 I think we're going to hand, are we Dave? We're going to hand over to Marcus there and we're going to hand over to him in a moment. Marcus, are you ready? I'm good, I'm good, yeah. Can everyone hear me all right? Brilliant. Marcus, I'll hand over to you. Thank you very much and it's been really great watching this or listening to itiau'n cael ei hyn i gael i chi gael, ond mae'n ddaeth chi'n gael arall... Hynny, ond mae'n ddaeth i chi'n gael arall... Yn Rivera, rydyn ni'n gael. Dyna, mae'n bwrth, mae'n gael! Mae gael fydd o'r g Caerfod! Rydyn ni'n gael i chi, opath! Roedd eich gweithioog yn apple, rydyn ni'n gael i'w meddwl i'r carneid i chi'r llunio! Gweithioog hefyd yn ei rhagledd, oedd yno gyffredin ni'n ei cael o ymddir i chi'r math ond oes o'r ffordd ffordd rwy'r bod yn rhowch yn mynd i dwylo ffwylio ar gyfer ddoedd yn hanfodol a chyfodol i'n gwybod i'r ddweud mewn cyfrannuro, adael ffordd maen nhw'n gwybod i'n gwybod ni'n gwybod a fyd�이 Adael mwy'n gwybod i chi a ddod i'n gweithio'n yr hyn sy'n gyflaffu 5050 Gwybod femeithio'n gyflymau 5050 ar y tro cyflaffu a ddiw i'r gweithio'r cyllid am y bwysig Fy goethau, rydw i chi gyn nhw'n edrychwch, y cw Bahk sy'n eich ddod fit yn ei fofio'r llwyddiadau diolchod. Fy oeddwn yn rhoi'r bobl erioeddiol. Byddwn ni'n gobyl i nhw'n gweithio a'u gwneud mewn cyfnod i gyd i'w clynyddu gweithio. Prydych chi'n mynd i'n meddyliad wedi chi'n yw'r bleddyliau a'r gwneud ddweudio. Diolch i ddim yn rhoi'r ddweudio. Efallai yw Llywodraeth i'r ar-en. No delay at our end. Oh, OK. That's cool. All right. So that's fine. So I'm the artist director of Pilot Theatre Company. We're based here at York Theatre Roll. We're in the process of moving. And we're also in the process of about start shooting a movie. So it's kind of one of the most disruptive days of our kind of working life. But that's just the way it is for us today. So in terms of what I'm going to talk to you today, I'm going to talk to you a little bit about the work that I've done. So as a director, I make theatre. And also I've been to Ted. I've been to Ted in California twice. I'm going to re-pug my headphones back in because there's some really... You can hear me, yeah? That's good. OK. I want a two-way dial-up. This is about engagement, OK? Otherwise, you're going to get this. OK. So we're international touring. We tour the UK. I've been to Ted twice. And we're just recipients of one of the new space awards from the BBC and the Arts Council, which we're very grateful. I'm going to fill you in a little bit more about that. But a bit of background about me. I'm actually a scientist by training and an artist by profession. I trained at Glees University. And what really interests me is the space between the arts and science and where that blur and that edge margin happens. And that's one of the reasons why, as a director of pilot theatre, I created and set up the Shift Happens Conference. Now, the Shift Happens Conference is our Ted-style version of looking at the arts integration with technology. So what we're doing is running that again this year on July the 5th and more of that later. But I'm really glad that we talked about business models. And some of the things I want to share with you today is really some of the things that we've learned along the way. And our business model, it's not a business model. It's a business picture. And in fact, we are a starfish as an organisation. And the reason I particularly like starfish at the moment is that starfish are really cool. And they're really cool because, many reasons, they've got five digits. And you know the story that if you cut off one of those digits, you know what happens. Not only does the original one grow back, but the one that you cut off also forms a completely new starfish. So in this age of austerity and cuts, we've been using that as a kind of mantra in terms of one of the things that we do. So we've attached five areas of our work to each of these points across the starfish as a model, as a visualisation tool for us as a whole team. So for us, we do our traditional theatre touring at the top. That's what we do. We tour nationally up and down the country. We also run our shift happens and our TEDx events. And that's another event of our conference running. We also do our education and young people and participation work. And that's again another of the arms. The other one is our international work. And we are a member of an EU network. And we've been doing work internationally with an EU-funded programme. So we work internationally. And the final arm is our R&D and our development arm in terms of creating and looking and exploring the new ways and new technologies that they have and the things they can offer for us as arts organisations. So one of the key things I want to share with you today because we're publicly funded and we're very grateful for that. But with that comes a great responsibility. And the responsibility I feel as an artist and as a theatre maker and as a creator is that at some point along the line of DNA, at some point on that food chain, we have to make that point of access free for our audiences. We have to make some point of that entry free. Sometimes what we're talking around in terms of our models of business is not about financial capital but about social capital and what we gain in terms of being a trustworthy, a reputable organisation. And with that we can build our partnerships and develop our brand and develop the way that we become trusted and we become trusted through the way we use those networks and we use these technologies to develop those partnerships. And the key one of those for us at the moment is working with Kinura. And Kinura will be working with us on the space project, but we've been doing live streaming and working with them since 2008, 2009. But more of that later. So I want to just come back and just check sure that if anybody thinks you can't hear me or whatever, just come and wave from the camera Dave, that'd be really cool. So in terms of the projects we've been developing in the fifth arm strand of our starfish, if you like. And just so everyone knows, we've got the reference points on that. There's a great book called The Spider and the Starfish, The Rights of Leadless Organisations by Ori Brafman and Rod Beckstrom. And I first saw that thing paired in California in 2007. And really that's about the shifting way of organisational and the organisational change that we're undergoing. Where, and the breaking news is, the smartest people sometimes don't work in our organisations. They work outside our organisations. And it's our role and responsibility to harness that potential, to bridge those gaps and to make those partnerships. So we end up working with those people and we end up connecting outside of our organisation. And so we are able to do that thing like the starfish of being survival and being able to hang on in times of austerity. And let's be clear that if one of those areas of our work goes, we are not going to fall over as an organisation. So there's a strength and a real integrity in terms of that as a sort of visualisation model. So some of the projects we've been doing, I'll run through those for you. As I've mentioned, the live streaming. And for us, the one key thing to be clear about this is it's not us trying to do NT live light. It's not us trying to do broadcast on the web a bit like NT live. What we're doing here is different. And the New York Met is absolutely integral to some of the thinking that we've been doing. And in fact, it's a bit of a backstory. I was over in New York in 2008. And the reason I went there was I went to see one of the first streams coming out of the New York Met. And there I met Julie Borshar Young. And Julie Borshar Young was the person who was heading up the entire streaming programme. And while we were in New York, I invited her over to York, New York to York, so good we named it once, invited her to come over to Shift Happens to speak around the model that we were seeing with burgeoning. The genie was out of the bottle. And that first shift happens in 2008. David Sable was there from the National Theatre and that's where NT live in terms of its research was started with the relationship with Julie Borshar Young and their by experience company, which now delivers the whole global NT live programme. Now for us, we recognise that, but also we recognise that us as a small organisation, we're not going to compete with satellite broadcasting, we can't afford to do that. But what we wanted to be able to do was to develop ways where online, we were able to create a different sort of engagement. So back in 2008, we did start to livestream our work. And what we found in that is that on the live stream programme, we were able to also have the chat room running side by side. This is pre-Twitter everybody. Okay, this is how fast this world is working. So in 2008, Twitter wasn't really on the radar in terms of most people. So the idea of a chat room down the side of the work that was happening was quite extraordinary. And it's there when I was streaming the very first piece, a piece called This Child, and we streamed it from York Theatre Royal. Someone was online in Seattle talking to someone who was online from Florida. I knew that because they were the parents of a member of the cast who was then talking to someone in Queensland, Australia, who was then talking to someone in London, who was then talking to someone in York. And this was stimulated through a piece of art created in a small black box room, suddenly had a radiation and a resonance around the world. Now that for me was incredibly potent, exciting, and completely new. And let's be clear, one of the things around this, this was all stimulated from a piece of live book. And I'm going to be absolutely clear about this of saying that live is the key to the things that we're doing and the things that we make and how we connect and communicate. The internet is alive, it's live, Twitter is live, this live stream is live, this Skype is live. Live is what it is, and that's what we're selling. That is our unique selling point, particularly in the performing arts. Visual arts too can also have run live work. So the live streaming was incredibly important to us in terms of unlocking some new possibilities of engagement and real connection with people right across. Okay. So, we also run, I think, called Drama on Demand. This is another new project here, which I'm going to show you. I haven't got slides, I've got real things. Okay, this is our Drama on Demand, and here there's an iPod in the back. It's designed by a designer. And you can come into the theatre, we've got several of these books made. You can come and say, I want some drama, I want it now. I want it on demand. I don't want to wait till half past seven, I can't wait, my bus goes a quarter to eight. I want some drama and I want it now. And we're able to make it available through wireless headphones without building. We're generating a whole area for the work and saying, what is it that people want and how can we as artists and creative individuals really help to shape and make that change to provide the audience's needs? So if you want to have some stuff when you're coming to have a cup of tea, they can have it. Okay. So, the other thing is, the reason I can't be with you today is that we're working on a green screen film. And again, one of the key points for all organisations is to have some, I call, artistic currency, some creative currency. And what that means is that we've got, we have a project and a product that no one else has. So therefore, we were able to go to a commercial organisation who was able to help us to do some of the funding for this and to help us deliver some of the money that we needed to help deliver this as a new movie project. And from the back of that, we've been working with seven graduates who are from York University who are visual effects graduates who've been working with us since September on developing a new 3D world and they're working on beta test, beta versions of software for things like Myron, things like Hero, and these new stuff have been beta tested. And these graduates working, we're able to create something that hasn't been done before and we're able to attract the funding in to help us with that. Because again, we have some artistic or we have some creative and cultural currency of being able to sort of make a bargaining tool for us to develop that work. So, really, it's coming back to what Mel says, that some of the ideas and the core activities that we do have are absolutely vital that help us to move forward. I just wanted to come back about the idea about innovation and creativity. I noticed that innovation had been sort of one of those words that sort of become hijacked recently. It was on the front of Cameron's box the other day when he was talking and if innovation is great, written. And I think one of the key things is that the key word for me is creativity. It's something that I'll mention as well, and also Nicolle's mentioned. And for me, the creativity, I stick with the Ken Robinson definition of creativity. And creativity is when ideas have value because we can have hundreds and hundreds of ideas and people can spiral off and we can do sort of crazy thinking. But actually, do they have any value? Do they have any meaning and can they be taken further? And can those ideas then be shared to develop projects and to go further? So does it have value? And that's one of the really key things that we have to sort of remember as us as organisations about the stuff that we make and create. So that's one of the key things. So having artistic currency, having something, having ideas that have value, and then being bold, brave and ridiculous and not being afraid in the science bit of my brain of poking something, seeing how far you make it work until it breaks. Push something to the edge until it falls over. Find out what it can do. For those of you who are on Twitter, you might want to follow a project which we are running under the radar until June, and the hashtag is TAG2012. It's an immersive extended duration of performance project. We don't know where it's going. We don't know where it's going to end up. It's interactive because the live nature of it means that people are being engaged with it and are engaging with it as it's being written. Again, this is part of our R&D project. So, really, as organisations, not only do we control the means of production, but also the channels of distribution, we see incredibly exciting, I think, for organisations, and we should remember this, that we do actually have control of the production and we can now absolutely harness the channels of distribution, and that for us is absolutely key. So just a little bit about the live streaming stuff. A little bit about the live streaming stuff. I mentioned Kinura. I'm going to have a thing for time, by the way. Are we all right? Are we doing okay at the time? Do you want to talk to me? Are we going home? I am looking at a wall, okay? It's okay for you. I'm going to do that. I am looking at a wall. Are you still there? Yes. Thank you. Guys, this is the weirdest theatre gig I've ever done. I'm talking to a blank wall in my office whilst boxes are being packed around me. I'm enjoying it. So, the live stream is really interesting. The next iteration of live stream for us is when you look at a theatre stage and you look at a big proscenium space or whatever, will it be good? Hang on, hang on. I'm just flipping you around. Oh, I know that. It's better. It's better. Come on, it's better. Thank you. I don't feel quite so... I don't feel quite so billy. No, mate. It's better. Thank you. Also, the sound's better as well. Who knew? Who knew? I can hear the impression in action. You can see my moleskin now. I'm just saying the live stream, the next iteration is... So, when I'm looking at you now and I'm looking at an audience, so when an audience is looking at a stage, you know that when you're watching something, you choose where to watch. You can be listening to the dialogue, you can be listening to the music, but you might choose to watch the person on the down stage left's shoes because they're an interesting shade of orange, or you might want to watch the upstage right lighting change, ac os yn ôl, mae'n rhoi fawr yn cymhizzio'r cyfan o mhaen nhw yma, mae gydwch yma confusing o'r gwn y wych? Mae gen i gyd yn ddefnyddio'r gyd. Cyngor, mae'n rhan o'r delwedd sydd bras wedi'i gydig yn eu tiliau ac o'r thangos y bydd. Roedd gydwch y ddefnyddio yn ddefnyddio'r llwyddi. Roedd gydwch y ddefnyddio yn gyflym yn dod. Mae'n ddim yn ei ddefnyddio'r cyfr onwards o'r hyn yn chi â'i adnog. Ond wedi bod yn cyfeiri gyda'r prosiect yw, Rwy'n gweithio'n gweithio y 7-8 o'r ffordd y camhwyllion ymlaen i gael gael ymlaenau. Felly, yn y ffordd, yn ymlaen i'r cyffredinol, sy'n gweithio'n gweithio'r gwladau. Ond ydych chi'n dechrau, wrth gwrs, y gallu'n gweithio'r gwaith o'r ffwyllgor yma ychydig yw'r gweithio'r gweithio. A'r gweithio'n gweithio'r gweithio'r gweithio'r gweithio'r gweithio, Maen nhw'n fwy o'r newid ar yng Nghymru iawn i'r cynnwyr ar yng ngyfaint? A'r cwmombaeth nid y LBC iwn i'r Llanfydd Cymru yw byddai'r canffor? Felly yna'r cymdweithio â'r dwylo, â i'r cyhoeddi am y ddweud a chydag i'r newid yn ddau y pwg cymdeithio, mae chi, yn ychydig, o'r moddau a'r gweithio, wedi'u tyfu o'r cyfle cwmach rhai, wedi'u gweld highlight i'w gwasanaeth gweld, yr ysgol am wnaeth yr hyn sy'n cynghwyl? Mae yna dwi'n cael ei wneud o ffyrdd y byd i'n ymddangos. Mae'r ddysgu'r gyda'r byd i'r gwrthoedd. Felly, mae'n mynd i ddigonio'r byd i'r ddweithio i chi am ymateb sy'n cael ei ddweithio. Bydd yw'r ddweithio'r byd i chi'n dweithio? Yn ddweithio'r byd i chi'n ddweithio? A mae'r ddweithio'r byd i chi'n ddweithio i chi'n ddweithio'r byd i chi'n ddweithio? Yn ymnoethaf, aur i'r cyd-dweithio, o dweud y dweud, i'r cyd-dweithio. Roedden i ddechrau i wneud eich newydd fel ddymer i ddechrau aynealthawer deployant wrth ein achor. Roedden i ddechrau i ddechrau eich wneud gyflym ei ddechrau mae'r eu chymdeithas â yr ymgau y maes. Yn hynny, dyma'r cyd-dweithio sy'n ymddych chi'n bwysig i ddyn nhw yma'r cyd-dweithio i gael yr adleidol i sefydlu cyllid. sy'n rhoi'r ysgrifennu i'r gwell i'r proses. Rydyn ni'n ddim yn ymddangos i gydigio. Rydyn ni'n dweud o'r cwilio a gydigio ac mae'n gweithio ddych chi'n gweithio ar 2008 yna bod hynny'n gweithio yna bod y bod yn ffordd ysgrifennu, y rymdau, ysgrifennu, ymdwyng, ysgrifennu, ymdwy'n gweithio. ac rwy'n gwybod i gyd, ac i'n gweithio yr ysgol yn Fborsha'r Yng Nghymru. Rwy'n gweithio'r clif yma yw rwy'n gweithio'r system, ac sy'n gweithio'r sgol ffostiff. Ac yw'r newid model, y pethau'n gweithio. Mae'n gweithio'n gweithio'n gweithio o'r gwybod, ac mae'n gweithio'n gweithio'n gweithio ar y cyfnod ymgyrchu. Mae'n gweithio ar y cyfnod yn gweithio'n cyfnod yn gweithio ar y cyfnod, ond we will assume there's a number of viewers and we're going to imagine there's views that have paid a price and that price is the price of an app. It's 59 P, it's 69 P, it's a dollar, whatever. And we want to say that's the kind of industry price that people might have paid. And we amatise that up and say, okay well if we get 30,000 views on that then there's not enough views on that. If we have 30,000 views visited, then the virtual box office would cost you $30,000. But what we're saying is that, then 10% will come to the creative team as well so $3,000 would come to the creative team and then that's shared amongst the team. We are looking at the new models of how we get around the not fit for felly Grandma has been a part of PEPPs, the legislation that exists already on how IP and distribution and rights are covered. So it's up to us as artists in part of the creative sector to be creative learn how we might envisage those things, those solutions to be made. And it's a little bit like the Llorrans-Lessig, the Lary-Lessig creative commons, a lot of the stuff that we do, all the stuff we do, is creative commons share and share alike. iawn i lleidio'r cyffredinol. Y Llywodraeth Cymru yw'r llysydd Cymru yw'r cyfrifysgol yw'r disgol o'r llunio gyda'r cyfrifysgol. Gweithio'r cair sy'n gwybod y cyfrifysgol a mae'r gweithio'r cyfrifysgol. Felly y gallwn ni wedi bod yn ddeud. Felly y pethau sy'n gweithio'r cyfrifysgol. Felly yma'r gweithio'r cyfrifysgol yn gweithio'r arig ac yn ddod i'r cyfrifysgol, mwyn fydd i'r cyfrifysgol, ac yma y'r fomwyedd arferol iawn yn edrych gan y pwn, a dweud yn ymwler gymhadai chebynidol excuse nad yw'r ffordd prejudigol yn yr ymddangas cyngor yn y teimlo'r ysgol. Dwi'n cyfio'r ffynish yma, ond rydyn wedi'i meddwl a'u gyffredinol ar gyfer y cyfyrdd 5, ac mae'r ffordd yma yn bwysig, gan y 5 p heb, dwi'n creu'r ffordd yma. rym ni wedi cael ei wneud o gyda'r barat yma. Felly, mae'n meddwl bod yn ei ddechrau i gael gwaith, cyhoeddiol, cyhoeddiol, a'r bwysig, mae'n cyhoeddiol newydd yn cael ei gael gwaith o'r bwysig a'r bobl. Maen nhw'n dweud a'r cyhoeddiol, bobl yn cael mewn ei wneud o'r bobl a'i gael ei wneud o'r bobl. Mwyaf yw'r gweithio 5 Penywydd, gweithio 5 P. Mae'r gweithio 5 P sydd wedi llwyddiad yma gyda'r i'r omfyngwys. Fel ydych chi erioedol i'r omfyngwys, ond wych hyn sy'n gwybod a phas. Ond y cwylod hi ydw'r amddangos y bydd. Yn amlwch gyda'r omfyngwys ymlaen. Llyfrgech chi'r gweithio a'r amlwyddo. Nid yw'r ddweud? Nid yw'r amlwyddi'ch amlwyddi'ch amlwyddi'ch amlwyddi? Cynghwyddi'ch amlwyddi'ch amlwyddiadol? Fy mwyn arferfyn? Mae gydag i'r platoryn? felly bydd yma ychydig cyffredinol yn ôl i nodi'w cyffredinol? Yn hyfforddetsodd, tyddw'r myfyrdd pyrrhyws cyllido, ond rydych yn ffrifio chi'n bêl iawn o'u bwrdd. Bysig yn hwnnw, ac yn halen. Nid yw'r ei ddweud, i'w byddur o'r adegau, maen nhw'n credu y byddur rhaeg yr adegau. Rydych chi'n edrych yn rhaeg oherwydd y byddur o'r materiale yr adegau bod oedd yn ni Trybion rydych chi yn bod bwysig. ynghylch i ddweudio'r ysgol yma i ddweudio yma i gael y broson cyflawn yma. Y dyn nhw'n cael eu gwasanaethau. Felly, yna'n dweudio'r dweudio'r ddweudio, a hynny'n dweudio'r ddweudio a dwi'n dweudio'r ddweudio a dwi'n ddweudio i'r ddweudio a ddweudio'r ddweudio'n ddweudio'n ddweudio, dwi'n ddweudio'r ddweudio i'r ddweudio i ddweudio'r ddweudio. A byddai'r Pwysigol yn cael eu cyfnodau a'r cyffredinol, mae'n gwybod iawn i'r pyrwyr a plesifio. Felly, gallwn i'n cael eu cymryd yma hwnnw, ychydig, yng Nghymru Rose, a hefyd yn ei ddweud yr archif am ymwneud. Mae'n яrchif am ymwneud. Mae'n gallu cyfryd yn ymwneud allwch. Mae'n gallu cyfryd yn ymwneud, ac mae'n gallu cyfryd yn ymddangos. When something that fundamental is happening, the worst thing you can do is cling on to what worked in the past. Let's put it this way. Silicon Valley thrives on risk and Hollywood is fuelled by fear. Your guess as to who will win. Thank you.