 Ac mae'r ddi-ddi yn gyffredig iawn o'r ddefnyddio a llwyddo meddwl am y dyfodol cyfeidio. Yr ydych chi'n gwybod y troddio yma yw'r hynny'n i'r parwyrfyrdd yma. Yn gyfyrdd yma yw'r ddim. Ac mae'n gilydd i chi am hyd i gael i gael llawer o'r byd pan yna gwneud. Yn ein pethau a maith i chi, ond mae ddim yn gwybod i chi i gael i chi ddebitio'i'i gael. Mae'r desgais i weld hyn o'n gilydd. Mae'n golygu i gael eilio'i gael eich lieddau, i gael ei eilio'i gael ei wneud, i gael eich hunain mewn gwahaniaeth, ond ei eilio'r hyn yn ystyried, oedd eich gael eich hunain hefyd. Mae'r hynod i fod yn golygu i gael eich hunain amser fel y chyfod mwneud. rhaid diodd i yn gwawr anod? Yw amreodd yn bwysig ond, ond y peth er mwyn. Roedd ei gael os y cyfarad hwnnw y gofyn, a bydd pefnod hwnnw, rhaid mi yn bwynt mwyn o'r un o bobl o rhan o'r fullnessau rhai rhan o gyflom. Ac yw y cyrfryd yn Scotland yn oedd y 50 ac yn ynglyn â'i llwyddo eu brosies yw We always had enough to eat and were rarely cold even in the days before central heating. My mother and father grew up in quite different circumstances 34 to 40 years before then where money was very short, fathers absent, unemployed. We were one generation away from poverty. Both of my grandmothers sewed clothes for their families, at least one with a singer treadle sewing machine passed on later to my mother and on which I learned to sew aged nine. Making clothes from new or used fabric, a practical response to poverty, involves many important non-humans such as patterns, thread, needles, fabric, pins and more significant investments like a sewing machine and a pair of good scissors to cut fabric and thread cleanly. A story my mother liked to tell from World War II was of the excitement of getting hold of silk from a parachute that could be used for making a rompersuit or a wedding dress in the era of make, do and mend. I grew up knowing the importance of the good scissors in sewing and making clothes. Scissors and sewing machines with significant investments were working class families. The good scissors should never be used for paper as that would blunt them. Their significance and value was reinforced by my mother's horrified reaction if I picked up the scissors to use for anything but fabric. Don't use the good scissors for that. Even more heinous was to use the pinking shears on paper, probably because they would be even more difficult to sharpen. The mother's child's scissor fabric paper assemblage was a powerful conveyor of post-human knowledge that lives with me long after her death. The heavy steel scissors from my childhood are long gone, but I respect my current scissors in the same way. My good scissors are a pair of fiskar scissors about 50 years old. I have a sharpener for them, but I still wouldn't use them for paper. In writing this story, I checked with my own adult son and daughter. My son's response was interesting. He knew that you shouldn't use the good scissors for paper, but had no clear memory of me saying it to him. A more recent memory for him is the message being reinforced by his wife, who has become a keen sewist. In contrast, my daughter's response was to love and say, Of course I remember that. You taught me to sew, and I remember learning to sharpen them if they had been used for paper. Stories themselves can be both product and process of cultural transmission. They carry information, and the telling of them is a means of passing that on, even if we can remember them differently. If only scissors could speak. There were so many nods, I think it's clearly in quite a few people's memories. So we'll go on to the next story. The idea of that story is to give you an idea of being free about what's a non-human, we don't really care. Just go with it. We're all beginners at this. What I should say, if anyone's in the session with Catherine, is that the unfinished story is based on a chapter. It's based on a chapter in Lauren Catherine's book. We got a bit tied up in the theory. We thought, could we just do this in a different way, and use it as an opportunity for you to bring your great ideas to what we're going to do with the quilts in this different world that we live in, from the world in which we envisaged those quilts. What can we do with them? Where can they go? Can they do anything? Can we do nothing with them? Anyway, you'll hear about the digital quilts in the story. So here's the story. You're going to tell the story, Francis? No, no. So Francis wrote a blog. Oh yeah, I'll share that with you afterwards. There's a blog that will allow people who aren't in the room to also contribute. And those who were involved in the quilt, probably, there isn't a recording here, but we could supply all the information. There's another post which gives you a bit of background, and I'll share all that on OR23. But do encourage other people to join in if they'd like to, because there's no deadline of the end of today or anything like that. The unfinished story of the Femedtech quilt assemblage. This is a post-human tale of what? Of Femedtech of a quilt, and what are those, and who tells their stories, and how, and who will finish these stories. Listen and contribute. Femedtech, as at Femedtech, hash Femedtech, Femedtech.net, describes itself as a reflexive emergent network of people learning, practising and researching in educational technology. Before and during OER19 in Galway, the last face-to-face OER conference until OER23 in Inverness, there was talk of what it meant to be at a conference. Leo Haverman i'n i explored portals to participation in a blog, and Femedtech launched Femedtech Open Space, a slot site where people can contribute without the need to log in, writings that comply with our code of conduct. Then, at the conference, Kate Bowles gave a keynote, a quilt of stars, time, work and open pedagogy that not only used quilt, product and process as a metaphor for OER, but also explored presence, virtual and physical, material and temporal. Femedtech took a look at itself in but what exactly is at Femedtech defining an open distributed network. Kate's keynote, the new Femedtech Open Space, the analysis of shared curation of Femedtech, coming together at Galway and online were only some of the inspirations for the Femedtech quilt. Femedtech achieved significant values development activities during 2019. Flowing from these inspirations were posts at Femedtech Open Space and the Femedtech quilt project launched in November 2019 with the finished quilt due to appear at OER20. This project offered anyone whether they attended OER20 or not the opportunity to participate via contribution of fabrics or trimmings, made quilt squares, found objects, words and significantly stories. For Francis, the stories have been a very important part of Femedtech quilt of care and justice. From the launch, the project itself was seen as an activist process and the later quilts as material tools of activism like banners in a protest march. But our world was changing. In January, February 2020, while makers were planning, stitching and sending their squares, travel restrictions to and from China began and cases of COVID-19 started to emerge, media coverage in countries like China and Italy gave a sense of what might be coming across the globe. There was a stitching day on February 22 in Mecklesfield, UK, where a group of sewists stitched together the squares into now four quilt tops. One almost 2.4 square quilt would have been very difficult and costly to post or travel or display, so we went for the flexibility of four quilts that could be clipped together or displayed separately. A digital quilt was always planned and it grew along with and sometimes ahead of the materials quilt being another plot that enables a maker to upload images of squares and their stories without logging in. By February 10, 2020, Shauna Brandle was reacting on Twitter to several posted image story contributions to Hash Femedtech quilt. There was a buzz online. A maker could have posted their material square across the world to Francis who would receive it some time later and meanwhile upload an image of their square and its story, both of which would appear at the digital quilt as soon as it was published. Here's a beautiful example from Anne-Marie Scott who implemented the splot digital quilt. Visitors can navigate the digital quilt and look at the squares in situ in each of the four quilts with links to images and their stories were available. In March 2020, as Francis was stitching binding and quilting the four quilts, COVID lockdowns were increasing. The prospect of taking the quilt to OER20 faded rapidly as OER20 morphed and went online. The Femedtech quilt 60-minute hands-on session planned for OER20 changed into a 30-minute webinar session that included a 5-minute low-tech video of the process of the quilt project. This session appeared to be an emotional experience for participants as though the quilts or possibly the experiences of making a square or engaging with the digital quilt were having a material presence at the online session. During lockdown, learning technologists experienced an increased workload as education pivoted online. Despite this, activism persisted at Femedtech with letters to journal editors, COVID stories and work associated with a special issue on feminist perspectives on learning media and technology. In September 2022, the four Femedtech quilts had their first outing at ALT-C22 displayed on tables and held by human hands from a balcony. They attracted interest, especially from those at the conference who had contributed squares. It was imagined that the quilts would contribute to activism appearing separately and together at events across the world, but the details were never elaborated. Conferences and events are changing since COVID and it's time for fresh thinking about the role that the material and digital quilts can play, if any, in future activism in Femedtech and elsewhere. We invite you and will share on OEL23 hashtag to write your own ending to that story. What's going to happen to the quilts next? Be bold, think of alternatives, but also think a little bit about the practicality, some of them please, but we want the bold ones as well. So feel free to take a piece of paper and a pencil if you haven't already got one and start to think, well what could happen to them next? Where could they go? What could they do? Are they going to stay in a box in my house like they did during COVID? Or are they going to get the gloutings like this one has got to this conference? We like to hear and it's really important I think that when I share that post that you explore the digital quilts. Because some of you will know that if you go to the image of quilt 2 and I'll put a special tweet for that. You can click on quite a few of those squares and find out their story and I think you'll love the stories as much as I do. So, please, we've got a minute really to scribble down any initial ideas to pick up the QR code and help yourself to some joyful pencils, even a supplied pencil sharpeners because I can't bear a blank pencil. Please feel free to take them away, have a look at the books, have a look at the materials and we'll just be quiet for a minute and then come back and finish off with a call for action. Has everybody got the QR code who wants it? Anybody else want a sharp pencil? Want to draw a supply card here? Thank you. Do you want a sharp pencil? Just give people a minute and then we'll just give you a five. So, I've got some stickers that will be good on them. Can you tell me what we've got a minute for? I'm actually looking for it, but what it is, in the network of people that's created the supply, is to put it down in the right country and to say we'd be excessive postage. Thank you, everybody. We've got one minute left just to really close this. You just wanted to start new thinking. So, we've offered the post-human frame to the Femme Tech Quilt of Care and Justice. We want your help to write alternative futures for where it goes next. And to recognise, I think, and share the importance of, through the quilt or through whatever practice, stepping outside of the capitalism accounting to be able to be inspired. We give thanks to Robin and to Rosie. I'll put that right. And just to finish with Rosie Bray Dottie's words, the sparkle of inspiration is never too far off. The imagination is a force, a faculty, a power, potential, joyful activism that can only be ignited and sustained collectively. No-one human could have ever made the Femme Tech Quilt. That's the joy of it. Thank you very much for listening. There was created by a part of the film called... That's something you just called it, though. I've got a nice green one that we have called... That was killed by Rosa. So, if you grab me when you see me around, I want to put a stitch on or a button. Cheese. No, thank you. I love it. Thank you. I'll share the link on Twitter to the post that lets you upload your story. I should have said what, but if you upload a story, as it says in that post, I can aggregate all your stories at the end, and we can see them next to each other on our wonderful open space. Laura, Aaron, the Bean and others were in a spot to go for. Did you just want to hear the writing? Sorry for... If I could give you the post that she was showing, he's got everything telling you how to do it. Can you just put your hands together for... Thank you for coming, everyone. I'm here to represent quite a big group of people. So, I'm a senior learning technologist at the University of Leeds. I work in biological sciences. This project has been done with Nick Shepard, who's an open education advisor in the library, and Chris Hassell, who's an academic in biological sciences as well. Also, some postgraduate researchers from biological sciences, a Wikimedia consultant, and creative and production teams within kids and education. So, it's quite a range of people involved in what I'm going to talk about. What I'm going to talk about is very much catch work. I'll be giving you views of the whole project and you'll be... There's also resources if you're interested in learning more that you can go to later. My background, academic background, is mathematics and engineering, but also fine arts. So, I do believe that chemistry has its place and can be used for good. I should say that researching has helped this project as well. So, what I'll talk about, there'll be a Wikimedia recap overview of that, and then the project, how it started, the aims and benefits, an outline of what we've done. The first pilot was last summer, and I'll describe some of those outputs, and the second pilot has just started. So, I'll talk about the new post graduates and what they're doing. So, Wikimedia recap. So, I'm curious as to how many people have used Wikipedia so this year? Yeah, OK. So, it's very widely used. I was new to this at the Wikimedia side this time last year. So, I hadn't realised that the Wikimedia movement actually incorporates I think it's 14 different organisations. There's Wikipedia, which is the free encyclopedia. There's Wikimedia Commons, where free-to-use media files are stored, so images and so on, that are then used within Wikipedia. Wikidata, that's Open Data Repository, and Wikisource. Those are the four that we've used mainly on the project. And Wikipedia, just a reminder, there's over 300 language evisions, and there's a current desire to diversify the contributors and contributions to represent more of the global south and also women in science and so on. So, an example of how those things can interact. Wikipedia here, an article on Lord Byron, would draw an image from Wikimedia Commons. In Wikidata, there'll be data about Byron, and then in Wikisource, there'll be some of his poems. So, there'll be entries to the poems there. And as I mentioned, well, as we all know, Wikimedia, at its heart, is open. And at the moment, the organisations are wanting to represent more in terms of human diversity, and perhaps after this conference, non-human as well. I did have a conversation yesterday where someone, there's a common saying is you don't quote Wikipedia, and yes, that's not best practice, but as many of you will know, the citations can be useful for students. The Wikimedia in residence we've worked with talks about it being a remix culture. So, in a sense, Wikipedia, Wikimedia draws together a lot of what is out there and is able to share it that way. An example of just something happening in Leeds at the moment as well about the, there's a Wikimedia in residence at the National Institute for Health and Care Research because of people wanting, say, health data such as relating to COVID, there's a lot of misinformation out there. So, National Institute for Health and Care Research in the UK have funded a Wikimedia in residence to look at how Wikimedia might contribute to good information rather than misinformation. So, how did this project started, start? I was inspired by the work already done at the University of Edinburgh. I had a day passing through Edinburgh and I met up with Melissa Hyton, who thought she can't be here. She mentioned what was being done and looked into it, went back to Leeds. There happened to be a presentation by Nick Shepard at the University and he said there was a little bit of funding left, but needed using by the end of last July. So, he had two months and so came up with an idea to start this project involving post graduates. Again, one of the examples, there's a podcast relating to this, a BSC reproductive biology at Edinburgh. Students have had 22,000 words and 270 references in the last, I think it was six years. Their students work in groups and share the work that they've done and instead of handing it into the tutor, and then the work is closed and not seen, it's out there and being used. So, the aims and benefits that we saw for the work at Leeds was to actually eventually bring it into the undergraduate curriculum, although what we've been doing is working with post graduates initially and the benefits to students' information literacy, communication skills teamwork and a greater understanding of open education and also that making a difference, the motivation to make contributions that make a difference. So, what we've had last summer when we found out there's some funding, we advertised for two post graduates, often post graduates do lab work, but we asked them if they'd like to do this work instead. It was paid work for eight weeks, it began in June and we had to, we had to finish most of the work by the end of July, so it was a quick project. It was so successful that the library had now got some more funding, we've now got seven post graduates starting this month, paid work again, we've got a bit more time to do the work with them, 60 hours for students and it's multidisciplinary. So, we advertised across the university and we've got four faculties involved. So, for the first pilot, we produced first draft of training materials, test cases, so the post grads were working on cryogenic electron microscopy, sustainable crop production because they were from biological sciences and also they were interested in producing profiles of underrepresented people in STEM. We produced infographics, diagrams, reports and poems as well. We brought in two poems because there were some comms for GIP3 as well and there was a lot of enthusiasm. So, here is just one of the post grads, notice there was a lack, so they were the experts in the subject knowledge, they noticed, they decided what area they would like to focus in on. Interestingly enough, what was unexpected was how they, instead of text, a lot of them worked with diagrams, so they said this is what we want to convey, but it's not conveyed very well. There was a sketch that worked with a graphic designer and came up with that at the end for uploading to Wikimedia Commons and then including in Wikipedia. Some of these images, it's an interesting case study, are already open source and were available in the Creative Commons licence, but we added, yeah, created this infographic flow diagram and added some of our own using the graphic design, time that graphic designer had. There's poems as well, so I've previously worked with poets and we brought a couple of poets in, Matt Harvey and Francesca Beard, they've both worked in sustainability areas. They chatted with the post grads, created poems and we recorded them and they've been released under CCBY licence and have entries known with the source, so we're probably not time to play those now, but there's links there. Yesterday, in time for the conference, we've got a podcast which interviews the post grads as well about their experience, and that's Nick and Chris did the interview and it's available, I think, is there in the presentation. So, first pilot, there was quite a learning curve, I think it took the post grads longer to understand how to edit Wikipedia than we expected. There's a lot of freedom in the project and it was great. It's a creative project, so they went into looking at figure legends, adding small details and so on. One of the things they had to start to be aware of is conflict of interest, so they had put too many entries that promoted leads in some way. There would be problems there, so that's one of the things we have to be careful with when they're editing. The work was very much the heart of all, and we were working as a team of equals. I think they were the experts in the subject knowledge. Nick has the experience of working media. I brought project management to it and creative work. So, we also needed to be flexible with the post grads. The priority was their studies, obviously. So, they didn't use as many hours as they'd hoped because of their lab work. So, this work came second, but interestingly enough, now the paid works over, they want to still be involved and they want to contribute. The idea of bringing post grads in, the future academics, the future lecturers, they've got that experience now of open education and what's involved. The ambassadors, the champions, they work with the new law students. So, it's starting something that will grow. As I said earlier, the interest in images was quite unexpected. Interestingly enough, I'm more in a fine art background. It tunes in with what I'm interested in as well. If the files are in a certain format, those images, this SPG format, the images within Wikimedia Commons, the text on them, can be translated into other languages. So, you've got an image in English, but then it can go into Urdu, it can go into Tamil, whatever. It's Spanish, Portuguese. And that's powerful then. That doesn't have to be recreated and copied. It's there. We did also just realise when we're working with graphic designers, it's making sure their supervisors were, post-grad supervisors have proved them being involved, but they weren't needed generally to check the work, because it's all within Wikimedia Commons, that whole checking process anyway. But with the graphics, we did need to check that what we were putting a lot of effort into was in line with the academic requirements. And also some, they've learnt a lot about copyright as well, including using packages such as BioRender and the copyright issues there. Second pilot student started at the beginning of April, just to give you a flavour there. Arts, humanities, cultures, biological sciences again, engineering and environment. So these are their areas of interest. So the anti-cast movement in southern India, and also this person from India has had experience mapping content on gender and sexuality in Indian languages. She's already done with working Wikimedia in India. So it's multidisciplinary. It's also multicultural. We've got someone looking at clothing, manufacturers and textiles in the UK. Both of these are very interested in hidden histories and getting that work up there. So they'll be working as a group on their own projects, but supporting each other quite a few. So DNA, origami, nanotechnology, there's a couple of those, again one from India and he's interested in tracking products for good that use the DNA tracking, crop protection applications, ecology, wildlife, management conservation and geosciences. A lot of them are linked to sustainability thinking and climate change. So yes, so as I've said, multidisciplinary, multicultural, multiple languages, also they've got freedom to explore the languages if you like. Use of images again is what's being important. We've set up just practically a team where they'll each have their own channel, but there'll be areas where they can ask information about Wikipedia, Wikipedia, Wikimedia Commons, copyright images, infographics. So we're trying to structure how they, each will have their own interests and needs. So this is how we've structured their support. We'll meet every couple of weeks just an overview in case it's of interest as to what roles has been. So Martin Polter, who's worked as a Wikimedia in residence at the Bodleian in Oxford, he on the first project we brought him into do training and also he did give some advice online as to what we're bringing him in again. So we recorded the training he did and we're reusing that. Nick Shepard, as I said, has a lot of open education experience in Wikimedia. He's the first year of the project. Because the project had to turn around quickly, we focus on biological sciences. So I was recruiting and dealing with the students and doing also external comms. Whereas this year, as we've gone more broadly across campus. So Nick in the library will be recruiting, has recruited, done the recruitment and is leading on the admin side. Chris Hassell is great because he's, we're hoping to get some undergraduate resources produced by these poster ads as well. So Chris and Martin have had less of a role but key roles as well in that. There is, for those of you that aren't aware of this information on use of Wikipedia, Wikimedia in education. I could play the poem. I'll go back to the poem then. What is a wiki and why? Is it more than the communal walk of the work? Who's informed? The workday woman, the box-stand and bloke? It's my understanding each wiki's a gift that exists to be given to and to keep giving. So those who stand on the shoulders of giants hand with the boldness of midges share sciences, teachings and riches. Make what was hidden, accessible, ordered. No forbidden forest but an orchard of knowledge. Make rich of the fruit of the orchard less awkward and where it's applicable so much more pluckable and all wisdom's windfalls a bit more pick-up-able. Hence this invitation to join in the making. Share facts and processes shown where the gnosis is. So don't let the past melt in twisty ways and become solid at the last count. There must be 50 ways to share your knowledge. So stick your aura in, Maureen. Begin to chip in, Finn. Add your two peneth, Kenneth. Share what you know. Cos it's people like you, Sue. You start by just starting, Martin. Watch a YouTube tutorial, Maureen. And off you go. Fill the gaps in the maps, they're not at capacity. Scratch the itch to sow a patch in the chemistry. It isn't a trespass, you don't need a guest pass. Knowledge is restless. Seeking release. So make it plain, Maureen. Then make it plain. Make it clear, Amir. And then even clearer, Indira. The latest conclusions aren't even conclusive. They may be elitist, but they're not exclusive. So tap those keys, Louise. Put flesh on the bone, Joan. Stick up a graph, a garf. It doesn't have to be yours. Each wiki can play host to all sources. Almost. So long as you sign post to the primary source. And give three notable citations. It's not Amir goes early to check. I will give a right to roam and a right to speak. So share the facts, Max. Give them something to ponder, wonder. Add weight to the wiki, wiki. Or give it a tweet. Don't let knowledge go AWOL behind a high. They will insist on disclosure. Resist the enclosure of data. Participate in its updating, curating. And in co-creating, not just Wikipedia. Or Wikimedia. Collator fact sheet, Lachmi. Add me a got a truth to Ruth. For truth is beauty, sherooty. Citation needed. Give it away if it's time to share. You can contribute, commute. All unimpeded. Because you have the how to, the IT, the why to. It's time to pay heed to what's growing inside you. The one unique window that you see the sky from. And do what you need to. Answer the call, Paul. Knowledge has no owner. Shona, open the gate. Kate, let it go free. From the rarest rhizome to the human genome. Understanding was meant for you and me. That was brilliant. Welcome to Sky News today. Time, is it? Time one. I could play, yeah, money for wonders. I could play, yeah, money for wonders. I could play, yeah, money for wonders. Imagine a breathing in, breathing out. Star, black. Imagine a breathing in, breathing out. Star, blessed planet. Inhabited by magical creatures like the tardigrada. Also known as moss piglets and water bears. Who can survive permafrosts, active volcanoes and outer space. That's our world. Imagine beings capable of destroying paradise with the power of their mind. That's our world. Under a world where one user creates something new out of atoms of air unlike anything else ever before and others recognise it instantly. Add to it, share. That's our world. A super massively subtle intricate looping dance of energy, cascading, shedding jewels like sequins through the un-conferling pattern of perfectly folded proteins. Picture this symphony of amazement. See a fragile. Witness it going. We need to join forces. Poor resources keep it safe. How? We live so close and so separate. In a kaleidoscopic Venn diagram multi-verse of overlapping circles which in reality might be light years apart though they still throw shade on each other's planes. Every mortal on this planet seems to be a potential hero and their own worst enemy, shining searchlights into the wrong caves. Our story is a long timeline of blokes like Oedipus and Trangu and Hamlet staring stunned at the stars, wondering who am I? Why are we? Once upon a dream we imagined a digital revolution of friendly global villages where everyone took in each other's virtual bins. Human consciousness uploaded into an expanding sphere of universal social literacy. In practice, the solemn reverberations of your most sacred echo chamber are noodled to noise in the hissing stir fry of my social media feed. What if there was somewhere everyone could find a meeting of minds where reality wasn't a choice of filters, where cancel culture transitioned into peer review, where the names of new proteins, Fiona One, Shrek, Topolus, were household as love islanders and creative commons viral as Kim Kardashian. Imagine a database of shared ownership made not for profit, but to profit all. What if, like penguins and the frozen waste, we could weather this climate crisis by time sharing centre stage, shuffling the pack, the high low ace, no one edged out to marginalise, so we all survive with access for all to the inner circle, each of us with a seat at the table. Everybody able to bask in the warmth of knowing we all know we are in the same storm and the same boat. That when we share knowledge it flows and carries us to where we need to go. Let's dream of a world where right now, a kid in Alaska and two in Nairobi and one in Sydney by Web Karachi are uploading scientific data from Wikimedia to their brains, freely streaming information translated by early career researchers that will lead them to cross-reference, follow sources, edit, contribute, collaborate and meet face-to-face in a lab in Leeds, where they will find a cure for the cancer that killed your great-grandmother that will save your granddaughter. Believe that for a fact. Here's a fact. Facts leave us cold, stone-faced. It's stories that change landscapes from the Stonehenge circles to the Easter Island statues. We move mountains when we believe, we need new stories because of the ones we have now, the ones about how a brighter future is our destiny, how we stand on the shoulders of giants to see not just further but better. That's post-truth, that's fake news. There is no happy ever after, no mystical fairytale millennium where we all wear silver. If we want progress and change we need to change how we progress. The old stories about a singular saviour heroic out of a crowd have brought too few of us too far, too fast. We need a new story about how we move as one. Slower, sureer, further. It's not about a thousand millionaires rocketing to Mars, it's about five billion citizens supporting science to nurture drought-resistant plants. We have the technology, we have the wherewithal, we need the collective will and that's down to you and me. Ordynary, extraordinary human beings. That early career researcher in a Leeds lab uploading her images to Wikimedia. A secondary school teacher, wiki user who knows how to explain DNA to RNA so that any 12-year-old can start to figure out who am I, why are we. It's about baseline knowledge, everyone on common ground, across cultures, currencies and mother tongues. What if this is a world where we are all the hero and the storyteller where we all help each other to make our stories truthful and free. Imagine if we all come together to share those stories on Wikimedia. What a wonderful world this would be. I love that your students sort of self-selected diagrams and castles are contributing to the other language wikis or maybe to the whole English language. The students that are starting have a range of languages and we've given them the option to work on those translations so that's something we'll be encouraging. It's a certain format that allows that, that's the SBT. Anything else? Ben? Oh!