 Fy enw i'r cymdeithasol yw'r cyfan. Yn y cyfryd yw'r dr Buck Bryd yn ymdweud o'r cyfrifodau o'r ddweud yma yw'r cyfrifodau yw'r cyfrifodau. Yn y cyfrifodau, yw'r cyfrifodau yw'r cyfrifodau yw'r gyfrifodau. Yn y cyfrifodau ar y dystod y dystod y dystod yng nghylch yn nodiwm, ac mae'n meddwl, eich argymeth, yn ymddangos gyrfa ynglyn â'r ddweud, sy'n gynhyrch mewn ddweud i'r ddweud i'r ddweud. Mae'n hwn yma'n ddweud i'r projECt gan gwybod i ddweud i'r ddweudio bai cyfnogaeth biologicol yn ystod. Yn eich cyflwynt, mae'n ymdangosio ario'u ddweud i'r ddweudio i ddweudio'r ddweud i'r ddweud i'r ddweud i ddweudio'r ddweud, a'r dysposol i ddim yn ddael ar gyfer thosei. Mae'r texbookau hefyd yn ei ddim yn gweithio'r texbookau a dwi'n ddiddorol i'r texbookau ar gyfer troll gwybodaeth a'r ddodol, rhai yn ysgrifennu rhaglen yma, a'r hyn yn ein gweithio gweithio'r resurs yw'r ysgrifennu erbyn i'r gweithio'r ysgrifennu. Rwan disasters yn gwneud eich maen nhw'n ddweud a bod o'r informacio i gael a gweithio'r ades, ac mae'n ddweud o'r ffordregau a'r adegau'n ddweud eich ddweud o ffad ar oed byw, wrth gwrs mae'n gweithio i Brathred i'r rhaglen gwneud yr oedd yng nghylched i'u hwyl ymddiol wedi'i meddwl o'r materiol o'r oceilogig. Mae'r 4,000 caelwyrs. Byddai'r clywed o'r ddod o'r ddod o'r bydwyr ymddiol, ond mae'n cael ei ffordd o'r ddod o'r ddod o'r ddod o'r ddod o'r ddod o'r ddod i'r cyfnod. So, rwy'n meddwl i'r dyfodol i'r ddod o'r ddod o'r ddod o'r hyfforddiad. Felly, we've been asked this evening, is it any one period that we're focused on, our collections span the Neolithic through the mid-19th century, so we are not specific to any one period. What this project was about was looking at the type specimens that give the information about chronic abuses of those literary and the skeleton. Most of the material is in partnership and collaboration with other institutions, museums such as the Noviom, as I mentioned. We run a dedicated MSc in human osteology, paleo pathology. We've ran short courses focused on these expertise that we have in Bradford based around the collections of pathological conditions. Mae'r bwysig iawn, a'n cael ei wneud i'r bwysig iawn, mae'n gweithio i'r ddweud o'r bwysig iawn, i'r sgol, a'r bwysig iawn. Ond oes, rwy'n cael ei wneud i chi'n gweld i'r gweithio. As a part in recognition of this project our dean who is an anatomist by training has actually very much got behind us. ac mae o'r rai o'r rai o'r cyfnod ar y ddechreuol a'r ei wneud o'r lleoli. O'r hyn o'r reisio sgwrs mae Joe yw'r cyflwyffydd. Mae'r projekty a genesys ar y projekty wedi'u cyfrwng yn Ymgyrchai'r Williamsburg ar gyfer y gwmdiannig. a we presented a couple of papers there, recognising the value of these collections, but also recognising the fragility of that material and how we might in the future wish to do the right thing by these collections in safeguarding them. Move forward to 2010, some 11 years later, and the technology was catching up with that idea, back to the future. And of course we were very lucky at that point in attracting funding from JISC, as you see here the UK's expert in digital technologies for education and research, and we ran a pilot project around the material that Anushka was curating the archives, the physical archive of, and we held the skeletons in our care for them. It's the material from St Mary and St James at Chichester, a medieval leprosarium. Originally the monograph identified some 75 individuals with lepros change. Because we've been able to explore that collection in far more detail, looking at that material in a very different way, using 3D technologies, we've actually extended that to some 84 individuals. We've also got a collection of historic radiographs, clinical radiographs of patients, modern patients from the 1970s, from India, from Africa, that were exposed to those chronic changes of leprosy, and we curate those. That's the Joss Anderson archive, but as part of that project we were able to tackle that. But more from Joe on that shortly. That was a pilot that showed JISC that we were capable of working with those 3D, with that content, using 3D digitisation methods to actually do the right thing by the collection in digitally documenting the type specimens. Only one other project, the British Geological Society's GB3D type fossils project, that was funded, that was working again in that 3D environment. Of course, as a visual subject, it's a logical next step for us. So we were lucky enough to secure, in fact if you add the University of Brantford's contribution, it's just short of a million pounds worth of public monies to safeguard the type specimens for use not just in teaching biological anthropologists and osteoarchaeologists, but also using that material for the benefit of training clinicians and medical historians. But focused on the examples of chronic disease effect in the skeleton for which many of the physical changes are not even readily observable within clinical practice. Something therefore that has that extended reach across disciplines. We were able, with our partners, and Joe will explain this in terms of the partners, the Royal College of Surgeons and Museum of London Archaeology. So over to Joe. OK, so one of the things that we did from cemetery to clinic was create 3D models of different bones from individuals suffering from leprosy and making them available over the internet. And we wanted to take this further. We're aware that particularly in teaching but also in research, most of the sources that we have to help us with our diagnosis of diseases in the past are 2D images. But the lesions that we're looking at and the bones that there are are extremely three-dimensional. So we wanted to take that further and digitise as many different elements as we could that really characterise the typical changes of as many different diseases as we could cover. So we worked and partnered with Museum of London Archaeology and the Royal College of Surgeons to basically get as many archaeological and historical examples of different pathologies, digitise them and make them widely available across the world. The reason we actually focused on the pathological specimens is because in terms of human skeletal remains, those bones often the most fragile because the different pathological processes can weaken bone and they are much more susceptible to damage during excavation, during storage and particularly during handling either by students learning from them or by researchers coming to access them. Of course, because they're pathological to many individuals, they're also regarded as the most interesting. So individuals like those from Chichester, which was known as a leprosarium, attracted a far higher number of researchers coming to access those collections and therefore increasing that rate of damage. So what we wanted to do was preserve them in some way and make them much more widely available. So we drew on all of our collections for the three project partners. So at the Biological Anthropology Research Centre ruled the bark, because that's less of a mouthful, we curate over 4,000 individuals. As Andy said, they date from the Neolithic right the way through to the 19th century, although the bulk of our collections date to the Romano-British period and later. Key collections within there is St James and St Mary Magdalene at Chichester, the medieval leprosarium. It later became an arms house at which point we're seeing a much wider variety of pathologies present in those skeletons. As I was discussing earlier with a couple of fellows, we also curate 36 individuals who died at the Battle of Tauton on Palm Sunday in 1461, a reputedly the bloodiest battle fought on British soil. Hereford Cathedral, we curate over 1,200 individuals dating from the entire duration of the medieval period, but significantly they include a large plague pit with Ysina Pestis being identified with DNA analysis securing that diagnosis of identification of the plague, because the plague doesn't affect the skeletons, you can't look for the direct evidence. The Royal College of Surgeons here in London has got two major collections of human remains in the Hunterian Museum and also the Welcombe Museum. Over 50,000 objects are recorded there from human remains through to notebooks and artefacts. We're really delighted to be able to work with both of those examples significantly because a lot of them are from a period when diagnosis was much more refined, particularly for the modern material, but where we actually have a known diagnosis that is done on people whilst they're still living. One of the complications of paleo pathology is that we don't know how somebody was feeling when they were ill, we just know what their bones looked like after they died, which adds some confusion and complications into our diagnosis. So, not only does the Royal College of Surgeons curate a large number of individual specimens of extremely rare conditions, but they also have known documented cases where we can say for certain what that pathology was, rather than it becoming an interpretation based on what we can see. Our third project partner was the Museum of London Archaeology. Over the years they've excavated over 17,000 individuals from London. When we started the project, they were part of the Museum of London and it sort of decoupled over the duration of the project. We worked extremely closely with the Centre of Human Bioarchaeology at the Museum of London, who were one of our lead associate partners in the project. Together they used the word database, the welcome osteological research database to record all of that material and make that available to researchers from around the world, but in this case without 3D images, just with the information about those remains. Of course from the outset we had to think about how we were actually going to present this to the public, so we decided the best thing we could do in terms of a website that was going to be made available is to actually come up with a way of grouping things together. We had to try and classify our diseases. There's actually ended up being one of the more problematic aspects of it because basically from the outset we couldn't really agree on what we were going to do. We had a wide-ranging advisory panel from medical clinicians, paleopathologists and archaeologists all working together trying to come to a consensus. Eventually we decided to go for something that was bespoke to our project because we needed something that divided material up enough that you could actually use it to navigate through a website. We tried to focus on the underlying cause of a disease. Are we looking at an infection? If we are looking at an infection, is it a bacterial infection? Is that bacterial infection specific? We know which pathogen caused it, or is it an infection that could have been caused by a number of different pathogens? We ended up with a tiered system, which we developed into the navigation menu on the website. Overall we have anything up to four levels of classification in there. You use this to navigate around the website. At each of these levels we have something known as a clinical synopsis which basically summarises what the disease is about, how it might affect an individual, how we might see it on a skeleton. Then you can drill down to look at specific examples and retext that describe a specific bone and then also see the 3D image and potentially also radiograph of specific bones for each of the categories. Another challenge was deciding exactly what we were going to scan. Essentially we started with the material we actually used for teaching on the basis that if we're using it for teaching it's got to be a really great example of what we're talking about. We worked through our teaching lists identifying as much material as we can and as we went along we were finding more and more pathologies that we could add in which was fantastic. We worked with a number of postdocs. Rebecca who is in the bottom corner was writing those pathological descriptions whereas Emma at the top was very busy helping us work out exactly which bones we were going to include. She actually took photographs of everything so we could rapidly pick what we wanted to do in project meetings and was also very active promoting the project through social media. Emma took these extremely fast photographs of everything and we graded each one on a category of A brilliant we'll have that be quite good we may use that down to X which was actually it's not right for this project. Either the material itself was too fragmented so it would become unrecognisable really to people who weren't used to working with it or it's an example of a pathology but it isn't typical or it isn't extreme enough to include. And then finally we also tried to think about how hard was this going to be to scan and this was very much a steep learning curve for all of us because we weren't sure what was going to scan successfully at the outset of the project and we learned as the project continued that extremely large and complicated specimens caused quite a significant problem in terms of computing power where smaller ones you could scan quite quickly but we needed to get the balance right between those different areas. So we worked very very closely with our project partners down in London basically they were focusing on the pathologies that we didn't have in Bradford because they were working alongside us at the same time they had access to larger collections so they were focusing on the things where we knew we didn't have an example of for example Ostea Malaysia in the Bradford collection and in particular the Royal College of Surgeons could offer us extremely unusual pathological cases and those were the documented case history which was very very useful. Whereas the bulk of the material we scanned was either curated in Bradford or with either the project partners in London we worked alongside a significant number of museums that became known as associate partners some of these such as the Novium and Gloucester City Museum actually have material on long term loan to us in Bradford so it's curated in Bradford on behalf of those institutions but other institutions we approached because we knew they had really fantastic examples of particular pathologies that we wanted to include within that and we were delighted that they all agreed for us to scan the material and include it on what is basically free access resource most significantly of those the Museum of London contributed enormous amount of data to the project and really do appreciate everything that these groups did. One of the things that we learnt as we went along was that actually not only were we creating a resource for other people to learn from but we were learning from the project as we went along by carefully looking at all of these different cases again with a different set of eyes with a different question in our mind we were beginning to identify further expressions of disease on the bones or revisit our diagnosis and perhaps go do you know what I think the original diagnosis from 20 years ago I think our knowledge has moved on and perhaps it's something different so we're re-diagnosing things and also we were beginning to identify quite unusual pathologies which we've not really thought of in the same way we just assumed it was something quite simple and when you looked into it in more detail we were picking up very very exciting cases and it was the luxury of being able to spend that time with the material was absolutely fantastic and we worked very very closely with colleagues across Bradford including our radiography department and then also we have Keith and Alan in the centre of the middle photograph Keith is a retired GP Alan is a retired dentist so we're bringing in all of their clinical knowledge into the project as we went along so what did we actually do in practice well having made those selections the process of 3D digitising each of those elements was down to a selection of an appropriate method where we could visualise sometimes quite complex objects you see here a toe which is a very small object but we were dealing with things like teeth as well each of which have their inherent problems even if they are showing normal morphology let alone the sort of problems of porosity that come about through pathological change so we were using something called a laser arm you can see that here we've got complementary methods now in Bradford such as structured light scanning but we started out with the laser arm which effectively works on the principle of trigonometry so it sends out a laser stripe and you've got a video camera that captures that information so the return of that laser and it's on an armature that moves around in 3D space and together it knows where it is the varied colour that you see down here at the bottom represents the fact that each scan is built up from successive passes of those laser stripes in practice what that means is we had a variety of different skill sets within the project team we had people that were doing the scanning and we trained up people in London to do complementary work to that in Bradford so we had a laser arm based in Bradford and a laser arm that we had based in London and as the image shows here each of these elements went through a number of researchers' hands because we had to describe the specimen of course there's no point in doing this work without that metadata the importance of why that specimen is relevant so the descriptions, the scanning the texture photography which was going on here which provides the contrast as you see in these images relative to the sort of grayscale image that you see at the bottom there we were able to provide photorealistic qualities to our images but no mint task of course we've got a nice quote later on from Forbes about the nature of our project as being a pioneer in this field but a lot of methodological challenges big data as Joe has spoken about problems of artefacts that we actually create through the scanning process based on the small size of some of these fragments based on the pitting, based on the edges some of which don't produce a very good laser return the fact that bone when broken exposing that trabeculi doesn't scan that well the fact that the enamel of teeth is quite shiny and if the deposition environment is such that we have changes in terms of colour that can be represented differently as well the value of it is of course it can move around an object but of course it can only see what you can point that laser at it can't see around corners it can't see into the undercut regions it's a very complex topography on those objects the photography and the texturing as I'll show you in a moment is really a major aspect of what we were trying to achieve in terms of explaining the relevance of these changes to these bones from normal but initially we were confined in that pilot project to just dealing with the grayscale image we had a trial viewer that used a proprietary format which was quite limiting in many respects we therefore complemented that with other approaches the use of object movies and the like but the texturing process was one borrowed from the discipline of visual computing we had two visual artists one experienced from the animation gaming field and even within and amongst those two visual artists they had varied skills in terms of their original training but what you can see in that top left image is one of the initial steps that they had to undertake based on the complexity of some of these bones the broken structure you can see that the laser return wasn't always providing complete coverage we needed to do something called whole filling to enable us to create an entire 3D model without any gaps those texture photographs that we showed earlier being caught were effectively then translated into these sort of flat surface models linking the photographs to that 3D geometry such that eventually they could be repainted back on the 3D model itself the process of texturing not the sort of texture that we're familiar with conventionally in archaeology for some of those objects it was just too complex and we had to use other methods such as object movies and the use of CT data which we'll explain in a little bit more detail in a moment but over to Jo again in terms of what we produced okay so at the outset we wanted to produce something that was quite ambitious and over the course of the project we actually scanned over 1600 bones or fragments of bones that could be pieced back together into 3D models and all of these were textured using that photographic technique we made these available over the internet and we're still uploading these models onto the internet as we speak onto a format that has fully open access it's got a commons copyright licence which basically means that people can use this in their own research and in their own teaching anywhere in the world as long as they don't modify it or print it out or anything like that and our idea was really initially that we wanted people to be able to use this in lectures with their students we were aware that we were blessed with this fantastic collection in Bradford but that many institutions did not have the ability to do that and we thought that for students it would be fantastic to actually have a 3D model that they could manipulate rather than just a 2D photograph in a book because it was on the internet students would then be able to use this in their own time to study and more importantly, researchers from around the world can also use these within their research so over the summer I was lucky enough to talk about the project to the Perminsa group which is the paleopathology association meeting in South America so I was over in Buenos Aires explaining this to colleagues over there and we're starting to talk about could we start to translate this into Spanish so that it has a global reach so essentially we've got a virtual learning environment that students and lecturers can use but it becomes a research base as well and suffice to say that even the oldest member of the project team was delighted when presented with the iPad and just using his finger he could turn that bone around and explore what was going on so one of the most happy photographs of Keith Manchester that I've ever captured or that Andy captured this one so we launched our website a couple of years ago and it's still being developed despite the project ended a while ago we've had continuation money from the university through a project known as Bradford Visualisation that has allowed us to continue working on this and update material as we go along our most recent addition is to the CT data that you can see on the front page of the website essentially what people can do is navigate through that system to pull up a single pathological specimen in this case you're looking at an Anglo-Saxon example of Pots disease of the spine evidence of tuberculosis this example is very very extreme I can't remember exactly how many numbers there are I remember that there are 10 vertebrae in total but the destruction of the pathology has actually taken away 4 or 5 of the vertebral bodies which are on this side so this should be much more straight it's causing it an anterior curvature so you can go online and you can pull up this 3D image and you can manipulate it online and a lower resolution information for having the description and the information regarding the age and the sex of the individual alongside it before you do that you actually have an option with the pathological description at the bottom very very often we have conditions or elements with more than one pathology presence with coexisting pathologies if you're looking somebody's teeth there's a reasonable chance that they're going to have dental cavities but they may also have another dental problem as well and a lot of these happen hand in hand but essentially you have the option to look at that model online or you can actually download it with a higher resolution version that you can actually manipulate on software known as MeshLab which is free to download the download files are quite large they're generally coming as zip files and we make sure that everybody is aware of A how they can cite the resource so that credit is due but also what they can and can't do it is free to use to anybody but we can't permit 3D printing and this is partly because of the importance of the ethical aspects of what we're doing particularly in relation to the more recent material that's curated by the Royal College of Surgeons that is less than 100 years old and falls under the Human Tissue Act so we need to think very carefully about what should and shouldn't be done with this data in terms of supplementing this we actually also scanned a whole post of radiographs initially in the from symmetry to clinic project we scanned the Joss Anderson archive of clinical radiographs of leprosy for digitised diseases we then scanned plain film radiographs that we had of pathological specimens and we took new radiographs to supplement that to aid in our diagnosis and our description as we went along and to also make those available to people in relation to the fact that of course some of those conditions go far deeper than the sort of superficial observations we can make of the outer cortex of the bone we also had collaborations with the local hospital at Pinderfields so Mid York's NHS trust but also our project partners down here in London were able to go and do the same at Chelsea and Westminster hospital so we had our outpatients visiting out of ours going through the CT scanners at these institutions and for the very fine detail I'll show you an example of that in a moment we also used a collaboration with Smith and Neffie in York using their micro CT before we were able to get micro CT in Bradford ourselves both techniques provide huge amounts of data which is available certainly from the CT from the medical sense in very specific formats that DICOM format which is used for medical imaging but we had the expertise of researchers very conversant with 3D data from archaeology so imagine the sort of geophysical prescription data that we also collect these days in three dimensions they were treating and handling the same CT data in a very similar sort of manner so they were converting it converting it into those 3D coordinates that we could then save in a variety of formats and produce either a surface model to visually reconstruct that element or to actually extract separate views from it and again using web based dissemination of that we've got a nice example here that shows why in relation to collections from the Royal College of Surgeons and if you can imagine the sort of bounding box here is actually a perspex box containing a wet specimen from the Royal College of Surgeons and it happens to be showing the soft tissue as well as the osceus material from an osteocondro... osteocondrosycoma of the knee where you can see again the value of this work using CT as well as a complementary technique to the surface scanning that we were doing elsewhere this is that example I mentioned that illustrates why the micro CT was particularly valuable to us you saw very early on an example of a near plastic condition a cancer in an individual from Wolverhampton from 19th century Wolverhampton this is a rib from that same individual and you can see those spicules of bone that very fine detail only picked up through the use of micro CT so we're trying to use complementary methods we're trying to use innovative methods that work with bone elements that work in reconstructing related elements and we have an example showing how of course you can reconstruct a a series of elements together in fact this is from the Royal London Hospital site excavated by a museum of London Archaeology you see portions here fragments of a mandible a lower jaw found that has certain discoloration to the surface this is a textured 3D scanned model that has then been virtually realigned we're able to match the saw of the fragments together the varied staining is because they come from different portions of that deposition environment from the Royal London Hospital so they show aspects of what this project is capable of doing and in fact a large part of that work with Mola was thinking about this content as part of wider stakeholder engagement so we're able to contribute some information to the online resource that sort of back story to the doctors dissection and resurrection then exhibition which was a big success at the museum of London but of course there are other project partner the Royal College of Surgeons had similar interest in working with us to present material to the wider public and this is an example of John Hunter's original collection an example showing the the changes relating to infection post ballistic trauma this is a very famous example of that ballistic trauma as you can see that John Hunter then later dissected as Joe mentioned it's very much an ongoing picture ongoing work initiating some of those elements ongoing work trying to ingest more content for that web delivery but it wasn't just the web delivery and the creation of that web GL based delivery that we were working on and although as Joe has rightly pointed out this was very much seen as a born digital resource ultimately we will be looking to one or two choice examples that we will allow people to 3D print and we did some innovative work and I'm very happy to allow people to pass these 3D prints around showing the sort of level of detail that we can capture from these surface scans that we can then turn into physical models again so it's that life cycle perpetuated yet again in terms of the importance of preserving these very fragile and very important specimens part of the legacy goes further and some of you may be familiar with this chap on the right hand side if you've been to the new Stonehenge visitor centre this is the chap that greets you he is from the Neolithic Winterborne Stoke Barrow as part of that Stonehenge landscape and Andy Holland one of the researchers on digitised diseases is shown there doing the initial 3D scanning which we then turned into a 3D print and Oscar Nielsen there in the centre did a facial reconstruction that you can now see as the general public so I'm going to let Joe say something about the sort of uptake as a teaching resource okay so we mentioned the right at the beginning that over the summer we've been very lucky to have a huge amount of investment into our area we actually moved across campus as a department in August and September and the Barlogic Anthropology Research Centre is part of an integrated learning centre that focuses around the human body from modern anatomy, pharmacy and right the way through to the archeological specimens just this morning what I should have been doing this morning when I sat on a train and thankfully my lovely colleague Julia Beaumont and did this for me was actually use some of the osteological examples that we have in Bradford to teach our physiotherapist students from the School of Health what conditions look like underneath the skin because they never get to see that return teaching with my students as part of that we've got a newly refurbished lab which is depicted here we actually took these photographs just yesterday afternoon that's a group of my master's students working on their skeletal material but we've been able to use a large touchscreen monitor to integrate the use of the website into our teaching and for the last few weeks I've been working with my undergraduate students teaching them the basics of paleo pathology and always after we've done the introduction there's a group of students manipulating different objects on the screen exploring far more specimens in that lab than I could ever get out of the store and enabling to look at those that I think are too fragile to actually bring out the teaching one of the most amazing things for us is actually looking at the scale of it so you can see me just holding a toe bone that's affected by gout next to the image that we've put on the screen so you're actually able to blow that up and look at it in much greater detail of course the bigger you go you do begin to lose resolution after a critical point but it does allow us to look at these in far greater detail and to manipulate them and turn them around and at the bottom I'm talking about this case with Jazz, one of my master's students last year she did a dissertation on gout and that's one of the specimens she actually included looking at evidence of gout in the medieval period but it's far more than what we can do in Bradford it's actually about what we can do for everybody else and we know that this resource has been used by researchers around the world and recently there was an article published in Forbes magazine by Christina Colgrove who actually said that we are doing the first and most extensive digitisation project in bioarchaeology to date just because of the sheer number of specimens that we're doing so rather than just doing one or two small focused specimens we've actually tried to get as much as we can into that project and we know that the uptake of this resource is global these are some of the statistics of use on the website we had over 13,000 unique visitors to the website in 2014 over 16,000 in 2013 I think a lot of that was around the launch of the project that those people first came in but it's continuing we're getting new people month on month and importantly for us is looking at the colour coding on that map on the far side of the slide the darker the colour the more hits we're getting on that resource and one of the big hotspots is North America where they have huge, huge bioanthropology programmes looking at human remains but very, very few skeletal collections to actually base that research on because much of the Native American material is being repatriated to Native American groups and often re-buried or not being used in the same way so although they have small amounts of teaching or they don't have the scale that we do so for them it's really benefitting what they can do with their students rather than rely on the traditional photographs just pass over back to Andy really just to sum up part of the reason that you've had this sort of comic double act here on stage this evening is of course the fact that it has been a huge project involving major project partners within the UK major contributions from associate partners but a very wide project team very large project team spanning quite a number of different disciplines from the visual computing end of things right through to the biological anthropology and all bringing complementary skills into the project so we were lucky midway through the project to get at least a large portion of that team together at in the crystal gallery as they call it at the Royal College of Surgeons for a bit of a meet and to share ideas but as I've alluded to it is something that is very much a part of what we like to do in Branford we've continued this as a legacy in other areas through other projects in continuing the work in biological anthropology but working with other animal heart tissues as well that sort of helps in terms of customs and border control where of course things like rhino horn or elephant ivory need to be characterised and so the legacy there really is building on a life's work of Dr Sonio O'Connor we've had a project which is now at it's halfway point called Fragmented Heritage a £2 million project funded by HRC where we've just launched our fossil finder website which is a crowdsourced piece of science working in Kenya working with three dimension dimensional landscape scale studies looking with Louise Leakey at material from the Takana Basin and trying to get the public involved and engaged in that material and as Joe mentioned the sort of unifying aspect of this work in three dimensions is something called Brown for Visualisation which receives some high funding through Hefke and allows us to continue this work so it's extending the range of skills and kits that we have available to these sorts of projects but once again it's a huge project and a testament to a huge amount of involvement from very many quarters to the wider sort of advisory team in terms of people like the late Don Orkner in whose name the project is now dedicated but also the funding bodies just with that foresight to include us in that 2011-2012 e-content programme as allowed this resource to become available what they're interested in is very much that level of open access that we get from throwing this open in that sort of creative commons licence so I think that's really what we wanted to share with you today if anyone is particularly interested in learning more about the website more about that resource or two of these little leaflets here but do get on and have a trial yourselves by visiting www.digitisediseases.org and do share that with your friends and colleagues many thanks for having us