Mary-Ann Constantine  0:03  
Over to you. Thank you Anne thanks very much for the invitation to speak. As always I feel a little bit like the research guinea pig in the technical room. I don't come with a technical background, I work on 18th century literature and culture, and much more used to people dashing off letters with a quill pen, then dealing with technicalities. I also live on a hill in west Wales which means that connectivity is a perpetual problem so I'll be as quick as I can here. I just want to share a picture with you, really. I have the pleasure of working in a centre, next door to the National Library of Wales which Jason has already introduced you to, as an institution, and one of the wonderful things that they've done in recent years is digitise the bespoke coffee table edition of Thomas Pentlands very own 18th century tour of Wales, and the three words that I have in my head. After listening to the speakers in the first session, and listening to some of the panellists just now, our context, collaboration, and narrative and perhaps narrative is the one that we haven't thought much about yet. I was very struck by Abira's presentation about how objects become decontextualized they lose their stories, they lose their languages, and they lose their history. And one thing I'm very interested in is connecting objects, images and texts together in meaningful ways. And it seems to me that speaking to people who are working in IIIF, that this offers a fantastic opportunity to start to bring things back together. What you have in front of you is this amazing page of images and text, where an 18th century writer has tried to do just that. He's tried to bring different kinds of approaches to knowledge together on a single page and there are eight volumes of this each one beautifully illustrated by the painter Moses Griffith. So we have heraldry, we have antiquities, we have buildings, we have landscapes. All these things are described in the tour, and I'm very interested in travel writing as a way of creating a journey through collections by editing travel texts of the 18th century. I think we can open portals, windows, doors into collections which might be in big national institutions like the British Library or the National Library of Wales, but also into much smaller museum collections objects suitcases, the travel chests the saddles the all the bits and bobs of material life that end up in local museums, bring those back together to create the journey through the 18th century, and located in real languages by geo referencing and tagging the texts in ways that link you through to be able to map them and collaboration. I think is crucial here. This 18th century project to write big tours of Wales and Scotland is essentially a collaborative one and Thomas Pennant perhaps more than the many drew on what was essentially the Wikimedia of his day or the Wikipedia of his day, by writing to people by using correspondence networks. So behind these beautiful editions and behind the printed texts, there is a mess a heap of manuscript letters sent out all over the world, all over Britain, asking for information about things seen places bean descriptions, images and stories. And I think this is where narrative comes in we can. I'm very interested in how I might be able to use 18th century travel writing to pull together the disciplines of art history, which look at objects and have their own way of understanding them, of literature, which responds to texts in different ways. Archaeology and geography and and archaeological histories to bring things back to this kind of pre-disciplinary mix of ideas, and being able to tag link connect through IIIF seems to me just an absolute blessing, and one that I know that Thomas Pennant would have given his eyeteeth to have exactly what he wanted to do with what he was trying to do here in this beautiful book. Thank you. Oh you want me to share a piece of advice: My piece of advice would be to work with people who know what they're doing.