 Wrth gwrs, dyma hwn yn blaen yn ei fod yn iddyn nhw 11 ór du yn ei gwneud y gaelwerth hwn na'r ddaf yn cyd-dangos. Mae'n gweithio'r gwybod y byd yw gweithio yn oeddi'r cyffredinol. Felly, ymlaen i ni i fynt i bob ddiwedd y glwllaeth startsu ar gyfer ddefnyddio'r ddechrau'r cyffredinol. Roedd yna moysgifer yn creu eu gwirion eu rodd y peth yng ngyfaf. Mae wedi bod ar draws i chi wedi ei gweld chi'n trwy'r etoedd. We are a partnership project between Gis, who are represented here at the moment, what used to be called the British University's Film and Video Council, now known as Learning on Screen and the BBC. Our aim is to make it easier for teachers, students and academics to discover, access and use material held in the public collection of broadcasters, museums, libraries, galleries and publishers. The Res Initiative is three things. It's a platform, which we and the BBC are building, that aggregates the catalogs of publicly held archives and makes them accessible to the UK's educational establishment. We're also a collaborative project. We're working with collection holders, public service organisations, libraries and archives to help them release their catalogs in the form of linked open data to assist in the discovery of those assets. We're also an ambition to stimulate the public and private companies to build teaching products underpinned by the platform for the UK's education sector. So I'm glad to see that Axiala here, a private company who we are also working with. So many of you would be familiar, I think, with the concept of blended learning or the flipped classroom. These are gaining ground as teaching techniques and cultural institutions, which are content rich institutions, should be content rich owners, not only because of the relevant amount of content they own, because of the quality of the content that you own. You should be well placed to take advantage of these new educational techniques, because after all, you have the stuff that brings teaching alive. But we have to ask the first difficult question. Are you actually well placed to take advantage of these new techniques? Because however good your websites are and in the main they are very, very good, however good your bespoke education material is and in the main it's very, very good, it's well thought through, it's been carefully prepared, there is a problem. And the problem of the cultural sector is that if you add together the traffic of all the cultural institutions in the UK, together all the website traffic to that, it wouldn't make the top 100 websites in the UK. That's a difficult truth, but I'm afraid it is a truth. So put yourself in the mind of, say, a hard pressed history teacher, looking for something to illustrate a lesson on, say, the French Revolution. Are they going to go from website to website, or silo to silo, looking for the perfect piece of content published with the appropriate licensing and accurate metadata? Are they going to do that, or are they going to go to Google? Now, I think you know the answer to that as well as I do. And herein lies the problem, because this is what I get if I put the word Bastille into Google. Ten pages of results on the indie band and nothing at all on the French fort. Now, I know that this is a simplistic example and is deliberately chosen to provide ten pages on the indie band, but it does illustrate how Google, while it does its job brilliantly for consumers, is perhaps not the best tool in the world for finding and opening up access to cultural data. Because Google is doing a different job. Google doesn't care about provenance, we clearly do. Google doesn't really care about authenticity, we do. Google doesn't really care about licensing, we do. And Google doesn't really care about permanence, and we do. Google only really cares about what's contemporary. Do we care about what's contemporary? Some of you've got stuff in your collection which is thousands of years old. You're not interested in necessarily what's contemporary. Google only cares about the number of links to an asset. In some cases you may own the only thing of its type in the world, so in that case necessarily the number of links to that are going to be quite small. So Google, as it's set up, is not doing its job and not doing a job for you. So teachers need, and what we're trying to provide is precisely that. Quality assured data sources. So wouldn't it be better if once you've found a reliable article clicking on a person's name or an event in a document would deliver you a comprehensive list of everything about that person, thing, event, whatever held in any institution around the world. That is what we're trying to build, and here is a short video. You would expect nothing less from the BBC. Something bold and new is happening. A technological innovation which will unlock the publicly held archives of many great institutions and inspire new ways of learning in the digital age. The research and education space, REZ, aims to make it easier for teachers, students and academics to discover and use material held in the public collections of museums, broadcasters, libraries, galleries and publishers to enhance learning. The research and education space, such as the web, retrieving linked open data published by institutions about their collections, then organises and indexes it. The index data describes topics and resources and directs applications to where they are located. The resources can be anything, TV programmes, radio shows, images, documents or other digital assets. The platform does not republish digital media itself. Instead, it finds places where the same topic is described, keeping track of where it can be found and whether it can be accessed. It delivers a comprehensive list of everything about that particular topic. REZ then provides open APIs, enabling anyone to build teaching products that can be simply and easily accessed by UK students, teachers and academics. Most search engines look at everything available across the web. For example, if you search for bas-steel, it will display high-ranked material first, making it more likely to get references to the pop band than the French fortress. And it's not always clear who the material belongs to. The research and education space works differently. When you use a product powered by REZ, your search will match the topic of your choice and the platform will provide you with the information about the related resources from all the reliable collection holders it knows about. We want greater collaboration with collection holders to release your catalogs as linked open data. We want the vision of product developers to help us shape the many digital products which can be powered by REZ. And we want to hear from those in education to tell us what you want. We need you to help us make REZ the best in class. End on bad pun. This is to recap what we are building is a technical platform that indexes content from multiple partners. A technical platform that organizes that content into topics. And a technical platform that has open APIs so anybody can build anything on top of it. And we have, at the moment, millions of data sets already being indexed by REZ. It's fair to say progress has been slower than we expected, for all sorts of reasons. The task is more complicated than we initially thought. There's actually less data out there than we initially thought. It's been harder to get the data in. But we have had a lot of success working with cultural institutions. I'm grateful to them for the hard work they've put in. So we're currently indexing data from the BBC, from the Wellcome Trust, from the British Museum. My list is the National Library of Wales, but this morning I was able to talk to Erwain and find out that we do need to do about half an Asworth of work to make that work better. Wordsworth Trust, the Wiltshire Museum, the Natural History Museum, the People's Collection of Wales, the National Archive, Nature, Europeana and the Open University. We're working with to prepare their data in the right format, the British Library, the Auckland Museum, Art UK, Imperial War Museum and the Science Museum, and many, many more. So the platform is growing all the time. And we're working with linked open data because it's based on a fundamental use of foundation layer web technologies. But it does require collaboration and open standards to make it work. That's why we're backing linked open data. That's if you don't know, and I'm sure many of you will, which is why you're here in a session called Linked Open Data, is a mechanism for publishing structured data in a form that can be consistently retrieved and processed by software. The result is added to the World Wide Web of Data, which works in parallel to the web of documents that we as humans read. HTML is designed so that humans can read the web, linked open data is designed so that machines can read the web. And turning legacy data sets into open linked semantic data isn't technically hugely difficult, but as I've hinted already, it is time consuming. It does require specialist expertise. And so, I think the difficulty that we have had is there's less of that specialist expertise around than we initially hoped there was. But there are many, many advantages to publishing linked open data. Increases relevance. Open metadata can be used in places where online users congregate, helping providers maintain their relevance into data society. It increases channels to end users. Providers releasing data as open metadata increase the opportunities that users have to consume that data. It enables specific funding opportunities. Releasing metadata openly will potentially grant providers access to national and or European funding. Indeed, the HLF, as we described yesterday, mandates the release of open data. It increases your brand prestige and your brand value in terms of prestige, authenticity and innovation. Releasing data openly demonstrates that you're working at the vanguard of new technologies. Data enrichment. It enables the crowdsource the improvement of your data. If you release your data openly, it can be improved by other people and they can send that back to you and you can publish that yourselves. It enables discoverability. Increased use and visibility of data drives traffic to your website. It enables new customers. Releasing data openly offers new ways to interact with and relate to customers. There's a public mission argument as well. Releasing data openly aligns the provider with the strategic public mission of allowing the widest possible access to your assets. It builds expertise. Something we particularly need to do in this country is build expertise to enable, as Matthew Hancock was saying yesterday, the digital revolution to improve our libraries and our archives and our cultural institutions. There are also desired spillover effects. Institutions of creative industries will be able to create new businesses which will in turn strengthen the knowledge economy. In Holland, the obligatory mention of the Rijksmuseum, which I mentioned yesterday, they have in their shop now, you can buy actual items of clothing which have been inspired by couturiers downloading pictures which Rijksmuseum have released openly. The Rijksmuseum is having fashion shows in the Rijksmuseum. They've done a deal with Heineken to get pictures on beer bottles. These are all the sorts of things that they predict which happen when you open up your data and your assets. Now, don't just take my word for it. The original logo of the web had a lovely byline. Just let's share what we know. And in many ways I would hope that cultural institutions would be willing to embrace that philosophy. Digital technology is changing the way we connect information to make it more meaningful, accessible and useful to others. The research and education space, or REZ, is a new semantic web platform using linked open data to transform the future of education and learning. The British Museum's job is to share its collection with everyone in the whole world. And just as we do our job to put all of our objects on display, so now our job is to share our data and the data about our objects with everyone in the whole world. And linked open data is the best way by which to do that. The benefits for us in making content linked open data is that it spreads more widely. We're particularly interested in linking to other collections. For a lot to go mainstream, I think that ironically we need to stop thinking about the technology. Too often when a linked open data project starts, people immediately start thinking about triple stores and XML and RDF and ontologies. And actually the place to start is to think about your users, the information you've got, how will your users think about that information and how you can sensibly model it to their benefit. To make your data more accessible, it needs to be openly licensed. How you license your assets is up to you, putting you in control of how they are used. One of the questions that I was asked when I was talking to people internally about REZ was, will they be taking copies of our content? And I could say no, because all they're doing is taking an index to that content. They're not actually taking the content themselves. They did it a lot easier to get approval internally because people were comfortable knowing that REZ only wanted the metadata and not actual copies of our objects or of our images. The whole of the British Museum's digital collection is available via REZ. That means over three million objects telling the story about the whole of the human race from the beginning of time to now is available in open data for use through the REZ platform. Welcome has got a large digitalisation programme digitalised about 100,000 objects ranging from books to manuscripts to paintings, and all of that is available through REZ. The new PSI director, which came into law last year, really asked public institutions to think and define what their public task is. Why are you here? What are you really here to do? One of those things is to share and make available the information you have for others to use and reuse. One of the things we're incredibly excited about by the potential of REZ is really finding out what app developers and other digital education companies can create using the stuff that we've got. We want you to join us in REZ as we build up this web of knowledge so that together we can connect the past to help inspire a future generation of learners. We at the BBC are putting our money where our mouth is. We've released several datasets as open data linking through to content, as it's broadcast and the right expectations around broadcast material are very complex. The assets can't be open unfortunately, which is slightly disappointing. We recently launched the BBC Shakespeare Archive Resource which was designed to provide schools, colleges and universities with online access to hundreds of BBC television and radio broadcasts of Shakespeare's plays and sonnets as well as documentaries about Shakespeare and it includes Lenny Henry as well. The material from the BBC Shakespeare Archive Resource dates back to the 1950s. It includes the first British televised adaptations of Othello and Henry V. It's got classic interviews with key Shakespearean actors including John Gilgud, Judy Dench and Lawrence Olivier. Several of Shakespeare's famous sonnets in TV and radio broadcasts and more than a thousand stills of Shakespeare productions. Other highlights include the 37 classic productions of the BBC television Shakespeare series, The Age of Kings, the 15-part series of the RSC's Shakespeare history plays and the original Wars of the Roses production from the 1960s, also from the RSC. Feedback from teachers has been universally positive. Shakespeare is there to be taught as a play on your feet actually speaking the lines. Nap for our students really breaks down that barrier and the insecurities that they feel. Some of them are quite anxious about encountering the text for the first time using the BBC Shakespeare Archive. It's been fantastic to help awaken their imagination. Having more visual and audio resources has definitely changed the way that we teach Shakespeare. It's a really good starting point for planning your lessons and planning schemes of learning. It's easy to access and you can use the resources whenever you like. A bird of my tongue is better than a beast of yours. I would my horse at the speed of your tongue. When you're reading it, it doesn't say exactly, for example, they're sitting here and they move there. It's just words. But in the play you can see everything. You can see the interactions, where the actors are going, what they're doing, so you know what's going on. It's so important that students can see how these plays were written for performance. So watching film versions, they can hear the different ways that actors speak the lines, the way they move in space. The text themselves don't have a lot of stage directions written into them. So you really need to see through performance how a line can be said, what kind of emotion is brought to it. Here's my fiddle stick. Here's that'll make you dance. Zoom's consort. There was some fantastic images of Alan Rickman playing a tibult. I think he must have been in his 20s. Here comes my man. Very inspiring. Cos they all know him as Snape. So it's just sort of fantastic for them to see him in this extraordinary costume. Of a turn and draw. They got a lot of inspiration from that. With Year 7, for example, we're teaching a Midsummer Night's Dream, and it's useful to use some of the images as a starting point for the students to be able to begin to form ideas about character and theme. When we're teaching the sixth form, they're shaped to be a coursework. One of the elements that comprises the coursework is the need to look at the history of the performance of the play in its context to ask the students to look at say two or three different ways in which a particular scene has been done. It's playful, I doubt it. Be thou as chaste as ice. As pure as snow, thou shalt not escape calamity. Get thee to another and go. My father. He thinks I see my father. Where, my lord? In my mind, I carry him. You can build a very powerful lesson around that accessibility of material. And that for me is the most powerful thing about this presentation. It's actually watching the school children interacting with our assets. They could be your assets and seeing how it's fundamentally transforming their educational experience. There's one thing I haven't talked about so far and that's the user interface. There it is. We're not building a user interface. There's a whole load of reasons for that. Some of you who pay attention to BBC internal history maybe remember the thing called BBC Jam which happened about 10 years ago when we were asked to build a big digital learning platform by the government. And then we didn't think about it very hard and we built something which was so good that it started putting companies out of business to stop. And we're actually the right decision to stop embarrassing and expensive and lots of people lost their jobs. We're not doing that again. There is already a thriving industry in the UK of people making virtual learning environments and so on. We want to work with them and these are some of the companies that we're talking to at the moment. Because we're building an open platform using open data with open APIs anybody can build anything on top of it. It doesn't have to just be an educational product. You in museums and galleries and archives can build your own products on top of REZ sucking in digitised assets published under open licenses from anywhere in the world. Ultimately, the power of REZ is almost unlimited. It's limited by your imaginations and your publication of your data openly. So my final statement, who's in? Thank you very much.