 Felly, fel rwy'n cael ei gilydd. Mae'n gwybod i'r rhannu hwyl Hoze Liwis Vicente ar Barcelona, ma'r rhannu hwyl Hoze Liwis i'r cyfaint o'r rhannu, ond wrth gwrs, ei ddim yn ymddangos gweld lle â'r rhannu. Felly, rydw i'n gwneudio'r rhannu. Rwy'n cael ei ddweud i'r rhannu o ddau mewn i ni'n dweud o'r rhannu o'r rhannu. Rwy'n gwneud i'r rhannu i'r rhannu i'r rhannu i'r rhannu, gerda'r gweithio i'r cymdeithasio. Cyngor yw'r cyfnod sy'n golygu'r newid yn ymweld. Ond cymdeithio'r gweithio yn ei gael, mae'r hystod o'r clywedau a'r gyfnod. Cyngor yw'r cyfnod sy'n gweithio'r newid iddyn nhw, eich gweithio mewn gwirionedd newydd, ond mae'n amlwysoedd ar gweithio'r cyrraff? Ond mae'n amlwysoedd ar gyfer amddir, ymwysoedd, ymwysoedd yn trempasol, sy'n gweithio'n gweithio. Big Bang Data is a major new exhibition at Somerset House that explores the phenomenon of the data explosion and how it's radically changing our society and culture. Crucially, most of the content of the show is created by artists and designers, so it's very much a cultural perspective on the issue. In the show, in total, there are about 75 artworks and objects. It focuses on the exponential growth of data in the last five years to examine the way data is organised, used and interpreted and the huge questions that it poses for our world. As well as explaining current state of the art systems and data collection and surveillance, the exhibition places the subject in a historical trajectory, presenting a wide variety of art and data visualisation. Projects are aimed to make the subject and the issues it raises transparent, compelling and, I think, really importantly, transplanting the subject onto a human scale. As I mentioned, the show was co-curated by Jose Luis Vicente and with Olga Subiros and it was first seen at the Centre for Contemporary Culture in Barcelona just over a year ago. This is an adapted version of the show. It's at Somerset House, it opens on the 3rd of December and it runs for about three months. I've run Somerset House for just over a year now and I think it's the perfect place for a show like this because it's a show that doesn't really fit any easy category given that it crosses art, design, science, technology, social history. It's also a good location because we have many residents who work at Somerset House who are interested in working at the intersection of arts and technology. Big data is sometimes seen as a niche issue but, of course, the reason we're doing this show is it's very much the opposite. So the first piece the audience sees is Thompson and Craighead's London Wall. I think we get to meet them this afternoon. This piece, which is early on in the show, is by Ryoji Ikeda, a Japanese artist and it tackles the infinite scale of the world's data. It immerses the audience, you can see on the right hand side, in data and he invites you to experience the universe of data that exists in the infinite space between 0 and 1 and every point in this varsity of pixels has been strictly calculated by mathematical formula. The first chapter in the show, The Weight of the Cloud, it shows how our digital information still has a very physical presence somewhere in the world. This is still from a film by the artist Timo Arnal. It shows how the cloud is probably the most deceptive metaphor ever coined. There's nothing light or intangible about it. Other works in this section include the telegeography map redesigned by the designer of the exhibition Morag Maesco, which details the world's submarine cable systems and their landing stations. We've also got submarine communication cables from 1896 up to the present day. Especially commissioned for the show, Dan Williams is working on a new version of Ingrid Burrington's Field Guide, a investigation of the network infrastructures around Somerset House, which will be produced one week during this month. The map offers an overview of some of the easily overlooked elements of the internet that can be found on our streets. Data universe, the second section. It studies the history of data and highlights the landmarks of the big bang of data. In 2002, digital technology surpassed analog technology. In one year, 2009, I'm sure as many of you know, we produced the same quantity of data as we had in the entire history of humanity up to that point. It also section charts the evolution of data storage devices from punch cards up to the present day. It has one of the earliest examples from 1999 of data visualisation by Lisa Jevbrat. It also includes another piece by Thompson and Craighead, The Horizon, which is a narrative clock made of real-time images from webcams from all over the world. This image is of the Rosetta Disc. It's a digital archive of the world's languages. It contains 13,000 pages of information in over 1,500 human languages. Each page is 400 microns across. It has to be read through a microscope. The idea is that this will last for thousands of years. A key part of the exhibition, which we've specially commissioned, is something we're calling the London Situation Room. It'll be one of the highlights. It has three elements to it. I think you met earlier Usman Hack. His umbrella project called Thingful is in the London Situation Room. We've created two new pieces, two new interactive works that transfer numbers into narratives. The data generated and gathered around the city will tell the stories of Londoners and their daily lives. This is an image of a new piece by Techia, which will visualise the pulse and frequency of live data streams from Twitter, Instagram and Transport for London to show what everyday Londoners are feeling, seeing and how they're moving around the capital. The second new piece, Future Cities Catapult, is creating a new interactive exhibit that will envisage London in 2035. It will show how data can help to plan for the future. That's obviously a big theme of today. Based on real data about London, it enables visitors to do their own data modelling of London in 2035. Obviously, we all know about the sinister side of data. We read about it in our newspapers every day. In this section, a number of artists shine a spotlight on that darker side of data. This is a piece, James Bridal. I'm not going to read out the title. In 2011, as many of you will know, IT researchers discovered that the iPhone stores information about its location history. What James Bridal did was he extracted the data from his iPhone and he created this book of maps which shows where he went over a year. 202 maps. Many places that he visited, but also because of errors in the system, lots of places that he hadn't visited, which is intriguing. There's also a piece in this section called Selfie City by Moritz Stefano and Lev Manovic, who've looked at the style of selfies in different cities across the world and discovered different styles and sort of cultures of selfies. Of course, as we all know, cats sell. Owen Mundies, I know where your cat lives. It's a data experiment where he took social media information and uploaded photographs of people's cats from across the world and managed to cross reference them so you can navigate a map of the world, hone in on any street and you will see pictures of the cat, the cats that live in those streets. In the year after he did this, he uploaded a million cats in the first phase and after a year, only 14% of the original photos were still live with coordinates, showing that in fact his project had shown people that their privacy and geo-tagging settings needed to be changed. This week I'm very happy to say he's uploaded millions of more cats especially for the Somerset House show. Of course, as we near the end of the show, we move from the more dystopian view of data towards the utopian view. This is Florence Nightingale's 1858 diagram of the causes of mortality in the army in the east. We also have an original of John Snow's map of cholera and water pumps from Soho and Brooke's slave ship diagram from 1788. A raft of new projects like the Descent Project with Nesta which is about open democracy and in fact projects similar to the ones we've just been hearing about with the Indigo Trust about democracy, about climate change, about migration and about housing. Many wonderful projects that show how data can work for the common good. And nearing the end, Jonathan Harris' manifesto about the positive and negative possibilities of data where he suggests that the old decision making tools such as wisdom, morality and personal experience mustn't be lost as we think about data and the exciting possibilities of it. And Black Shoals, a newly commissioned piece by Joshua Portway and Lisa Autogenna is an immersive work that represents real-time stock market activity as the night sky and it's a constantly changing planetarium of live financial data. And of course no great exhibition is the same without a shop. So we've got possibly, I don't know, someone can tell me as it's the first shop full of only big data products. At the bottom we have specially knitted jumpers that have been manufactured, designed and manufactured at Somerset House, which will have a big data theme. Personal genome services, sinister biohacks that obfuscate your DNA, laser-cut jewellery that memorises your personal geographies more and more. Anyway, we very much hope to see you in December. Thank you.