 Hello, good afternoon everyone, and thank you for giving me the opportunity of studying my research here to the organizers of this session. I will try to just introduce some experimental research that I've been doing in the course of the last six years. Just trying to adapt the GIS technologies to the particular case of the museum rooms. As I wrote in my research, sorry, in my abstract, I referred to quite a broad theoretical framework. I'm not getting that much into theory now, I want to talk more about the methodology, the method itself. But yes, the thing is that I'm looking, and I started actually looking at a particular museum, which is the Prado in Madrid. And the Prado, well, everyone who knows that museum has in mind that it's a museum of paintings, but there are also archaeological remains in the museum. Like, for example, these muses that come from Viladriana in Rome. Well, just to introduce the GIS technologies for anyone who maybe is not used to these particular technologies, the potential they have for representing information and expanding information from the textual to the spatial and the visual is that they can gather both like bitmaps. We call it raster images when working the GIS. So that could be any particular representation of an image and vectorial representations of the same entities of reality. As we will see, well, this method combines both. This is like a workflow, the workflow of the experimental approach I've been developing, which is part of the Ph.D.I. finishing in Autonomous University, but it started independently. Well, I'm just trying to fastly go through this workflow just to make more or less understandable to anyone how these tools can be potentially applied to the rooms of museums. So, well, the first step, well, this is a GIS, this is a spatial database. So anyone having access to a GIS software can get the spatial representation of the, in this case, any entity. We are used to utilize these kind of technologies for understanding special relationships between findings at archaeological sites. This approach is quite related to post-processual understandings of material culture and the biographical and active understanding of material culture, which in this case is closely related to visual culture. In this case is taken the museum as an archaeological site. So what was done here in this whole system, the GIS, which is kind of a catalog, the GIS catalog. In this case is the prior museum that can be done for any collection. It's only represented the permanent collection. The first step we need to do for doing this is to georeference the plans. In this case, the plans were just, well, placed on a map of the city of Madrid. This particular plan is not a really elaborate plan of the museum. It's just a handbook, the handbook map of the museum. So this can be done easily with any kind of document or visual document for just understanding what's inside and representing it in order to how we will see, well, take. Whether a deeper understanding of what's going on in the collections. After the map of the museum is at its actual place on Earth, the next step that I was developing experimentally was trying to place all the paintings on their actual place, which is a quite time-consuming process, but it affords once it's done to understand a lot of factors on the dynamics of the collections. And well, basically what I prepared from the georeferencing map, the first step was taking the handbook of the museum and mapping all the paintings on the rooms they were, but not at the actual place of the room. This affords us to understand the potential of these technologies because it's multi-scalarity. The potential of these technologies we normally use nowadays in our everyday and daily life is that we can get close, close, close, really close, close and close to the objects and also far. At a multiple range of scales that a paper doesn't allow. So the thing is, thanks to this technology, the first insight to the collection was just placing the paintings into the rooms, but not actually in the places where there were the rooms. Then after this it was necessary, sorry, the paintings within the room. After this step it was necessary to produce fieldwork and obviously the guidebooks of the museum normally they are not a full catalog of the collection. So within the fieldwork with inventory numbers, just taking notes on the inventory numbers, it was possible to reconstruct the whole display that the collection had actually in 2012. There was a time lapse of four years that these research were stopped and that was useful to understand how useful and sorry for repeating the word. This approach can be because museums are changing all the time in the distributions that are displayed. So one of the main potentials of this method is that it allows to understand the dynamics and the curatorial changes in the discourse a long time. It was the Prado developed a quite complete online catalog, so from just taking notes of the fieldwork on the inventory numbers, it was possible to complete the database doing laboratory work within the system. This is basically the process of the laboratory work, filling dates to a database. Another potential used, the potential that this technology has is that it can allow us to integrate bibliographical information within the same environment where we are looking at the artworks or the artefacts within the space of the collection. So here are some bibliographical references on a particular artwork that I was looking at for my PhD, which is the portrait of Domenico Stettocopuli, El Greco. And taking all this information within the database for the developments of the method through curing technologies would allow us to get the information ready back to us to understand. I know this can be dense information, but it's useful just to know how all these tools work to talk to the people who develops them. So the GIS technology, the GIS depiction of the spatial entity, which in this case is a particular museum, allows us to... Sorry, I missed the point with the time letter. I just go forward. Within this workflow, after taking a look to the biography of artworks that is accessible to online and digital catalogs and also printed catalogs, the historic records of rooms, display and museum database are also of course useful and susceptible to be included. And this is the issue I was referring before. We can go to the archive of a museum and see how all the display has changed a long time and represented within the same environment. So afterwards, through methods of visual and spatial analysis that can be with statistics or can be just curing like if we were using Google, but our database is not the whole net, but just the environment we've created. We can find information which is relevant to any particular research. I also refer to Walter Benjamin and the notion of aura that was inspiring to me in order to develop a depiction of the artworks closely attached to its materiality. And I kind of try to represent the aura of the... Sorry, I'm going fast now. The aura of any pictures, but because this is attached to its real and its actual place within reality, of course, it's scaled. It's an accurate depiction of the museum. So we can represent the artworks or the artifacts at their particular scale, not only as a point, but as a polygon. So that affords us to understand the dynamics that are going on. If we are studying an external collection, the dynamics that are going on at the criteria of exhibition from creators, but in this case, as it happened, sorry, it's possible because this was an independent exhibition that ran in Madrid just only for a weekend and we tried to use also experimentally this method. So it was really useful because it was on longer artists and it was useful just to adapt to a space that was not conventional, like a theater, the dimensions on the artworks. And the main potential of this also is that it's interactive. It's not like the typical plan on a paper. We can move and try to understand and also we can interact not only with the geometric depiction of the artworks, but also with their attributes. And this also affords us to expand the queries outside of the museum. So we can also geolocate the places these particular objects are related to and understand dynamics going on between authors or schools, any kind of relationship just as we can see here by querying and also through statistics. Well, sorry because I was a little bit messy on the line of the workflow, but basically I just moved from the archive pictures of rooms, a reference prior to display to the extrapolation of the interaction area within the museum. I also was referring to the traditional decision making that also can be related to a requisite preservation state, the state of preservation of the artworks, not only knowledge like contextual knowledge from the original context, but also we can take into account how they are preserved. We can take into account, for example, and model the lightning of the rooms. So maybe if there are objects that need for a slider light, we directly know where to locate them, things like that. And well, I just brought here some potential on the interaction for users, which is this is the map of that event that took part in Madrid. For example, there wasn't any curatorial discourse on the spaces, but we can define with these polygons. You see these are polygons, these are drone non-bitmaps. We could have here all the discourse on the rooms, and we can have here all the information. So we have a catalog in situ that expands the information in front of the artworks or the artifacts. At the same time, we are having an aesthetic with, in this case, it's particularly evident because it's more focused towards art museum. It's more focused towards aesthetic experiences. So we can expand that information towards the context easily and just making that information directly accessible to the users. So this kind of map, you see, well, this is Google Maps. So if we are at the exhibition with a mobile phone and we are locating on them, there's a margin of error that maybe can locate us not at the right place, but right. We can just look at the map as if it were the traditional map of a museum on paper and we'll just go and look and get further information of artworks or artifacts that otherwise it would be difficult to get in situ. And yeah, well, I just was critical because the Prado missed, sorry, I will finish soon, the Prado lost 885 artworks, well, yes, artifacts, objects from the inventory in 2008. So this also, applying this technology not also to the exhibition rooms but also to the stores, it could contribute, sorry, to prevent these kind of issues. And also, as we've seen in the previous presentation, this also is useful. In the case of spread collections, the Prado owns a lot of paintings that are not in the Prado but are spread all around institutions, all around the Spanish state. So this is also useful to understand where they are from the main web page of the Prado Museum but also at those places where these spread funds are spread objects. And yeah, I think also, of course, this is useful for transferring scientific knowledge, which is what I've tried to do here and well, thank you very much for listening.