 Her er jeg her, selvfølgelig, og jeg vil spise om Moskårens dial. Jeg hedder Satsati Edelito, curator af historien og arkeologi, at Moskåren Museum er en halv curator af eksibitionerne i Midt og 80'erne, som begyndte i oktober 2017. Her ser du et museum, jeg kalder det et nyt museum. Det museum er stadig meget nyt. Det begyndte i 2014. Det bygde 75 millioner euro. Arkeologiske er Henning Larsen Arkeologiske, der er næste til at blive den mest importante arkeologisk company. I Danmark er også de, som begyndte at bygge operatet i Copenhagen. Vi begyndte eksibitionerne enige med en for et par år. I denne moment, og i midt og 80'erne, er det den seneste af de permanente eksibitioner. Vi har nu fem permanente eksibitioner. En støvende, bromsende, ironede, støvende, etnogryst. Og de midt og 80'erne selvfølgelig. Viltningen eller teamen er en speciale museum, fordi vi har vores inhouse eksibitioner. Og det eneste, at vi har vores inhouse eksibitioner, er at alle andre er gjort med en team, som har været mere eller mindre, siden de åbner i 2014. Og i alle arkeologiske interaktige designere, der gør det virkelig virkelig. Vi har set op med os. Vi har ordentlige arkeologiske, sound- og movie-ingenier, og så på. Det er en stor avantage, fordi hvilke størrelser vi på, mellem siden og display, er sættet til at resten af, med vores højerefølgende, som er andre arkeologiske. Så det gør det, med valget, mellem arkeologiske og støvende, og støvende, hvilke størrelser, der gør de størrelser, der gør de størrelser. Som du ser, der er et størrelse, som åbner. Det er en avantage af Danmark, der er et størrelse, som åbner som 16. åbner, og nogle ældre kommer ud. Så det er et størrelse, som åbner. Så det er en størrelse, som åbner, og så går du ind, og så går du ind, og så distrib Ever, og så går du ind, og så går du ind, og så mulder det الدermål. Så det er studies88 Ja, ogół南alden, er til os, en landske Grønlandsreı! Det er sådan, primæres Saxons pin, totalmedle crawling운 Grønlandsereå. Men landskabet er fortæller, at vi har denne lande her, som faktisk betyder, at man kommer til en museum, som ligger 12 km ude i centrum Aarhus, og Aarhus er den 2. stedet i Danmark. Når vi er klar til at tage besættelser her, som kommer til at se ud af ekskubitioner, selvfølgelig. Nogle kommer til at møde en kaffe, som kommer til at møde familien og studenter i landskabet, og derfor må de gå til at se ud af ekskubitionerne, så det tilføjer at tage besættelser her i den her geografiske sens, som er i remodet. Hjælp. I en museum har vi en motto, og hans hjælp om historien. Vi har haft det for et sted. Det betyder, at vi kan sige, at vi har tage besættelser til besættelserne i et par år. Vi giver vores besættelser, som vi har kæmpt, som en sæsorisk eksperiøst. Vi har haft vores startningspunkt i en forventning af besættelser, som vi kan relatere med. Og vores ekskubitioner, som du kan se her, er generelt mærke og kolde. Når vi går fra løs og herringen til ekskubitionerne, så går vi til den sted, og det tog er løs. Den første humanerende 400.000 års gæld. Når vi kommer til det andre, som er her, og her er det gældste skædelser. Det er et gældende moment, som har været fundet i Danmark, med virkeligværende fager. Så når vores gælder går til ekskubitionerne, så går de virkelig frem til frem. Og så går de virkelig frem til de andre. Vi gør det gældstændigt, og det er det virkeligværende. Fordi alle de virkeligværende gældste er der, og vi var færdige, eller noget af dem, og vi gør ikke reaktioner, men ingen har aldrig sagt noget. Absolutt ingen effekt fra nogen, som er gældstændig. Men i hvert fald går vi til det sted, hvor virkeligværende skædelser har været i tid. Og nogle af dem er gældstændigværende, som du kan se. Når vi ikke går ned her til den medievelde ekskubition, den startningspunkt, eller den mentale startningspunkt for denne ekskubition, når vi startede, var dette mat, salder-mat, så koldt, gav rundt 1264 Henry III. i Winchester, i Danmark. Det er en mat, der unites de sætere mythologiske og historiske ekskubitioner, og gældstændigværende, som var specielt for de medievelde ekskubitioner. I denne mat er laverne af tid og spasialitet bevægtet, i Rusland i centrum, som vanligere, gammel af Eben over her, så det bevægter samme laver af ekskubitioner og tid. Vores position er, så at spørgsmål, at spørge vores beskyttelser i hverden, og spørge dem til at lukke ud, i stedet til at spørge dem, når vores sætter er lukket ind. Denne spørgsmål er gammel af alle vores ekskubitioner. I også mandag, som jeg sagde, at humentligere eksperienser, var til at være i centrum, og hvilke historie, hvilke objekter var til at tage den startningspunkt i en enkel hume, eller grupper af humene. Så det er ikke en ekskubition om teknologi eller institutioner, men det er en ekskubition om, hvilke effekter teknologi og institutioner har på humentligere. Og her har vi et mænd af en udenligere ekskubition, og vi introducerer alle her, og fra der går vi til landet, til stedet, og vi lukker til politik, hvis du siger, vi går op til stedet, vi har en sætning af død, og når du faktisk lukker, så går du ind. Så det er en materiale før død, og vi lukker til stedet. Eksperienserne er bygget op med fem lager, og med forskellige balanser af ambienter, og authentisering, og de afgivninger, af denne hume, giver vi besøgelser en sensorisk indsign, i de midtelegerne. Med kvinder og kvinder, vil vi begynde at betyde, hvilke audienceer, hvilke inden, og vi skal kulturen. Vi balanser absolute authentisering i vores display, og der er ikke en single reproduction i hvilke af vores eksperienserne. Vi balanser det, med den højeste grad af besøgelser i vores reinterpretation af de midtelegerne, og her, når du fortæller, at du faktisk lukker til, hvilke inden, og fortæller dig, om de midtelegerne, hvilke inden, ingen har taget en ansigning om det, hvilke inden vi går indenfor, til de midtelegerne. Vi har, du kan, again, bedre se det, der balanser mellem ambiance og authentisering. Det er klart, at ambiance er overvælget, og det er i hver en af vores eksperienserne. The wheel, is our common symbol, it can be the wheel of fortune, it can be the wheel of a flower, so we use that to put on our displays, our movies. When we did that, this part, when we created this part, the end of exhibition, which Paulina did, was unhappy with it. She said, there's nothing there, and this is about the countryside. There were no objects, or she said there was no objects, and she said, we're boring. I said, yeah, Paulina, that's kind of the point in this. But we had a bit of a chief about that. If I'm to talk about the next layer, that is our texts. They are highly dramatised over what is written, and more so to speak. There's not much, and what there is, are highly dramatised. We talk directly to our visitors. The voices changes. This is also written from the perspective of an al-compassing trinity of God. All the text has been written by our scientists, and then many of them have gone through me, because not everyone is able to write that specific story. Our third layers are what I'm going to talk against. We don't have normal posters explaining software, explaining technologies or specific topics. We have researchers on touch screens. Researchers being filmed live two to four minutes, no script, no cut, that is challenging too. And they talk about their given subject, and it's the curators who have given them these subjects that they talk about. This is the ideologies of researchers taking on the classic role of the shaman or guide, if you want, who leads or guides our visitors into the past. And it is quite efficient. As long as we remember to put that little thing on bottom that shows how many minutes are left. If it's not there, everyone will leave immediately. If it says that let's take two minutes, they're going to stay. Here you have the talking heads in real life. This is our section on manual life, where this screen that's on, where you can just press some questions and the researcher comes up and explain on that. And you see the visually overwhelming set up of our exhibition cases that is meant to embed the visitors in the visual culture of the day. Okay, no problem. The fourth layer is our VR virtual reality. We have 3D goggles and other part of the museum, but not in the review exhibitions. It's incredibly expensive to make that. And our VR is here done as limitations. And this is a dramatic a movie that represents an authentic court case from the 15th century Orhus, which has been dramatized to give information on the theoretical system as well as social conditions in the city. And the visitors take part as jurists in the trial. And we use this to tell about social conditions in the city. This particular scene we play here is about a poor thief who got hanged at the square in Orhus. We also have a section on immigrants. Our exhibition consists of authentic objects that you see not on single reduction in any of our exhibitions that are embedded in the highly sensorial setting. The lighting is dramatic. The visual and auditory stimuli embeds our visitors in a virtual reality of their own. Creating such a balance of ambience and authenticity was challenging. And here I'm going to in the last few minutes speak about a few of those challenges. The first one is really the balance between ambience and authenticity. Creating ambience in the afterlife and here we are in the section of the afterlife I think this is very visual and auditory. Creating ambience in that was incredibly easy. This is that typical I would love to use it as a reception room or a party room. So it was very, very easy. We all have these imittance of hell and auditory on hands. But creating authenticity in this section was hard on. We tried to dissolve that by using original imittance by contemporary artists. Bernd Nodke and Henry Wussbosch that this put up under models. Nodke was an easy choice given that Bernd Nodke painted a sculpture from Newberg from the late 15th century. That was an easy choice given that his works at the home service in the Netherlands. However, Henry Wussbosch was difficult to embed from the auditorium viewpoint because Henry Wussbosch's style placed into present imagination and perceptions of hell. But the Spanish Dutch cod culture here it presents has fewer links to Denmark. So here the those big imagination of ambience was stronger than authenticity and it was one of the battles I lost. And she's okay. And she's okay. And she's okay. And she's okay. And she's okay. And she's okay. And she's okay. We saw it later. All right. Thank you. Thank you. As you see here and that is getting two flashing sounds at the time. As you see here the exhibition room is definitely being trapped. That is in accordance with the medieval world view and medieval life, but it has the unfortunate effect that some of the sound effects get muddled. However, the soundscape greatly acts to the ambience. So here ambience one and I have to say that the adjustment there is as always almost no time for adjusting sound before we open and everybody said we're going to do that later that hasn't happened yet. That's just life. And then there's the third challenge offence. I've already talked about using about the willy parade and the use of the voice of God and no one has taken offence. But in this section on the church we discussed the conceptions of materiality as a medium of transformation that is miracles, that materiality changes all the time and related as well as characteristics. So we have recreated a miracle that washes away the sins you can commit to other places in the city. So something actually happened when we touched the relic and to me the scent of roses and all that and something happens. We thought that someone was going to take offence on that but nothing has happened. No one has said anything. The only offence someone has ever taken was the third LGBT supporter who took offence because our translator has translated the moral sin of superior with pride. And she didn't like that use of the word pride and has a very other connotation today. She asked if we could compose and I could say honestly it was a total incident. Nobody has given it a thought before this. Challenge four is what I call guardians of the galaxy. Unbelievably perhaps a lot of thought and money went into this figure and background and this is the work of a coke grid. It was very good actually. But somehow I don't think that thought and money paid off. It turns care was taken into the layout of every detail in the armor, the building, the horses and so on. But the message of this scene totally gets lost. So up to me it looks like a tune and to me it doesn't pay off. So we could have done that. Maybe thought a little bit more about what it is. We really wanted to say what is the emotional content of this scene. Then in the last one minute I'm going to talk about Challenge five, that is we mentioned everyone about permanent exhibition as well as our special exhibition cost between 1 and 2 million euros probably more like 2 million at one. The museum itself attracts 300,000 visitors a year. And we need to reinvent our exhibition constantly to be able to make the new visit again. All the six permanent exhibitions are open now. And now we are in the phase where we open one big special exhibition every year and several smaller ones. And this is our current exhibition on James Kahn Our in-house exhibition team has started working in museum productions other places in Denmark and Europe. So that's also a possibility and that is what the kids team here they develop of course the most important time according to what other places need. I'll only say now that you of course always very welcome to visit but if you do come to visit then please put up a few ways. Because all our visitors and all the researchers who come to us say that our exhibitions are intensely overwhelming on a emotional level just for their fans to be able to Thank you.