 Yn ymwneud, mae galiau am yr unig oedd ddweud, a ddweud mwy o ddweud gyda Dan ac Carol Barak o yw'r inteilau sydd wedi'i rhoi'n gYNhychwyddiol gyngraithol iddyn nhw, i ddannu'n ddefnyddiol wedi gael, mae'n gwybodaeth mae gyda'n ddweud bod nhw'n iawn. Efallai, mae'n gael i ail yn vi-mont, mae'n ystafell arall i gael i ddweud bydd ac maen nhw'n gweithio. Felly, dyna ddim yn rhoi'r ddechrau yng Nghymru yn y Llyfrgell Llyfrgell. A dyna'n rhai, dyna'n rhai gweld, yng Nghymru, yng Nghymru. Felly, dyna'n ymwneud yng Nghymru yn y Llyfrgell, ac mae'n mynd o'r product yng nghymru, ac mae'n gwneud yng Nghymru yng Nghymru yng Nghymru yng Nghymru. Fyddech chi'n ddim yn ymddi'r llyfrgell yn y Llyfrgell Llyfrgell yng Nghymru, the orthodoxy of European understanding of the world was fundamentally challenged by the material culture and ideas coming across the Atlantic. And those challenges to ideas formed a new way of thinking in Europe. It really led on to the Enlightenment period, and the founder of this museum, Sir Hans Sloan, travelled to the Caribbean in the early 1700s to carry out his research. It was that sort of challenge of orthodoxy er gondol yw'r honed yng Nghymru yn 1753. Yn amser a chaelio'r Institucion, oedd ychydig yn ddifigio'r chaos, yw hynny'n gweithio, mae'n gweithio ar-2 a 8 miliwn o'r gweithio'r amser. Mae'n gweithio'r gweithio cyflwyniadau cyflwyniadau o'r gweithio cyflwyniadau yn yng Nghymru. Mae'r cyflwyniadau i ymddangos, mae'r gweithio ar y cyflwyniadau o'r gweithio cyflwyniadau o'r gweithio. Cymru'r ddweudio ychydig ar y archtyn i'r antarchtyn. Yn y ffrind, yn y gyrsgwyr, rydyn ni wedi'i ddweudio'r ddweudio yng Nghymru, o'r ddweudio'r antarchtyn. Felly mae'r rhain yn ychydig, ychydig 39 oesio ar y cwntrif, yn ymddangos y gyrsgwyr, wedi'u ddweudio argynodig, ymddangos, a'r cyntemperi. Felly rydyn ni'n gael o'r ddweudio sydd yn ychydig o'r ddweudio y cyntaf o ddweudio argynodig yn Ymddangos. Felly, ymddangos ynghylch yn y Museum Brun, mae'n gwybod a'r llai, mae'n gwybod, mae'n ddweudio'r ddweudio'r ddweudio. A'r ddweudio, mae'n gwybod a'r 20 oesio, yn y 19 oesio, mae'r un gweithio ynghydig y Museum Brun, a'r gweithio ynghydig ynghydig, roedd y bynnwyr yng nghymru yma yma. Ac ydw i ddim yn ymdgor, felly i ddim yn ymdegos, ac i ddim yn yr AMERICAS fyddaith yn yma. Nawr, ychydig ynghydig yw'r ddweudio. Mae hynny'r ffordd iawn yn y chwil ymweld. Mae dim yn ymdeg yn y llai diwedd o'r chyfnodiol. A'r gweithio'r dda, ymddangos y Deyrnas Llywodraeth ynghydig y Museum Brun, Cyngor yw'r artist called Tupac Martir o'r Mexikoau i'n cymryd a gweithio'r projektiwn i gael i gyrdeithio'r edyffus ar y fronta'r byd. Y rhan yw'r projektiwn yma, yne o'r Clas y Llyfranced, mae'r colemau efo, a'r rhaid oherwydd ychydig ychydig Grychau Roedman yma o ddymarfa. Byddwn itfach yn y bwrdd hyn i'i gyngorol ymddangos yn y dda'r hyn. Mae'r byddwn itfach yn y bwrdd hyn i'i gyngorol byddwch i'r hunain. Felly, y peth bwrdd eich cyffredin iawn i'r byddwch i'r byddwch i'r byddwch i'r byd i'r bobl, i'r bobl yw'r busad, i'r bobl o'r cyfrwyll yna i'r hynny o'r cyfrwylliant yments. Mae'r byd yn ymddych chi'n bwysig i'r bwysif iawn i'r eich cyfrwylliant i'r byd ymddych chi'n bwysig i'r byd i'r byd o'r cyfrwylliant i'r byd o'r byd o'r byd o'r byd o'r byd. It's a fantastic projection, I haven't got time. It goes on for 10 minutes. He's also got a juggling skeleton throwing skulls across the front of it. In very day of the dead faction. It's a remarkable projection. But I think it's important that not only psychologically we deconstruct old ideas, but we actually physically do it. We think of new material ways of communicating new ideas and new ways of thinking about the past. So, I actually spend about five or six months of the year am y lle i ôl o'r iawn i gweithio, drwy'r pryddiffyniad cwmwiliadau. Ac mae'n dgnwch gwybodaeth ar y cywir a chyrodd yr angen, dweud am fath o'ch cyfrif denkidi, yn Llyfrgellio Llyfrgell yn eu gofynu, yn feddwl yng Ngwyloedd Centrall a Llyfrgell. Mae'n ddiddorol i chi, rydyn ni i chi'n ziwelio allu cwmwn i'w gweithio ei wneud fydd eithaf gyda'r cyfrif oechau cwmwyng o'r gweithio ben i yma i nid yw'r prydwyr ar y gyfrif yma. Byddwn i'n cerdd i ymddangos o'r rai llwysgol, yn y peth yng Nghaerlygaeth Cymru. Ac dyma'n gweld i'r newid yng Nghaerlygaeth Cymru. Mae'r newid yma hyder am 3 yma. Mae'r newid yn gweithio, ymangor o'r hoff, dyma'r hoff sy'n ei wneud, mae yna'r llei'r rhain. A rydyn ni'n ddim yn ei gweld i'r llwysgol yn Hyd-a-Gwai, a yna cael ei wneud i'r llwysgol a yna'i'r llei. A ydyna ni'n cael fath o'r hoff ymdag, This was a pole commissioned as part of the Truth Duicend Reconnaissance Ngys dram Comisyll of Canada so he was carving me outside the shop, we were chatting about it and then luckily about 6 months later Professor Crocker we're in Vancouver for the raised ceremony We were raising it up and getting these big community action together and I loved this pole it's got turbine fantastic stories around it and one of the stories I asked Jim about there's a series of children ychydig yma ydy eu hwn o unig yn ddechrau, hwn o unig yn ddechrau, hwn o'r gwerth o'i ddechrau ac nifetwch eich ddechrau. Yn y gallu meddwl yn ddechrau, yn cymdeithio â oedden nhw, ac ymddurwch gymuned y dyfodol y ysgrifennu o thwynt yn ddechrau. Mae'n arferno i enwedig ar gyfrontoliau yn y cwsihoedd, ac yn y fod yn ddim, bod oeddo'r cyveithydd mae na ni'n siwr i ymddangos o bobl dyfodol dofi. if you create a disconnection with the past, then people lose their routes and they lose their way. The idea is that people have to stay grounded with their past and understand their past in order to have values that are appropriate for their lives and their society. I think that that thought as an idea is absolutely crucial because I think in an age today where our species is accelerating at an ever increasing rate, Rydych chi gweithio'n gweithio'n i ffwg i ddweud y cyd-fam o'r society a dweud y rhywun y gyffredin yn y fawr blaen. A wrth gwych chi'n gweithio, rydych chi reall y cyd-dweud. Mae'r fawr i dda'n oed yn dwylo'r argynodau a gyfizio'n gweithio'n gweithio'n gweithio'n gweithio'n dwylo. Ond oeddwy'n rawael yn gweithio ar yr ymddwun a'i amser cyd-faveoli hynny'n ddweud y sefyll AMG yn roediau ymddwyd. Felly, this is just a graphic of the Anthropocene, looking at how humans have developed a very changing planet. Even though our species has been on the planet for more than 200,000 years, there are more of us living today that have ever lived before in the entirety of that history. We're using more resources and the way that we're living is changing. Ond we need to understand that sort of acceleration within the trajectory of our species. We need to create different narratives of understanding and explore an age of discovery in a different way if we want to start to solve some of those challenges. So today what I'd like to do is talk through a few themes of what that new discovery might be. First of all, I want to look at how different communities have the ability to access discovery, become discoverers themselves. And then I want to look at technology as a tool, and then I want to think about communication. So for the first sort of case study thinking about different ways of communicating and looking at the past, I'm going to take us to the Amazon and to a tributary of the Amazon called the Rio Tapagios. And so this is just south of the town of Sant Rem and that Rio Tapagios goes right down deep into the quite remote parts of the Amazon. And in an area about 300km south of that red dot live the Munduruku community. So the Munduruku is a word that actually means the red ants, which was a name allocated to them by their neighbours, the Paratintin. And so it's a name that became synonymous with the community and now they use it for themselves to self-identify. There are a community of about 13,000 people with two predominant clans, the white clan and the red clan. And they live on the banks of the river in the Rio Tapagios. In the British Museum we have a fantastic collection of Amazonian material, some of the earliest objects collected from the Amazon from the earliest explorers. And significantly a great collection of Munduruku objects, about 43 objects collected in the early 1800s by two Austrian naturalists called Spicks and Martius. They travelled up the Amazon and collected these objects and I knew about these objects and had them in the collection and then about three years ago I got into contact with a couple of old friends who were over in London and they were doing some PhD work. And they were Bruno Siguran and Vinicius Onduratu and they were two Brazilian anthropologists who were going to work with the Munduruku. So I took advantage of this and said look the next time you go up there can you present to the Munduruku assembly, the sort of little government structure of the Munduruku and say that we have these objects in the British Museum we'd like to open a dialogue about them and sort of start a little project to think about how they might reflect environmental change in the region, how we might start to think about the materiality of today and some of the issues that the Munduruku might wish to communicate through these objects. So we also have the imagery of this time. So this is Spicks and Martius and this is a representation of a Munduruku warrior from 1882. And it's in a wood engraving and I want you to remember that image. So what we did was we took high resolution photographs of all of the Munduruku collections in the British Museum and then Bruno and Vinicius went up the rivers, up the tributaries and then went and opened a dialogue with the Munduruku and they showed them the objects that we had in the collection and they were amazed that we had these objects which we know 200 years old and with these amazingly large featherwork and very elaborate objects. And then we started to ask them some questions about the objects and about what we should do with them. And one of the chiefs of the villages is Casique Juarez-Sau Munduruku and so this is a conversation between Bruno and Casique Juarez-Sau. So if you read the transcript it'll start to move up in a second. And yeah just read this and listen to the transcript for just a moment. That's the art of the Munduruku. Do you have a message for them? A message is a message for them about it. But what I have, what I have to say is to thank them for what they have kept to this day, this fantasy of the Munduruku. And I thank these people who have taken care of this Munduruku fantasy. Because we had another meeting with the Munduruku fantasy through this course that God is talking about. The first thing we are using is the Feithio, the Florents, the Tantini. That's when they started to dig deeper into the Munduruku culture. So what I love about that is that Chief Juarez-Sau Munduruku is making a connection between the objects and knowledge. He's seeing the objects as vessels of knowledge that can be used to communicate information. And then this really sparked an interesting dialogue with the Munduruku. They wanted to understand more about these objects and the knowledge behind them. And also what I really liked which Brunyr said was that they really sparked an intergenerational communication about the craftsmanship in creating the objects, some of the birds which no longer existed in the region, the different processes of manufacture. And the objects which encapsulated knowledge performed a role within the society which was interesting. So then, a year later, the Munduruku had a bit of a disaster which had been ongoing for a while, but it fled up again, which is that there's a mega dam project to build a dam across the Rio Tapagios and flood large areas of the Munduruku territories. And so funded by a charity, this is two other Chiefs of the Munduruku. This is Casigial Ademir Cabo Munduruku and his brother Arnaldo. And so they came over and when they were here in London, not here, over in London, when they were in London, they came in to the British Museum to keep this chat going and they looked through all the Munduruku objects and they spoke Munduruku to each other, which they don't normally do when they leave the Munduruku communities because they were in the presence of the objects and the power of the objects. And two very remarkable things came out of the visit. The first was that they found that on the labels that Spix and Marty's have written, they referred to the black clan of the Munduruku, which was a sort of ancestral clan, which no longer exists, but it was known about amongst the community, but then they sort of went out, they disappeared. And then the second thing was that the geographical detail of where they were recorded was very, very good. So the Munduruku could use this in their land title claim bid with the Munduruku authority to establish where the territories were in the early 1800s as part of their bid to protest against the dam. So not only did the objects have knowledge and have power, they connected to the modern world again in a very different way, which could never have been anticipated when the project began. And so then, as part of the dam building process, it got press and attention about how objects could be used in the British Museum in very new ways. And it was exciting. And then the Munduruku went back to the community and they created these signs which they could then put around the territory of the Munduruku. And remember that image I asked you to remember from the 1800s woodcut? They then did a depiction of a man called Karadaybi, who is their ancestral figure, their key warrior in the ancestral realm. And they used the woodcut engraving as inspiration to create an own self-identity of their figure that they had. And so you'll think of very interesting interplays with how the materiality of the objects then connect through and the agency of the Munduruku in deciding the narrative of their own past in their own way. And then very kindly, Casike Chwaraesaw Munduruku and Arnaldo Cabo Munduruku came down about six months later down the River Tapagios to Santarem and they brought one of the signs with them and they gave it to Bruna and Benesius to give to the British Museum. So now we've got one of these signs in the British Museum which will go into the new Latin American Gallery as a sort of testament to that narrative and it provides a lovely cycle through it. In terms of New Age of Discovery, the key point here I think is that agency is given to all who wish to discover now. We live in a modern world in which people can choose to set their own agendas, their own questions about the narratives they want to create from the past and that is a complete transformation from the old age of discovery. So now we'll move on to that sort of second theme which is of technology. And I'll start, we're moving geographically up to the ancient Maya world of Mexico, Guatemala, Honduras, Belize. And it's a fantastic culture. I don't know how many people have it. You've only travelled to those ancient Maya sites in the world. Fantastic couple of people. Great, wonderful. Fantastic because there's an inspirational place to travel and also wonderful narratives again that I think play an important role. So I'm interested particularly in the ancient Maya because of the theme of urbanism. I think that the ancient Maya were extremely good in creating complex urban landscapes that adapted very well to the particular environments within which they were set. They had very low density urbanism, incredibly clever ways of creating agriculture within an urban environment and managing water in clever ways. And I think those are ideas that can play through into modern urbanism in important ways. In fact, large areas of northern Guatemala were much more heavily populated in the past than they are today. And so how we can distribute population through landscape is a big challenge that we face today. But talking about technology, I'm going to talk through the story of this man, Alfred Maudsley, who is the greatest British explorer that no one in Britain has ever heard of. And he's a remarkable man. And he's a product of technology because his father invented the nut and bolt in 1800 and made a huge amount of money. And then, like some many spoiled children can do, he blew it all. But fortunately for us, he blew it in a good way. He quit his life, his first job when he was age 22, and he dedicated the rest of his life to the exploration of ancient Maya ruins in what is now Mexico, Guatemala and Honduras. And unlike many explorers, he was fascinated by new technology. That's what drove him and it's what drove all of his missions in life. So for him, he was inspired by two painters called Catherwood and Stevens, who had drawn some pictures of the Maya world in the 1840s. And so for him, image was what he was trying to capture. So he developed the very first glass plate photography within these countries by taking tons of equipment by steamship from Liverpool, and he created his own bespoke wooden boxes, these giant pieces of glass, silver nitrates, hydrochloric acids, tons of equipment, and also large amounts of plaster of paratons, literally tons and tons of equipment. He got a steamship out to what was then British Honduras, and then he hired a large number of people, maybe 50 or 60 people, created a huge mule train of donkeys, put all the equipment on the donkeys, and then just set off into the jungle in pursuit of ancient Maya sites. And then he spent years in the jungle trying to perfect tropical photography. And so we have, in the British Museum, the most phenomenal collection of these photographs. We have more than 800 of these glass plate photographs, and I'd seen these boxes stumbling around in one of the basements one day. I'd seen the mortilly boxes, and then I started looking into the story and learning more about it, and I was like, this is just an amazing story. And what's sad is that they've languished in the basements of the British Museum for far too long, and never really been seen, and they're very, very delicate. But they're extraordinary photographs, and absolutely beautiful. And the other thing he did, in the thought of technology of the time, was create plaster casts, a lot of the monumental architecture of a number of key Maya sites, including Tikal, Kirigwa, Palenque, Cicinica. And what he did was he wrapped up monuments in plaster of Paris, and then sawed them off into these pieces of, into these small little blocks, and then he wrapped them up in horsehair and paper, and he put them into sea crates in 1880, sent them back to the British Museum, where they then languished in the British Museum in a huge warehouse in the east, east of London. And so we've been crowbarring open some of these, these boxes, unwrapping these piece mould, what we call piece moulds, of the little bits of plaster, creating the world's most complicated 3D jigsaw puzzle, as you recreate the buildings by piecing them all together as negatives, and then also he, at the time, he worked with a man called Lorenzo Dintini to create actual plaster cast replicas from the piece moulds in the field, and so we have three large warehouse floors full of these plaster cast replicas of these buildings and glyphs. And he was a man of incredible foresight, because he wrote in his diaries, even though I do this, I do this in order to preserve these objects, because I know that in the future, my hieroglyphs, which at the time couldn't be translated, will be preserved for translation in the future. So he did it with foresight of what he was trying to achieve. So, when was it? About a year and a half ago? No, 18 months ago, I made a pitch to Google, and I said to Google, Alfred Maudsley is a pioneer in using new technology to communicate cultural heritage. Now that's your job, give me lots of money, and I'll do a good project. And they were very nice. They said, we'll give you a little bit of money, which by my standards was loads of money, but they said we'll give you a little bit of money and do a little pilot study for a couple of months, and then come back and do another pitch in a couple of months' time, and then we'll see how it goes. So then they gave me a little bit of money, and then I went back and did another pitch, and Google is like no other research agency where there's no research at all, but it's like no one else. It's essentially a 60-second pitch, and then this guy sort of sweeps into the room and then you sort of do your presentation, and then they sort of sweep out again, just like you either did or you didn't. And so in my sort of 60-second pitch, what I did was I basically had a scan of the Maudsley cast, and then I travelled out to Kirigwa and recorded a little video going to the original location of where this plaster cast was taken from at the site of Kirigwa, and I said, give me the money and recreate the landscape of these sites and put the cast back into the landscape and then find new narratives that we can communicate to the public. And that was about as long as I had. And then luckily he liked that idea, and he did give me quite a lot of money. And so now we've created a three-year project doing year one Guatemala, which we launched in November last year. We're currently working in Mexico year two, and we're going to work in Honduras year three. And so they gave me some money to hire a big team of people, and also they gave us some fantastic equipment to use and also access to the sort of different nodes of Google and the way that Google operates is in these sort of nodes that do the functionalities of everything that we use on Google. And so this is a high resolution digital scanner that we could scan all of the glass plates. So we've done all that. We also work with 3D scanning now where we scanned all of the casts from Guatemala and we're halfway through all the casts from Mexico, 3D scanning them so that we can recreate three-dimensional representations of the buildings. So we're taking that idea of the jigsaw puzzle and then putting it together because all of these monuments, the plaster casts are like a jigsaw puzzle. So you have to scan each of the individual casts and then put the cast back together to recreate a monument. And so this one is Stella E. from Kirigwa. And so this is actually the largest stone carved monument in the ancient Americas. It's a 33-foot-high monolith carved on all four sides with glyphblocks all the way down the side telling the story of the king, Captela Wachanyopat, who was in Kirigwa, King Kirigwa. And so it's a very complicated business piecing this all together. But then you'll end up with a sort of three-dimensional file recreated of the actual object. And this is the one that we created of Maudley. And significantly, archaeologists aren't always the best at their jobs, me included. And unfortunately in the 1920s some well-meaning archaeologists managed to snap the Stella in half. And so at the site today there's a huge section which has been concreted back together. And also there's large amounts of machete cuts around it which have destroyed large parts of the south of Stella. So this is by far the best preserved representation of the Stella in existence. So then just the guy we worked with in Google quickly pinged an email to Mountain View where they're doing some R&D with 3D printing and they printed out quickly a little model of the Stella from our 3D model which I'll pass round. And they did it literally in like half an hour just in this composite plastic materials just to show it. And so then now you can have a little Stella that you can do it. And the 3D printing stuff, I haven't probably got time to talk about this, but the 3D printing stuff is absolutely fascinating. A lot of different companies are doing work with 3D printing. And so what an ambition of the project now is to at one to one scale print out in stone some of the buildings and then take them back to the sites as a visitor experience so that you can go back inside the buildings in stone and then play with the glyphs at a one to one scale so they're the same size as the normal buildings. So that's really not too far away. So what we have been able to do is then recreate all of these objects and then put them online so that people can then access and play with them in different ways. And so you can go on there and then spin them around and play with them. And this is both as a sort of research tool and as a sort of public access tool to the monuments. And for the British Museum I think it's very significant because there are some terrible statistics that I feel unbelievably guilty about with the British Museum. In the America's collections less than 1% is on display. One killer statistic which keeps you up at night is that less than 5% of the collection has ever been on display in the history of the museum. Which means that sort of 95% of the objects just don't get seen or used or I think they get used because we get a lot of visitors who come into the stores but they don't sort of get the public reach they deserve. And so this is an interesting way. It's by no means foolproof but it gives an access to objects. It raises a profile. It gives access in ways which is very different and very new. We go to all of these sites where Maudsley went and we've done a lot of work with different teams in Guatemala and in Mexico some of whom were already working at the site and some of whom have come in as part of the project. And so this is the Palacio in Palenque where the team was in June and July this summer and we have been geolocating all of the photographs that Maudsley took in the same location. So we've been taking Google Street View trekkers with 360 pano capture and doing Street View capture of all of the sites. We've also done a photogrammetric modelling at high resolution of particular parts of the landscape so that we can rebuild them in 3D and we've been doing lots of work with sort of visualisation of landscape in connection to the Maudsley casts. So this is some of the teams working on the data and then we have the data real time in the field where we can pull up the 3D models on the iPads and then show where they are in the landscapes. The photographs and the objects. So this is Kate and Jonathan who's Google Guy, Claudia lots of people all working at the site. And so yeah this is a Maudsley photograph from the Palacio showing some of the glyph work around one of the little recesses and then today you can see that a lot of that's disappeared and a lot of it's gone. And so the record that we have is a really important part of preservation for this landscape. And so what we've done is geolocated those images and so we can start to look at things like landscape change, building reconstruction work and that's going back in time from that same location in time. So now what we're going to launch next year is a Google functionality of exactly that process with all of the Maudsley photographs. So this is an example which has been sandboxed using a Monet painting from France but it shows you the technology that will have a map of the sort of Maya world and then on Google Earth or in Street View you can Google Earth and you can search round and then you can zoom in using Google Earth you can zoom in to the landscape today to compare the current landscape today and the capture of today in the landscape with the in this case the Monet and in our case it will be a Maudsley photograph and that way you can start to see landscape change and you can do research and do a nice front end of sort of digital exploration and so this I think is very much a value added from Google. When I started working with Google I was terrified I thought I was going to be eaten up by this evil monster but it's a very interesting organisation to work with and the bit we work with is called Google Arts and Culture and it is an entirely non-for-profit philanthropic bit of Google they obviously have too much money and they're giving it away to Arts and Culture so it's very interesting and I have to say on their behalf none of this technology is in any way proprietary so all of it goes through any machine or any function so it's not really linked in any way to Google I think that what they're really trying to do is trying to avoid paying too much tax and showing that they're doing this good work in Europe as a sort of tax break but it's an interesting one, I'm happy to answer questions on that so this is then taking that idea of the geolocated imagery into the next level so this is a geolocated image of a zoomorph so these are zoomorph which are anthro-zoomorphic figures they're absolutely stunning pieces of art they are like three to four metres in length two metres high they're carved on all sides and they have a human face there with a large headdress covered with these glyphs and then there's large animals which come over these animal paws of a giant jaguar with the hind of a frog and then there's this big bird creature and you can hardly see the intricate detail of them when you're there but they're remarkable so what we've done is created the 3D model of the zoomorph we've then put it into a virtual reality scenario so it's a virtual reality of the 3D model then we've sent a headset and two little gizmos which I'll explain better than that to one of the very few people in the world who can translate my glyphs today so unlike Egyptian hieroglyphs Maya glyphs are only really translated well in the 1980s and 1990s and there's still only around 20 people in the world who are very good at it and so one of those people is a guy called Dr Christof Helmke who lives in Copenhagen so we sent a headset with the gizmos to Christof who then put on the headset opened up the zoomorph in a virtual reality which you can walk around so the zoomorph is there and you can move it and walk around it and you can articulate it in real time expanding it out and in in the zoomorph and then with these brushes you can then paint in colour or in lots of different ways the translations of the glyphs in real time in the machine and so then you can create the interpretive narrative of the glyphs which in this case is a sort of burial monument to Cachtelua Cyniopat and a tale of his, him killing Washaklunu Barcawil who is king of a site of Copan at the same time and it tells this sort of story of the objects in the time and so that's been done by Christof, that's Christof's work within this virtual reality creating a sort of interpretation of culture and it's a very very interesting way of looking at culture and experiencing it I don't know how many people here have used VR in any way but yeah, it's a fair share and it's a weird I've only used it as part of this project and it's a very odd experience it's a very odd experience and in fact this is the next stage of that VR experience so this is just an example of the photogrammetric capture that we've done at one of the sites so this is a very simple technology this is just taking large numbers of very high resolution SLR photographs and then they have very nice kits to tie those all together to create a perfect landscape of Palenque i'r cymdeithas cymdeithas then people can go into these landscapes in different ways so depending on what technology you want to use you can use just any smartphone put into a simple headset like this and then you can look around in the 360 3D you can get other ones that are daydream or slightly more at an outmarket which you can put on and then you can move around a little bit within the 3D and then you can use one called an HTC Vive or other technologies where you put the headset on and then you have these two remote controllers where you can teleport yourself around the landscape in the virtual reality so you point your little marker and you zap and you teleport through and so if you do this you can step you can walk by just doing this with a clicky thing you can start to walk around the landscape and then walk around it virtually and so this is the 3D scans of the casts from the temple of the foliated crossgroup in Palenque then this is just a simple video capture of Jonathan playing around in the creative labs in Paris just a few weeks ago so he's put on the headset he's gone to Palenque he's turned out the lights to make it more exciting he's then given himself a torch is one of the gizmos to shine it around and then he's gone around the site at night exploring the site and then we've put back the objects from the museum back into the landscape from which they were found so that you can see them in their original location and then so then here you're in the temple and that is the cast from the British Museum relocated at the back of the temple of the foliated cross where you can then play with it with your little torch and explore it and then the currently the team in London is working on the epigraphy of these to then create a narrative translate the epigraphy understand what's going on and then create a narrative for the public so that you can then click on this and it'll be annotated and tell you who the king is and where you are and you can create a narrative out of that experience that will then be launched in May of next year but it's pretty cool I mean like I don't know that's what I said when I saw it I was like it's pretty cool Jonathan I like it and it is quite fun to do and it's a different way of experiencing landscape it's a really interesting way of doing things so the end of last year we launched the year one of the project the images of Guatemala all of the geolocated photographs and then a whole series of sort of different outputs that the public could experience and then everything is fully bilingual so we have an English version of a site and a Spanish version of a site and depending on your preferences on Google it comes up in whichever language you're searching in and then within the sort of page we have sort of exhibits where you can explore the collections in different ways and go through a sort of little journey, a digital exhibition if you will created by different people involved in the team so some of the Guatemalan team have done little projects on different bits of it we've got these little videos that you can go and little quite highly produced Google Slick videos which are these little three minute vignettes of information we have different stories about Alfred Maudsley, the 3D scans and different ways of doing it and Google, one advantage of working with them is they have great reach so this website, when we launched it Google, for one day put a link to the website beneath the search box in every country in the English and Spanish speaking worlds for one day so it meant that just under the search box everyone who searched Google, which is like tens of millions of people every day they could just click on that if they took the chance it was something attractive like an ancient Maya world and then you clicked on it into the site and so it created huge traffic and access to the collections which normally you wouldn't really get and that's one which I think is an important one is about communication how do we communicate this information technology provides a fantastic tool for creating narratives and exploring the past and the present in different ways but how is it that you then communicate that how do you communicate it effectively and I'm not sure who's got the answer to that but certainly the world is changing so fast that people take their media and their knowledge and their experiences in very different ways particularly through online and digital formats and so this is one project which I really like and very proud of with the project which is for kids so it's a project called Google Expeditions and so it's being rolled out amongst all primary schools in the UK and so the idea is that we wrote text for a teacher who stands at the front of the class this is mainly aimed at sort of aimed at eight-year-olds because that's when Maya comes up vaguely in the curriculum in the British system and the teacher gets an iPad at the front of the class or any tablet and we've written a bit of text and the kids start off in the British Museum underneath a statue of Washakul Hulu Bakhaqawil and then the kids are there and they have these headsets on there in 360 and then the teacher reads out the text written, this is Washakul Hulu Bakhaqawil who was killed in 610 AD and that's how it happens then follow me and we'll take you on a journey and then the teacher presses a button and then all the kids go to the jungle in Guatemala and there's a howler monkeys and they're in the jungle and they're looking around and if you've only used VR for the first time it's an amazing experience and I think it changes pedagogically how people think if you take people on an experience it changes how kids work and so anyway, this is a video this is a nice little slick Google video we'll just explain to that program I'm going to take you on this field trip to Verona, Italy to see the place where Romeo and Juliet lived I'm going to take you on this field trip under the water ready? we've got your devices and look in your cardboard what is that? is it a shark? wow I'm going to let this go somewhere you wouldn't normally be able to go this is the great wall of China we got to see the place itself and how long would it take to walk the length of the great wall of China so much more enriching than just showing them a picture or just having them read about it this device can actually make a skull to place that we're going to bring it for it brings the lesson to you and you have to think for yourself to be in it there's so much other places to see so you know that it's never going to end it's great it's very slickly done but it's great I think it's a really interesting way and I think that it's amazing when we start to think about New Age of Discovery that it's incredible I find that kids spend 18 years of their life stuck in these little concrete boxes being shouted at by people in the front of the class like me and us but it's a way of learning it's not the way that humans really should learn we learn through doing, we learn through experience and I think that discovery is all about rephrasing the pedagogical systems so that we can learn in different ways and I think this is providing different ways of doing that in very interesting ways and bringing narratives in the past to the present in exciting and different ways that will be there and so yes and then communication the last little bit I'll talk about is sort of television as a media of communication because I also make television programs so I've written and presented more than 15 documentaries for the BBC and so television is interesting so I'm an academic I write papers and I put them on academia.edu which is what academics do and they maybe get read by like if I'm lucky 60 or 70 people the numbers involved in output and reach are just so small in the academic world so that opportunity came up with the BBC maybe I started doing this in 2008 and they said we want to make a documentary and there are big advantages and big disadvantages to working in tele the advantages are that now like millions of people in more than 60 countries have watched television programs that I've made but the disadvantages are that the amount of content you can actually put in a documentary is really quite small so and I work in the BBC with no advert breaks and I have a whole hour and so a US hour documentary is only 43 minutes of content and so these documentaries an hour for the BBC will be in terms of total words said in an hour will only be around 3,000 3,500 which is less than an essay that many of you would write and if you imagine that you need to get an hour of information in one essay that communicates an entire culture and an entire story to an audience who probably know nothing about it it becomes a really difficult challenge to try and do it but the advantages that it is a very large number of documentaries so I've now made a very large number of documentaries all around the world from East Ireland to the Amazon from Bolivia up to the North West Coast and everywhere in between and there's one sort of drive that I tried to underpin in each of the documentaries I make is that each hour each documentary has one core theme one idea that is trying to communicate through an alternative culture from the past or the present so each story has a sort of theme so and then the other thing I try and do is very much put Indigenous peoples and peoples in the landscape front and centre of all of the documentaries that I do so I'm very lucky at the BBC that they allow non-English language interviews with subtitles quite long words and so they're quite tolerant in dealing with quite anthropological content in terms of documentary filmmaking and so I've made a lot of them and if anyone's interested in them they can ask John and I will give you the links and see some of them so communication in that end thought is an interesting one but how it is that we communicate and I don't think that academics are very good at it to be honest my big turning point was in 2008 I was at a climate change conference in Denmark and I was doing a lot of climate change work then as I still do today and so this was the meeting between before the COP meeting where Barack Obama was going to turn up and arrive and it was really quite hopeful then that things were going to change and this was six months before all the scientists got together to update the latest IPCC fourth assessment report to update the latest data to a man called Anders Fock-Rasmussen who was then Prime Minister of Denmark in order to then take it to the political summit which was happening six months later so the conference was fantastic all the scientists were there, all the academics and there was this really feebrile atmosphere they were all doing good they were all about climate change they were all changing the world and these terrible politicians weren't doing enough and then Anders Fock-Rasmussen turned up at the end and he had to stand there on this big stage he had representatives of scientists so you had geosphere, biosphere, hydrosphere, chrysphere each of the representatives got up and they handed over the sort of summary document to the Prime Minister and they hammered it, they were like this is outrageous, the sea ice is going to be gone from the Arctic in 50 years you've got to do something about it and the next guy stood up and said land forest is going to be disappeared you've got to do something about it and he hammered it and then Anders Fock-Rasmussen got up and he gave an absolutely brilliant speech and he said to me like this has got nothing to do with me it's entirely your fault because you are the world's worst communicators to the public if the public sends to one fraction of this passion that you have in this room then I wouldn't need to worry because they'd vote differently but they're not voting in this way so therefore don't have a problem with me that's not my job and it was a brilliant speech but it made the point that academics and education is vital if we're to not only justify our subject areas and our jobs and our careers but also if we actually really are going to try and change the way that society operates going into the rest of this century because many of the answers will be in universities like Vermont and it's a matter of communicating those narratives out into a public sphere where they can have a real purpose and that's very much what I think the new age of discovery should be it should be about empowering all people it should be about accessing new technologies to communicate in different ways and it should be about being effective communicators to a wider public and so that is my conclusion thank you very much for coming