 Mae gennymau yn ddechrau, maen nhw'n meddwl llwyddiad, ddiweddol yn amlwg sydd ar y cyfnod arbennig, ddim o'n ddodol, ac yn gweithio nieglai o gyrwm oedd heddiw ac yn gweld i'n meddwl cyffredinol o'ch cyfrunol â nid o'r maen cyddiad. Rwy'n credu de Youdddorol a Manlwyr i'n meddwl mewn gyllidebol. Milyddol iawn o ddechuethol a'r lle sy'n mynd i sylpaedau that engage the body through the imagination and the imagination through the body to facilitate listening and learning through physical experience. This is hip-disk. It gives the body musical capabilities. Awkward movement results in awkward music, played one note at a time. You don't need to be graceful or dexterous to play hip-disk. It democratises engagement by bringing awkwardness to the fore. Hip-disk allows us to see how people learn in through and about their bodies. Learning new things makes learning easier. Learning through the body increases our ability to communicate and to engage with the world. Hip-disk emerged from an embodied process. It requires core body engagement and really prompts deep thinking about what might constitute an embodied practice. If we listen and think through our bodies, we can bring unarticulated thoughts and desires into being. This is useful when we're trying to imagine future technologies. We can bring into being exploratory devices that somehow embody desires and that help us to articulate things, to imagine technologies 200 years from now. The OWL project interviews, we created a series of body devices to really elicit magical thinking and to bring people's unarticulated body technology desires to the fore. We asked simple questions like, what does it feel like? What does it do? And if it contains some technology that hasn't been imagined before, what kind of magical powers would it give you? The responses people gave were so surprising. They were highly personal and sometimes very moving. We created the OWL Circle Workshop. There are a bit like sewing circles to enable people to create their own exploratory devices. Working in this way can really support large technology shifts. It's very different to working from scenarios and basing the future on what we already know. I am the first artist to receive to do a practice-based fine arts PhD at CSIRO. It's Australia's National Scientific Research Organisation. Working in a scientific and engineering context really challenged me to think in new ways about the body as a site for discovery and play. It also prompted me to think deeply about what might be the advantages of blurring the distinction between art and everyday life. I spent a year at the University of Tokyo with Alvaro Cassinelli extending the body with light. We made three kinds of garments. The laser spine magnifies the movement of the spine. The complex technology is the body. The inertia leads really afford embodied play through time and space. And the invisible skirt extends the body. We map one person's movement onto another person's skirt and it creates a visual bridge between the body and the world. We worked with two choreographers, Alessio Sylvesteron and Kentero, and they had very different ways of thinking about and working with the technology and the ideas, and it prompted different refinements in the garments. I want the future to be full of opportunities for poetic, kinesthetic discovery and play. I started thinking about how my work might transform healthcare. The light arrays, for example. If you think about it, if you're asked to do something like this, this kind of movement, every two hours, for months, maybe even figures. Now try to imagine if you're asked to do something creative every two hours to draw something that has meaning for you, to write the names of your grandkids on the ceiling, to trace the contours of the room with light. It's a very different kind of conversation. Now blurring the distinction between art and everyday life, I believe can transform the way we do so many things, and I'd really like to ask you to join me on this journey. Thank you.