So since January this year, we've been thinking about the learning department as more of an art school, than a kind of traditional museum gallery learning department. And as part of that we've done lots and lots of different projects with artists in a new way. A big part of my job there is to support our local artistic community. And by that I mean working with artists, capital artists, small artists, amateur artists, professional artists, anyone who's ever picked up a pencil or some chalk or whatever and made a squiggle, I'm there to support. And over the summer, we've turned our big downstairs space into our Summer School. Previously, this space has been used for exhibitions. So re-working it into a space where people can make and create, instead of just looking at things has been quite a challenge. So with that they are working with different artists each week, so we've had sound artists, we've had sculptors, we've had textile artists, we've had graphic designers. We've been responding to the building, to the galleries, to the collection and in all sorts of different ways. So we've also opened up the space as artist studios. So we've invited anyone who's got a creative practice to book a space, come in and to be there to make, create, talk to the public, to give them a platform to show their work and show the public that “look, this is what goes into making an artwork”. So around that there's all sorts of things that I have to do on a daily basis. There's a kind of logistics. A lot of diary checking, a lot of communications, so many emails, oh my God, no one told me how many emails I'd have to send, all of that stuff. There is also tracking numbers, collecting feedback, because all of that is so, so helpful and making sure that it's in a format that I can go back into and pull out stats for reports. Number one tip, if you are looking for a career in museum learning and museum education, make sure you know Excel, it makes things a lot easier. But there's also working with the other groups that I work with, there's a lot of community groups as well. So there are adults who are struggling with various mental health prescriptions, there is working with older people with memory loss, there's trying to get my earliest programme back up and running, which I was so, so proud of, but due to various funding cuts that had to be put on pause. Yeah, my day often involves a lot of planning and a lot of strategic thinking as well as that face to face interaction with the public and just kind of really being there and showing them why this place is important, why this stuff is really cool. And actually giving them space to say, I think that's a bit rubbish. Why do you think it's a bit rubbish? And just kind of teasing out those questions, because working with contemporary art is a lot different from working with objects and artefacts at the British Museum, for example, because the things that they seem to have gathered in importance with a big eye just through being so old. With contemporary art so often you hear, oh, I could do that, my five year old could do that, or things along those lines. What I quite like doing is really teasing out those thoughts. So it always had a really strong reaction to it, either positive or negative, giving them the space to have that reaction. And then kind of teasing out the why, because the why is the really interesting question there, and also it gives him the space to not have a reaction at all. So if a piece of art doesn't move you, that's ok. So kind of making sure all of that can happen in various spaces, in various ways, hence, on a coffee.