 I will get things on the way just with a quick introduction. Hopefully you'll have all read the abstract for the session summarised here on my open slide. As this day drew nearer, I really realised there was not much need to simply say a very few words about each of these points, some of which my co-conspirator, yes they will return to with their paper, and others of which will hopefully arise out of the discussions and the papers. So instead I thought I'd make the best use of the time by focusing on one aspect, digital technology and its role in reassembly and in illuminating thingy people networks. At the previous EAA conference in Maastricht, I looked at the long-term future of museum archaeology, but here I want to focus a little more on the here and now and the immediate tomorrow, where guardians of the galaxy may not quite represent the reality of VR technology, but does serve as a compelling metaphor for the depth of immersion VR is seeking to achieve in interpretations of the past. It's certainly true that digital technologies are connecting people with museum and archaeology collections and extending the concept of museums and object assemblies at the level of public interaction in some exciting ways. This is not the place to explain VR, and I know there's a whole day today of VR demonstrations if people want to go to those. But you will be familiar, I'm sure, with examples of its use in interpretation, whether at the design end or the public engagement end. But rather than VR, I'd like to focus on a digital engagement that does not yet use VR, but links a developed space in which some of the excavated archaeology has been reinserted and the digital links supporting its interpretation. The infrastructure development is the north-south metro line in Amsterdam between 2002 and 2012, particularly the new stations at Rokin and Amsterdam Central. In advance of its construction, a section of the river Amsterdam through Amsterdam had to be pumped out and excavated in advance of a metro line being laid along its course. As a result, 700,000 objects were recovered, mostly spanning the 13th to the 20th century. A little short of 20,000 of these objects have been put on display at Rokin metro station, which was opened to the public in July of this year. They were placed in long cases at either end of the platform and each between the up and down escalators. There's no labelling of any kind, just a mass of typologically arranged objects that make a startling impact. As a very humanistic event, we have lived in the city and the displays are supported on sites by mosaic images on the walls of the station and online by a website called beneath the surface. So the website is called beneath the surface and here you can look up the basic data on any of the 20,000 objects on display by simply clicking on that object's photograph. You can also read about the history of the project and watch a documentary. More innovatively, you can also take a selection of objects and rearrange them to create your own virtual collection and exhibition. Two or three weeks ago, nearly 2,000 curious minds had availed themselves of this engagement and created their own exhibitions, all of them viewable on the website. The majority appear to be conceptual pieces that turn archaeology into art and testify that the imagination of the public has been really captured by this project. For those who want something a bit more tactile, there's a huge book of 1,500 photographs that are arranged in such a way that detail the material history of Amsterdam. Though the scale was slightly less, both in terms of its development project, a new high-rise office block and its archaeological foundations, the Roman Mithraeum at the Bloomberg space in London, adopted a similar digital technology approach. The Mithraeum was originally discovered back in the 1950s and relocated by a few metres in the face of redevelopment. As part of the 2010-2017 development, it was reconstructed almost exactly where it had been originally found as a ruin beneath the new office block. The ruins themselves are presented with a dramatic form of engagement through a digital light and sound show that brings back the Mithraeum as a place of exclusive interaction and mysterious drama. Before or after touring the Mithraeum, there is an interactive space where the Mithraeum can engage with the Roman world context of Mithraeum, whereas these of digital screens enable a detailed exploration of Mithraeism and the locations of other Mithraeums. At ground floor level, a large vertical wall case displays 600 of the finds from the excavation led by the Museum of London. Digital tablets are available, which enable visitors to explore each object in detail. The same information is available on the website London Mithraeum Bloomberg Space. Archaeology in its heritage placemaking mode can clearly be very effective, and what these two projects share is digital technology innovation and a commensurate budget with which to apply it in what are avowedly non-museum spaces. But the same technological approaches are becoming more evident in increasing number of new museums and new temporary exhibitions. This tour in exhibition is now put of the Connecting Early Medieval Collections project under the Creative Viewer programme. Its aim includes the deployment of digital technologies to deepen and broaden the understanding of early medieval collections, including animations, 3D recording and exhibition and online access to databases. The House of European History is a new museum initiative of the European Parliament and opened 12 months ago. Based in Brussels, it draws from collections around Europe. Its permanent galleries spread over four floors, dispensed with conventional labels, issuing visitors with headsets and tablets so that they can explore objects in as much detail that they like. The innovative inaugural temporary exhibition called Interactions includes a digital installation hacking my Europe by which visitors can input data on their own experiences and cross-cultural preferences, where they live, where they holiday, and from where their favourite food, music and sports books come. All displayed on an interactive digital map of Europe, the merging of all responses creates an ever-changing collective web of interactions. Its bed of dreams exploring the pan-European role of fairy tales is equally innovative. The museum's inclusive approach also makes room for more conventional interaction using paper and pens. Here we see Muscaud Museum in Arpus and Historia de la Vendée in Les Lucs de Vendée in France. Just around off the selection of new and relatively new projects, here we see those two museums. The one in the Vendée opened nearly 10 years ago and Muscaud, which is just completed in its initial use of gallery openings. They share innovative, landscape-conscious architecture with the deployment of technology. At Muscaud, rather than giving visitors tablets, their displays are peppered with large digital screens through which creators talk to visitors if they want to follow up with details. What I hope will be obvious from the images I've shown is that these big projects come with a big price tag both for maintenance as well as installation. But technology inevitably reduces in price, though it still remains an issue for many smaller regional and local museums, and I work in warnt so that I know how problematic it is. Digital technology also has some way to go to be embedded so as to emphasise the message rather than the medium, not to show off about what it is doing, if you like. The Connecting Early Medieval Collections project is looking at some of these issues and the just-initiated project called Culture Power, inspired to develop rural areas, has just secured European inter-reg funding to explore these issues in the Scottish Highlands and Islands. What these exhibitions also share is the creativity embedded in assembling and reassembling collections, whether by curators or visitors, and in real and virtual contexts.