Gael i fodnog wrth gweithioichthau gyda Caerdydd. Rwyf i'n gŷn iawn. Isai Helm Cymru gyda'r Prifideoch yr unrhyw oedd i'n gŷn iawn i'n gŷn iawn i'n gŷn iawn i'r prif Weinidog i gael i gadeb nhw i'n gŷn iawn i ganddig i'r cyffrediniaeth ffili ajff y cyfrindig gyda unrhyw iddyntarion i Gwyl Somet nifer. Gwerthwch hi fod eisiau oerbyddol yn ni amser maen nhw i'n gŷn iawn i'n gŷn iawn I appreciate for many of you that this might have been your first time in the Scottish Parliament and possibly even your first time in Scotland. On behalf of all my Scottish parliamentary colleagues, I offer you a traditional Scottish Gaelic welcome, Cod�� Meal Faltcher, a 100,000 welcomes. As I am sure you are aware, the summit is a partnership between the Scottish Parliament, Scottish and UK Governments, the British Council and the Edinburgh International Festival. I am delighted to say that we will be hearing from each of our partners shortly. Before doing so, it is worth reflecting on why we are here. I believe very strongly in the role that culture and the arts play in promoting international dialogue and understanding. This summit provides a unique forum for debate and discussion about international cultural policy. As we gather in a city currently hosting the world's largest festival of the arts and culture and in a building designed in the words of its architect to be a space for shared conversation, not sterile confrontation, I can think of no better venue to do so. The inaugural cultural summit in 2012 brought together a range of international speakers and artists from 33 countries around the world to discuss how arts and culture are best sustained, promoted and protected, as well as to provide new opportunities for cultural exchange. Now, in 2018, we host the fourth and the largest of our summits, with 42 official delegations representing all corners of the globe. It has been a delight to see the culture summit go from strength to strength. The overarching theme of this year's summit is culture, connecting people and places. It weaves together three programme strands that we will explore in detail over the coming days. Those strands will reflect on the fractured world in which we live and demonstrate how culture can make connections across perceived divisions in society. I hope that you will agree that, at a time of great geopolitical and societal upheaval, exploring this diversity is of paramount importance. In both plenary sessions in this chamber and in the policy discussions that will take place throughout the Parliamentary campus, we will discuss the following three interlinked policy strands. They are culture in a connected world. How can culture build bridges of understanding across peoples, generations and societies in a fragmented world? Culture and investment—the need to strike a balance between investment in physical infrastructure, building new theatres and museums, and alternative models of investment to support our creative talent to reach new and wider audiences. Finally, culture and wellbeing—exploring how participation in cultural activity can positively affect our health. We have plenty to do and to get on with over the next couple of days. I hope that you find the summit both interesting and enjoyable, but I would also strongly encourage you to take every opportunity to make the most of your time here in the Parliament and in Edinburgh to network and to exchange ideas with each other. I hope that being here in this vibrant capital of Scotland at festival time and in this wonderful Parliament building provides that extra spark of creativity. Once again, on behalf of all my fellow colleagues and members of the Scottish Parliament, welcome to Holyrood. I am delighted that you are here. I wish you well in your deliberations. I would like to formally begin proceedings and to invite, as a First Speaker, Sir Kieran Davann, chief executive of the British Council, to welcome guests here to the Edinburgh international cultural summit. It is a huge privilege for me to be here again. As Ken mentioned, as a time when culture has such a huge contribution to make to fixing the fractured worlds to which he referred, those of us who know the British Council and I know many of you do might well know that we were established in 1940, which when I sometimes have to remind some of my colleagues that there was something even bigger than Brexit going on. In that very first document, it talks about the role of fostering the interchange of knowledge ideas and discoveries and says that that is the role of the prudent state and that the reason to do it is to create a basis of friendship, knowledge and understanding between people. Friendship between our communities, within our countries, knowledge of each other, knowledge of the world's heritage, knowledge of our histories and where we came from so that we know where we might be going and understanding of our own complexities but the complexities of some of the conflicts but also some of the solutions which lie ahead of us. I first really thought about this from my homeland. I am Irish and we too suffered from community conflict. While the police and the military reduced the level of violence, they were not the people who brought peace. The people who brought peace were people reaching across the community and creating the political space which then allowed ultimately the Good Friday agreement to be signed 20 years ago this year. It was musicians who were the first people to reach across the boundaries, punk musicians as it happened and then the women's movement. It was that knowledge, that understanding between communities which created the process from which peace began. Really what they were doing was building trust. Economists do not agree on very much but one of the things they do agree on is that prosperous societies with high levels of cohesion, with stability, with good levels of security have high levels of trust so fostering that trust I think is a critical role of those of us who work in the sphere of culture because what we're doing is we are sharing that knowledge, those ideas and that understanding and out of that comes trust, out of that comes prosperity, out of that comes security so when we talk about culture we're not just talking about our history and where we came from and what we're proud of we're talking about culture being a vehicle for economic development and indeed for development economics and I think it was one of the great levers which as yet is under exploited so on my behalf of that my colleagues and our partners in the summit thank you for being here delighted to be with you and look forward to our conversations over the next day or two thank you thank you so Ciaran I would now like to invite my parliamentary colleague the cabinet secretary for culture and external affairs Fiona Hyslop MSP to welcome guests on behalf of the Scottish Government. I'm very grateful to you Presiding Officer and our parliamentary colleagues for their role in organising this event I'd also like to thank the Scottish Government's other partners and funding partners so Jonathan Mills deserves a special praise for helping pull together such an innovative programme as do the summit foundation team led by Sir Angus Grossart who has helped to leave her in support from so many partners thank you on behalf of the Scottish Government which is responsibility for culture policy in Scotland welcome to Scotland as the government minister involved in establishing this global summit back in 2012 I'm delighted to see how it has grown and developed on the day that this great building housing the Scottish Parliament was officially opened in 2004 Liz Lockhead read a poem written by the late Edwin Morgan our first national macker a macker is an old scots word for poet the poem begins with these words of wisdom which I think are a fitting welcome to the 2018 Edinburgh international culture summit open the doors light of the day shine in light of the mind shine out we have a building which is more than a building we give you this great building don't let your work and hope be other than great when you enter and begin so now begin open the doors and begin so welcome also to Edinburgh as our capital city Edinburgh has forever shaped our thinking about who we are as a nation Edinburgh is steeped in a history that is defined by the coming together of people cultures and ideas from around the world it is as open to the world now as it ever was and during the festival it feels as though the Edinburgh that Edinburgh belongs to the entire world so I hope you all have the chance to sample some of what Scotland and Edinburgh has to offer during your stay and the Edinburgh's festival shape and promote Scotland's identity as a confident creative and welcoming nation. Edinburgh is hosting the largest celebration of the arts anywhere on the planet with the Edinburgh festival fringe the largest arts festival in the world at the festival's peak we have 25 000 artists entertainers thinkers and writers populating the city with over a thousand shows per day now that audience attendance is the equivalent of hosting a FIFA world cup every year the 2018 Edinburgh international programme burst into life with a very moving and spectacular programme five telegrams which commemorated world war one and celebrated scottans year of young people through a remarkable fusion of creativity and innovation a powerful example of how culture and arts can reflect the past challenge the present and shape the future and in addition to Edinburgh's festivals all year round there are hundreds of festivals and celebrations in Scotland just this month Glasgow jointly with Berlin and funded by the Scottish Government hosted the highly successful 2018 european championships now this was first ever it was a bold innovative event it brought together seven sporting championships on this at the same time and it was watched by over a billion viewers on television and alongside that world-class sporting offer just like the 2014 Commonwealth Games hosted in Glasgow we delivered an exceptional cultural programme festival 2018 alongside it so these events are wonderful in their own right however festivals also speak deeply to scotland's sense of itself we're a nation that cherishes culture for its empowering and transformative power as underlined in our draft culture strategy and also if you read the quotations on the canon gate wall which are at the side and part of this building you'll see that poetry is literally built in to the building of the Scottish Parliament so we're proud of the vibrancy the diversity and the excellence of our traditions and our contemporary cultures and of course it feels hugely important now when the UK despite Scotland's vote to to remain is set to leave the European Union and so the festivals yes are a brilliant excuse for a party but they also demonstrate celebrate and strengthen a sense of internationalism that we hold very dear and that internationalism is why we established this Edinburgh international culture summit in 2012 and as a time when international dialogue and hearing the voices and the views of everyone is increasingly important the theme of connecting peoples and places for this summit is very apt so this summit provides unique opportunities to forge new relations rekindle old ones for us to learn from each other and for discussions to take a place on the role and the value of the arts and I'm particularly delighted that this summit has a strong focus on young people and I look forward to the telling contribution the youth delegates will make they will be vocal they will be passionate and I expect them to challenge us all and so I believe there is no better place or time to host the culture summit this summit provides an unrival platform to debate consider and take actions and our of interest for all of us we want to generate ideas gain insights discuss and most importantly listen and make connections so can Scotland continues to be a welcome open society where we embrace different voices and opinions so thank you for so much for joining us thank you cabinet secretary and turning to our other governmental partner can I welcome guest to welcome guest on behalf of the cabinet of the United Kingdom we have the right honourable Jeremy right qc mp secretary of state for digital culture media and sport in the UK thank you well good afternoon everybody and it's great to be able to join in the welcome to you all for this fourth international Edinburgh culture summit and there is of course no better backdrop to this event than this wonderful city during the height of the festival season and as you will already appreciate and come to appreciate these iconic festivals are a living breathing example of the incredible power of culture in transforming our lives and our cities visitors across the world have been flocking to see some of our biggest names side by side with smaller productions and of course giving our economy a boost as they do so the Edinburgh international festival and the fringe encapsulate the creativity and ingenuity that can be found all across the united kingdom and as we leave the european union we will use that creativity to show the world that we remain an open welcoming and outward looking nation and this summit provides a unique platform for ministers and cultural leaders from across the globe to discuss the big issues that impact us all one of the themes of this summit particularly struck and that was culture in a networked world as our culture is digital report identified technology offers unprecedented opportunities for culture in the UK and beyond every day we see the seismic power of technology and its ability to engage new audiences drive new business models and increase access to world-class archives and collections some of our oldest and most prestigious sites are using technology to meet demand for new digital experiences and to reach those less engaged with culture cultural organizations also have a powerful role to play in how we interpret information in the digital age in a world of social media echo chambers cultural organizations are vital in challenging our views and introducing us to new perspectives and i know that many of you are working on your own programs to combat your great to combine rather your great cultural institutions with the most cutting edge impressive technology this will be the new cultural frontier over the coming years and we can only really make the most of it if we are open minded and we work together regardless of boundaries that's why events like this are so important so thank you to sir jonathan mills and to your team for your continued passion and dedication and for your hard work in organizing this event thank you to all the partners involved in making it happen the scottish government the british council edinburgh international festival and the scottish parliament and speaking of the scottish parliament thank you to presiding officer for allowing us to host the summit in this spectacular chamber so let us all make the most of this opportunity because culture shows humanity at our best so it's my privilege to help open this important summit the ideas and conversations that we will share over the coming days will show the world how the enduring power of culture can strengthen the bonds between our nations thank you very much indeed thank you very much secretary of state and we will now hear from programme director of the 2018 edinburgh international cultural summit sir jonathan mills on the content of the summit program thank you presiding officer your excellencies ladies and gentlemen may i add my warm welcome to those of the presiding officer of the chief executive of the british council of the secretary of state and the cabinet secretary i'm especially delighted in this year of young people in scotland to greet so many youth delegates to the 2018 edinburgh international culture summit the title of this year's summit culture connecting peoples and places affirms that culture is a prism through which to perceive the equilibrium of any society and to suggest that the poems and plays songs and ceremonies photographs and paintings which we choose to share with each other are fundamental to the vibrancy and cohesiveness of the places in the world we seek to create the ember international culture summit is hosted by a city in which for 71 years cultural relationships of the most varied and intense kind have been initiated and nurtured as much as it is a Scottish initiative it offers a genuinely international perspective and i urge you to embrace this as your summit in your festival not just our festival your presence here is an encouragement as the minister has said to the 25 000 artists from all over the world from 70 to 80 nations who gather in this city every year equally as a forum in which practitioners and politicians this year representing 45 countries can come together the summit provides you all with a platform to discuss and promote substantial global issues of mutual interest to network with ministerial delegations and to engage with highly ambitious alliances of artists and cultural professionals as you will see and hear from actors poo kun chin and charlene boyd in their dramatic renderings of shakespeare and lee by in a moment from choreographer akram khan on the forecourt of the palace of hollywood house later this evening and from musicians feras charristan buzzle rejub and julian herman and actress beer webster during the course of the next few days um as well as attendances at all of the festivals that are going on in this city at the moment and to top it all off a visit to dundee a sneak preview of the vna about to be opened in a couple of weeks we place art and its practitioners at the centre of the conversation that we are about to have this event is supported by an independent charity chaired by sarangas grosset on behalf of the founding partners i'd like to thank sir angus and the trustees of the summit foundation along with all our corporate philanthropic and individual supporters for their contributions if as an artist i've learned anything from the inspiring discussions that have emerged from this summit since 2012 it is a greatly enhanced appreciation of the truly complex challenges that each and every minister of culture faces in advocating for culture within the processes of governments and bureaucracies we live in a world in that faces huge challenges exploding population growth diminishing natural resources banishing indigenous cultures increasing tribalism and bitter localised feuds human dislocation of unprecedented dimensions of large-scale suffering from preventable and treatable disease in searching for some words that grasp the depths of some of our dilemmas i'd like to share what a young optimistic political leader had to say about a world that remains addicted to defining itself by a rather narrow set of measurements speaking at the university of kansas in march 1968 a few months before his tragic assassination robert kennedy said this too much and for too long we seem to have surrendered personal excellence and community values in the mere accumulation of material things gross national product counts air pollution and cigarette advertising and ambulances to clear our highways of carnage it counts special locks for our doors and the jails for the people who break them it counts the destruction of the redwood and the loss of natural wonder in chaotic sprawl it counts whitman's rifle and specks knife and the television programs which glorify violence in order to sell toys to our children yet the gross national product does not allow for the health of our children the quality of their education or the joy of their play it does not include the beauty of our poetry or the strength of our marriages the intelligence of our public debate or the integrity of public officials it measures neither our wit nor our courage neither our wisdom nor our learning neither our compassion nor our devotion to country it measures everything in short except that which makes life worthwhile i hope that the ideals so eloquently expressed by robert francis kennedy at a at a time of equal and substantial social change to our own half a century ago might inspire and guide your deliberations in this city and this parliament during our short time together please enjoy this summit and most especially this city and its festival thank you thank you very much jonathan and in case you're wondering we're going to hear from the last of our partners at the closing ceremony fergus linahan from the amber international festival however we're now going to hear if i can the first of our presentations which will lead into the plunaries the private policy discussions and the informal dialogue which i hope you will all have with each other and which will mark a successful summit and i'm delighted to say that the first speaker is going to be scotland's first minister the right honourable nicolas sturgeon msp and i'd like to invite the first minister up to the podium to address the chamber thank you thank you very much Presiding officer your excellencies ladies and gentlemen on behalf of the scottish government let me very warmly welcome all of you to scotland to our capital city right now the cultural capital of the world edinburgh and of course in particular to our beautiful scottish parliament all of you particularly those visiting for the very first time are very welcome indeed it is a real pleasure for me and my colleagues in the scottish government to welcome you here as the hosts of this culture summit it's also appropriate that i echo the thanks that have been articulated by previous speakers to the scottish government's partners those who are delivering this summit alongside us the british council the edinburgh international festival and the uk government let me also thank sarangas grossart and the summit foundation and in particular sir jonathan mills the programme director for putting together such an exciting and vibrant programme for this summit the edinburgh international culture summit is without a shadow of a doubt in my unbiased opinion the world's leading forum for the discussion of arts and culture policy i'm absolutely delighted that this year more than 150 artists policy makers producers and thinkers from over 40 countries across the world are taking part your presence here speaks to our shared belief that culture is of central importance to any society it also demonstrates our shared commitment to improve the way we support develop and promote our culture sectors the summit programme focuses on how we can do that it does that by looking at three central themes the importance of government investment in culture the relationship between culture and wellbeing and the role of culture in an increasingly networked world all of these themes have particular relevance to scotland the link between culture and wellbeing i hope seems very obvious in edinburgh all year round but particularly in the month of august like thousands of others i have the experience of enjoying the incredible atmosphere created by the edinburgh festivals during this period of august and it is obvious everywhere in edinburgh at this time that the ability of culture to inspire, excite and bring joy is very apparent it's also its ability to make us think i had the pleasure a couple of days ago of interviewing one of our greatest writers ali smith at the edinburgh international book festival and she reminded us then of the words of another of our great writers muriel spark who's centenary we are celebrating this year who said that culture should make us feel but culture should also make us think and that is evidence evident everywhere in edinburgh right now but of course culture affects wellbeing in many different ways and in many different contexts as part of this summit programme a number of contributors will speak about the different ways in which cultural activity can improve our health and wellbeing for example we'll hear about the way dance has been used to help people deal with the trauma of the Rwandan genocide and we'll hear about the use of music to treat chronic illness in the netherlands now obviously not every specific example is directly transferable to all other countries but the basic principle that culture has an impact on wellbeing is an important one and in fact it is a principle that is now directly and very firmly recognised by the Scottish government in our policy making earlier this summer we published a refreshed version of our national performance framework that's a document that sets out the Scottish government's overall purpose and it includes different indicators which show whether or not we're achieving our aims in the new version of that framework we have for the first time included the concept of national wellbeing and we've identified the vibrancy of our cultural life as one of the key indicators of our national wellbeing that means for the first time ever our efforts to improve wellbeing will be measured and we will pay as much attention to those efforts as we do to our efforts to grow our economy it also means that the importance of culture is reflected in the very purpose of the Scottish government and in how we judge our success as a country and I would suggest that it starts to live up to the sentiments of Robert Kennedy so recently articulated by Jonathan Mills and I'm particularly proud that on the day we launched our new national framework I quoted that very passage of Robert Kennedy that we've just heard from Jonathan Mills so that is a way in which we are showing and leading by example about the importance of culture to our wellbeing as a country of course that's one reason of many why we continue to invest in culture as Jonathan has alluded to already in recent years countries and governments right across our globe have faced difficult times in particular difficult financial times the Scottish government is certainly no exception to that but throughout that we have maintained our support for Scotland's culture sector for example our budget this year includes a funding increase for culture of almost 10 percent we have protected funding for our five national performing companies and we are investing in major capital projects like the creation of a new museum in Stornoway in our western islands and the Royal Scottish National Orchestra's new home in Glasgow possibly though the most obvious example this year is the V&A museum of design in Dundee which will open in just three weeks time the Scottish government has been a strong supporter of the museum with an investment of 38 million pounds towards its construction the building itself is a showcase of design thanks to world-renowned Japanese architect Kengo Kuma and it's also the focal point of the regeneration of Dundee's waterfront on the basis of that project the wall street journal has already listed Dundee as one of its top 10 hot destinations in the world and Lonely Planet the producers of the guidebooks have named Dundee among their 10 best European places to visit in 2018 that kind of international attention will help to bring jobs investment and business to Dundee our hope is that by highlighting the city's design heritage the museum will also inspire Dundee's next generation of designers and artists and in doing so we firmly believe it will enrich the lives of people locally and across our country the V&A Dundee will showcase Scottish design to visitors from around the world but it will also through its exhibition programme bring the best of international design to Scotland the museum will therefore be a great example of how culture can widen our horizons that's something i think is a really important benefit of engaging in culture something i was commenting on at the Edinburgh book festival earlier this week in my view reading or consuming other forms of art and culture deepens our understanding for and our empathy with people cultures and countries of which we may have no direct personal experience of course the recognition that culture can promote international understanding motivated the creation of the Edinburgh festival in 1947 shortly after the end of the second world war during that first festival the then lord provost of Edinburgh Sir John Faulkner summed up its founding philosophy he said the cultivation of the arts the increase of prosperity and the development of universal friendship are matters which outreach our boundaries and the rebirth of joy and enthusiasm in life makes for a people's strength and happiness and health those ideals of co-operation friendship and working towards the common good underpinned much of the post-war settlement and they are at the very heart of international institutions like the european union and the united nations institutions which were designed to bring countries back together repair lives and provide peace and security and these ideals these values these principles are still fundamental to the Edinburgh festivals today that's something we should never undervalue it is one of the reasons why it is so wonderful to be here in the city in august at the height of the festival season when that spirit of creativity internationalism and solidarity is so much in evidence and of course it's one of the reasons why it's so wonderful to be here with all of you at this summit a little earlier the Scottish culture secretary Fiona Hyslop opened her remarks with a quote from Scotland's first macker our first national poet Edwin Morgan I want to close with the words of Scotland's current macker Jackie Kaye in 2016 in this very chamber standing up in the gallery right there Jackie Kaye marked a new session of this Scottish parliament by reciting a specially written poem near the end of that poem she reflects thus it takes more than one language to tell a story welcome one language is never enough welcome come on ben the living room come join our brilliant gathering i'm delighted that you are adding your experiences your expertise and your languages to this brilliant gathering as a result i hope all of us can find new ways of bringing the benefits of culture to more people in our own countries and right around our world so welcome thank you so much for being here and i hope you find this summit both informative and perhaps above all else enjoyable thank you very much thank you very much first minister could i now invite his excellency the right honourable sugeri matipari high commissioner of new Zealand to the united kingdom to join us at the lectern sugeri a distinguished leaders ladies and gentlemen can i extend to you my warm greetings could i also join up with those who preceded me in acknowledging the presiding officer and thanking him for the opportunity to be here can i also thank sir jonathan mills for this opportunity for me to be here what i thought i'd do is the theme of my my comments is the example firstly the example of scots over time secondly the example and as it is for for new Zealand and then thirdly the example of the festival and also this summit one of the things that distinguishes scotland in all meanings of that word its substance its opinions its purposes and how it feels is its culture scots men and scots women have taken their culture around the globe and the Scottish diaspora are renowned for celebrating that culture spiritedly in both senses of that word at the heart of a culture is a language spoken and written stories music and poems there's a Māori whakatoki or proverb which translated says my language is my awakening my language is the window to my soul and so in the context of my being at this cultural summit in edinburgh i thought it would be appropriate for me as others have done is to start with quoting a poem lyrics by scotland's most famous poet robert rubby burns my heart's in the highlands my heart is not here my hearts in the highlands are chasing the deer chasing the wild deer and following the row my heart in the highlands wherever i go the burns poem reminds us that the Scottish people have always been intrepid explorers traveling far from home and yet holding an affinity to Scotland and things Scottish the lyrics help to explain why Scottish culture has reached and taken hold across continents including to the completely opposite side of the world to outer or new Zealand there are few other countries that have been as successful as Scotland in exporting its culture from bagpipes to tartan to haggis to highland dancing and to shortbread and whisky Scottish culture permeates every corner of new zealand caledonian societies help to ensure that there are highland games that attract competitors from all over the world to places like waipu horrorata turekina and pyro many of our schools where tartan kilts is part of their uniform deneden one of our oldest and most prominent cities its name derived from the Scottish Gaelic name for Edinburgh is known as the Edinburgh of the south but i think it's as a people where the impact of our Scottish heritage is most keenly felt our strong Scottish roots mean that we share many traits with the people of Scotland we share a friendliness a dry sense of humour and a seriousness in our approach that comes from living in dramatic and unforgiving terrain we share a caniness determination and a can do attitude where innovation is a cornerstone in our business dealings and like many scots we know how to have a good time and we do and certainly i do enjoy a wee dram as a country we value our culture immensely our culture new zealand's culture is no longer only on display through the hucka at an all blacks rugby game and for me that's exciting to see we've seized the opportunity to promote things new zealand and nothing is more new zealand than our language our realm we can draw inspiration from scotland in terms of how successful you have been at showcasing your culture and this summit is testament to that the other thing that the burns poem reminds us is the sentiment that scotish people and culture have an affinity to the land and that fondness travels with them wherever they go this is something that strikes a resounding chord with me and i'm sure it would do with most new zealanders there's another Maori proverb which goes toy tu te kupu toy tu te mana toy tu te fenua your word your status your the land these things have an affinity to culture and it seems to me that the resurgence of our language ter al maori points to the notion that these things start at home this festival sets a powerful example showcasing culture and through the various events and through exploring different styles we actually see how interconnected we are i firmly believed that through sharing our cultures we have become less foreign to each other at Edinburgh we have found an incredibly receptive audience to our culture new zealand Maori and pacifica inspired shows have been hugely popular from the powerfully provocative to the light hearted numerous and diverse new zealand artists have participated in the edinburgh festivals through support from our creative new zealand toy al teorora creative new zealand works with Scottish institutions to develop meaningful exchanges with our artists and one another's cultures relationships established here and in the wider scotland are something much more profound than simply flying over here to tell our stories for example playwright Arthur meek is presenting his work for the edinburgh festival or fringe festival this year the play is a result of his participation in the new zealand scotland playwright residency and exchange programme in 2016 another is shenan teow's multimedia installation with the sun aglow i have my pence of moods 2017 it is the first ever that new zealand has co-commissioned with the edinburgh arts festival and of course out there are new zealand's presence in the royal edinburgh military tattoo particularly in 2014 with two leading Maori cultural or kapa haka groups to waka huia and te whanowa apunui and leading new zealand highland dances highlighted that as a celebration of our home our friends and our family i'm convinced that as we learn as we learn more about each other and our differences we can see and celebrate our commonalities and shared aspirations ladies and gentlemen the events that happen here every year and bringing together many cultural ideas and art forms and in the sentiment that the scots have done in this wonderful city and championing culture is truly extraordinary at this point in new zealand's culture i would be required to sing i have been told don't lose your day job so what i thought i would do is in terms of that connectedness i'd conclude my comments with a poem written by a scotsman john ladel callie who immigrated to new zealand in 1880 callie wrote a book of poems called heather and the fern songs of scotland and mario the poem is titled heather and fern though dear to my heart is zealandia for the home of my boyhood irene i dream amid sunshine and grandeur of a land that is misty and stern from the land of the mower and the Maori my thoughts to old scotia will turn thus the heather is blunt with the cowrie and the fistle entwined with the fern noradah as i started with my language is my awakening my language is the window to my soul thank you very much thank you very much to gerry i couldn't tell whether people were relieved or disappointed not to hear you sing there the enver festival and fringe is all about participation occasionally about humiliation just warning you thank you so gerry our next presentation will be from dr catarina vas pinto councillor of culture for the city of lisbon and who will give our thoughts on investing in the locality how to invest in buildings whilst investing in people dr vas pinto excellencies ladies and gentlemen let me start to thank the honour of being here at this prestigious summit and for allowing me to share with you some views on the role of culture and the role of cities and the need of human scale i changed a little bit the content of my presentation but it will come to investment sorry as we well know and a test in our daily lives our world is becoming increasingly complex confused and unintelligible as a result of the deep and sudden changes brought about by globalization and digital paradigms that invaded our daily lives at work in our personal lives in our free time it is a paradigm incepted with the creation of immense expectation regarding the ability to foster wealth exchange and sharing the ability of recognizing the other today however we live in a divided fractured world it confronts us with a broad range of phenomena of exclusion conflict and even refusal of the other if on the one hand we are immediately and constantly connected more efficient and swift in our work and we do have access to and parallel amounts of information and goods on the other hand we often feel insecure and unsatisfied with the uncertainty of present life we challenge the sense of time distance place human relationship to which we were accustomed to which technology has come to accelerate or modify we are permanently connected with the world yet we can feel as we feel we were completely alone in our homes the commodity based ideology of economic success of technological progress and accumulation of assets exacerbated by financial crisis climate change wars and forced migration has led to the adoption of production and consumption patterns of lifestyles that came to generate levels of inequality stress loss of relationship with nature and alienation in a less cohesive world I believe culture can make connection across those divisions in our society as well as it can create the conditions for mutual understanding and ultimately it can work as a way of fostering social cohesion and a cooperation over the borders that is why I believe that change can only be achieved through the appreciation of the culture dimension in global development culture is the vital ability for expression and symbolic constructions it allows us to affirm identity to build sense of belonging of public space to think upon defining option and values to establish the links between past present and future to fulfill desires and to find an individual and collective purpose for the time we live in culture is what makes us different culture is what makes us human so in order to address the negative effects of today's reality it is paramount to put culture at the centre of public policies by protecting heritage by supporting creativity by promoting diversity by granting a sex to knowledge taking advantage of the technological evolution and the comfort provided by economic fatality but also thinking to creating a counter balance and new ways of connecting the analog and the digital world the territory within a specific physical and labouring space is where we can try to reinstate balance making our cities more human and more sustainable cities that are that are more close needs where everybody has same rights and access to the same opportunities cities that seek to activate mobilize accommodate the creative energies of all bringing forward conditions to build bonds ties of belonging and solidarity a spirit of active citizenship cities that seek the appropriate scale for each project or activities by taking into account the target or prospective audiences the level of funding or other available resources and the actual needs cities that promote and welcome human diversity respecting the uniqueness of each and every group ethnic religious gender artistic or cultural cities able to function as an ecosystem seeking to articulate a varied public policies combining public private resources and realising the role of each actor in their specific mission and their contribution to the big plan lisbon is now experiencing a moment of great and and question vitality and like what we have seen in recent years even here in europe in lisbon we want to be on the side of those who are open to the world in fact this is an ancient identity trade of our city the geostrategic position of the country and of lisbon in the western most point of the european continent dictates is everlasting conditions as an intersection between europe the mediterranean and the atlantic points of arrivals and departures place of exchanges and gathering of culture the Phoenicians the romans the arabes inhabited lisbon throughout the ages the ages and already in the 12th century an english cruiser traveling through lisbon was astonished to see so many people in the city in a letter signed just are he wrote that the reason for such a huge agglomeration of people was that between them there was no obligatory religion and since anyone could have the religions that they wanted from all over the world men would gather here if geography favored us it is true that we also learned from history in all the periods in which we repressed and rejected diversity we lost economic political and cultural relevance well whenever we respected and valued culture and spiritual diversity we progressed we became wealthier as a people and more sympathetic and tolerant and we have held lisbon as a great cosmopolitan metropolis therefore geography does not waive the permanent construction and reinvention of an identity that we wish to be open hospitable happy and sad attentive to the contemporary world a city that's capable of creating a public space a common square a community in every neighborhood on every corner in every park a city capable of responding to the anxieties that afflict us all women and men of our time those who live and work in lisbon those that are in transit all of them in search of meaning of happiness of peace as far as culture is concerned we went through a first stage of diagnosis and strategy the redefinition reorganisation creating and rehabilitating infrastructures so that so that we can go now into a stage of consolation where local public authorities in the area of culture act as a facilitating and capacity building agent and work to bring culture closer to the people and vice versa to bring people closer to culture in order to combine the attraction for culture with the need for culture following that purpose the public space has been one of the priority areas of our intervention open to all present in all parts without social or economic barriers as one of our most prominent artists alshanfark akavils whose street art is scattered throughout the city of lisbon and currently all over the world with his oversized scratch murals that invariably show anonymous faces sculpture in the stones of buildings we look at the common and anonymous citizen he or she is a protagonist and agent of change in today's world it is with this citizen in mind that we want to design our policies and demonstrate the transformative power of culture thank you very much thank you very much indeed and our final speaker in the chamber in this section is the vice chairman and co-chief executive of the Kissinger association mr joshua ramill thank you very much it's a pleasure to be here with you it's great to hear the greetings from the many political figures here so jonathan thank you very much for your hospitality there's many places i could begin the story that i want to tell today but i thought i would start on another summer's afternoon a hot cumie mugged summer afternoon in 1506 in the middle of rural germany when a young german student was making his way home from stauderfeld to airford where he was in school studying law it was a summer afternoon like any summer afternoon if you were in central germany today there might be a similar thunderstorm brewing up but what makes this particular storm different is that it descended somewhat by surprise on this young student martin luther was 21 years old that day he was walking through the woods and suddenly it begins to rain and hail and lightning a tremendous storm is upon him he cowers under the assault and he makes a promise if he gets out of it alive he'll enter a monastery luther's progress from that afternoon is well known to us the theological journey that produced the reformation he would later say that the essence of what he experienced in that thunderstorm the raw power of nature evoked for him a powerful idea of saint paul the notion that faith is passed from faith to faith there was no need for an intermediary that every individual could have their own direct access to god this was at the time a revolutionary idea it unlocked as i will describe everything we know today about being modern but i mentioned it now because that moment in the staudernheim forest marked the start of a fundamental pivot in the human experience and i believe we are now on the edge of another fundamental human experience change and the role of culture in that as we will see is vital my idea is that all of the noises we hear around us today the political breakage the uncertainty the miracle sounds of hopes of new ideas mark the first measures of a new era one that may surpass the enlightenment in its impact this new era is still only dimly apparent to us in its ideas and its rules and its habits but it is one that will fundamentally change the nature of the human experience and it is the role of culture during this transition i wish to discuss today paul's idea the one that was so appealing to luther that faith could be transmitted from faith to faith is fundamentally a line about directness the great break of the reformation was the idea that individuals could have their own access to god they didn't need a church they didn't anybody else standing the way didn't need to pay money every individual themselves could have access to god this idea of luthers was in harmony with a whole series of ideas that were breaking out around him people like galileo and copernicus had the idea that individuals have their own access to knowledge to science bringing the ideas of Aristotle to real life and that triggered other processes that were part of the enlightenment the idea that individuals should have their own access to political power individuals should have their own access to commercial power to decide what they wanted to do with their lives that what was for so many years a prison for people of where they were born and who their parents were could be replaced by people living the lives that they themselves wanted to leave the essence in short of being modern the explosive force of that summer thunderstorm was really unlocking a furious energy of freedom that it held people back for so many years until it was released suddenly the power to learn to read to vote to think all of these represented a tremendous change this was not however a peaceful process it involved the destruction of almost every institution in europe over a 400 year period it produced war after war after war luthers insights for instance directly produced the wars of the reformation which were the most violent wars that europe had seen to that point you get a sense of this if you read luther we know him for his 95 theses but he had this feeling that the reformation was unleasing this accelerating process of violence and turned later in his life to writing pamphlets such as against the murderous thieving hordes of peasants and these peasants were simply following the advice that he had given find your own way forward have your own access to god live the life that you yourself dreamed no pamphlet was going to stop that because what those murderous thieving peasants were trying to steal was their own freedom and their own liberty about halfway into this four century string of change that began with the reformation and then went to the enlightenment and the scientific revolution and the industrial revolution and the modern revolution of the 20th century a great debate broke out not so very far from here on the one side was david hum who needs no introduction here he was born about 50 miles from here in berwickshire in 1711 and went on to become one of the great minds and thinkers of the enlightenment but on the other side was a less well known but equally formidable scottish clergyman named george campbell who was born in 1719 in Aberdeen and considered himself a student of fumes the debate between them had to do with the problem that we don't pay much attention to today but was essential in the era of the enlightenment do miracles exist this may seem like kind of a silly outdated debate sort of a rorsach test on your own faith you believe in miracles or do you not believe in miracles but it was the kind of debate that was really at the front lines of the enlightenment because it was about the question of whether or not problems could be cracked by human reason was there any part of the world that could not be understood by the use of the human mind which was really another way of asking was there any source of power any place in the world that had access to ideas and powers and tools of freedom that humans should not have access to before the reformation power was incredibly concentrated in the hands of a few kings feudal lords priests they had all the knowledge all of the information and then one day that began to break down and it triggered this massive wave of change where we are today is at the beginning of an equivalent wave of change it is one that will be marked by miracles for sure and also by the sorts of tragedies that came along with the reformation and everything that came after it and it's an understanding the nature of that change that I think we can begin to address the importance of culture the nature of the revolution emerging around us today has to do with the fact that we're entering an era of networks and by networks I don't just mean the internet I mean any set of connected points people who sit in this parliament building are a network people who speak Mandarin are a network people who use bitcoin are a network the fundamental insight is that connection changes the nature of an object changes the nature of every object a connected voter a connected library a connected actor a connected performance they're all different than ones that are not connected and that is a shift in the nature of power if the enlightenment the dust revolution were all about liberating individuals freeing them from that tyranny of history and where they were born this revolution is about connecting people and connecting introduces fundamentally new dynamics of power we're just in the earliest stages of understanding this we're sort of in the position that lock might have been in of just having a the hint that something was changing but something dramatic changing and all of us who spend time working and thinking about network theory realize how early we are in this process but I thought I would just give you one example of the nature of this shift so we said that the nature of the enlightenment was about distributing power more widely than ever crawling at pulling it out of the hands of kings and feudal lords and giving it to individuals and to some degree this technological revolution that we're undergoing right now is very much about distributing power we all have in our hands in our pockets in our laptops and our computers and our phones more computing power than existed on the entire planet 250 years ago we're connected to great sources of information we can get knowledge instantly so it's true that power is radically distributed by technology but we also see something else going on power is becoming incredibly concentrated today there are about a dozen platform companies is what we call them in the world that have more than a billion users each and the more people who use these the more powerful they become the more people who use a mapping service or a social network the smarter that system gets and therefore more people need to use it and so we have the balance of power today moving from this habit of distribution that we had in the past towards two things happening simultaneously an incredible distribution of power and an incredible concentration of power at exactly the same time it's sort of like the model of the atom right another great fruit of the enlightenment where you have the incredible concentration of neutrons and protons in the center and electrons on the outside and the more electrons you have the stronger that central core needs to be and the more people you have using a mapping program for instance the stronger that mapping software becomes the better it knows the world around it so more people use it so it gets even smarter the same is true of the future artificial intelligence systems will have the more people are diagnosed on a medical database that better that medical database gets and therefore the more people want to use it so power is moved from being incredibly concentrated to being incredibly distributed to this new model this tense pulling scheme of power on which we live now and this process is what is tearing apart many of the institutions that we once came to rely on think about the family doctor that you might go to for medical treatment he used to be your last word in care today the minute you're diagnosed with something you're trying to find the answer on some sort of internet search engine you're looking at different internet news feeds and web pages and tweets to get information that's this distribution of power in the same time in four or five years an artificially intelligent database will be able to out diagnose your doctor because of this concentration of information so that role of the doctor in the middle is just being pulled apart or think about the traditional media it used to be that you had the BBC or your newspaper sitting in the middle today you have this massive distribution of people tweeting and putting their ideas out there in this massive concentration and the traditional structures are being just torn apart by that this is what it means to live in a revolutionary age when you look in my country the united states we've never had a period where the legitimacy of every public institution the press the presidency the congress science has been as low as it has been as it is right now and the reason for that is these revolutionary pressures which are falling on institutions that are not built for this new age same thing happened during the enlightenment the kings the feudal lords the popes they all were built for a different fundamental structure of power so the idea to keep in your mind as we move into this new period is so many of the things around us today that look strange or unusual or unnerving are not one off things they are expressions of this underlying shift in power that will be as dramatic and significant as the enlightenment itself bigger than world war one bigger than world war two a fundamental change in the human condition the role of culture in such an era is really the thing that allows human society to progress through these massive step changes in what it fundamentally means to be alive and beyond this earth there's so many examples of this but one of the ones that I often return to is the notion of what happened in vienna in 1900 think about vienna in 1900 you have the seeds of the worst political fever that is about to break over the continent that will kill millions of people fascism you have communism also taking root there in the beginnings of an ideological struggle that will dominate the 20th century and subject the entire planet to incredible risk but at the same time in 1900 what do you have in vienna you have mollar you have ffroyd you have shostakovic you have the incredible sounds of new ideas and new music the images of climp coming alive and as we look back on that today 120 years later the power of the ideas of fascism the power of the ideas of communism these have all faded away they come back from time to time but the impact on our daily life is nothing like it was 100 years ago but to go hear a symphony of mollar to go see a painting of climp is to take you right to the essence of the human condition the age that we're living in is this rare age the beginning of a period of total revolution just like that summer's day that martin luther encountered in 1506 and the best possible reaction to it the reaction that defines us and makes us the most human is the reaction that comes from culture thank you very much thank you very much geoshua and uh she has sent her apologies at not being able to join us but i'm delighted to introduce a video message from the prime minister of the united kingdom the right honorable tereza me every august tens of thousands of artists and millions of visitors descend on edinburgh in the world's biggest celebration of art and culture so it's fitting that this city also plays host to the world's largest gathering of culture ministers and it's a pleasure to welcome you all here today for the fourth edinburgh international culture summit the theme for this year's event is connecting peoples and places a reflection of cultures unique ability to bring people together from different nations and different backgrounds it truly is an international language as we can see in the huge range of nations represented by delegates and speakers this year from switzerland to singapore via the usa palestine rewanda and many more from art and music to theater and filmmaking the uk has long been a world leader in all aspects of culture but there is no monopoly on turning creative sparks into global success this summit is an incredible opportunity for everyone here to share their experiences to look at policy ideas and interventions and to discuss what works and just as importantly what to avoid just as culture connects people and places so this conference connects those who have the power to make a difference for artists and performers around the world so thank you to everyone who has helped make this event happen including the scottish government the british council the edinburgh international festival and our hosts here at the scottish parliament thanks to all of you for coming and i wish everyone here every success for the rest of the summit thank you now sir jerry tantalized us with a suggestion of a song earlier and there will be opportunities to participate in the coming days however no session of the culture summit would be complete without a performance an artistic performance to complement our discussion so to conclude our session it's my pleasure to introduce poo kanchin president of the china theater association and noted actor charlene boyd to perform two spoken pieces to be or not to be and a passage from poo kanchin's play about a noted early ming dynasty poet li by poo kanchin and charlene boyd to be or not to be that is the question whether it is nobler in the mind to suffer the slings and arrows of outrageous fortune or to take arms against a sea of troubles and by opposing end them to die to sleep no more and by a sleep to say we end the heartache and the thousand natural shocks that flesh is there to do to the consummation devoutly to be wished to die to sleep to sleep perchance to dream there's the rub for in that sleep of death what dreams do come when we shake off this mortal coil must give us pause there's the respect that makes calamity of so long life for who would bear the whips and scorns of time the oppressors wrong the proud man's contumely the pangs of despised love the law's delay the insolence of office and the spurns the patient merit of the unworthy takes when he himself might as quiet as make with a bear bodkin who would fardals bear to grunt and sweat under a weary life but that the dread of something after death the undiscovered country from who's born and no traveller returns puzzles the will and makes us rather bear those else we have than to fly to others that we know not of thus conscience does make cowards of us all and thus the native hue of resolution is sickly door with the pale cast of thought enterprises of great pitch and moment with this regard their currents turn awry and lose the name of action li by over 60 years old after a life of frustrations sits on the bank of the shunyang river he was drinking wine while enjoying the moon and composing poems gweithsu de y yng nghwys ping ping ping zha zha zha zha zha zha ping ping zha zha ping ping zha ping ping zha zha li by at swyddi lawu lia rung i swyddi rung i ymgyrch is but a 100 years 36,000 days how i wish to empty 300 glasses every day wow the river is filled with water like jade and the waves are gilded with gold no no no no no no no no not water river is filled with why forget about your golden goblets and jade bowls just just dive right in and and drink some 30,000 days the fairest of them it must be time time treats everyone as equals it won't give a minute more to powerful sovereigns nor will it award an extra second to persons with perfect integrity to a wonderful piece of reed bed could it be the reflection of reflection of the cinnamon on the moon extending his arms towards the reflection of the moon on the river with an attempt to grasp it li by gradually dissolved in the water and the moon a speech about the power of theatre the power of poetry and literature the power of intercultural exchange and integration so humans have not created the natural world but they indeed have created the human society science and technology as well as an amazing store of material and spiritual wealth where did this great power of creativity come from it came from resting energy from nature it also stemmed from wisdom which was derived from knowledge of the natural world and history of the human society from the natural world to the human society to the change from the world to the family to the wheel from the royal family to the ordinary people and all that is left to him in his play including his imagination of the supernatural world and the world of the future his knowledge of the power of art is incomparable within the 30 some plays created by Shakespeare he had included in the theatrical plots as well as the lines and behaviours of the characters subject matters ranging from celestial bodies and the earth to natural wonders and transformation of the human society from the good and evil of morality to the cultivation of familial ethics from the kings and aristocracy to every Tom Dick and Harry as well as from supernatural worlds filled with fantastical spirits to imaginary versions of the future world the ability of William Shakespeare to understand the world and to create artistic and literary works is simply peerless I have delivered several lectures to university students with the title of theatre enlightenment and artistic education as a form of art theater helps the audience to understand the world they are living in theater is not unlike a classroom or church in which compulsory courses are taught regarding the cultivation of virtues a theater goes perception of the world his or her imagination expression and sense of humour will all be enriched by the place that he or she sees the as a mode of civilized life that is derived from literature theater is at the same time a form of figurative audio visual literature which involves the live performance of actors and actresses on the stage a literary text must come first and theater often refers to the process and result of recreation based on that text according to mr you should you the late artistic director of Beijing people's art theater theater at its best must be able to evoke similar senses of beauty as great poetry and paintings do with comparable philosophical and literary connotations that are both simple and plentiful and cultures and civilizations are the shared spiritual wealth of all human beings people from different regions and ethnicities are born with similar impulses and wishes to perceive the world and understand the human civilization i the similar psychological needs based on curiosity admiration caution and inspiration we all love and respect the cultural heritage of William Shakespeare and wish to keep staging his plays in the years to come because we enjoy reading his plots and stories witnessing the struggles and fates of his characters on the stage and getting inspired by his 400-year-old insights regarding the world and future in this sense his works are always contemporary as modern day artists and audience our encounter with Shakespeare usually start with enjoyment proceed with studies and culminate in acting and seeing more of his plays in this way we continue the tradition of Shakespeare in this way we will still be staging his plays 500 years later in 2013 i was invited to perform choreo lanus at the Edinburgh international festival from august 19 to 15 i played the part of Prospero in the Tempest it is the first time that this play has been staged in china which is also the fourth Shakespearean play i have acted in moreover another new version of Hamlet will also be premiered in november in which i am going to play the part of the king last but not least i consider myself a chinese actor cultivated within the tradition of Shakespeare i hope that in the days to come i can perform more in the bird's plays and enjoy this process as much as i can thank you shali shali shali shali shali shali shali shali shali shali shali shali shali shali shali shali shali shali shali shali shali thank you for that performance and that concludes today's session just to remind delegates we'll be back here tomorrow morning at 9 30 however it's not the end of the day for you we are going to adjourn shortly to go across to the palace of hollywood house for performance of Akram Khan's Kadanmati full by a reception A gyda'r bobbylch â nhw i ddaf i unrhyw cwrs o'n ffordd o ein bod yn rhani. Da, ond rydw i wedi gwneud o'r ysgolwch yn dweud o'r ddynnu i ddechrau i fynd ymr hammer. Dawr y ddechrau i fynd. Rwy'n maen nhw i'n ddaf i ddechrau i fynd symud o'r ddechrau i fynd. Maen nhw i ddechrau i fynd o'r ddechrau i fynd yn y ddechrau i fynd mynd? Rwy'n maen nhw i ddechrau i'i fynd i'n ddechrau i fynd i fynd i fynd i fyny i fyddoch. ychwanegwch ar gyfer. Mae cyfnodd yn y cyfnodd yn gweithio gyda'r ddweud ar y ddweud. Mae cyfnodd yn y gallu ddweud ar y ddweud, ac mae Llywodraeth Cymru yn gweithio gyda'r ddweud ar gyfer.


Hello, everyone, and welcome to Blackstar Potential. My name is Lee Fuge, and I'm here today with MusicTeacher.com. And in this video, we're going to look at some of the basic principles of using the Department 10 dual drive pedal with cab rig. All the tones you're going to hear in this video are coming directly from the dual drive, which is going via cab rig out of the XLR output on the back straight into my audio interface. So we're going to create some basic reference tones in this video. These can be used as a starting point. So if you're looking to dial in a specific sound, you can use one of these reference tones as your starting point and then tweak it to your own need from there. As I said, all the tones are coming from the dual drive. I'm going to be using the front end of the pedal as a two channel preamp. And we're using cab rig as the IR and the room space as well. My PRSS 2 studio is going straight into the front of the dual drive. So first of all, I'm going to show you what cab rig looks like. So cab rig is accessed via the Blackstar Architects program, when you connect to department 10 pedal to your computer with the USB cable, you can load up this window. Now, this gives us a lot of different options. So we're using a simulated cab here, which is coming from the XLR output on the back of the unit. Inside this, we have a couple of different options, which allow us to further tweak the sound to our own taste. So we have a power amp simulation here where we can dial in 6R6 EL34 or EL84 power amp sounds. That is a big difference between British and American voiced power amps there. The resonance control is going to control the overall low end of the power amp and then the presence is that upper brightness that the power amp has. We can also dial in some power amp distortion if we wish as well with the drive control. On the department 10 dual drive, we can actually save three different cabinet presets. So our cabinets are accessed via the cab window down here. So if we click this icon, this brings up a list of all the available cabinets you have within Architect. So you can see the one I've currently got selected is a 2x12 classic USA Openback and I'm mic'ing that with a 67 condenser mic, which is currently on access. I have six different mics to choose from, which can be placed both on and off access. Then we have a room sound. The room is the ambient space around the cab. And my opinion, this is one of the most important parts of getting a great cab sound. So we have three room choices, small, medium and large, both regular and dampened and we can also set that as mono stereo and wide. You can see that I'm actually using it as wide and then we can use this level control here to control how much of that room we're using. I'm currently boosting it by 0.3 of a dB. Then we have our output stage here. This is if you imagine the mixing desk that you're recording your guitar into. We have a master EQ here. We have a couple of different EQ presets, but we can also dial in the sounds using the low cut, the high cut and this four band EQ here. So first of all, I'm just going to show you very quickly the two sounds that I use the department 10 for when I play live, I pair the department 10 dual drive with a bunch of other pedals. This acts as my live M. So I don't actually run a live amp on stage. I use the department 10 dual drive straight into the PA system with cab rig providing my room sound. So I'm going to show you some of my basic tones now. So I'm using this as a two channel amp as I said, so I've got channel one set to clean and channel two is set to overdrive. I sometimes change that to crunch depending on what I'm using. This is my EQ setting. I keep it fairly, fairly flat with a slight cut back on the mids because I do like a slightly more American sound and my ISF is dialed back to about 10 o'clock. So it's just leaning on that American side. You can see I've got hardly any gain going on here on my overdrive side just for a little bit of push and a little bit of breakup and this side is running clean. Inside architect, you can see I'm running a 6L6 power amp. I keep the resonance on half and the presence down on one. No power amp drive. And like I said, I'm using the 2x12 classic USA miked with a 67 and I've got the wide room sound dialed in. So this is my basic clean tone that I would use for performing live. So if I need a little bit of crunch, I'll come to the second channel. I don't use much drive in this. I use it as a just on the verge of breakup amp tone. So on the topic of reference tones, we could use my two reference tones there as a starting point. Like I said, I like a slightly more American sound. So we could use those as a basis for an American clean and crunch sound. Now you can get even more American if you dial back that ISF you can get even more of a scooped American sound and obviously as with all ISF uses as we dial this up, it can go more into the British territory as well. We can also dial in an American crunch sound even more American one. I've already shown you by keeping that ISF back. We could maybe bring the middle down as well. If we need to if you want to dial in some basic British tones, we can go to an EL 34 power amp there. I'm going to bring a little bit more presence in because British voiced amp tones are slightly darker than American and I'm going to change the speaker type now to a UK 4x12 vintage cab. Now, Mike wise, we can use whatever we want here. This is really just a personal preference. I like the sound of a 67 Mike, but a very common one is a 57. So let's put a 57 Mike on this and I'm going to keep the room as it is and I'm going to keep the mastery Q as it is. That's pretty flat. It's just got a little bit of a low cut and a little bit of a high cut. So that's not changing too much of the tone, but you can tweak that further to suit your own taste. So on the pedal, if I want to make this a bit more British now, I need to bring that ISF all the way around and typically British amps have more of a mid voice. So let's bring the mids into things a little bit more here and take some of the base out. Now, British clean tone is much fatter and much fuller than an American clean tone. We can also go to EL 84, which will increase the headroom slightly for British crunch tone. Let's just put a little bit more gain on this and I'm going to go back to the EL 34 sound and back to the bridge pickup. If we go to the EL 84 sound now on a British crunch, we're going to get a much brighter, slightly more gain with higher headroom. If you're someone who wants to play heavy music, we can absolutely dial in some heavier sounds as well. So let's start with an American heavy sound. So I'm going to go back to the 6.6 power amp. You'll notice I've just left the resonance and presence controls alone for now because we're not going to dive too deep into that right now. I'm going to go for a modern USA 4 by 12. Obviously, you can see there's a huge array of cabinets on offer here from 1 by 10s right up to modern 4 by 12s. I'm going to go for this 4 by 12 modern USA. I'm going to leave the 57 on because the 57 is a good mic for high gain tones and I'm going to bring the room size now down to medium because we don't want too much room space on a heavy tone. I personally like the sound of a wider tone. You can set this to mono or stereo, but I prefer the wider setting and EQ. I'm just going to leave that as it is as well on the pedal. I'm going to bring some gain in and I'm going to bring the level down just to compensate. I'm going to go back to the American side on the ISF and bring those mids down. I don't want to go too extreme with a scoop. I'm just going to set it to about 10 o'clock and then obviously we can tweak that further if we need to. If you want to turn that into a heavy British rock sound, we can go to an EL 34 or 84 power amp section. I'm going to use a modern UK 4 by 12 for this one and I'm going to keep it again on the 57. I'm going to keep all the other settings the same, but on the dual drive, we're going to bring that ISF all the way over to the British side now. Put some of those mids back in so this should give us a big British heavy rock sound. So those are some basic tones you can dial in with the dual drive and cab rig. You could use some of those as a starting point for building any of your own sounds. Now, obviously we didn't cover every sound possible in this video because the department 10 deal drive coupled with architect and cab rig can do an insanely large amount of different tones. So if you'd like to see any specific tones broken down in these videos, either genre specific or artist specific, let us know down below in the comments. We'd love to hear what kind of tones you guys would like to see us dial in with the department 10 dual drive. All the principles I've talked about in this video are also transferable to the department 10 dual distortion. The only difference being that has a higher gain voice. So some of the heavier tones will be easier to achieve with less gain on the distortion. This is more of a vintage voice in the dual drive. Like I said, though, let us know down below in the comments what tones you guys would like to see us dial in with the department 10 range in these videos. Don't forget to check out Blackstar amplification on YouTube for more videos just like this. If you're looking for a music teacher in your local area, please check out musicteacher.com. It's a great network of teachers all around the country waiting to help you guys out. Thanks so much for watching and I'll see you very soon.


This study examined attitudes towards genomics and precision medicine, AGPM. It evaluated attitudes towards activities such as genetic testing, collecting information on lifestyle, and genome editing activities necessary to achieve the goals of precision medicine. The authors found that the AGPM was reliable and valid, and that certain demographics were more likely to have negative attitudes towards these activities. This article was authored by James M. Dubois, Jessica Mazurski, Allison Anties, and others.


Hello guys, welcome back to my channel or welcome if you're new. For those of you who don't know me, my name is Sam. I am a licensed hairstylist and in today's video, as you can tell from the title, I'm going to be trying out the Oleplex number eight bond intense moisture mask. I've been wanting to get my hands on this ever since I saw Oleplex announced this product and I know a lot of you guys have been asking me if I've tried it, what I think about it. So I thought, let me just record my first impression of it. I do have a video already where I go over the entire Oleplex system. I break down products one through seven, no, zero through seven, sorry. If you haven't seen that already, I will link it in the description. Feel free to go check that out. Like I explained in my Oleplex video, the treatments that they've had up until now have all just been for repairing damage. They didn't have any kind of treatments that were just for hydration and moisture and a lot of people who just had dry hair that wasn't necessarily damaged would use the treatments and then be disappointed because they didn't feel any difference in their hair because they weren't meant for conditioning and hydrating. So now they have a product that is, so I feel like they're covering all their bases now. So it says that it's infused with the Patentin Oleplex Bond Building Technology. This highly concentrated four in one reparative mask adds shine and body while providing intense moisture to treat damaged hair. So this is good if your hair's damaged and if it's just dry. And shine and body, I love the sound of that. So the directions say apply it to clean, damp hair, mid-lengths to ends, use sparingly on the roots, work through with fingers, leave on for 10 minutes, rinse fully and style as usual, use weekly for best results. Start with two pumps for shoulder length hair, use more for longer thicker hair, less for fine or short hair. Oh and then the recommended tip says for the deepest repair possible at home, use with number zero intense bond building hair treatment plus number three hair perfecter once a week or as needed. Okay, so I'm not gonna do that. I'm just gonna use the number eight by itself because my hair really isn't damaged but I do feel like it can always use a little bit more moisture. So I'm gonna show you what my hair is looking like right now. I washed it a couple days ago and I just let it air dry. I didn't put any product or anything in it. So you can see it's a little bit frizzy, a little bit dry on the ends. And I did see on Olaplex's Instagram page, they said that you can use this in replacement of conditioner.  And I do have the Olaplex number four bond maintenance shampoo. So I'm gonna be using this in combination with the number eight so that I'm getting the best results possible using their products only. It kind of feels sticky. Like it almost feels like a styling gel. Like it feels like a leave-in product to me. Interesting. I wonder if I could take like a little bit of it on the days when I wanted to wear my hair curly and just like run it through wet hair and use it as a leave-in. I'm just gonna follow the directions today and just do it like a mask and then rinse it out. And I'll probably blow my hair out, but maybe in the future I will try using it as a leave-in when I wear my hair curly. So make sure you're subscribed to my channel, maybe in a future vlog I will do that. And I'll let you guys know how it works like that. So I just shampooed my hair. Now I'm just gonna squeeze the excess water out of it. So we're gonna, one, two, I think I'm gonna do four pumps. I'm always really heavy-handed with masks and conditioners. And I really wanna concentrate it obviously on the ends where I have the most dryness.  I think four pumps was perfect for the amount of hair that I have. Just kinda finger comb it through, make sure it's evenly distributed. So, he's got my phone completely wet. I'm gonna set a timer for 10 minutes. I'm gonna finish the rest of my shower. Once those 10 minutes are up I'm gonna rinse this out of my hair and I'll let you know how my hair's feeling. My hair's been sitting in this towel for, I don't know, maybe 15 minutes. So let's see how it feels. To be totally honest, so far it doesn't really feel much different than it normally does when I get out of the shower after just using like the regular Olaplex shampoo and conditioner.  Where'd it go? That's it. Okay, crisis averted, it was a giant stink bug. Anyway, I'm going to blow my hair out straight because I haven't worn it straight in a while and I feel like once it's dry I'll be able to tell a little bit more if it feels any different, any softer if it has more body, shine, you know all the things that it claims to do. And I'm not going to put any additional styling products in my hair. I am gonna just use a heat protectant though. This is the Wella thermal image. And by the way, I did a first impression review on the Dyson blow dryer too. So if you didn't see that video and you'd like to check it out I will link that in the description as well. When I started this video my hair was curly and it wasn't brushed so it's not a direct comparison. I do feel like my hair looks pretty shiny and I think for not having anything in it it looks pretty good but, oh I really, it's not like a super dramatic noticeable difference. If say I was at a salon and somebody else had washed my hair and I couldn't see what they were using or what they were doing right now I wouldn't think that they did anything different. Like I would have just thought that they did regular shampoo and conditioner. But like I said, my hair starting out wasn't super damaged. You know, I take good care of it. I did get a haircut like about a month ago or so. So maybe if you were struggling with your hair a little bit more it was damaged a little bit more significantly dry than mine was starting out with. Maybe this would make more of a noticeable difference but I don't know just from like a first impression standpoint I'm not really that impressed with it to be honest and I love Olaplex and I swear by all of their products I use numbers one and two at the salon on pretty much every client that I do color on and I always recommend number three as a take home treatment. The shampoo and conditioner four and five amazing. Those I swear the first time you use them you will notice a significant difference. Like your hair will feel super soft after but I don't know this number eight treatment I feel like I could live without it honestly. And who knows maybe I need to use it multiple times for it to really make a difference. I mean maybe just doing it the one time isn't enough but from my experience with all of their other products like the shampoo and conditioner, the treatments I've always noticed a immediate difference just after the first time. I will say if you are looking for a good hair mask that is gonna add a lot of hydration to your hair I love Joyco's K-Pak masks and conditioning treatments. They are amazing. This one I've been using for like the last month or so the K-Pak Hydrator Intense Treatment for Dry Damaged Hair. The first time I used this I noticed a really big difference and I also really love the one that comes in like the maroon packaging with the dark red. So I feel like again just based off my first impression I would probably recommend the Joyco over this. Because I don't know this was just eh to me. I am curious though like I had said earlier about trying it as a leave in on the days when I wear my hair curly. So stay tuned for that. That'll be in one of my next videos. So make sure you're subscribed. Turn on your post notifications so you don't miss when I upload. If you liked this video and you would like me to do more reviews then give it a thumbs up and comment down below and let me know what you would like me to review next and hopefully I'll see you guys in my next video. Bye.