 If there are some of you who don't know the Mind Museum, it is a science museum in Bonifacio Global City and probably many of you don't know it's a non-stock, non-profit organization. We raised it from scratch. We had zero money and zero science because we weren't a university, so it was a story of zero to one. What you see on the screen is a crane retrofitted with a dinosaur because when we started building it, I wanted people to know that we were building a science museum, so they had board up, so how could you see them? So I pleaded with trustees to please allow me to dress up the crane as a dinosaur and it really worked. The solar trees were there before the Mind Museum, so we wanted people and the commercial corporations and developers to know that you can still do something in terms of sustainability in your estates. So we raised money to have solar trees in the Mind Museum, so it was in High Street first and was transplanted to the Mind Museum and we had enough money to build it. So this is the Mind Museum and our vision is to provide people with extraordinary educational experience that inspires them to understand. We bring them at the cusp. We don't do a comprehensive, that's your role, that's the school's role and the university's role. We just bring you at the cusp so that there's no turning back, that you are now at the point of no return where you want to understand now and not take things for granted. How do we do this? We do this with exhibits, with permanent exhibits. The entire narrative of the Mind Museum is not according to chemistry, physics, biology, molecular biology, no it doesn't matter. What matters is you present it to the public in the way they would understand. So the narrative is to present the science of things from the biggest of things to the smallest of things or vice versa in the way they're connected. So from quarks to the universe and to other theories about multiverses, that's what we present and anything there you can fit in between. We do this with temporary exhibitions in 2013, we brought the Da Vinci exhibit. It was well received, so to those of you who came, thank you. We also do this in terms of traveling exhibitions. Right now we have a traveling exhibition in collaboration with the California Academy of Sciences. It's called A Glass of the Sea. It is now in Cebu. We'll go to Davao and then again the Oro and back to Metro Manila. It's about the science of expedition and why we are at the center, science would know this, we are at the apex of marine biodiversity in the world. So we had very unique exhibits on how to present this because if you ask us, we have experience in knowing that the public does not read, does not read text no matter how much you make them read. They don't read text, so you have to figure out ways of how to attract their attention and then make them read. We have another traveling exhibition which will go on tour. It's called Forever Lab, Will You Still Love Me at 150. It's an exhibition on longevity. It's what we know so far in science about longevity, whether it's with mice, worm or humans. We have educational programs. We decided to insert our lives in every aspect of our lives, whether work, play or live. So we even have corporate team buildings and it, I bet you it's a really good way to teach evolution with corporate team building activities. We have science shows, offsite and in the museum. We have sleepovers. Yes, we have nights in the my museum. It's a very big thing. It's always sold out. Families, not just children, get to sleep in the museum. Halloween, whether it's space themed, you solve a mystery overnight in the museum. So if you're interested to do that, just sign up. We don't have money for advertising so all our stuff is on Facebook. We also do outdoors, the great outdoors. So we have marine camp and astro camp. These are very popular camps. We take them out and then explore. How did the collaborations come about? It was never negotiable that we did not insert our lives in the public. It was a given. We knew that in order to be understood we had to insert our science in the way we do them, in the lives of people, whether they work, live and play. So we found aspects of their lives and decided to insert ourselves there. And we tried to recognize who also does this without them even realizing it. And of course it's the scientists and the artists. So we always work with them. When the May Museum was conceived, the key members of the council was Joy Balmesada and Doy Rosada and their peers. So the best times of my life were working with them for about three years, day in, day out. And yes, you make it non-negotiable not to work with scientists and artists. I don't have one exhibit where I did not have a scientist and an artist work together. And it was the loveliest time because it was very clear to them that the science was the target and the art was the strategy. And they accepted this very joyfully and very creatively. What were the challenges? Funding. But that's not a strange thing. Everybody has problems with funding. So that's not unique to us. This I just came up with last night, the non Trudeau institutions. I was watching CNN and then Trudeau was asked, the Prime Minister of Canada was asked what is quantum computing because he went to the perimeter and he could explain it and he just inferred, I was so engaged. I was so engaged. I wish you could approach our similar institutions and they could explain it to the public and they will understand it. I have all my trustees in the board are businessmen, all, all of them. So the challenge is always to make them understand that we cannot not have rigor in the science and we cannot dictate to the artist how he's going to do his job. That's always a challenge but so far it has worked. This is very important. It's the concept of story in place making. When we hosted, finally we were able to host the Museum of Science, the Association of Science Museums around the world last year, April. I decided for the keynote to have two seemingly opposed keynotes. One is the US Presidential Medal of Science recipient, Dr. Andrea Sen, who's 35-year work centered on what happens to the brain of creative people. And then the second one was the chief Imagineer of Disney. So the two keynotes, it was a really, it was a riot, it was a lovely time and they ended up being best friends and she recruited the Disney Imagineer to be part of her experiment. And this is an everyday challenge for us, the durability, the interactivity, how effective it is, and the open-endedness of exhibits because artists are so wonderful when they decide something, other people figure out, oh, you can do this thing with this too. So you have to be open to that and they figure out ways that you didn't even think of when we were designing the exhibit. This is a funny challenge because we always get calls. There's never a day in our four-year, since we opened in 2000, tell that we don't get this call. The UP Puba Public School, because this is the rate of public school, yes, UP is a public school. So please tell your students UP is a public school. So in terms of successes, since we opened in 2012, we've had about a million guests and we do a scientific survey every day of the year and so far we've had, we never dropped from the 99% satisfaction rating from guests. And we'd like to think we are now part of the conversation of science around the world. We are the first remote partner of the World Science Festival and awards because we never knew about them. We didn't know they gave awards to science museums because we were so new to it. One morning I just got a phone call that we were nominated for an award and said thank you but I had to Google it because I didn't know what it was. It turned out to be the Thea Award. It's a 20-year organization around the world whose alumni are Disney and Exploratorium. And Disney hosts it because they're in the Hall of Fame and it was a fabulous thing. So we won that award last in 2014. And in 2013, we got the congressional citation for whatever it was worth. And then this is so funny because boys, students participated in the building of the Mayan Museum. And then we were trying to explain to their students what a progress billing was. They didn't know what a progress billing was because they were students. And they said just submit pictures so that you can tell us where you are in the project. But they were just renting this small place in Quezon City. They didn't have a space for the big exhibits that they were doing for us. So they got the Tambay Sakanto to submit this to us that, yes, we are really doing what you asked us to do. So this is their progress billing. So thank you very much to the UP College of Fine Arts. We wouldn't have done it without you. Thank you.