 Ie, rysw'r cyffredigau mae'r seyrdd wedi'i ddau drwy'r dda cofnod ddefnodd, mae'r seyrdd brosesr, Rodd trwy'r nodi am yfyrdd. Rydyn ni wedi'ch gwybod fe, gyda preffeso ar gyfan arno, ein bod chi'n ei hoffa i parff y brosesrach. Efallai, mae'r cwmhaen trafod gennym ei fofo a'r ddechrau o infringiogau maes o hyn o'r ffordd. Ac efallai, maes oherwydd yn wneud yng ngonch. Mae'r cwmhaen a'r preffeseo ar gyfan arno Felly, mae'r bwysig am ychydig yn ydym ni'n ddim yn rwy'n ddweud yr holl yn ni'n meddwl. Gwyddoedd yn amlwg yma yw ddych yn unrhywbeth, yn ddych yn ddod, yn y ddweud o gweithio. Maen nhw wedi'n ddweud o ddweud o'r ddweud o gweithio, oherwydd mae'r ddechrau, yn ôl ar y cyfnodd, o'r pethau, o'r ddweud o'r ddweud o'r ddweud, oherwydd mae'n ddweud o ddweud o gweithio. Mae'n rhaid oedd gweithio'r idea. Mae'n rweithio ffrig at de-mapwg ymateb, ychydig yn cywit i dynnu'r cysteiniadau ac yn bwg, yn ysgwmponol ydym ni i'w rai cystafellaeth o blaen o leiru'r cwrs i ddegwyddiol ar재ud a fi'r iawn i ddifenu'r mwyaf a'i dewb yn ddean i groesfodd ymdeilig a'r morgyrchu sy'n gwneud gan ylleu â cefn, mae'r de-mapwg yn bobl. Rwy'n amser, is the 10-10th of deep mapping of helping to think about what panaspoil project has evolved into. Of course, we're talking really about objects, but objects are already always in a place in the world, so it's different sides of the same coin rule. Also, given the session, the role of the digital within this, and again, I appreciate that some of what I say is probably not very sophisticated, and that's partly why I want to bring this session together with thoughts and feedback on this. So, the project really began, this is the Palace Boy Vessel, the original vessel at the time of the project. This is an Iron Age wooden trough, or a vessel that was then found in a peat bog in 2001, excavated by the Arshaftlers for Weapon Unit and Convert Dermed there. And this project came very briefly as the project to reconstruct or to recreate the Palace Boy Vessel, and that was where Mark came in as a woodworker. We kind of moved on from that to other wooden artefacts, prysod wood artefacts, notably the Balahoolish Goddess that some of you may be familiar with, which is in the National Museum of Scotland. She looks like that now, and she is definitely a she. This is the photograph of the Goddess when she was discovered in 1880. Absolutely really the only surviving evidence really in the art now. So, we went up to Balahoolish, and we worked within the community in the community hall there, saying we, again, said Mark, and did all the hard work. Mark really made the Goddess, and that's the Goddess, in situ near to where she was found. The original find is what remains of Balahoolish Goddess up there in North Balahoolish. What I found helpful in terms of thinking through this is the work that we're going to do in Springgate. I don't know if anyone is familiar with this paper, going flatter or deeper, connect and de-mapping, platontologies and democratising of knowledge. So, again, what I became very interested in is really the way that we can use and talk about the craft that's been mentioned, and kind of the role of craft, and what we've done with the project. It's just kind of grown like a fungus. And again, I don't pretend to have read a thousand plateau in depth, but I've really drawn to the idea of the riser because the project kind of grew rising like. It had all these kind of shoots that kind of came off it. So, as we went along, we had all sorts of connections and contacts that became interesting. So, we had other artists, this is an artist in court, we had a market at a workshop, a woodworking workshop, people made their own figarees. That's one of them there. We worked with students up in UCD, the Experimental Archeology Centre there. And also, children as well, we had fantastic interactions with children. And again, she's using these kind of artefacts to engage people. Sarah mentioned enchantment, and it's very much came out of this. We left the battle of Gould, she got us behind the community, and she did a tour of the new schools, and she's been buried back in the peat. So, hopefully at some point, we're going to go back and dig her up. And there's really no limit to these engagements. During the open day, we were helping the court of the museum, and someone suggested that vessel may have been crypt. We don't know what it was used for. We never know if it's really massive in the context of this. So, we had a test in inverted commas of the vessel as a crypt, and that was remarkable. The baby was willing enough to mention it. I've already run over time, so I'm going to hurry through the end of this. The role of digital in this is clear. Brian has documented all this. He's a photographer and an artist, so he has his own kind of artistic response to this project. We've had various outputs through the usual channels through Facebook and Twitter in the project blog. All there has been scanning both the remake artefacts and some of the original ones there. She's scanning the goddess herself, or remains the goddess who dried out now. I won't call them any images on Sketchfab if anyone's interested in the links to that. So, all these connections she's developed, they weren't planned. I'm not suggesting we set out with these kind of ideas to work in this way. I think that's really how it happened. We didn't have a plan. People just got rolled in if you weren't along. It's got some marbles about it and say joyous and wondrous, and everyone seems to get it. All the interactions just kind of happened. So, some of the reasons I'm talking about it is if anyone has any thoughts or wants to interact with them somewhere, that's the right word, then gives a shout. We've got all sorts of kind of ideas through the blog and all sorts of discussions that went in all kinds of directions. We didn't plan at all. One of these was this. We had a thriving experimental percussion scene. We had some experimental percussionists who played the Greek Destructed Bessel. There's a link to that. I won't put it up now. We're actually having another palace boy sounding in a couple of weeks' time, so this goes well. So, we've got all these kinds of interactions around the vessel, and again, it's been facilitated, the outputs, the communication that's been facilitated through the digital. And again, during the open day, we asked children for their responses. We provided a sheet that we just can't really see it. There was just the outline of the vessel. We asked them to provide their interpretations of the vessel. Now, it's fantastic. And this was, Cornelius's work, my first thought, but it's especially crafted for a child who can achieve from that time. It was fascinating what work we've got here. So, again, we're getting all the responses. Other iPodual colleagues have said, what's it told you? What's it told you about the vessel? What have you learned? It doesn't matter. We have learned some stuff. That, in experimental archaeology terms, is interesting. But I don't think that's the kind of key part of what's happening to our project. Right. I've run far over five minutes. I'm sorry about that. I've skipped over a lot of stuff there. But I'd be really keen for any thoughts, observations, or suggestions, as I say, within the session. I appreciate maybe not the least very direct kind of somebody of the thieves. But I have read all the papers. I've very much enjoyed them, and I've got lots of scribblings in my bag, in my bag, which is in the room. So, anyway. Thank you. I'll shut up now.