Thank you. Thank you very much. Thank you. Yes.
So we start our and we have put a timeline here because we wanted to talk about how
we arrived at what you can see today in the Treasury and Treasury in the gallery.
So around 2010, I remember I was at a conference in France in tour and I was talking with a friend about the needed Barbaro.
That needed Barbaro is this character you can see here?
I don't know if this works. No, I was very interested in him because he was a scholar living in Venice in the 16th century.
He was a polymath and patron of the arts. His villa near Treviso, which is my birthplace.
So I felt also a connection in geographical terms with the nearly.
Barbaro was designed by Andrea Palladio and decorated by Paolo Veronese as so he was an active patron of the arts and I was
interested in this character because he published several books and we are lucky enough on several different subjects.
So he he was interested in several subjects, including philosophy, geometry, perspective, architecture.
His commentary on Vitruvius was illustrated by anthropology and published in Venice in 1556, the first edition.
I was interested because at the Biblioteca my China in Venice, they have a collection,
big collection of his manuscripts and of course a lot of his printed books.
So in 20 1213, I had some grants from the Royal Society of Edinburgh,
the British Academy and the Delmas Foundation to start my work at the March on the Library, considering Barbara's manuscript.
So this started like my research started from there.
So Laura and I arrived to St Andrew's in the same year, so we both came to send Andrew's in 2010,
myself, as first as my books Cataloguer, and then as Rare Books Curator, Rare Books Librarian.
And I remember in that the winter of that year meeting in the windowless
basement of the university library where the special collections used to live.
And we started our conversation as curator and academic do, and we found quite quickly that we worked on the same same level.
We could work together. And as you began looking for material, I remember as this project was beginning,
you were looking for material in the collections locally that you could work on as well as further afield.
Yes, I was interested to see if in my own institution we had something which could be related to the near the border.
And in fact, it was surprisingly there was in St Andrew's. There was indeed, yes.
So among various books we have in St Andrew's, there is a one of the commentary of Vitruvius by Barbaro,
illustrated by Bellagio, the second edition, Venice, 1567, which heads in the binding an entire 16th century mass hidden in it.
So we did a lot of work on this, and Dario helped me to have the binding open and to find out what was inside.
And we did a lot of work together at the beginning, so this gave me the enthusiasm to set up a collaborate, a collaborative project on the neoliberal.
And I was lucky enough to be awarded a Leverhulme Trust International Network with Project Partners,
the University of St Andrew's de Marchant Library in Venice, of course, and this the Centre for Renaissance Studies in tours.
And again, I was very lucky to find in the directors of these two institutions.
So Phillip Hendricks for the Century Tour and Maritza Masina, the director of the Biblioteca Mirjana, two enthusiastic partners.
So they both were extremely interested in what we were doing and they both gave us a lot of support in this work around this polymath.
We set up this network which ended up having more than 40 scholars involved, including academics,
librarians and all sorts of different categories of people working around the themes that they needed.
Barbara was was. I'm her thing in his during his time, we created a website where we put a lot of content related,
including, for instance, the census of Danielle Barber's additions.
There are some various materials that we thought could be of interest for scholars.
So I joined the network as well.
And this was really the first time that Laura and I began working officially together was the formation of this network.
And as well, the two exhibitions that came out of came out of the Ibrahim Project.
We did a small exhibition at St Andrews. Again, there was a couple of books, but also St Andrew's has very little exhibition space,
but we managed to pull together a small exhibition of four very important books, the images that are there on on your right hand side.
And that was put together for the network coming to St Andrew's as well.
Yes. So we had all these people coming there.
We had very interesting discussions and we had our little exhibition.
And you can see at the top, right, this book I was mentioning with an entire 16th century French moss hidden in the binding.
The bigger event we organised on that occasion was an exhibition of the merchant library in Venice at the heart of St Mark's Square.
And you can see the bottom right, the kind of exhibition space we had at our disposal.
And I worked with Suzi Marconi here with me in the centre, who is curator of manuscripts and rare books of the Bibliotheque Nationale.
Marciano a fantastic colleague, and so the director was a fan of our project.
But Suzi really was the person who helped us put everything together.
The books at the National Library in Venice are the most important books we have now on this important figure on the native Barbaro.
And the exhibition was extremely successful.
It was a surprise for us because it was merely and you can see it there, it was merely an exhibition of books and manuscripts.
We didn't have all this fancy gadgets we have here for our new exhibition.
It was a bear exhibition of book and manuscripts, but we were able to create a narrative around it and we had a lot of interested people.
The show was planned to be to stay on for two months, but we had so many visitors that the library decided to extend it.
So in the span of less than three months, we had 37, more than 37,000 visitors.
And for us it was an enormous success because we would have never imagined something like this.
All the guided tours were fully booked. We had to split people into groups and we had to extend the run of the exhibition, as I said.
And Derek,
who came to Venice several times to talk with us about what we were doing in Venice and to set up fruitful links between St Andrew's and Venice.
So why? We spent the last 5 minutes talking about Danieli Barbara when we were here to talk about Leonardo and the exhibition, the.
Barbara Yes, but indeed, I mean. Barbara And really it's kind of it's twofold.
One, this process of developing a network and kind of building relationships is something
that is transferable and certainly transferred to what we've done here in Oxford.
But to Barbara took us to the British Library, which was quite a fateful trip.
So when the Venice exhibition closed and we realised it was going to be such a, such a success,
we both had the idea of doing something similar in the UK to see if we could pull off something similar in the UK.
As part of the research project, Laura had been to the British Library and it seemed quite an important book.
Yes, because of what Alex was mentioning at the beginning, that it was working on a library of of a page.
One scholar in fact was the dedicated of the newly Barbara St is on perspective
and luckily I found the video a copy of Barbara's additional perspective,
heavily annotated by an Italian renaissance hand.
And I was lucky enough in that period to be a fellow visitor to the Centre for Italian Renaissance Studies of Harvard University in Florence,
where with me there were other fellows who were experts in recognising 16th century hands.
So dialoguing with my friends and colleagues, I was able to identify the hand of this person who was annotating the video book.
And in fact it was not that she knew who is the dedicatory of then either.
Barbara's due to some perspective. So the Bible was our first point of contact because there was this finding.
So we took initially took to the British Library this idea of doing a Barbara exhibition to the British Library, and that meeting went okay.
But Barbara being Italian, all of the works being Italianate or in.
Martin. It was a bit a bit too dense for for an English audience, English speaking audience.
And also, it was too narrow. Coming away from that, though,
and some suggestions were made that actually helped influence the decisions that we've made for thinking through influence,
thinking through the suggestions. You know, think about anniversaries as any big exhibition does finding an anniversary to hang an exhibition
on and open up the spectrum of what you're thinking about with this kind of narrow individual.
And so we left the British Library. We left the British Library and having to stay in the train for 7 hours to go home,
we really started thinking and we had our notebooks and we had did a lot of doodling and sketches and things.
And so the curators of the bio gave us this idea of try and broaden a bit the theme of what we were thinking.
So Barbara was finding architecture fun in perspective geometry.
So we were considering this bigger fields.
And so really on that occasion, on that train ride, we started thinking in 3D and really the,
the seeds for everything you can see today in our project started,
we thought about focusing more on illustrations so we wouldn't be linked to a specific language or so illustrations should have been our focus.
And we were we decided to focus on geometry because the treatise on perspective was so relevant and the manuscripts
are the china are so relevant and not really studied as much as Barbara's contribution or architecture.
So geometry was our field. And then we bought some books in the shop regarding geometry.
And we had in this train ride a lot of books we were looking at.
Yeah, in fact we voted a couple of those books for the bookshop here because they were so influential.
Yes. And so the bill, as they said, already suggested us to look into anniversaries,
because this could have helped us to shape our narrative and also to potentially give access to funding.
And so 2019 and as everybody knows now, we're not.
So. Wow. So for us, it was a complete I mean, from that minute we understood that we were going to do something related to this.
Yeah, 2016 was also an important year for me as well.
I changed, changed careers, so I came down from St Andrew's to Oxford.
Take up the post at Modlin in September of 2016, which was a good move,
a fortunate move for thinking through St Andrew's has one gallery to create an exhibition.
And as I came to Oxford and started making my way through the landscape of
the various exhibitions and museums that were here and meeting the curators,
we realised that the soil here in Oxford was, was fertile.
It was, it was ready and willing to, to, to do something.
So the, the other fortuitous meeting was taking meeting with Matti Slavin, who's head of exhibitions here at the Bodley.
And we had sewn together a kind of loose package of what we would like to have done with thinking 3D as far as an exhibition.
And we were introduced to Maddie within a month or two of me being here and Maddie,
her energy and her enthusiasm saw the potential in our project and helped guided
us through the process of putting together an exhibition here at the Bodleian,
but probably more importantly, also opened up a network to other glam institutions sorry gardens,
libraries, archives, museums, institutions where many of the other thinking 3D satellites, projects,
exhibitions and conferences and things are taking place throughout the year now because
we didn't say that our project started to become even bigger than just one exhibition.
We started having this idea of creating a network of events or initiatives which ended up being successful.
So Madeline Slaven informed us about context that the plan already had with Bill Gates
curator Fred Schroeder about the possibility of bringing Codex Leicester to the billion.
And she of course put us in contact with Professor Martin Kemp.
I'm very pleased to have him here today and we explore together the possibilities of doing an exhibition on the Codex Leicester and apply.
And we. Our best to apply our concept, which was born thinking about geometry.
But we tried to again expand this on a broader level to understand to include this fantastic manuscript into our thinking,
although it was impossible in the end to bring the manuscript here.
We still have an important presence in the exhibition with the Coda scope.
For the first time in the UK, the Coda scope will go the bell.
When? Where? In fact, the exhibition on the Codex Leicester will go in June.
But we are, we are very happy,
we're very pleased to have this great resource here at the Bodleian to explore one of the most important manuscripts that Leonardo left us.
The resource is revolutionary in the ways in which can have can give access to the public to read, not just manuscript.
It's also quite unique. I mean, in book exhibitions you normally just see a page of a book, but with the cut of scope,
you can turn through the entire manuscript, you can see transcriptions and translations, explanations of the illustrations.
And so it's, it's quite a fantastic resource. So. So once they could access to feed it out of the picture, we turned back to our original idea.
We're thinking 3D and very quickly we found our spirit guides.
This is from Luca Pacioli. Luca Pacioli and Leonardo worked together in Milan for some time.
Only helped Leonardo in geometry.
And Leonardo contributed his own geometrical drawings to Luca Pacioli, 1509 publication d'Avignon proportion, which is in the exhibition.
And we found this painting.
I mean, we both seen this painting and knew of this painting, but we found this painting encapsulated so much of what we were trying to do.
Thinking through the you have pacioli with his students finally dressed but he's teaching.
He's looking at a table. You've got books and objects. He's got his his tablet there that he's drawing with chalk, showing how theorems work.
And he's got this kind of weird aethereal glass glass polyhedra that's filled half filled with water.
So this idea of kind of thinking and communicating and contemplating brought it all together.
And so we decided quite early on that putting all in his portrait would be integral to our exhibition, and in fact, we blow them up larger than life.
Another thing that we learned from the Barbara project and we implemented in this new project very soon,
was this idea of branding a research project, which is not something that you automatically would t think of doing.
But for Barbara, we had this nice spiky board that you could see in the home page of our website,
and it worked exceptionally well because it was a way of having a project recognisable and people remembered it and it was a very,
very useful strategy to have. And so for thinking 3D, of course, one of the first things we did was branding.
We appointed a graphic designer, some convinced, you see, yes, but a very happy and enthusiastic collaborator.
And we went through several different stages of this branding initiative and still on the basis of some of the sketches we did in this train ride,
this idea of having a cube with letters designed on top of it in the end came up very nicely.
So we decided that this was going to be our graphic presence.
We also knew on the experience of the Native project that we had to have an online presence very soon.
And so we had our website, which is hosted and funded by the University of St Andrews, and it came really early in our research project.
The website was designed by Carlo Cassata, who is an art historian,
and we found this extremely helpful not to have just a graphic designer and a computer specialist and a specialist,
but also an art historian working with us. And it was a resource that we started to populate with content.
We have posts by friends and colleagues who contribute with their research students,
a lot of students from the University of St Andrew's and elsewhere.
Now we can count on more than 40 contributors, and you see here the long list of the actual current contributors.
But clearly this will become bigger and bigger as we go on.
And we knew that the website was going to work like a hub for content,
information and links to various activities since the early days of our project.
And as we were mentioning, we understood that Oxford could have been interested in our concept more widely.
So the website is like the point in which all these events and activities are now listed.
We also knew that the other web presence everybody has to grapple with now is social media, and so got onto the social media bandwagon quite early.
We opened up a Facebook page and Twitter and then later Instagram.
And each of these has provided successful in their own right.
I mean, each each stream is managed by different people with different content.
So they're not just kind of regurgitating material from from one place to another.
And it's been a good way to get in touch with a number of people across the globe.
But also, it's kind of inspired other exhibitions that are going to be popping up in other content that's coming into the moment.
In total, we have 15,000 followers.
And so the what, again, gives us a lot of enthusiasm is we published a lot of images of books,
and sometimes we show books from different perspectives.
So it's not the common digitised object.
Image Flaps Seen from above. We look at books like three dimensional objects and we saw that the public is really interested in this.
So the social media is another tool for us to understand how the potential
of what we are doing as researchers could be communicated to a wider public.
So from the project to the exhibition, we began planning in earnest.
The final stages of the exhibition towards the end of 2017, louder came down for quite a quite a busy week,
a very busy week where we called up several hundred books in the reading room to see what we hear from the review.
And thank you very much. You've been very kind.
And a lot of what you'll see here, I mean, we we knew a lot of the books that we had wanted to include in the exhibition,
having worked with the collections at St Andrew's and further afield for for a long period of time, we knew we were looking for certain books.
But as with anything coming to a new collection, you see new copies of books or books that have been, you know,
have marginalia or have been embellished in certain ways that tell certain stories about the collection.
Here, for example, you'll see a few things here.
This is a first that you can see Ludo holding up 3D glasses, looking at a 21st century 3D book, which didn't make the cut.
But for example, I mean, one of my favourite books that's in the exhibition is the Naismith Moone Book, his Moone publication from the 1860s,
where he photographed plaster cast models of the moon and sold them off as actual pictures of the lunar surface or have aliases.
Vovo, which is part of his Salena Griffin, a 1640s.
That is the opening we have in the exhibition. But Charlie there.
Yeah, of course. And then more.
We met as curators. Here we are with Martin Kaufmann.
We decided to have a case dedicated to manuscripts because we wanted to see what was there before Leonardo came on the scene.
So we selected a few manuscripts.
Then also we wanted to have something contemporary and so we met Russel Mariette there in the
centre with who was a printer in residence of the Centre for the study of the book at the time,
and we selected his book. In fact, you can see it just that year that the body had acquired interest in intersections and then.
He has come to the symbolic. The source is quite fortuitous and reports over the top, although that one is not the opening we show in the exhibition.
But it was another book that we decided was very important for our narrative.
So we saw hundreds of books.
The the other thing that we did when we weren't looking at books is we were meeting people.
Many people were people. They were old friends or friends that I'd made while I was here.
But a lot of the people that we met, we met for the first time as we were going around and taking this kind of very open concept,
you know, what is the history of how do we learn how to communicate the world around us in three dimensions or more dimensions?
How did we learn how to communicate complex objects on the page and put words with those?
And that seemed to resonate with a lot of people that we took meetings with.
I mean, for example, you see Laura here with Christine and Yahoo is here in Christchurch, which is this book here.
This is the Moxon perspective viewer is in the exhibition in Christchurch now currently.
So that time going in meeting people in both the glam institutions and the colleges
really helped develop what is now the programme in 2019 of thinking three D Yes,
so. We were overwhelmed by the veracity of what our minds were able to create.
And so we decided that we had to have very, very strict boundaries.
So we had to create clear criteria to cut off books because we were wandering around so many disciplines,
so many different strands, and we were really overwhelmed about that.
So yes, yes and yes, exactly.
Following Leonardo for us, it was I mean, it was very complex because although this idea of how to communicate so our idea is pretty simple,
how to communicate a three dimensional object on a flat surface.
So simple concept, but no limitations of time from Leonardo to the presence, no limitation of disciplines.
Although at the end we were the beginning we were thinking about geometry, but we decided to open it up and to avoid strict disciplinary boundaries.
So we were literally overwhelmed. So we understood that.
We had to select some strands, some lines, and we limited our lines to four.
One was geometry, of course, astronomy, architecture, and initially the natural world.
We understood that this natural world was again too big and we restricted it further to anatomy,
which is in fact, the fourth strand that we have now in the exhibition.
Another thing that we had to give us, I mean, it took us a while to understand this,
but what we wanted were not simply illustrations of three dimensional objects.
I mean, we we have millions and millions of books that have this.
What we wanted were treatises in which the illustration was functional to the communication of a concept.
What the discipline wanted to explore or to communicate.
The relationship between images and text was something that for us was fundamental since the beginning.
So all the books that you see in the exhibition have been tested and have been passed this very strict.
We have sifted very strictly.
All the books we were seeing, if the books didn't match these criteria, they were out very, very brutally.
But that was very an important moment in our project because this helped us enormously just to start shaping our narrative.
We also decided to organise the books in chronological order, so it was another decision we made at a relatively early stage.
So four disciplines, treatises and in chronological order.
The other thing that we knew because we wanted to do something on the in order was we needed Leonardo material.
And most people in Oxford will know that there is some Leonardo Mateu in Oxford, but not a great deal.
There's a bit of the Christchurch Butcher Gallery and the Ashmolean, but we knew what we wanted was something of Leonardo's notebooks,
where he's most famous for working, working on the page, working out his ideas in illustration as well as in text.
So now it flew down from St Andrew's to London and met Matt and myself as we trained out to Windsor and spent a fantastic morning with Martin Clayton,
who's curator of prints and drawings at the Royal Collection, to sift through what he thought were the dregs of the Leonardo manuscripts.
By this time, the royal collection was organising their fight Leonardo five hundreds,
which is currently ongoing, which has sent a number of notebook sheets all around the country.
And he thought that we wouldn't find anything in the four hour exhibition, but in fact,
we came across five, five seats in the the borrowing it from from the royal collection.
And quite fortuitously, this sheet here, the sheet that explains the aortic valve was actually out now.
Yes, that explains it. How his experiments in figuring out the aortic valve.
We selected the sheet and two weeks later we took a meeting with Robin Chowdhury, who had played around with the ideas in Leonardo's.
So it's kind of quite a coincidence. We'd select the sheet and then went and found the medic by complete coincidence anyways.
That's that afternoon is is when we chose the sheets that are, that are now in the exhibition.
So another thing we did looking at the sheets.
BALDONADO Which were coming here, we abstracted some micro themes.
So, for instance, you will see in the exhibition we have Leonardo's sheet on stairs and you have there a top, right?
So in the books that made our selection, we decided to give priority to openings which were dialoguing with Leonardo's drawings.
So the both. So for instance, a Raposo has an opening on stairs.
We have several books that we decided to open.
Paladino's treatise has an opening on stairs, which is not the most common opening you would have for Pollard's drawing.
So we decided to, in the four strands we were exploring,
to have Leonardo guiding us in the openings and put him into dialogue with the other books we have around the neck.
So louder and louder. Flew back from London to San Andreas and got.
Izzy. Yes. And while we were waiting to when we were developing these ideas for the exhibition here at the board,
we decided to test our concept with some micro exhibitions we could do at St Andrew's University.
So here you see my student, two brides, Anna Venturini, who did a lot for our project, who came up with the idea of doing an exhibition on crystals.
And so we did a small exhibition on crystals at the in the foyer Year of the School of Art History.
And again, this concept was, you know, constantly dating, and we tested it in different ways.
We also had an exhibition connected to the photographic festival in St Andrew's, directed by Rachel Nordstrom, where we explored the eyeball.
And the eyeball is one of the themes we have here in the exhibition.
And we showed Arthur Thompson's studio graphics view of the eye that we have in St Andrew's and we have here as well.
And they, mate, they are in the exhibition.
So we started putting down some little small pop ups through thinking through the exhibitions
in St Andrew's to test the potential of our concept apply applied to different disciplines.
So with with most modelling exhibitions, planning starts years in advance.
And then really as the as you get closer and closer to the time, everything narrows down.
About a year ago is when we started to kind of finally bring the pieces together,
so allowed it came down to Oxford again in April or May to start testing the the exhibition as we had it in the studio.
So you can see us out of here working with Mattie Slaven and Sally and Gilchrist of the Exhibitions team.
As we started to bring all the pieces that we'd seen up in the reading room together to actually see how they work in the case.
Each of these books has a story to tell, but when you bring them into a case, they all have a narrative to tell that is communal.
And this was a crucial step in planning an exhibition is bringing things and seeing how they're going to work in a case with each other.
So then, as Alexandra already mentioned, I was awarded the prestigious Bird Lucy Marconi Fellowships in the history of science and communication.
And this was extremely helpful for me as a researcher, but also for the project.
So my work as a Marconi fellow developed on two strands.
So one strand was what Alexandra mentioned, working on the library of Martin watching.
It was the dedicatory of Danielle Barbara's treatise on perspective.
And luckily here at the Bodleian, we have some books that.
I think formed part of his library.
I've done a lot of research on this and together with Susie McCaughan, the curator of the National Library,
we are editing a book on Barbara St is on perspective where a mathematician has a strong plays a strong role there.
So a number of Greek manuscripts which were in the library of this page, one mathematician, he set the context for Galileo Galilei coming to Padua.
Just to give you an idea of the kind of cultural context we are talking about.
So here at the board, there are some Greek manuscripts which were in much of his library.
So it's even possible that Daniel Barber touched them some times.
And just so we have this barber presence who will never leave us completely, and then we have all the work we have been doing for our exhibition.
There are some very interesting copies here of annotated books, one especially, and you see there an image.
And the book is in the exhibition Heavily Annotated,
and I'm doing some work on this kind of books to see if I can be as lucky as I've been with the Book of the Bow,
to be able to find out some, to find out about who these and where and annotating these books.
Also, we will have a book connected with the Thinking 3D project, which is now in the production final production phases.
We have 16 essays by colleagues and friends on some of the 16 of the books that you see in the exhibition.
Then we have a substantial essay by Matthew Landreth, who is here today on Leonardo's drawings,
and we are very pleased to have him collaborating with us.
And then there is an essay by Dario and myself in which we attempt to tell the story of communicating three dimensional objects through history,
using 40 books as our guide.
So while I was up in St Andrew's doing her thing, I was down here finalising the programme of what became 2019 Thinking 3D and Oxford's.
You can see here that of course we've got the body in exhibition,
but we have a number of partner exhibitions that are not confirmed, but also symposia.
What's going to be held at the Department of Physics in June on space and time, as well as the conference?
Yes, an important conference at Worcester College focussed on architecture.
I've been the sort of fellow at Worcester College in 2007, 2027, 2007,
2010 before just right before going to St Andrew's and the collection at Worcester College is particularly important for
architecture and Worcester College and the Scott Tobler Fund will contribute to our project with this conference on architecture,
which will be held at the end of September. Yes.
Yeah. It's the last breath of fresh air before.
Yes. So this was what was the 20th of December?
Yes. So we went to Florence where we saw the cold skull kaleidoscope in action because the Codex Leicester is a new fix for this exhibition.
And we were lucky enough there to meet Paolo Baluchi,
who is the director of Mosaic in our Museum of the History of Science in Florence, who guided us around the exhibition.
And so finally we had a chance of seeing Codex Leicester in person.
Yes. And as you can see, we were very happy to be there on that occasion.
Yes. So after after the last breath of fresh air was the final plunge into this year.
And we knew I mean, we knew from an early stage that we wanted to have some tactile models for folks to understand
a bit more of the complexity and dimensionality of the things that were being committed,
tried to be communicated on the page. That idea was very early on, but the manufacturer of those models came in January,
really working myself with a 3D printer, working with the Radcliffe Science Library 3D printing team,
using the Oxford Internet Institute, who are producing a model of the mathematical model which has over the museum,
the history of science and also a modular who is based out an ancient Stephen Day.
We were able to print out a number of models that are tactile that you can see in the exhibition and pick up take around the exhibition with
you and also a few very complex models which are in the cabinets that help explore and help explain some of the ideas that are on the page.
The idea that you can have this in your hands walking around the gallery and compare this with what you see in the book, which is in front of you.
So it was this idea of having and thinking about how a 3D object is conveyed on a b dimensional surface.
Christchurch exhibition thanks to Christina is open now and it's another important it's
and there you see the book I was looking at in that photograph that we showed earlier,
the Moxham focus on geometry.
So Christina curated this entirely by herself, but implementing our concept and we are very pleased to have her as a collaborator in our project.
So about three weeks ago, I disappeared to the States where we can came back and all of a sudden the suffragette exhibition was out of the Treasury.
And I had this surreal moment of coming off the aeroplane jet lagged and walking into the Treasury gallery
and starting to see the books that we've been playing with for so long and staring at for so long,
going into the exhibition cases.
And at that same day the wooden model patrol is elevated because the dodecahedron, which is in case two, had arrived from George Hart, the modeller.
You can see Mattie kind of awestruck or maybe angry at the size of the model.
And so, you know, this kind of surreal moment of seeing these books, which she'd seen in the reading room,
which I'd seen in the exhibition lab, mounted and looking lovely going into the cases.
And that's led us up to really this week.
So two days ago we went to the Ashmolean where again curators picked up our concept and created an exhibition called Dimensions.
And again, we didn't do anything for this. It was maybe Daryll had a conversation with one of these covers erasers.
Yes, but it's another interpretation of our idea, our concept.
And we found this, although it's pretty small, but we found this very cleverly organised.
So it's called dimensions and they start with one dimension, the line two dimensions, a surface, three dimensions space and fourth dimension.
You add time and plus with 3D visualisation and virtual reality there on the screen.
So very pleased to be here and see how partner exhibitions interpreted our concept in their own way.
So that brings us to this week.
So that I came down to the beginning of this week and we put the finishing touches on the exhibition that you see, which is opened today.
The last pieces went in at about 5:00 yesterday afternoon, just before the opening of the exhibition as things happen.
But we're very pleased with with how it's all come together and the reactions that we've had so far as well.
The big thing about thinking 3D is that we're not operating with a large grant, a large pot of money,
that all of the work, both here at the bottling and at our partner institutions have all come from the institutions and.
So. So taking the concepts around to all of these different institutions and saying, you know,
we're putting on this show in the body and this is our wider research projects.
Do you want to join us on this crazy train? And a lot of people have with great enthusiasm and most importantly, with their own budgets as well.
Exactly. Which is hugely appreciated. I mean, it's kind of thing that, you know, letting that concept go and letting people take ownership of it.
And we know that curators of their own collections know their collections far better than
what we're going to know and to let them take on thinking through in their own right.
So we have several events and other exhibitions lined up for 2019.
It's all in our website and thank you for listening to us.