 Well I'm going to talk a bit, as said, about bringing our audiences together with the works of art that we have in our collections and things. And one thing that I always think about with regard to museums is that museums are not like universities. You know, we don't examine people on arrival. We don't test them. We don't grade them. We don't associate them with particular interests. They come in on their own and they make their way about and we provide them informed access to the things that they're interested in. And so it's a matter of first of all bringing them to the museums. We have paid advertisements, of course, but we also have paid advertisements in print but we have advertisements on the web and various other digital platforms. So you can just see how we're going to be taking you through an exhibition that was recently at the Getty Museum on Rubens. And you can see the different ways that we are reaching out to people to begin a relationship with them. Before they even come to the museum, we're already in contact with them. They come to the website, of course, and at the website they can figure out what's on, what they can see, what they can hear, they can be a video about the presentations, they can talk about the Getty itself as an institution, they can go to either the two sites of the Getty to learn what's on at that particular time. But more and more people are mobile so they have their own personal devices and these personal devices are of different sizes. So one has to design responsibly to respond to each kind of platform, whether it's a tablet or whether it's an iPod or whether it's an iPhone or whatever the smartphone is that one might have. So this is just three different views of how the design responds to the different platform. Facebook page is not only for when print and the response of in that respect but also can play video so you can introduce them to the exhibition that might be on at that particular moment. Of course there's Instagram and the rise in numbers of people posting to Instagram is increasing and this allows people to curate their own sort of experience of the Getty. It introduces them to the possibility that this is going to be something that they can be themselves engaged in. They then come and they make their own pages of Instagrams and they then post this and there's a kind of responsiveness to that. So you're beginning a relationship before you even come, a Twitter of course. They anticipate when coming that they're going to have, this is going to be prior knowledge and there's going to be a relationship established. Let's say they come to the exhibition and they have their own device and they want to begin an audio tour which they can download onto this device instantly when they come into the or it downloads for them when they come into the exhibition and then they can go on to stand in front of one particular picture and then press that and then they get the audio tour. In this case this portrait of the donor not of by Rubens but by another artist and then that is the audio tour they can carry around themselves. They don't have to, they can design their own experience of the museum of the exhibition. They can learn about the exhibition while they're there as they're waiting to let's say or their first arrive at the exhibition and they can, you probably can't read this but down here it talks about how this exhibition came about and you can link to this, this all can be live and when you link to that you realize this exhibition was a result of a relationship, the Getty Foundation part of the Getty Trust had with the Prado Museum which was about repairing a panel paintings and the exhibition is about the relationship of panel paintings to these tapestries, the panel paintings being the design from which the tapestry makers made their tapestries. The video tells you about the restoring of panel paintings and so forth so you begin to learn not just that you're an exhibition, what the exhibition is all about, from what the exhibition derived, then you wonder well now I'm in this exhibition and there are all these Rubens paintings, the tapestries after these Rubens paintings, I wonder what other works of art by Rubens are in this museum somewhere else. So while you're there you can just go on to the webpage of the museum into the collections of the museum, search for Rubens as you come here and you find this one and you say to yourself that's an interesting painting and you're doing this all yourself, no one's directing you one particular place or another, it's just your own native curiosity provoked by what you see in the exhibition, you have sources that you can go to learn more about the picture, you can enlarge the picture, you can pinch and expand the picture, you can download it freely onto your own device so that you can carry this information back with you after the exhibition, you can pinch and detail in and you can get in some places of course closer to the picture than you can to the actual picture, this is all an open content which means that all of this is available to you freely, it's one of the things that we're in the business of providing access to our assets, assets meaning whether the literary assets or visual assets, intellectual assets, when you punch in for Rubens and you're searching for it, we've got 1,559 records about Rubens, which means we don't have 1,559 paintings by Rubens of course, but we have library materials at the Getty that one can access, archive materials, drawings, prints, photographs of paintings by Rubens, so all of a sudden you're expanding out of just the curiosity that you had about a single painting, you're expanding a universe of information about this artist, this is a portal through which you have access to 14 different libraries around the world, the art history books in those libraries, some 60,000 of which have been digitized thus far, you can download all of these texts if you wish onto your computer, if your computer is large enough to sustain that amount of information, there are 113 that have something about Rubens in them, and so you scroll down and you say to yourself, well, I'm sort of interested in one of them, you call that up, it's a 19th century book about Rubens, documents and letters as you can see, published in 1877, and you can download it and you can read through it and word search it for let's say that entombment painting, because that's what you're most interested in is that single painting that you first initially provoked your curiosity, there are different databases and what's important when you're doing this is because of this research, your own personal research, is that Rubens is spelled differently in different languages, there are different ways of referring to it, so you've got to have links to this, there's got to be linked open data to expand the universe of information about something, and there are these different databases that we have, one you might be interested in is provenance of the painting, who owned this painting, and maybe who owned other paintings by Rubens, and what's this kind of networked field of association that you can develop around this painting, and you look at sales catalogs, because that was kind of interesting to you, and you type in Rubens once again, and you come up with a number of different sales catalogs that document the transactions and the selling of Rubens paintings, you're interested in one particular because about the entombment, because that's the painting that you're interested in, and you've got a few, some are copies after, some are studies for, some are finished paintings that have the subject of the entombment, you try one of them, let's say, and it's 1815 kind of interests you, and here's the sale, it's on two days in December, 1815, Thomas Seward is presumed to be the seller, it describes the sale, and then there are links to sites where the catalog can be found, and you can download those digitized catalogs to learn more about the painting, and all of that comes from just being provoked by this picture, so you've been invited into the museum, you've been informed about the exhibition, your curiosity's been provoked by one picture which you discovered is elsewhere in the museum, you can download all that information onto your personal device, you can follow your curiosity beyond the painting to a network of literary associations that enhance your understanding of the picture, and all of this is done by yourself, museum has done the job of making it available to you, and the next step in all this, of course, is geolocational responsiveness, now that the museum knows you're interested in Rubens, it might direct you by streaming to your device to something else that might be related, another painting that maybe is in the collection owned by Thomas Seward, or another painting of an entombment, whatever it might be, we'll know what you're interested in and we will direct information to you which you can then take or not as you wish, so it begins that dialogue that Deborah was saying, it's not a one-way street, but a two-way street in this relationship, but all of that comes from digitized assets and information. The next step, of course, is the digital, not digitized, it's not just giving you information, it's developing a whole set of networks from which you can then, through deep databases, develop a greater, greater awareness and understanding of things, and this is harnessing the power of the digital technology to enrich and experience these individual works of art. The next step in this is the more complicated one, it's still to be done. Let's say that you're interested in the materials of its pigments. If there's a big database of material, information about materials, you could develop this network of associations from these colors, and the materials from which these colors are derived, from where their mind are made around the world and where they have been transmitted and transferred, and that would be just one set of associations, another would be the iconography, a deep sense of how this fits into the iconographic vocabulary in where one can find those associations, or ownership ones, which you've seen already, or artistic relationships that Ruben's had, so from this painting, one can get a set of networks that associates it to a greater understanding of the digital realm of art history, and that says that the difference between the digitized information and digital research, it's about big data. This is all the more complicated because all these big data searching that you've heard about is principally character awareness, which is to say that you can do this searching and map these relationships because the computer is very good at reading characters. It's not very good at reading images. The human eye is still so much better than that. So we still have a long way to go to build this big data base that we can then analyze and research through by responsive to the visual realm that you can take these colors, let's say, and these images and these personal relationships and analyze them through a big database and then understand visual relationships, not verbal relationships. Right now there's still character or verbal relationships, but it expands your universe so that you are in this deep relationship with the art history around this picture by being provoked simply by it. So I think there's tremendous promise in this and it's taken us into a revolutionary moment in responsiveness in museums, but we're one more step to go and that is with image recognition.