 Our presentation, just to introduce it, is part of a wider project, which is Virtual Multimodal Museum. It's funded by European Commission within the framework of the Horizon 2000, which has as overall objectives to analyze and promote the role of virtual museum as strategic resource for Europe to broaden and intensify discussion among cultural heritage stakeholders and to define and develop and promote a sustainable platform, engaging a large number of stakeholders in the digital heritage. We, I'm passing through rather quickly in order to focus in the main part of the presentation, which is a part of the project. And one of the main objectives of the project was also to provide to the Commission and the European institutions and the state members of the Union with roadmap and recommendations of policies for the implementation and the development of digital applications and digital museums. In what we call Multimodal Museum, the Museum of the Future is not exactly what we know up to now. It's a combination of various things. And this is what a Multimodal Museum is. It's not only collection. It's not only exhibition. It's not only preservation. It's also digital stuff that is integrated in that. There are digital objects. And they're integrated in various modes and presented in various modes. It can be online. It can be a combination of inside and online. It can be only inside. It can be virtual and immersive environments. It can be in your mobiles. And all that are what Nesco already has recognized as digital heritage. And this is the advisory board of our project, which are all the important institutions, among which ICUM, Europa Nostra, ICUMOS, and a lot of Interpol in terms of preservation. And the partners of the project that are coming from various countries, Cyprus, Austria, SPK from Germany, fourth in Greece, seventh reasons, the University of Geneva, UPF, we present here, and our technical experts. Within the project, we have also developed, and then I'm passing to the main presentation, a platform, which is this one. This platform, please note the internet side, is a community platform for the experts worldwide of the digital and cultural heritage and professionals of various sectors where they can meet, they can post their projects, they can find opportunities, I mean calls for tenders, or propose opportunities, promote themselves as experts in their field, find collaborations, and be informed about what's going on in the digital cultural heritage and in the cultural heritage in the overall. You can also find cases of excellence that we have identified worldwide, and you can log in and register using your time or part of your time here. It's very easy. You create your own profile, and you can talk and have access, and you can post your own papers, your own news, your own projects, your own presentations for the cultural heritage community worldwide. We are also very sorry, we are very sorry for what happened in the, we had a recent post here in the Brazil Museum Fire, and one of the issues that you will see in the presentation is the importance not only for the promotion, but also as an ultimate safeguard of the digitization of the accurate digitization of the museum contents. Imagine how much we would have saved if all the millions of us of objects that have been destroyed were correctly digitized in 3D models with all their metadata, and we could at least save that for the humanity and the future generations in terms of information or even reconstruct them as copies. It's not only promotion, it's also safeguard and the ultimate safeguard. So part of the project was also a comparative research in 3 countries, in 3 regions, European regions, and this is what we're presenting today, in Catalonia, Spain, in Greece, in Northern Greece, in Thessaloniki and in Cyprus, all of the policies and cases of digital applications and multimodal museums to identify the obstacles, the institutional framework in the 3 countries, the policies that are implemented by the stakeholders identify the stakeholders and at the end identify the obstacles and the advantages and exemplify them with some precise case examples. So we have two levels of analysis. One is the macro level, which corresponds to community and economical, political, and institutional framework, and the micro level in which we choose some representative digital cultural heritage cases. So the overall objectives are reflected in the official plans for local development. The objective of the commission for that and of our work, actually, what we was requested to prove, is something that is evident but it is not documented. The importance of the cultural heritage and the museums and the digital applications and their impact in the society in order for them to justify to the European public, to the European and international community the efforts and the financial efforts and the institutional efforts that should be implemented in order to promote the development of the cultural heritage and the research and the access to the public. And also to identify ways through which technological, functional, operational, through which the wider public and the researchers can feel that these precious assets are theirs. It's part of their identity. It's part also of their local development. So the first of the cases is Spain, Catalonia. And my colleague here, Ricardo Collins, will talk to you about what we discovered here. The whole presentation and also the final document of the research will be uploaded in the platform. So it's not necessary to take notes, just register in the platform and you will find everything there as well as other presentations of other colleagues. Thank you. So good morning, Buenos dias. As Dr. Giorgio introduces the subject, I'm going to be focusing on the Catalonia findings part of the research or research divided as Dr. Giorgio said on micro and microanalysis. And the macroanalysis is basically integrated by laws and strategies that represent the main public policies implemented by tourism, culture, and scientific and logic sectors, which is what we're trying to express through these little images right here. These three sectors through the implementation of laws and strategic plans kind of develop some kind of interesting interaction within them that aims to enhance the use of technology in the cultural heritage. In the next image right here, this was another part of our research was to identify the main stakeholders that are part of the public policy in Spain, Catalonia. And we also integrated some of the representatives in Catalonia of the nonprofit organizations. One of the main entities that we focus on is we have a number here, the state and society in relation to some technologies. So I think it's one of the main stakeholders that we have to consider in order to talk about technology development in the area of culture, which later we will explain a little more about this combination of culture, tourism, and technology. All of these two tables basically is about the laws that we choose to be analyzed. The same we invited the laws through the most analyzers to Spain today in Catalonia and focus on the main topics or sectors in this game, which is technology, culture, and tourism. And we identified the motivations, the incentives that the laws provide to the cultural heritage development. So the next part of the research was to develop the micro-level analysis. And for these, we showed four case studies. These case studies were developed, they have developed, you know, technology for cultural heritage interpretation. This one is the monastery of San Benet, which is located in Catalonia. And this is a very interesting complex. But the main part of the project is that they have the monastery, which was saved by this private entity, this private organization. And they developed a set of holograms and other visual technologies that a lot of visitors do, a better understanding of the cultural heritage of the area. Our next study is the center for the interpretation of what are a bridge in Aramita, in Bona, in Catalonia, and the other private users, we hunters, in Los Casadores. And this is an interactive game, displayed in a large format, a street, that aims to provide users with an entertaining educational experience about our history. This was developed in 2008. So at this time, this was a very, you know, what's deployed with, especially in the cultural heritage interpretation. Then we have this platform, which is in museum, which is basically focusing on promoting the museum to Catalonia. We decided to work with the museum and it was in the new city. And, well, the platform has a lot of information, a lot of detailed information about the museum, that the experience through the museum. It's a very interesting setup. The next one is the immersive installation of the Astre 3D, which is part of the archaeological museum in Catalonia, Astre. And I believe they're having an exhibition right here with some of the people of the U.F. Rehabilitation Headset. So I really recommend you to look for it. I'm not sure where it is located, but you could get to experience a little bit more about these features. So now we, through the analysis of the micro and legal research, we identified six obstacles and weaknesses and then 12 achievements that have made somehow a little more positive to talk about is the influence of public policy and interaction with the U.F. stakeholders. One of the first obstacles that we found is that there's limited provisions in the business transport operational needs of the digital applications. Technology infrastructure and sufficiently trained and available personnel for digital applications. Centralization and the limited autonomy of the decision-making. This is an issue, to put it that way, that is very common in some of the museums in Catalonia. This is, this matter is highlighted on the panel this year's 2030. This is another of our main documents in this research. So they talk about the legal giving a lot more dependency to the museums to make their own decision process. I want to think it's sufficient understanding and trust between the tourism and cultural professions. I have heard this many times before. And I think that sometimes there is some kind of a conflict within cultural professionals and tourism professionals because somehow, in some way, the cultural agents, they aim to protect the cultural assets. In the other way, the tourism agents, they try to promote and to bring as much as people as possible. So this can be contradictory a lot of times. But we have a couple of roles, like the love tourism in Catalonia and the love of Catalan cultural heritage, which both seem to protect, obviously, the cultural heritage. But at the same time, they both mention they need to create, increase the tourist flow as well as the mention of love Catalan cultural heritage. Just to intervene here, you can see on the slide, downstairs what we recommend, actually, in order to overcome these kind of difficulties as new policies, actually, to the stakeholders. For lack of an adequate evaluation system to better identify inter-sci-faction, this is a very interesting issue to be solved as much as possible in order to, it seems, to get a lot more detailed information and develop better programs for somehow try to reach, in a better way, to their users. What is also understood in terms of Catalonia is that love, it seems, 2030, they talk about this beneath our songs, these situations. This is the, there's limited information on the impact of the economic impact, which is one of our mere recommendation, too, because these kind of studies cost a lot and they have integrated from the beginning in any museological project in order to justify and document the money the society spends for that. What the society earns also from that has to be proven. Although we feel it, we see it, we know it, we don't, we cannot prove it, it's not documented. The international staff, once again, this is a major issue for a lot of the museums in Catalonia, as most of them work with three or four staff members, so that could be a little bit complicated, especially one when introducing technologies and applications, then it could be a little more challenging for them to continue their collaboration. These are the achievements, actually. So an extensive network of government entities and institutions have been developed. We have an important body of regulations and public support policies. There is a network of clusters and institutions dedicated to the research. You can see the data on the right. There is public strategy plans that highlight and promote interdisciplinary, which is the key word, collaboration. The regulations in both sectors that take into account the importance of information of digital technologies. I think here, can you go back to the other slide, please? I think this is important to highlight that the Strategic Plan of Tourism in Catalonia 2020, they highlight the use of information in communication technology as a priority for the tourism sector. So I think that's a good sign of the tourism sector trying to incorporate a lot more technology development to the ultra heritage, which is one region of Catalonia. Ultra heritage and the tourism sector in Catalonia. And then there is a strong link between the cultural and educational system, especially the primary and the secondary education, as Ricardo said, are intensively linked to the cultural organizations. And there is improvement of attractiveness for younger audiences to cultural heritage. You can say a lot about that, I hope. Well, I think this is another issue that seems, I think most of the museums that are basically focused on inter-heritage, they still want to attract from other countries. So we believe and we're pretty sure that incorporating technology is safe. As we have two more minutes, the time is limited. I'm going through very quickly for the rest. There is a detonator for new digital projects that are generated from the first project. So they work as a boosting machine, a motor for new projects. There is social and academic recognitions in international conference. That's important for the museum operations. There is public and private operator enhancement. Same work has been done in the municipality in Thessaloniki, in a new museum that we conclude in the same approximately conclusions and same difficulties. And this is the Museum and Cultural Center of Thessaloniki that has been studied and is essentially a virtual museum. And in Cyprus, which is a smaller country, a smaller place, a smaller region, there is also set up a stakeholder identification, the stakeholders, and we identified some microcases just like a senior church in Cyprus that has been digitized. You can see here completely. And in Cyprus, they had a big problem of loss of cultural heritage because of the conflict. That's a very important step. So there is a lack of policymakers awareness. It's identified their lack of national strategy. Cyprus, although, gained the UNESCO chair in the EU era of chair on digital heritage this year. So it will be one of the centers of excellence. I'm going on the overall conclusions just to finish the presentation that you will find online. So what we recommend, it's part of the roadmap that the commission is going to receive from VIN, is the standardization of the decision-making process. You can be tomorrow if you want. I'm going to present that at 11.30, which is separated in four stages. You can see that in detail, how you set up a digital project in your museum, in your applications, what you have to think about. The intensification of multidisciplinary training policies for museum professionals, that's a very important thing to promote a common understanding and integration of digital apps in the museums. That means money for training for all kind of staff, from curators to museum operators. The inclusion of resources for middle and long term socioeconomic impact studies and evaluation process in development from the beginning of any digital application in the cultural heritage, not only for the implementation itself, but for the valuation and the operation, the standardization of various technologies and the enhancement of regional and European networks of users. We hope our platform will help a lot on that and many other local initiatives to interconnect the resources and know-how and experts in the digital heritage all over Europe and make them available to the professionals in all over the world. The integration of digital culture in the curricula of the humanities studies, many of the older archeologists, and many of the new ones, unfortunately in Europe, they do not understand what the digital culture is and how it works, what the challenges are, what the methodology, what the opportunities are, because they lack of training and information on that. The enhancement of common activities, as Ricardo said before, locally, among the stakeholders in a regular base, I mean creating networks between the professionals of cultural heritage, tourism, education that are working on a permanent base, not just meeting to make a project, but they're trained together, they're developing common understanding and common language to boost European excellence in the field of digital cultural heritage and integrate massive and standardized digitization. And at the end, the development and integration of technologies supporting the structured public participation, the crowd participation in the management, that does not mean that the crowd is going to make research, but they're going to be integrated in the process of somehow under a controlled way to manage and understand what the digital objects that we have in the museums are. And they have to be part of it. They do not belong only to archeologists. They belong to all citizens all over the world, the country, and it's a humanity collective resource. So please do not forget to catch the opportunity to register in the Digital Cultural Heritage Community Platform of BIM. And thank you for being here. I hope to see you tomorrow also to the next paper. Thanks a lot.