 y Berghwyl rhywbwyll widegol. O amlwg, uwch chi'n wnaed hyn sylfa fydd yn ystaus fo mathiacol ac yn ystawr negiwch ar ystauwll a rebellionr. Wrth y 같아요, rhai sy'n chydig insert y dref rha, felly test poder wedi eu bod yn gwndedol darlu dryddallow ac yn lluniau. Felly, yardog ac mae'r rodd iawn i'r llaw arall, rydyn ni i'n ffymu'n ysgrifennu yng Ngheirloedd Cysyllt, yng Nghymru, ond yng Nghymru ffymwysig, mae'n drosbwyntau i gael y llaw. Felly mae'n ffymwysig yn ffyrddol ac mae'n ffymwysig yn y bobl o'r rodd iawn. Mae'n rydyn ni'n ffymwysig i'r ddechrau i'r argynodd iawn, mae'n rydyn ni'n ffymwysig i'r llaw. Mae'n rydyn ni'n ffymwysig i'r rydyn ni'n ymwysig How people interact with not only the stone itself, but with other people and with the land in general and basically it's an excellent book and I'd recommend it to all of you. And from the abstract we talked about how stone is seen in ways that it's immovable, it's permanent, it's long lasting resilient, but it's also, it's changeable, it's malleable, it's chameleonic, it changes with how light is on it, it changes with how wet it is, it changes with whoever's holding it or using it. Ond mae'n dwi'n gwybod fel ychydig. Mae hynny yw'r pryd yn gyfathogol, ac mae'n gwybod hefyd yn gwybod fel y cantolια Headshimmel. Y ffaith yng Nghaenyaeth yn fwyaf hwn yw, mae ydy'r tyfu'r roedd cyllid healthcare yw Lleifthic Monument am Llantych Europe. Mae yna'r tanlyniad ar y Cynig Lleifthic yn gyfathogol, ac mae'n dod yn fwyaf gyda'r holl widenau a nilithic morhmyniwn. Yn anhog i ni wneud hynny'n gwybod, mae'n gwybod fel Lleifthic morhmyniwn, llawll gydais, gyda phasid iawn, oeddem fel clynyddu'r gyffredinus llyfradig yn wych. Mae'n y cefynd yma i'n cael ff grants ysgol o'i amser i froi. Peithio'i gyffredinus llyfradig yn N pepperwyll y storio. Mae'n fedyn yn y Cymru, wedi'u llyfrwyr bod Katie yw'r effbryd. mae'r rhaglŵr maen nhw'n eu llyfrwyr heddiol o'r gyffredinus llyfrwyr. Rym ni wedi prosiwyntol yma yn y Llwerdimaen, yn y Moond, yn Ddenmarc, i'w ffasherbyn Frontin, yn Ysredin. I'm sort of a range of monument types and largely passage graves, which tend to be the ones that have survived and tend to be the ones that get the most attention and the ones that've got the most stones for me to look at basically. And what I do is, instead of just going there and writing this is the colour, I think the stone is, I use this little device and it's built from our Arduino board, it's got a little sensor and it's quite its own light source so it's always a constant light source I use when I look at the stones, this is that stone hinge and it gives me an RGB reading of what it thinks that's colour, that stone is and then I combine that with more personal experiences. So this is an example of what I did at Brinkelithi this year, which is a place in Anglesey and I get people, other people not just me, to go into the site and say what are you perceiving, what colours are you looking at so I try to have a bit of the digital, bit of the analogue, a little bit of both going at the same time and to illustrate that in a bit more depth, I've chosen to look at Brinkelithi which is a passage grave on Anglesey, it's a place I've got quite a long standing relationship with used to go play there when I was a kid because I've got family in Anglesey it's one of the most well known and sort of brush preserved sites on the island it's very easy to access, it's open all year round, there's a nice car park almost a processional way leading up to it from there now and you can go in at any time and have a look in there, it's always very open so when you go there's often lots of tourists I record like audio recording of my experience and I'm on site to refer back to you later and when I very first went there my device was in a wooden box and you can hear me swearing when a dog tries to eat it and there it is inside the chamber there it's quite an interesting site because the off-the-sats uprights and capstones are probably in the same place originally where it was extensively excavated in the 1920s and it had been quite denuded and that the mound was gone and it was a bit trashed really so it has been reconstructed very handilyn that a lot of the stones that were put in as reconstructive stones have got the holes drilled in them where hemp, the archaeologist did it denoted where he'd messed around with it basically by showing you the stones so I can probably say that the stones are roughly in the right place and it's made largely of a stone called Blue Shist which is a natural stone of the area that sits on a seam of it on Anglesey and it varies in colours from very very deep blue almost black right to very pale grey so it's lots of varying colours in there and there's some really interesting folklore associated with this site there's a pillar within the back of the chamber it can't find something so it's out here and it's this great look of folklore that it's a vitrified tree trunk that's standing like a guardian in the chamber it's not it's Blue Shist but every time I visit that site and there's somebody visit and say well do you know this is a tree in this room and I'm like it's not a tree I'm sorry but I do love this site it's like persisting through time this little story which is wonderful and so I go there a lot to do to take my own readings but also to take part in public events because they have very big public open days here so this is the first site that I looked at digitally I used my colour sensor and took average readings of all the stones and this is what it comes out with so this is what I do with all my sites I make an illustration so I can very immediately look at it and go oh they've used this colour in this part they've used this colour here it's just a very immediate obvious thing I can look at but then also I have then a huge database of these readings and I link them with geographical locations so I can then do some analysis and say where is redstone used predominantly in a site where is very pale stones used as capstones this kind of thing and you sort of like a very sort of like quick and dirty data analysis of the sites that I'm looking at so that's the digital aspect of the site so that all of this data that I've recorded and then visualised it's born digital it's made within a machine it's interpreted through a machine it's presented on a machine my hand as it were is removed from that process but then what is the implication of that although it's got quite tantalising prospects you could say I've removed myself from the process I've created this ecosystem of data that's slightly removed from the real this born digital it's created on a computer but that has implications you read studies of things like ebooks that are written you don't take in as much information when you read them data points full of databases they're not as easily relatable as something hard copy but then also they're not as easily destructive there's a couple of facets there you think about you can remove the option for human error human subjectification but that is sadly science fiction because we can't yet say the device is perfect the device is not subject to humans humans have programmed it I've built it for a start so there is still that little element of the human creeping in there you need to ask these kind of questions of yourself building in a digital way of looking at the stones how is the thing working what is its limitations who is the audience as I'm processing this data who's going to be looking at it what are their needs when they are looking at it what are the implications of using this on site when I'm there looking at the box how is it affecting how I'm looking at them because I'm using this device how is their story speaking to me differently if I was just there looking at them with my eyes or looking at them through a bit more analog methods and if other people use it if I release the code for my device will they use it in the same way you know how will that affect data for example if somebody wants to do the rest of Europe I have to sort of on the North West if somebody wants to do more to Balkan regions will they use it differently will they get the same interpretations so with these kind of questions in mind you need to think how can I supplement these digital weapons looking at rocks so I also try to do the more personal things I get people to do things as well so this is going back to that sheet that brings I did it was an open day for the site it was like herded open day I think it was about 400 people came and I got about 100 people doing my survey right from young kids 2-3 year olds all the way up to people who were like retired who came and did it and I said to them watch your age and gender because it's a fault so I wanted to know is there a differential in the way they're seeing it and I just generated things like a cloud diagram of all the words they were using it was interesting to see that I use very technical terms for the colours I'm like deep grey deep black whereas they use things like orangey white and golden and bronze and there was obviously much more variety in the way that people who are not subjected to meters pointing a device they feel freer to use a lot more descriptive words they see things in different ways and they do sort of strange things that I wouldn't have anticipated they come back out with their sheet and they'd say oh yeah I used the white of the paper and I reflected light onto the stone to see what it would look like if I wasn't in the dark or they'd say things like I used the torch on my phone to have a look at it because it wasn't too clear and I noticed that a lot of the younger people had the texture at the same time they were like oh it's rough brown it's shiny grey it wouldn't just be pure colours they would have a more complete sensual experience and they were talking about it which I found really fascinating that it was something I wouldn't have considered when I was first designing it and obviously it's not showing in my data when I have my huge database of colours but it almost seems like a much fuller experience so that's definitely something to talk about later when I hopefully move on to further research so basically both ways the digital language is analog they're translations of what the stone looks like they're translations of the colour and so all translations are fraught with difficulty any act of translation is one of change and destruction which is something that's come from a book by Matthew Law about various networks but when you look at something like even just something that it should be fairly simple to say like categorise out the colour you're translating what that original colour is into your own ideas it's coloured by your experiences by the way you see things but also by the way you've designed your research so going back to what Katie mentioned about the Ingol paper earlier about how the materiality is something we're so divorced from the process of creating of the building of the choosing of the stone that we see something now like I go into that chamber and see a grey rock but when in fact there's a whole process gone behind why this grey rock why this colour, why here and the reason I choose to be a case study is because there's a really handy source of rock in an outcrop in the field that's now next to it, 200 yards away that would have been perfect you could have quarried that, it would be all uniform perfect, beautiful, you know same colour would have been fine but the chamber itself is at its self from the picture of the colours there are some that are covered in quartz so it shines in the darkness there are some that are very rough and they've chosen limestone instead so they've obviously got that from a further source away that then becomes porous and takes on the colour of the soil that's seeped down from above it so it changes again in the colour so to say that in the past they just chose some random rocks that's a very disingenuous translation so what I'm arguing is that we need to become storytellers but looking at many different ways of translating that story any interpretation that we build it's an expressionist painting because we're painting broad brush strokes of these stone colours and in order to get sort of approach why they might have been used we need to understand the story of the stone itself the story of the matter we need to understand what roles our machines and us, as I call, just have in that story as well and how I visualise interpreting this I know you can't see a text because the screen is very small is putting it into assemblage which I know that there's been a lot of sessions about that here at a conference to quote one of our keynote speakers Janice Hamilac, who was here earlier in the week assemblage defined as contingent co-presence heterogeneous elements such as bodies, things substances, effects, memories, information, ideas so living and non-living things in sort of a vast network that's almost like a series of Russian dolls that live within each other so you start with the stone itself which has its own agency it has its own meaning it influences other things, it's not just an inert substance that falls within how people are viewing it and using it and then how local myths and legends build up around it, how regional traditions affect how people look at it and then you get sort of like further down and how it's then perceived by future generations their ancestor reverence reverence for the sites that have been built before and then how that fits in with what's wider like solar seasonal celebrations, about trade about traditions within the landscape and then right at the very outer edge of this assemblage is how we interpret it and I mean this is influenced by so much existing interpretations our own perceptions of the colour of the stone it's influenced by the bias of survival certain survival don't and we need to recognise not like the other layers that are going in before we can look at this outer layer and say yeah I'm happy with this interpretation so the way I'm trying to sort of synthesise everything is how I look at this first step and I use digital and analogue means to look at that and I'll say well how is the colour of that feeding into all of these other layers before I can get to this layer at the end and I just want to recommend a couple of books that I would definitely if you want to look at stone as this adential artifact as a part of these networks Jane Bennett talks about political ecology it's all about how things fit into networks and how how things shouldn't be written off as having no agency shouldn't be written off as being in a and we control a thing you know we shouldn't consider the world as anthropocentric we should look at things how they affect us and each other and this is the one I was talking about I'm like Edwin's book it's very poetically written but it's all about how objects and artifacts imbued with their own kind of life in a way and it just sort of like changed my perspective in a lot of ways about how to look at stone and how to understand it as a living thing Thank you very much