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The world is filled
with incredible objects

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and rich cultural heritage.

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And when we get access to them,

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we are blown away, we fall in love.

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But most of the time,

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the world's population is living
without real access to arts and culture.

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What might the connections be
when we start exploring our heritage,

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the beautiful locations
and the art in this world?

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Before we get started
in this presentation,

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I just want to take care
of a few housekeeping points.

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First, I am no expert in art or culture.

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I fell into this by mistake,
but I'm loving it.

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Secondly, all of what
I'm going to show you

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belongs to the amazing museums,
archives and foundations

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that we partner with.

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None of this belongs to Google.

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And finally, what you see behind me

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is available right now
on your mobile phones,

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on your laptops.

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This is our current platform,
where you can explore

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thousands of museums
and objects at your fingertips,

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in extremely high-definition detail.

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The diversity of the content
is what's amazing.

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If we just had European paintings,

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if we just had modern art,

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I think it gets a bit boring.

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For example, this month,
we launched the "Black History" channel

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with 82 curated exhibitions,

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which talk about arts and culture
in that community.

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We also have some
amazing objects from Japan,

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centered around craftsmanship,
called "Made in Japan."

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And one of my favorite exhibitions,

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which actually is the idea of my talk,

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is -- I didn't expect to become
a fan of Japanese dolls.

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But I am, thanks to this exhibition,

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that has really taught me
about the craftsmanship

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behind the soul of a Japanese doll.

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Trust me, it's very exciting.

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Take my word for it.

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So, moving on swiftly.

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One quick thing I wanted
to showcase in this platform,

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which you can share with your kids
and your friends right now,

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is you can travel to all these
amazing institutions virtually, as well.

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One of our recent ideas was with
The Guggenheim Museum in New York,

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where you can get a taste
of what it might feel like

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to actually be there.

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You can go to the ground floor

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and obviously, most of you,
I assume, have been there.

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And you can see the architectural
masterpiece that it is.

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But imagine this accessibility
for a kid in Bombay

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who's studying architecture,

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who hasn't had a chance
to go to The Guggenheim as yet.

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You can obviously look at objects
in the Guggenheim Museum,

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you can obviously get into them
and so on and so forth.

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There's a lot of information here.

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But this is not the purpose
of my talk today.

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This exists right now.

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What we now have are the building blocks
to a very exciting future,

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when it comes to arts and culture

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and accessibility to arts and culture.

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So I am joined today onstage
by my good friend and artist in residence

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at our office in Paris, Cyril Diagne,

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who is the professor of interactive design

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at ECAL University
in Lausanne, Switzerland.

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What Cyril and our team
of engineers have been doing

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is trying to find these connections
and visualize a few of these.

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So I'm going to go quite quick now.

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This object you see
behind me -- oh, just clarification:

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Always, seeing the real thing is better.

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In case people think
I'm trying to replicate the real thing.

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So, moving on.

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This object you see behind me
is the Venus of Berekhat Ram.

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It's one of the oldest
objects in the world,

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found in the Golan Heights
around 233,000 years ago,

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and currently residing
at the Israel Museum in Jerusalem.

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It is also one of the oldest
objects on our platform.

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So let's zoom.

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We start from this one object.

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What if we zoomed out

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and actually tried to experience
our own cultural big bang?

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What might that look like?

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This is what we deal with on a daily basis
at the Cultural Institute --

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over six million cultural artifacts
curated and given to us by institutions,

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to actually make these connections.

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You can travel through time,

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you can understand more
about our society through these.

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You can look at it
from the perspective of our planet,

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and try to see how
it might look without borders,

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if we just organized art and culture.

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We can also then plot it by time,

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which obviously, for the data geek
in me, is very fascinating.

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You can spend hours
looking at every decade

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and the contributions
in that decade and in those years

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for art, history and cultures.

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We would love to spend hours
showing you each and every decade,

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but we don't have the time right now.

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So you can go on your phone
and actually do it yourself.

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(Applause)

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But if you don't mind
and can hold your applause till later,

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I don't want to run out of time,

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because I want to show you
a lot of cool stuff.

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So, just very quickly:

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you can move on from here
to another very interesting idea.

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Beyond the pretty picture,

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beyond the nice visualization,

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what is the purpose, how is this useful?

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This next idea comes
from discussions with curators

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that we've been having at museums,

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who, by the way, I've fallen in love with,

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because they dedicate their whole life
to try to tell these stories.

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One of the curators told me,
"Amit, what would it be like

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if you could create
a virtual curator's table

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where all these six million objects

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are displayed in a way for us
to look at the connections between them?"

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You can spend a lot of time, trust me,
looking at different objects

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and understanding where they come from.

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It's a crazy Matrix experience.

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(Laughter)

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Just moving on,

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let's take the world-famous
Vincent Van Gogh,

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who is very well-represented
on this platform.

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Thanks to the diversity
of the institutions we have,

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we have over 211 high-definition,
amazing artworks by this artist,

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now organized in one beautiful view.

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And as it resolves,
and as Cyril goes deeper,

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you can see all the self-portraits,

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you can see still life.

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But I just wanted to highlight
one very quick example,

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which is very timely:

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"The Bedroom."

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This is an artwork
where three copies exist --

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one at the Van Gogh Museum in Amsterdam,

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one at the Orsay in Paris

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and one at the Art Institute of Chicago,

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which, actually, currently
is hosting a reunion

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of all three artworks physically,

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I think only for the second time ever.

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But, it is united digitally and virtually
for anybody to look at

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in a very different way,

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and you won't get pushed
in the line in the crowd.

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So let's take you and let's travel
through "The Bedroom" very quickly,

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so you can experience what we are doing
for every single object.

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We want the image to speak
as much as it can

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on a digital platform.

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And all you need is an internet
connection and a computer

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(Applause)

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And, Cyril, if you can go deeper, quickly.

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I'm sorry, this is all live,

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so you have to give Cyril
a little bit of --

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and this is available for every object:

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modern art, contemporary art,
Renaissance -- you name it,

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even sculpture.

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Sometimes, you don't know
what can attract you

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to an artwork or to a museum
or to a cultural discovery.

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So for me, personally,
it was quite a challenge

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because when I decided to make this
my full-time job at Google,

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my mother was not very supportive.

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I love my mother,

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but she thought I was wasting my life
with this museum stuff.

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And for her, a museum is what
you do when you go on vacation

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and you tick-mark and it's over, right?

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And it took around four and a half years

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for me to convince my lovely Indian mother

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that actually, this is worthwhile.

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And the way I did it was,
I realized one day that she loves gold.

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So I started showing her all objects
that have the material gold in them.

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And the first thing my mom asks me is,

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"How can we buy these?"

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(Laughter)

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And obviously, my salary is not that high,

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so I was like, "We can't
actually do that, mom.

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But you can explore them virtually."

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And so now my mom -- every time
I meet her, she asks me,

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"Any more gold, any more silver
in your project? Can you show me?"

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And that's the idea
I'm trying to illustrate.

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It does not matter how you get in,

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as long as you get in.

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Once you get in, you're hooked.

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Moving on from here very quickly,

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there is kind of a playful idea, actually,

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to illustrate the point of access,

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and I'm going to go
quite quickly on this one.

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We all know that seeing the artwork
in person is amazing.

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But we also know
that most of us can't do it,

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and the ones that can afford
to do it, it's complicated.

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So -- Cyril, can we load
up our art trip, what do we call it?

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We don't have a good name for this.

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But essentially, we have
around 1,000 amazing institutions,

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68 countries.

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But let's start with Rembrandt.

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We might have time for only one example.

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But thanks to the diversity,

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we've got around 500 amazing
Rembrandt object artworks

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from 46 institutions and 17 countries.

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Let's say that on your next vacation,

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you want to go see
every single one of them.

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That is your itinerary,

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you will probably travel
53,000 kilometers,

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visit around, I think, 46 institutions,

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and just FYI, you might release
10 tons of CO2 emissions.

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(Laughter)

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But remember, it's art,

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so you can justify it,
perhaps, in some way.

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Moving on swiftly from here,

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is something a little bit
more technical and more interesting.

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All that we've shown you so far
uses metadata to make the connections.

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But obviously we have
something cool nowadays

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that everyone likes to talk about,
which is machine learning.

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So what we thought is,
let's strip out all the metadata,

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let's look at what machine learning can do

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based purely on visual recognition
of this entire collection.

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What we ended up with
is this very interesting map,

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these clusters that have
no reference point information,

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but has just used visuals
to cluster things together.

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Each cluster is an art to us
by itself of discovery.

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But one of the clusters we want
to show you very quickly

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is this amazing cluster of portraits

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that we found from museums
around the world.

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If you could zoom in
a little bit more, Cyril.

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Just to show you, you can
just travel through portraits.

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And essentially, you can do nature,
you can do horses

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and clusters galore.

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When we saw all these portraits,

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we were like, "Hey, can we do
something fun for kids,

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or can we do something playful

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to get people interested in portraits?"

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Because I haven't really seen

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young kids really excited
to go to a portrait gallery.

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I wanted to try to figure something out.

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So we created something
called the portrait matcher.

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It's quite self-explnatory,

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so I'm just going to let Cyril
show his beautiful face.

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And essentially what's happening is,
with the movement of his head,

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we are matching different portraits
around the world from museums.

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(Applause)

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And I don't know about you,

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but I've shown it to my nephew and sister,

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and the reaction is just phenomenal.

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All they ask me is,
"When can we go see this?"

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And by the way, if we're nice,

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maybe, Cyril, you can smile
and find a happy one?

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Oh, perfect.

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By the way, this is not rehearsed.

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Congrats, Cyril. Great stuff. Oh wow.

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OK, let's move on; otherwise,
this will just take the whole time.

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(Applause)

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So, art and culture
can be fun also, right?

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For our last quick experiment --

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we call all of these "experiments" --

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our last quick experiment
comes back to machine learning.

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We show you clusters, visual clusters,

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but what if we could ask the machine
to also name these clusters?

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What if it could automatically tag
them, using no actual metadata?

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So what we have is this kind of explorer,

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where we have managed to match,
I think, around 4,000 labels.

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And we haven't really
done anything special here,

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just fed the collection.

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And we found interesting categories.

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We can start with horses,
a very straightforward category.

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You would expect to see
that the machine has put

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images of horses, right?

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And it has, but you also notice,
right over there,

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that it has a very abstract image

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that it has still managed to recognize
and cluster as horses.

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We also have an amazing head
in terms of a horse.

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And each one has the tags
as to why it got categorized in this.

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So let's move to another one
which I found very funny and interesting,

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because I don't understand
how this category came up.

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It's called "Lady in Waiting."

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If, Cyril, you do it very quickly,

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you will see that we have
these amazing images

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of ladies, I guess, in waiting or posing.

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I don't really understand it.

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But I've been trying to ask
my museum contacts,

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you know, "What is this?
What's going on here?"

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And it's fascinating.

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Coming back to gold very quickly,

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I wanted to search for gold

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and see how the machine
tagged all the gold.

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But, actually, it doesn't tag it as gold.

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We are living in popular times.

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It tags it as "bling-bling."

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(Laughter)

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I'm being hard on Cyril,
because I'm moving too fast.

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Essentially, here you have
all the bling-bling

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of the world's museums organized for you.

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And finally, to end this talk
and these experiments,

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what I hope you feel after this talk
is happiness and emotion.

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And what would we see
when we see happiness?

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If we actually look at all the objects

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that have been tagged under "happiness,"

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you would expect happiness, I guess.

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But there was one that came up
that was very fascinating and interesting,

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which was this artwork
by Douglas Coupland,

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our friend and artist
in residence as well,

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called, "I Miss My Pre-Internet Brain."

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I don't know why the machine feels like
it misses its pre-Internet brain

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and it's been tagged here,

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but it's a very interesting thought.

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I sometimes do miss my pre-Internet brain,

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but not when it comes to exploring
arts and culture online.

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So take out your phones,
take out your computers,

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go visit museums.

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And just a quick call-out
to all the amazing archivists,

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historians, curators,

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who are sitting in museums,
preserving all this culture.

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And the least we can do is get
our daily dose of art and culture

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for ourselves and our kids.

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Thank you.

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(Applause)