 I'm Jill. I'm Ruth. We'd like to share with you our experience of designing and opening a new centre in Kelvin Hall, which is dedicated to moving image and digital collections, and explain how we went about that, and how it's engaged with new audiences in different ways, and how it led to someone saying this about our organisation and our centre. But just a little bit of background about the National Library. It's been collecting for more than 300 years now, and there's a legal deposit library which, if you know about that, means that we get a copy of every book, article, journal that is published in the UK. And it's centred in Edinburgh, and that's a lot of books, an awful lot of books. But now we have a centre in Glasgow, and there's no books. And that's where our moving image archive is. Ruth is the manager of, and also we have access to our digital collections there. I'm just going to go back. The slide is missing. So just a little bit about those collections. Firstly, the digital collections is more than 10 million, mostly from non-print legal deposit. I'm done, I'm the digital access manager. I'm done with the books, so now we get things digitally. But a huge collection of digital resources as well. We have digitised over 200,000 maps, huge numbers of photographs, moving image as well. And the moving image archive is an extraordinary collection. For me as a librarian, I just find it amazing. It shows our Scottish life, how we work, how we play, what we're like at home, in a way that is just not possible with books. I find it extraordinary to work with Ruth on it. It's full of all sorts of things, documentaries, film, video, home movies, broadcasts, a huge range, a diverse range of moving image. This is the Stone Age. This is, until very recently, this is where the moving image archive was on an industrial estate out near Glasgow Airport and you got a special prize if you could find your way to it. I, on going there during this project, got lost many times trying to get to Ruth's office. It wasn't fit for purpose. It was an interim place while waiting for funding for a new centre. Over there, that was the viewing facilities. There was really no public space there. But then this opportunity came about five or six years ago, I think. This is the Kelvin Hall in Glasgow. This is a building that's close to the heart of all Glaswegians. When I was a wee girl, I went to the fun fair here in the circus. There was a transport museum in there. People would go and visit the transport museum, many shows and concerts. Also there was a short track athletics stadium inside it as well. It was going for refurbishment. We participated in the project for the refurbishment of Kelvin Hall, along with two other partners. The league partner was Glasgow Life. That's the city council, basically, of Glasgow. The Hunterian, which is part of Glasgow University's museum of Glasgow University. It was a great opportunity to work in partnership. It was to build a facility for the National Library. It's moving image archive in its digital collections. A storage facility for the Hunterian and teaching places. And a sports centre. A strange partnership. We had a vision. I think it's fair to say it was Ruth's vision for the centre. A collaborative space, a comfortable space for people to come and work with and see moving image. So we had this vision, but we weren't quite sure how to realise it. I mean, I'm a librarian. Ruth's a moving image expert. The place is full of librarians. We didn't really know how to design a space like that. So we got in a bunch of experts. We had an exhibition design company to help us with the general feel and theme and layout of the centre. We had a most amazing audio visual technology consultant. We couldn't have done anything without them. A brilliant AV design and build team. And also digital designers as well. And working with them, that was how we were able to develop the centre. So, of course, it starts off, this is about 12 months out from opening as a building site. And that wall at the back there where it says Firex, it's a very important wall. We had to have that wall strengthened and you'll see later why. That was a very important wall. So we started the physical build of the centre. And then we were working with the designers prototyping the digital things that we were building. So this is a prototype of a video wall in a shed out in West Lothian. We also had prototypes built of a curated application that showcased our film. So we were going through an iterative process to design the centre and the facilities within it. And this is my favourite bit because I'm a systems librarian. There's a lot of tech behind the scenes, a huge amount. In the centre, there is a 12-panel, a huge 12-panel video screen. And I think I can say it. It has a video processor that processes 6 million pixels a second. It's amazing. So there's this amazing video wall. There are eight multi-touch 25-inch PCs for accessing a digital application. There is digital screens in two viewing theatres. And a huge range of facilities for professionals as well to come in. But it's not about the tech. The tech is just the thing that enables access to the content. And something too about the technology behind that, it's designed so it can deliver at very, very high speed so that you can truly see the quality of the film. It delivers at a speed that is better than other film archives that we know of. We work with the designers. This is a real touchy-feely place where people can look at the collections of the library, pull out drawers, touch facsimiles of rare manuscripts and books. And this is an area where people can get a feel for the whole breadth of the collection, including those items that are located out in Edinburgh. And then we came towards the final installation, a fraught a few weeks, as we were rushing towards opening the centre. And then it was this opening day. The 16th of September last year, much stress, much money spent, much angst. And we opened our centre to the public on the 16th of September. But we didn't know if it would work. We'd put all of that effort in, and we had no idea if it was going to be successful. And we didn't know if he would see new audiences, or if the centre would even be used. Pass over to Ruth. Thank you. Well, as Jill has described all the kind of technical setup, I'm going to really give you the whistle stop tour of what we've achieved since opening day, and did it work. So Jill had previously said about some of the items in the new access centre. And if you think back to that slide in Helington Park, where our nearest neighbours were carpet warehouses, we've come an incredibly long way, hence the Stone Age to NASA. As you can see in this image here, some of the areas in the centre, we have the kind of collections showcase area at the top there, where we've got items across the National Library of Scotland. We also have films, and that's all themed on things like place, home, fun and work. So really kind of basic concepts to bring memory and thinking so people can interact with the collections in different ways and remember things, learn things and just have that good interaction. You can also see here is our curated themed screens, and they're really the kind of highlights of the film collection and dipping in. So if you haven't got much time and you're coming into the centre for the first time with your coffee, you can bring your coffee in, that's another good concept. You can sit down and just browse, I kind of call that the top 10 of the film archive because it's very intuitive and you can just come in and have a quick look at the collections. I think one thing to quickly highlight is that we're at the back of the building. You have to come down a very long corridor to reach us, and hence the video wall is a really important part of drawing people down that corridor. You also have to walk past the gym on the way to the corridor and having a partner that's sport in the building is quite interesting, that sport and heritage thing. Yes, we do get people in Lycra coming in as well, which is audience development at its best. So we also have a kind of a nice high-tech screening room there and various lovely comfy seats there that you can kind of immerse yourself in the collections. We also have some nice museum pieces as well to remind you of the old days of film. So the new centre has enabled us to do a lot of different things that we couldn't do in Hillington Park next to the carpet warehouses, funnily enough. We did do events before, but it was always in association with another partner. So what we were able to do was events on our own premises. We also had access to the auditorium that the Hunterian looked after. So we've been able to do things like curated screenings. We've done one on the archaeology of film from one of our curators who likes to, as he says, trowl off the layers of history on a film. Who's in it? Where is it located? What era? All those kinds of things. We've done screenings on the steamers that go down the Clyde, so holidays in Scotland. We're doing a lovely screening on Christmas films coming up soon. We're also doing author talks in the building. Obviously books are still with us and very much discussed, digital ones too. So we also do talks on that. Recent talks we've had Hugh Dan McLean talking about the history of Shinty, which is a good old Scottish sport that's a bit like lacrosse and hockey. It's a bit vicious, I think. Anyway, we've also been able to do family events. So we've done some workshops on things like circus skills, which was in association with the Glasgow Museums. It was the Festival of Museums and you're looking at the circus. Kelvin Hall hosted the circus during its long life. People have a real connection to that building, especially if you've come into the circus on the fun fairs. We did some juggling and we did animation with young people with cutouts and doing tightrope walking, as you do. So really being able to engage with new audiences as well. We also set up a monthly film club called Synethesia. I managed to say that. That's good. Which are Access Team Run and Curate 2. We've also set up a new workshop called Using Film for Family History to try and engage people, mostly genealogists, but anyone that's looking at their local or family history to use film as a medium and a historical resource. People often don't always engage with that as much as they could do. And also film education, coming to learning. Part of our learning programme is to talk about moving image, how to read the moving image. We do a lot of workshops and CPD with teachers to let them know about the collections and how they can interact with the collections. Also we do CPD with Glasgow Museum. You get to see a film and you get to have an object as well. That's quite a nice new collaboration that we've been doing which the building has allowed us to do. We've also worked with young people like the Prince's Trust, filmmaking projects, local history groups. We've been running a course with the University of Strathclyde on genealogy for lifelong learners as well. I think this side sums up the centre for me because that's exactly what it is. It engages everybody. You can come in, you can interact, you can play with stuff. It's fun. It's an intergenerational space where you can bring in the little ones. We often have mums and dads and grandparents bringing in the slightly older children while the little ones go to the sports facilities and they're doing some class and they'll come in and watch films together. It really does sharing memories, sharing histories and connecting people together. The technology that Jill was talking about enables that. It's brilliant but it actually enables that discovery and enjoyment for all. Fun. I love this slide because it does show young person engaging with the collections there. The centre is all about self-discovery as well. It's there for people to come in and have a go out, press buttons, pull out draws and just kind of engage in a really fun way. Community, obviously that's really important. We've been able to bring together new communities in this space and we're working both in the space and in the communities themselves to look at opportunities for developing projects and learning and sharing knowledge. For example, we've got an image here of the Govan Choir and this was a project we did using film and singing to look at the history of Govan and that was a really interesting project as well, kind of looking at some intergenerational work too. We also host group visits for people with disabilities and hard of hearing and dementia as well and most of our team in the centre are trained dementia friends as well so we kind of have that awareness to look out for when people are coming into the building. Also we get lots of local history groups coming in to look at their films of their local community and their local streets. Professionals, now Jill talked a little bit about this but we've got two lots of professionals here. We have the researchers and the TV broadcasters that come in and look at the collections for youths in TV productions and that's a really important part of what we do. We're also, through learning and engagement, training the new professionals. We recently just set up a film competition with the Scottish Youth Film Festival to make a little one-minute film of called What Does Scotland Mean to Me? That's both as an outreach project but also to bring in new content to the archive about what young people are feeling about their stories at the moment as well. We've just launched that and I'm looking forward to seeing what comes in on that too. You'll see some of the old analogue of your own equipment here. We've got a machine for viewing 16mm film and we're trialling the use of people bringing in their own collections to view on that. It's quite interesting one because you have to make sure that they haven't got a film that they've got in their attic that's full of fungus and mould and nice stuff like that. So there's quite a few things to be thought about when we're opening up access to that. So professionals of today and professionals of the future. Another thing I think is really key about the centre is cross-collection research and we've got several images there. We've got some text from a newspaper. We've got a map and that is actually a still from a film image and they're all looking at a cinema in Glasgow. So one is from a film from 1921 of the Grosvenor Cinema on Byers Road and then we've got a map of where the Grosvenor Cinema was located on Byers Road and then we have an extract from the Herald newspaper from 1922 of the power of cinema and cinema education. So it's a space where you can look at moving image archive is really visual but you can also then go back to the other digital collections to contextualise what you're looking at and kind of provide a bigger view. So from 60 to 22,000 that feels like the speed we did the project but it's actually the statistics. 60 people was what we used to have at Hullinson Park per year coming to see the film collections in that little room with that video player. In the first year of opening we've had 22,000 through the door which I think proves a point of yes it was successful and I think all stats are wonderful and we all need them for our boards and our funders. What I think sticks in mind for me is a personal story that came to us just recently. A chap was in the gym he's a university lecturer, had gone to the gym and literally he was putting on his trainers and a friend of his had recently come out of our centre and said to him I've just seen a film with your dad in it in the moving image archive and he's a story come and see. Took him down the corridor and he discovered this film of his father who was in the Communist Party he knew he was actually in the Communist Party but he didn't know that he played the flute in the Communist Party band and he discovered this in the moving image archive and was so delighted that it's had such an effect on him and to me that story is just as important as stats is the impact that we're having on people and communities and stories and I think that's what the centre is, it's a place to discover and enjoy. Thank you.