 Thank you very much. First of all I am going to say that I am going to read this as I am not confident that I will hit the timing needed. But I also want to say that in the audience here there is Lorna Bransden, who I collaborated on this project that I am going to tell you a little bit about. Ar gyn yw'r tyfnwch, rwy'n ei fod yn allu ddod i gael, ac yn ystod o'r ffasffydd sleid o'r byddwrn yn erbyn nhw, ond yn ei wneud eich bod yn oed yn benedig o'r newid. Wrth iddyn nhw, nad y gallwn ni wedi eu bod yn cael ei parwy o fewn cyffredinol oedd, er fawr i chi susiech i chi fod i'r ddweud yr ymddangos, ac rwy'n fawr, rwy'n fawr i chi'n dweud. Mae'r gweithio ar y llwyddiad, yr archif, yr esbydd sydd mellafodol, yr ysbydd cysylltu, yr erbyn gwneudol, ac mae'r gweithio arall. A dyna'r llwyddiad ond dyna'n gweithio. Mae'r dweud yn gweithio ar y cwm yma, yma yma fel yng Nghymru, mae'r ddweud yma yng Nghymru, neu ddim yn gweithio ar gyfer llwyddiad cyfnodd y bwysig, rydyn ni'n ddysgu'r hwn o'r bwysig ar y llan i ddim yn oed y dystyniad ar y gyfer. Fyddwn yn bwysig yn dystyniad, roedd yn ddim yn ddim yn ddim yn ddim yn ddim. A dystyniadau, y bwysig cyrsigau ym Mawr, yn gennym yn y gweithio'r maesll yma, yn y gweithio'r ddim yn y gweithiol. Felly mae'n gweithio'r ddim yn yr oedd yn dweud. Gweithio'r gweithio'r ddim yn y gweithio'r ddim yn y gweithio'r ddim yn anhygoel. yw'r bêisbawl, ond mae'n mynd i'n bwysig yw'r fforddiad cyfnodol. Mae'n byw o'r gweithio'r fforddiad ac yn dweud y bwysig. Y Llywyddyn ymddiannau cyfnodol, yr unrhyw, iddo ymddiannau cyfrifiad ar gyfer cael eu gwirionedd ymddiannau. Ond ydych chi'n gweithio, relics, rhyfau, yr ymddiannau a'r argyfligau cyfrifiadau ac ymddiannau o'r fforddiadau ac ymddiannau, Mae'n rhoi'r peth i'w gwirionedd. Mae'n ddiddordeb yn myth i'r bywyd, mae'n ddiddordeb yn ddiddordeb yn y dyfodol. Yn y gwirionedd yn gweithio'r ffordd yn fwyaf, yn gweithio'r amgylchedd a newydd o'r ddiddordeb yn gyfainio'r ddiddordeb. Mae'r gwirionedd yn ffeirio'r gweithio'r ddiddordeb yn gweithio'r ddiddordeb, As computing becomes ever more pervasive, I'm intrigued with what happens at the point where the physical world blurs into the virtual, especially in the context of obscured or reluctant heritage. So I walk. Sometimes alone, sometimes with others. I use social media. In the context of this conference, I'm suggesting that the processes I use have two key areas worth considering. Firstly, it brings new audiences to existing formal and informal archive content. And secondly, it opens a space to generate and network a new set of testimonies and new commentaries. What I'm offering today is a perspective from a set of walks I led with Lorna in England and in Germany based on the Nazi death march. The project honouring Esther is a collaboration with Lorna Brunstein. It accessed and used a range of archive materials, including recordings made by her mother Esther Brunstein. So this is kind of not really about repurposing archive. It's more about the proactive creative use of archive, making the effort to renew its connections with the lived world, going the distance and building the space. So I just want to begin by saying a little bit about our separate kinds of work. So Lorna is an installation artist and much of her work has been about exploring what she describes as inherited trauma. And in particular interrogating her family history. Both her parents were Holocaust survivors. We've collaborated on previous projects. This is still from an installation that was primarily focused around her father's experience. We work with family archive material, photographs, movies and diaries. In honouring Esther we worked with her mother's story and we accessed Esther's public archive as well as family records and capturing content specifically for the project. For my part I've worked on a number of media projects using archive material from repurposing archive film to recording oral histories and making digital stories. Those of you that are regulars at DCDC, you might have seen presentations that Curator did about Lakehawk Unlocked, which was a locative app I produced a few years back. And that uses similar kind of technology to be just heard about, stories and items from the estate archive located in a walk around the National Trust village of Lakehawk. So from my background and from Lawlanders background we are both very much aware of the concerns around the use of archive, especially personal archives and audio testimony. Esther has been part of all of this from the outset. We also talked with and worked with colleagues from the Imperial War Museum who are custodians of much of the audio archive that Esther Brunson has generated. We also worked with colleagues at Bergen Belsen Memorial and as the whole thing developed we found ourselves networked into other supportive artists, archives, heritage professionals across Europe. Honoring Esther began with a two day public walk. The walk took place over the 70th anniversary of the liberation of the Bergen Belsen death camp in April last year and was based on the route of a Nazi death march from a slave labour camp near Hanover into Belsen, transposed to Somerset. The original death march took place in February 1945 and in February this year, 71 years to the day that Esther walked it under armed guard, at gunpoint, we retraced her steps in Germany. When we got to Belsen we had a Skype conversation with Esther. Esther Brunson grew up in the Bundes community of Lodz, Wydge, Poland and there she inherited the compassion and internationalism of that Jewish workers movement. She was a leading spokesperson in the campaign for a UK Holocaust Memorial Day and if you go to the Imperial War Museum you'll hear Esther as one of the voices guiding you through the Holocaust exhibition. Our early research took us from Esther's memory to the detail of where on earth was this place that she vaguely remembered. It took us to military histories, it took us to old maps and eventually to a small book by a school teacher, Annetta Veenicka, about a village called Hamburen Ovalgerna where she had been working. Annetta had unearthed the story of the wartime slave labour camp in the village. Her book is an account of the camp and the Jewish women Esther amongst them transported from Auschwitz to work in the munitions factories and then marched to Belsen. Only the story that Annetta told was then buried again for another 20 years as it didn't fit the version that her school wanted to tell of itself in the village. We were already into difficult histories and reluctant heritage. The story of the Holocaust is on the edge of living memory. The 70th anniversary of the liberation of Belsen recognised the need for new ways of telling and reconnecting. We wanted to somehow bring the story of the death march into our lives here and now. So what would happen if we first walked the route in Somerset near our home, literally bringing the thing close to home? Retaining scale and orientation are transposed the route of the march to England. I located the end point in Bath because that's where we live, finishing at the old Jewish burial ground because it was a location known to us as a place where the last remains as some of Bath's Jewish dead are recognised and respected. We pledged to undertake the walk as close as possible on public rights of way to the transposed line of the 1945 death march. This created an interlocking set of routes with ten intersections that are represented in the graphic there. At each of those ten points we curated themed interventions. These were the stations of our walk and it was here we used the archive materials to both tell the specific story of the march and to seed the wider human rights resonances we were hoping to generate. Each intervention began with audio recordings including Esther's testimony, commentary, poetry and music. The route of the walk and the content of the interventions deliberately disrupting and reconnecting local knowledge by imposing the line of a narrative from Germany. We found echoes in Syria, Libya, Palestine and then uncanny connections in England. In April last year as the first images of Syrian refugees walking across Europe hit the TV screens we walked in a strange burst of spring sunshine and luxurious greenery. Second generation Holocaust survivors walked with second generation liberators stopping to hear the voice of a living survivor and the testimony of others. We arrived at the old Jewish burial grounds in Bath with some 50 people, some who had walked for two days, others just a few yards. In Germany the walk followed a similar pattern. We stopped at the same stations generated by the intersections between the virtual and actual routes. We listened to Esther's voice again. Our walk began in the car park of a garden centre bare sandy soil on which SS guards had exercised. In the back of a modern house we stood in the drizzle looking at an old shed that had once been the only earth toilet for 400 enslaved Jewish women. Repatriating Esther's memory and generating our own wrapped up against the elements we walked in cold driving rain. Second generation survivors walked with second generation witnesses, some perhaps children or grandchildren of perpetrators. A smaller group on foot but with a strong social media following ten of us arrived at the end of the second day at the Belsam camp. Our intention in both the Somerset walks and the walks in Germany was to create something that would generate resonances. But we did not know how that would come up or how it would be expressed or networked. In a messy and unpredictable way we found testimonies, stories and myth unfolding before us. Last year we were joined in Somerset on the walk by a man whose grandfather and great uncle had been in the first wave of British troops into Belsam. One of our key contacts in Bath, Alex, told us the story of how his father, a rabbi in Bristol, had given shelter to a Belsam survivor and that on his departure he'd left the blanket he'd carried with him. Alex still had that blanket and brought it with him to our closing event at the old Jewish burial ground. And it turned out that one of the first tasks that grandfather and great uncle undertook at Belsam had been distributing blankets. The two cousins were completely overwhelmed by the sight of the blanket. The stories were connected and retold, opening up further into generational sharing. There were many other such experiences in England and it felt that we were opening a door for such empathetic sharing of testimony. But it was in Germany that I experienced the strange energy of this moment that we were holding open. In the period up to doing the walk we'd made many contacts and had done loads of meetings. Arriving in Germany we met local historian, Ermlynda Florian. In our meeting at the garden centre a man stood silently beside her. Ermlynda introduced him and she said he was a witness and he spoke slowly quietly in Germany as if he could still not make sense of it all. I remember the camp, it was here he said. We walked out past the rows of all kids and he seemed to just melt away. But the following day he was there again and stood silently by the road to see us off. We were joined on the walk by several other local residents including a guy called Dieter who said he'd lived there for many years and he knew the story and knew about Belsam but he didn't know about the slave labour camps. They all knew about the horrors of Belsam but many did not know what had happened in their own village. Like a netta before us we found that we were stepping again into this difficult local post war heritage narrative. As we walked Ermlynda told us of a phone call she'd received that morning from an elderly woman, another witness, who told that she had seen an old woman collapse in front of an SS guard and he'd kicked her and told her to get up and then when she didn't he'd shot her. The elderly woman said that when she'd let out a cry the guard had turned his gun on her and she'd run away to her mother. Her mother had told her to say nothing. That morning the first day of walking was the first time she'd shared her story. We heard other stories from those who had been children during the war running up to give food to camp inmates and death marchers. Children who had been told they'd seen nothing and not to tell finally finding their voice. So much evidence was destroyed by the Nazis and in the post war period so much was deliberately forgotten. And as some of our contacts discovered memories of resistance or compliance even simply witnessing are still uncomfortable and confusing. But as they surface the Bergen-Belsen Memorial Archive continues to collect such accounts. In a time when refugees are again crossing Europe on foot our actions generated many contemporary resonances. At one small town along the death march route we were met by the mayor who explicitly connected the story of one local act of resistance to the welcome being rolled out to refugees. There is a time to be brave he said, seize the moment and do the right thing. So I want to say a bit now about how this was reported because this becomes part of the further networking of the whole thing. Both the walks were live on social networks, maybe some of you here might have followed them. We were generating and distributing social media as we went. That's in addition to using existing archive materials and contributing to the collecting of information in the locality. Sounds, images and texts from the walks were also being added to those informal network social archives. The walk in Germany was relayed live to a huge screen at Passport University where further interactions and testimony sharing took place. So as we were walking through that kind of checking in to our social media streams with geotag content and route tracking using GPS tracking platforms, we were performing these twin socio-technical practices that Frithan Carlin referred to as key to building digital network memory. Sounds and images we gathered became part of others archives and in turn have become searchable and interconnected. The physical world blurs into the virtual and back again. No death march ever trudged through the north Somerset woods, but for a group of walkers in April last year, those woods and the sounds and images gathered there will be forever imbued with thoughts of exile and threat. For two days last February, we walked in Esther's steps, repatriating memory, connecting to others memories and generating new ones. Much of this still exists and continues to ripple out and generate responses in those digital network memories. In this project we wanted to make something that was historically aware, vividly serious, a reflective walk in witness. It turned out to be richer and far more powerful than we could possibly have imagined. I wish to conclude with a couple of points that may be of value to those of you working in archives, people that are here. So we used old maps and formal documents and oral testimony. We took those documents out of the archive to a new time or location that continued to reference their original purpose. This creative combination of constructed dissonance, physical activity and thoughtful preparedness seems to produce a space for empathy, triggering memories, enabling people to find a voice to share further testimony. In the context of difficult, obscured or reluctant heritage, this seems to be an approach worth exploring and it's one that I'm taking further. In addition to this, through our use of smart devices and social networks, the project demonstrates the ability to access and contribute to digital network memories and the online media archives that underpin them, like Flickr, we just know the references to Flickr. These are early days in making sense of these new sociotechnical practices, but I think that their impact on memory making, user generated archives, and in turn our sense of place, space, identity invite further interrogation. That's where I'm going for our next project. So back at the film, I think if we are prepared to go the distance and put in the effort, all of this stuff starts to come to the surface and people want to share. Go the distance, they will come.