 there we go. Yeah, you're probably gonna have to drag me off the stage. Okay, so tenera koutou katoa. My name is Akira. Now, you're gonna have to do a bit more reading. Unlike Emily, I'm at the beginning of my journey to learn terro. Here we go. So, I was challenged with doing a talk on 3D imaging in museums. I do photography normally and so was great but it's really just another sort of creation made possible by light. So for you guys on being kaitiyaki moving into these new spaces that are like coming from Te Kori, from the void. What kind of implications do they have on us as a kaitiyaki? They could be creating new collections. So, yeah, tikanga for these digital spaces embedded with Maori and Moana Pacific data. Yeah, does the data become Tonga? If data is a new form of Tonga, should we 3D scan our Tonga Maori and Moana Pacific collections? Now, that is pretty, yeah, contentious and we'll see in the future how it goes. But there are, you know, positives and negatives for either side. But I see 3D imaging as something positive and we can just mitigate issues as they arise. And as you guys may have seen on the online, yeah, curtain gate earlier, well, last year. And the reality is is that this could happen with anything that we create with 3D technologies. But it's, you know, it's going to be like a small number really. All of our visitors, you've got to say, you know, over 99% grade, almost 100, they're just lovely people. So, excuse my tumo kanga. But I mean, this is maybe what, you know, one person may want to do and that's to exploit, you know, indigenous cultures. But, hey, it's not really going to happen. I see 3D technologies as an opportunity for us to co-create, collaborate and innovate with people in those industries and communities. And one of the examples, I was listening to Bob Marley, One Love and Indigenizing the Latent Space and Museums, which is both physical in the galleries. We've got so much latent space that we could be making better use of and as well in the digital worlds that we create on the internet and as soon as we put on those devices. And so here is an example on YouTube from the talented Manavya, the nation a gift to the world. It really does show the potential that we can use in the glam sector to use these technologies for good. And what I hope is that in the future we'll be given more opportunities to collaborate with communities on these because they really get you to understand sort of indigenous perspectives, you know, and spirituality and what it was like back in the past. It's a collapse in of cosmological space essentially. So you go from a museum, you know, a neoclassical museum into a different world. And also it's about Manaki. This is the potential of digital technologies for us to further extend our reach. So, yeah, 3D technologies are portals. We essentially become tohonga in the sense that we can see into other realms that only, you know, gifted people could who could see, who were like, yeah, fey could see spirits had had access to knowledge that not everyone was. So I think that we need to commit to making the latent digital spaces and museums, sites of cultural safety and collaboration for Māori and whānau-Pacific communities where, you know, if like what I do, if I don't understand somebody's perspective, you know, I Google it, use keywords, you know, just be willing to see what is going to happen and to understand what it's like to be, you know, another person. And before I get dragged off, yeah, we should become nests of social innovation and disruptive ideas. That's what's happened in the past at the museum with Minecraft kids from Alfreston Secondary School have just really made an amazing exhibition. Who knew? Who knew that kids could do that? I mean, I wish I had the opportunity. So don't say no, just say yes. And thank you very much and excuse my pronunciation. Thank you.