about my ears and palms before my feet. Now, I don't know whether you did or didn't notice that there are three crosses on the background and the hills. This is a tiny little wood engraving. Absolutely beautiful thing. And it is indeed an illustration to a poem by G.K. Chesterton, who was a man of faith. But I, for one, had never noticed the crosses until the poem indicated palms around my feet. This is the donkey that carried Christ. So there's a whole, I think, new angle if you read the poem, if you know what the poem was. It's a beautiful thing to look at and it has audio within it. Maybe this isn't a breakthrough for you, but it was for us. We'd never really stopped and paused and had the time and the opportunity to ask the question, what is the point of audio in art gallery spaces? I can see that we might just have time for the other one. So the other one I've just chosen to show you, which clearly has audio in it, is this one here. It's called the Queen's Visit and there's a lot of noise going on. And the hole has been cloaked with a mat, a soft firm mat of pine and fur tuck. And then from the corners of that mat up towards the top, the centerpiece, marigolds in great ways going up there called a great cushion of red dailies and on top of that cushion and this goes for both of those things, great crowns in flowers. And now, as a climax to all those emblems, the emblem of all the royal standard has entered the Cathedral Square. And as Her Majesty does come into this Cathedral Square, the Garden City, a welcome of flowers and bells. We can stop there, that's okay. Yeah, you get the idea that, you know, there's noise in that painting, isn't there? There's actual sound in that painting. And there it is, you can now hear it. And you should, if you're someone can scroll down a bit and we need to acknowledge Natonga's sand and vision of course supplied the audio. So we're after them. Obviously, audio and video isn't going to control our exhibition program. Our curators would hardly allow that. But we do want to look at what future works that are going out on display have audio in their soul, so to speak. I'd love to see a whole tour based on poetry. I think that would be very interesting. Or one based on music. So many artists used music to paint by or to inspire them. Bill Hammond, Philip Trustin, blah, blah, blah. And I think that would be a very interesting way. So that's what we've done with audio and I hope you enjoyed it. Thank you.