It's very cozy. Are we comfortable this way? Yeah that's great. It's a very nice setting for for an actual conversation. So the panel is about to explore the scale from activism to climate action in museums and I would like to divide the session into two parts. So in the first part we will have a conversation and then in the second part we will have a conversation. So I hope that you're all with us to actively engage in this conversation. So I have three guests here. Next to me sits Vera from the Netherlands Museum Association. We have Rebecca, a representative of Extinction Rebellion Belgium and we have Emek from Museums of Future Turkish Chapter so Museums of Future Turkey and I think this is a really unique setting that with the outside the Nemo context would not happen. So it's really a unique opportunity to sit with with you three here at the table and we asked the three of you to individually prepare a statement or just to get our conversation started on the question what does climate action mean to you personally as a person as a private person and how is it reflected in the organization or the movement that you represent here today. So your personal and your professional take on it. So who would like to start? Emek? Me? Yeah? Okay. Climate action to me was something like I used to deal with personally individually and I recognized the urgency of the matter so I tried to raise awareness among my environment and so raising awareness and taking action acting in accordance with what science recommends us to mitigate the impact of climate change and but with the movement I joined later I realized I was an alone first of all and I felt more empowered because there wasn't only me there were more other people and there was this inspiration coming from all this unity we established together and then there is creativity we join to protests we take more action we are more visible and we actually when we come together we are voices stronger and we are heard and I can also see this from Turkish chapter that it started small but then got bigger like immediately because there was a need for this urgent matter we were all committed and we recognize we have the power that we can change something and we took that little step and to make that change and we joined protest we were present and we communicated with other organizations like us and we are wise or voice was so strong that we also reached out to police makers and decision makers to actually demand a change so this is what we've become. Thank you. Rebecca. Yes. I would like to start with an apology and I'm not apologizing or I do support the actions that have been taken in museums and I will not promise you to never take a sort like action myself but I do want to apologize for the shock it must have cost you. I do realize that the sector of museums and heritage is a sector that is based on care and caretaking and I can imagine that it has caused a lot of stress so therefore I'm sorry. That being said being an activist engaging in civil disobedience isn't to make yourself popular it isn't to be liked we sometimes call ourselves an alarm and alarms aren't very useful if they're comfortable they're supposed to make you move and what action means to me personally I am afraid I am actually very very afraid for what is to come and it impacts me in a way that I don't really dare to plan for the future so much it also pains me I grieve I actually feel pain for what is happening to the living world and I am really really angry with the fact that the system that is doing so much damage is deliberately kept into place to benefit very few people on this planet and on top of that I am hopeful and the grieve I feel helps me to know that I care and that I'm part of something bigger and the anger I feel is my energy and I can channelize into into taking action and I want to quote Hannah Arendt or it's an interpretation I have that she says or I interpret that there is a great freedom in being born again every day and being born again with the possibility to act and I find that possibility within Extinction Rebellion I do see us within Extinction Rebellion as as caretakers as well we also want to take care of of a rare and vulnerable and valuable things life on earth and I do believe that we are we are allies and I would really really want to work together with you yeah I think that is that is really beautiful and that you're using the word allies I'm also an activist but I'm not knocking on doors because I'm already in but that also comes with a responsibility I think if you are in a position to make change from within you have to decide what is your span of control what is the impact you can make and in my case I've been personally I'm I feel with you with with the also the fear you have and and also after actually these days didn't really help with that but okay and but this is more of what can we do what is the action we take and in my position it as a director of museum association and of museum card so we also have a lot of people using a museum card one and a half million so it's both the museums and the public and the politics you have a span of influence and it is important that you use that but in an effective way and that means that you don't just facilitate what museums want to do because sometimes museums are a little bit conservative because that's sort of their nature but you also can act like an accelerator and some museums are really good and I'm happy I saw representatives from the national maritime museum who are very active and also speak today but in the Netherlands specifically that's why there I'm calling but there are a lot of museums who are sort of waiting and I think we can be an accelerator and that's also a role we have to take as a museum association thank you so to have an actual conversation it I hope that it won't be just me asking the three of you questions but also to respond on one another and and ask any spontaneous question if there is one emek I would love to hear a bit more about Turkey specific and how the museum sector finds itself in the green transition what kind of specific difficulties the sector encounters or the sector needs to be more awakened and so on could you elaborate on that first of all there is no collective action at the moment and there are museums individually taking action and some museums are actually built in accordance with this green building standards however it is difficult to maintain the structure so they prefer not to actually use those features like for example they have solar panels but it's limited so they still use a lot of electricity and there there is also in other kinds of like how do you say green water management and but still they don't prefer to use it because it's still and there is a need to spend much more money so they prefer to have it as a as a as something that is on the book that brands them but still it's not on in use and there are also museums who are actually really taking it seriously and they take use it for example they start from the gift shop and then use vegan food in cafeteria and all their material building material is environment friendly they the construction materials all used from the local surrounding cities and so these museums work strong towards in the fight against the climate crisis but these are the ones who are actually rich in financially the rich museums so these private museums are more active let's say but state museums are not so or municipality museums are not so active in this fight they sometimes expect this to be coming from the top-down approach so they expect there is no such plan or any regulation yet and that's where we come in because recently we wrote a letter to the parliament and also asked to because you know the situation in Turkey is politically also very fragile we have to first reach to the president and then to because when he says something then other everybody works faster so we try to reach him first and we also wrote a petition to him that when will because he recently like maybe not so recent maybe a year ago told that we will take action and change our institutions in accordance with what Paris climate agreement dictates so we will move forward but there's no action at all so we wrote to him and also to the minister of culture that when will you start actually taking action and we want to take this action now it's urgent you don't you can't wait anymore because if this is to protect cultural heritage as you said this we have we have this responsibility as a professionals but we have to move quickly it's and Turkey is we also have these floods going on around and there's earthquake and wildfires we actually leave this every day almost winter and summer and still there is no action but there isn't there is the demand for action from the bottom we gather in protests we try to ignite some movement and we use this protest for example we take this objects on strike as MFF suggested you can see on there is this UK student climate network that started that they you can take the objects on strike and show it in the global climate strike days on march and september that you can also introduce it to people to visitors you to raise awareness that we are as objects also or our artworks are also danger and we join to protest we join in collaborations with other organizations like us however it is going slowly we take action there is individual museums they are taking action there are specific things they are trying to do to give up using plastics or use vegan food or bring your batteries use batteries and in return we will give you a free guided tour and so these batteries are recycled and there are many examples like this but we want to take this to the higher level and put pressure on policymakers decision makers and create a regulation and so those other museums who are expecting something to come and implement they can also start Rebecca this what emek just shared with us probably this the frustration that you share about no strategy at government level I think not only for the cultural sector but probably for men for for the country at large that that's right that I feel that that you're that the frustration that you experience with the leadership wherever in the world is actually what what emek is describing coming from Belgium do you share what she is pointing out that there is no at least in your country that there is no overall strategy is what I noticed from the belgium extension rebellion declarations that you have us you strongly call upon the national government or the federal government I probably have to say if I compare it to the Netherlands or the Dutch extension rebellion organization so there is a direct call upon your government do you do you feel that that you are achieving with your actions that you're achieving some steps within the government that well I would actually say that the Netherlands are better in doing that I don't know if you saw but they have done a blockade of the highway for almost a year yeah well they did it throughout a year and in the end it did actually make quite a big impact they demanded that fossil fuels would be there would be an end to the subsidizing of fossil fuels which is actually crazy that you think about it that our governments are all still highly subsidizing fossil fuel use but anyway in Belgium the government is not at all doing better than than any other government I think to say the very least and I'm not sure where you read it but I think we kind of don't really believe anymore that it's going to come from the government so when when we do do actions that put pressure on the government they're at least as much to sensibilize the public and to just disrupt everyday life to kind of be that alarm that I talked about before and when we are talking about the cultural sector or museum sector even more precisely what relation do you have as a representative of extention and rebellion with the museum sector and in particular in Ghent can you elaborate on that what your experiences are yes gladly we well last year when when those actions within museums started there was of course quite a lot of stir and quite a lot of criticism but there also was there also was some some people from your sector that spoke out about being a little more careful with condemning and maybe listening to why people would take such drastic actions and we contacted a few of them amongst them Sergio who is here as well and we started to dialogue and just talking and just exchanging about our values and our hopes and fears and one thing that came out of that was a cooperation with the the city museum of modern arts in Ghent and we had a very constructive cooperation we would get a room within the museum and we were going to organize an outreach festival to kind of invite people in and and come talk to us a lot of people still think we're very dangerous or very weird people were quite normal I would say so that people could come talk to us that they could engage in for example the trainings we do or just the artwork we make and we were organizing some debates and it all went very well until we kind of launched this and it it got on the website of the museum and then the city council got quite nervous and they interfered so there was a conversation with the director of the museum and from one day to the other they kicked us out because we also had planned a civil disobedient march we were going to block the city ring for the small city ring for a couple of hours as we had done before three times and this was also like communicated on the website of the museum that we were going to do civil disobedient action and we were going to start at the museum so we kind of thought it was all right we communicated this with the museum that we were going to do in action we didn't say which action but we thought because we did it three times before they would understand but yeah the museum was mostly funded by the city and the city objected so we were kicked out and that was quite a bummer we were adopted by cultural house in the city so we could proceed with our with our festival it wasn't very easy but I still look upon the cooperation as very constructive and very nice and I'm still very happy that the director of the museum was so open towards us and engaged with us and I'm very much looking forward to two corporations in the future I think both with this museum as with other cultural institutions in Ghent and Belgium and hopefully far beyond yeah Vera could you imagine one of our Dutch museums hosting this initiative yeah from the Dutch chapter I don't think that is that's there I think there are already a lot of discussions between extension rebellion and museums in the Netherlands the thing is that what of course happened last year was the attack of the paintings and that was by stop oil now and I haven't been able to have a conversation with stop oil now but I have had a lot of conversation with extension rebellion and that's why I really like the idea of working together more than attacking but at the other hand I understand attacking or knocking on doors is sometimes possible to work together later so it makes a change so I completely understand that disruption is necessary to make a change the problem that I also had relate to that is that the stop oil now actions where the for example the girl with the pearl earring from Vermeer was attacked with soup and hands stick to the glass it was it was really against sponsoring fossil sponsoring like Shell or example and that museums to stop with that but I think that I totally agree with that but it's only one one thing you can do so the discussion was very limited in that way so it really we really have to be clear at some point when what are we talking about when we talk about sustainability and the responsibles of museums it's then of course sponsoring is one thing but I think there are also a lot of other things we can do and it is important to make clear what we are talking about and the problem I also see with museums in the Netherlands that they very often have the idea that if I have my building sustainable we're ready yeah like okay we have solar panels and we've heat pumps and everything is good and you know we're doing great but there are so and then you say okay but you still get sponsoring from Shell or KLM or how does that work so and also what is the message you're talking about so we really try to make sure that so it is a very wide subject and how can we make it clear what kind of things you have to consider when you're talking about sustainability so we try to make it easier it's on the screen that helps so what we we try to really map it not only with the museums with the wider group of from the culture field in the Netherlands that we said okay what topics do you have to think about when you want to be sustainable and the first one is the A from accommodation which is like your building and your your degree in around it and the second one is communication and communication is is can be both that you that you make sure that you communicate what you're doing for sustainability but also what kind of program do you have just do you but not every museum can have an exhibition on climate change maybe it's not related topic but then they can do something in their canteen or in a restaurant where they say we don't serve meat because we think it is important so there's always something you can do about communication and then we have transport which is also a subject we saw it yesterday as well that's a footprint it's very nice you can you calculate your carbon footprint but when at least 80 percent of your carbon footprint comes from your visitors that's sort of for museums very difficult because they want blockbusters and they want a lot of visitors because then they're financially healthy so but at the other hand you don't want visitors actually because they're your biggest footprint so how does that work so you really should try to rethink that so you might consider offering environmental transport to your museum from a public transport or electric buses or you know for bikes in the Netherlands I don't know a lot of possibilities but also focus on your local public first and make sure that you have a strong connection with your local public they don't have to travel that far and of course it's also about transport of paintings or whatever but the biggest impact is your visitors and it's really often something we don't want to talk about because we want visitors as more and more and more and more to happier we're stuck in the system yeah we're stuck in the system so just finish them so you have your internal business processes of course like your what kind of food you're serving but also where what do you do with your exhibitions you don't use don't use your vitreins every every exhibition you need new vitreins I think that is a very old-fashioned way of thinking but still a lot of big museums think they need for every exhibition they knew they need new displays and of course it is sometimes difficult but you really have to rethink that and then last one is the external partners the E so that is the sponsoring of course and I know there are some people in the room who have museums who don't have sponsoring it is really something which is very common in in the Netherlands but so you have to think who are my sponsors but also who are my partners so if you are working together with for example an exhibition display or an exhibition makers and what kind of materials are they using you know where the where your local partners you're working with what kind of materials and what are their standards on sustainability and we really try to make it simple and it's a lot but it makes clear that it's a bigger conversation than just buildings or just sponsoring or just you know it was so fragmented and I think it has to be one holistic view on how to approach the problem and also how we can take responsibility as a museum sector and am I care Rebecca where if we look at this model it's in Dutch but I think we understand it's also understandable to you where do where could you see a role for collaboration with your organization with your with with extension reliant in what part would you envision yourself if you're interested in collaboration the first little external partners we would benefit a lot for the trick it could be a good example for our museums as well and also exchange of experiences and this transport idea is great actually but yesterday we were in a workshop where we were part I was part of the mobility and travel working group and it's it's really there is so much need to work on that and find out a like a good strategy and communications definitely but for the internal thing I didn't really I forgot about how you run your definitely also yeah I think a muscle almost yeah I'm not so sure I would guess I'm an external partner in this I also feel like I can't say anything about how you should organize the transport of your communities or visitors I don't feel like I can can say much about how you should make your museums climate neutral what I would want as a partner or what I would want to ask you all is is to speak out and step out of trying to do this the nice and easy way and as I said that's always as treat the crisis as a crisis and I've like isolating your museum and and making the transport green is super important and we should all do that but that's not what this is about anymore we need we need to do so much more and we need to be so so much bolder and we need to be so much radical so much more radical than than we are today so I think my role in this would be to be very radical and ask you to be radical with me yeah yeah is anyone interested in joining the conversation so questions from the I see question there is a question there there okay is there a mic I see question over there four questions already we can help out with the mic first of all most I would like to to to thank Nemo for bringing you to the stage here I think this is really important and I thank you for your statements especially from the activist side museum for future we have a German chapter as well as you know and of course extinction rebellion which is kind of the sister of the last generation in Germany with whom we work but I would like to to to mention one point which I think is important here it's not only to have you on the on the stage and to be you know courageous in both with your statements we have to act and act also against the criminalization of the activists in Germany we had on museums international museums day in May and an activity with the last generation and with museum for future in age museums all over Germany the museum directors were facing a lot of pressure from their city council from the local community from the media from the newspaper in essence I think it was a wonderful action but only two days later the police in Bavaria was raiding the homes of the climate activists on on May 24 25 and what we see is with all these nice actions that you know bringing people like you to the stage and giving you the opportunity to to to speak we see an increasing pressure and criminalization on activists all over Europe especially in the UK but also in Germany and I think this is what where museums really have to speak out louder because this is not the target group it's not the target group to criminalize the activists it's actually the target to criminalize those who are responsible for using fossil fuels for not getting out of this economy and as you were saying Rebecca for just you know walking leading us blindfolded like in the minefield of of our so thank you very much for your statements and I think museums can do a lot more to act against the criminalization of activists which we are seeing increasing all over Europe thank you can I can I just add to your story I have three friends and they glued themselves to the girl with the pill rearing then hey thanks and they were in the police cell for six days police all is is sitting and sleeping and shitting in in a cell all by herself they were let out to shower every day and they saw the policemen that were on guard that was it for six days and then they were in jail for two weeks so this happened right after the action because there was the the possibility they might flee the country because they're Belgians and they went to do it in the Netherlands so they were jailed right away so six days in isolation and then another two weeks in jail before they were freed and their trial will actually be in January I think so they might have to go back to jail and again I do understand the shock and I do understand how uncomfortable it is to see something happen to to a painting that we all know and we all love and and that has been taking so good care for for so long time and then I feel I feel that it is also important to speak a little bit then from the other side because I'm I'm I'm with you and I agree with that we shouldn't criminalize the but the the activist but it would also be nice to find a way to work together because I think museums can also take the role of the activist as well and in this case I spoke to a lot of people in the Maritz house and they were actually also people working there really shocked so it was really shocking and painful event and it was really difficult I did it and I tried because I the museum directors after this incident didn't want to do interviews because they were afraid that they were going to be the next one so at the end the director of the Maritz house did say something but I tried to do the speech for the for that and I really tried to say to make clear that we're on the same side we want to accomplish the same thing so I completely agree with you but it would also if it's really something you had no art on a dead planet I agree with that completely but let's try to find a way to do this together I also would like to say that so it is I feel with you but this was really a shocking event for the museum professionals there and and yeah I also felt yeah it was also difficult I think and who should take the initiative to to create a synergy what would you recommend the sector or the activists no Rebecca what are your thoughts well yes both yeah I just ranked a few of them that spoke out in the media and and some really nice corporations went from there so I would just tell you to look up your local activists and call them and and ask them for for a coffee and they're also just people they're very much just people trying to to live basically yeah can I also say a few words about this uh this uh events happening globally are affecting people for example in Turkey people react to these museum professionals as well and they see what's the purpose here they don't get it exact immediately it's action towards to it's the climate action it's received more like there is a there is and they react against the climate activists so there it creates another reaction a negative reaction so it's definitely we need to work together and actually museums for future is an alliance to fridays for future movement and we uh in our we have this uh simple 10 steps that museums can support climate activists we invite we suggest that we you invite museums invite these climate activists and work together and also we as we are also museum professionals and museums from the cultural individuals from the cultural sector so we also suggest these individuals who are climate activists and go connect these museums and suggest an action together to work on something together thanks so we had just one question from the audience but there were four already so um christina vanini intercom I went to be a little bit radical and controversial at the moment um I was a little bit disappointed by your reply of you don't know what uh what's the agenda for museums since most of the time above all in Italy museums in italian other places museums are the target of uh uh rebel um activist actions so I was really expecting an agenda of points on which museum could sit down with the activists and say we can start from these and we can uh step by step reach uh from the easiest to the most impactful so um I like activism I support what you do not you in person but the the activists uh um activity but then if you rebel you've you've got to have a name and you have to be able to share it with the ones who can cooperate with you because otherwise it's just rebellion and we saw uh the the elder people saw how rebellions sometimes end up in nothing so um I I wish next time you or your colleague can come with the list of actions that we can do together just to be clear you're now talking about the Italian section of extension rebellion I'm talking about now and everywhere I mean if they show up talking they've got to and asking for a collaboration they must tell us on what we can collaborate because otherwise it's very difficult in some sectors I mean in some institutions to find the way to be active with you in your not in your support but in support of the climate yes I would love to to answer you um first of all we're what I said in that it's not up to me to tell you what to do I mean that because I'm not an expert in in how to run a museum or I'm not an expert in in how to keep art or how to to make it make it greener I'm just an educator I I don't know how to I don't know how to do that what I do know is that I am a citizen of this world I'm part of the living world and and I see it go to pieces and the reason that activists target museums isn't because we think that you're not green enough or that you're not transitioning fast enough um or not more or less than any others or most other sectors the reason that activists target museums is because you hold very vulnerable and valuable artifacts that um that have that have value to everybody and we and and it it isn't nice I I realize that it isn't nice to do that um but we do use you as a canvas to to get a platform to speak to the world and um I would really really like to to start talking to you about what we could do together but I don't think it's in in bullet points of how to isolate your museum or how to get the toilets running on rainwater I think it should be about active citizenship it should be about opening the museums to the public it should be about um engaging communities it should be about giving people a voice it should be about reminding people that they're active parts of society and I think museums are perfect places to do that and and I think that's what we as activists miss a lot of the times is the the legitimacy and and the space to to to come together and to to um reach the bigger public so that that's I would really and to all of you please come talk to me if if we can just uh continue this talk over coffee yeah next question from the audience I just have to okay hello I'm from the Royal Institute for Cultural Heritage in Belgium I'm also the leader of the sustainability and climate action working group of Nemo and we will have this afternoon a workshop on how to organize people assembly so I think that we will also talk about this very specific topic what I wanted to ask the panel is it is clear that there are a lot of actions it is clear that there are a lot of things that we should do and that way for some museum or for some personal people we are already implementing but there is also a feeling that we need to know where we are heading for and now we have always kind of defined sustainability by the negative not over consuming and then you have all the films and movie and and literature around the the future that are dystopia so if we continue to do what we are doing right now this is how we will end but in a way if we want to coordinate our actions I really believe and I am not the only one that we need to inspire and to work together to first define a desirable future sustainable future that's my question to you maybe if you can give one point or one idea for this desirable future that you would dream to build now for for us for the earth what what would be this this point I can start with something that came to my mind I think the important thing right now is to change our habits because we are so much in the system that we don't realize but we are also so much about consuming that's why sustainability is also emphasizing to consumeness or responsibly it's always about responsibility and to act responsibly in every sense I think and for us we envision a future where these talks are over and so we already changed our behaviors and where there is the museums are neutral and actually our target is to become all museums for future institutions to become carbon neutral by 2040 so that's our plan and we try to work towards that and but we need to work we need we really need to change if you want to see if you are visioning a future that is positive or constructive I think we need to change we need to be that change to see that change you know so we need to work together and I also would like to extend the invitation to join the museums for future here so that our we make that future together we construct that together yeah um I think it is very important that we create an awareness in the museum field that the collections we're keeping um are just I mean their their their objects that we have only for the future so um it the only it's only useful if there's going to be planets we can live on and a future we can have and in a safe environment otherwise it's no use of keeping all this stuff yeah let's say it like that so that means that all the collections we are keeping are relevant for what we're doing now and what we're doing in the future so and if you look at it like that I think for every museum it doesn't matter if you're a contemporary art museum or you're in a historical building with an interior collection um you have to make it relevant for today and for the future um and I think if you make it relevant you're also relevant to your communities uh to the local communities but also yeah for your country for the stories you want to tell and also to to um and you're also relevant and I'm happy you started with uh with some uh um war uh mentioning the war and I think it's good that you don't mention the war I think it's good you mentioned I think we also have a responsibility in that case uh to for the social um connection within society and we cannot leave the social connection uh peace uh world peace and uh separated that conversation from um planet uh uh environmental health so there are all these big subjects and uh which we can which we have an obligation I think as museums to tell the tell the stories with our communities um to take that so I think that's an important role even more than we're doing now and I think museum at this moment maybe are not always aware of that responsibility because they have been looking at the past maybe a little bit to the present and they have to realize what is their position for the future thanks I have one we are actually about to close this session but I have one final question for for you Rebecca and in a way it reflects also um what I'm confronted with in my um um work in the Jewish museum sector um Rebecca you work with this heavy load with this dark future perspective of the future on a daily basis are you are thinking about it and you're working on it and what does it do to you as a human being emotionally um and how how is uh what kind of support system do you have around you and in particular an extension rebellion how how does one support one another um in dealing with this with these scenarios um working with so I I just have a day job and being with extinction rebellion is in my spare time um so I'm a volunteer uh we are all um but working with this um or or being with this awareness and and reading about this and and seeing it happen before my very eyes feels like walking around with an open wound um I just carry that everywhere um but and I said that in in in the beginning as well it it also fuels me to do take action and I find a lot of comfort and and uh joy in that um and taking action like sitting down in the streets and blocking it and and being dragged away by the police that's that's one form of taking action but there is millions of forms of taking action and of course the being dragged away is is what you see in the media um but extinction rebellion is is about so much more um we work very actively on on resilience and and regenerate regenerativeness if that's the word um so so we we work in cycles and we we very awarelessly no no uh very we're very aware of of we deliberately do that um where we where we start preparing for an action and when I say preparing for an action we also think about preparing meals for the activists we also think about um legal uh support we also think about um how to get there and and um we also think about psychological support afterwards we have body systems where we we pair up more um experienced people with with newer people to help each other and to to support each other and um we do big risk assessments what would happen if we block this road um we try to do everything we do with a lot of care um and then we do the action and then afterwards we have we take a lot of time to kind of rest from that and and be together and talk together and and kind of listen to each other's um experiences and and carry each other in that way and then we take take a step back and we we rest a little bit and we try to nurture ourselves within our own environments and with our own families and work and and the things that matter uh in our personal lives and then we start thinking again about what can we do and we start preparing again so we go in cycles and we we are very careful to to maintain that because otherwise you wouldn't really be able to keep that up um and within those cycles I I find a lot of uh relief from from the pain that I carry um and I'm not saying that that everybody should join I I would want you all to join um but uh and you're very welcome too of course um I understand it's not for everybody and everybody has their own way of taking action um but for me this this is a very uh um safe and uh constructive and loving place to be thank you ladies thank you audience I think it's now also time for us to to have a coffee and to take some distance from all the things that were said today thank you so much


United States. Thank you. Governor, honorable gentlemen here with me on the platform and you ladies and gentlemen, I can't thank you enough for that very warm Hoosier welcome. You know the late Herb Shreiner who was from Fort Wayne said that he was born in Ohio, but he moved to Indiana as soon as he heard about it. Well, with governors like Bob Orr and before him Doc Bowen and senators like Dick Lugar and Dan Quayle, a mayor like Bill Hudnut and a legislature like this one, I have a fondness for Indiana myself. In 1919, William Herschel, a columnist for the Indianapolis News came upon another admirer of this state, an old man who was near Nightstown who was sitting on a log in a warm sunshine fishing in the Big Blue River with a sweep of his arm. The old boy encompassed the whole countryside and he says, ain't God good to Indiana? Well, God certainly has been good to Indiana, but unfortunately over the past few decades, the federal government hasn't been quite so kind. If the federal government had been around when the creator was putting his hand to this state, Indiana wouldn't be here. He'd still be waiting for an environmental impact statement. And it's not an exaggeration anymore to refer to the almighty federal government. In recent years, power and tax dollars flowed to Washington like water down the wall bash, and yet things didn't get better. We didn't move closer to solutions, we moved farther away. Hoosiers like citizens all over this country began to realize that the steady stream of money and authority to Washington had something to do with the fact that things didn't seem to work anymore. And the closer you look, the clearer it becomes. The federal government has taken too much tax money from the people, too much authority from the states, and too much liberty with the Constitution. Over the last year, with the help of the American people, we started correcting these imbalances in our governmental system. We have cut the growth in federal spending nearly in half, brought about the largest tax reduction and the most sweeping change in our tax structure since the beginning of the century. And with farmers and family businesses in mind, we raised the estate tax exemption and eliminated the estate tax for the surviving spouse so that survivors don't have to sell the family farm or the family business in order to pay the tax when death comes. We cut the increase in new federal regulations nearly in half, and we undertook policies that strengthened state and local authority rather than eroded. As Indiana's December unemployment rate of 11.9% indicates, much remains to be done. We know it, and we take our commitment to the people seriously. We have in place an economic program that is based on sound economic theory, not political expediency. We will not play hopscotch economics jumping here and jumping there as the daily situation changes. We have faith in our program and we're sticking with it.  We have a solid plan already in place. What do they have? Either they give the American people a better alternative or they join with us in our efforts to get the economy right. The 1983 budget, which we recently released, is one of the new wave budgets that we'll be rolling in for the rest of the decade. These budgets will require constant and comprehensive pressure so that we can reduce the future growth of government spending and the government share of the gross national product. I hope the Congress will accept the future. I hope the Congress will approach the new budget proposals with the same cooperative spirit and goodwill as it did our proposals a year ago. The defense budget over the next several years will be especially important. Studies indicate that our relative military imbalance with the Soviet Union will be, believe it or not, at its worst by the mid-80s. As President, I can't close my eyes, cross my fingers and simply hope that the Soviets will behave themselves. Today, a major conflict involving the United States could occur without adequate time to upgrade U.S. force readiness. It's morally important that we take steps to protect America's safety and preserve the peace. In the months ahead, as we pursue a strengthened economy and a strengthened defense, we will also be working toward a revived federalism. During the campaign, I said we would cut taxes and we have. I said we would reduce regulation and we have 23,000 fewer pages in the Federal Register than there were a year ago, and that's the thing that lists all the regulations. And I've said that we must return more power to the states, and we will. Now, there are those who for their own narrow political purposes say our federalism plan is a mere diversion from our economic problems, or that federalism is simply a means to cut the budget further. Well, don't you believe it? Our federalism plan stands on its own merits. A key to a freer, better America, federalism is too important an issue to be treated as a distraction. And the American people deserve a full and public debate of the proposal's merits. In the State of the Union speech, I sketched the framework of our federalism concept. We hope to send enabling legislation to the Hill by early spring. But we're not doing that until we've had extensive consultation with the nation's governors, legislators, and city and county officials. We genuinely want your advice and counsel, and that's why I'm here today. We seek your help in developing a program that will bolster what Governor Orr said in his State of the State address. Hoosiers have the ability to solve Hoosier problems. Without your participation in the plan's development, it would simply be another program imposed by Washington. We want this new partnership to work. There's a story about the two partners who decided to take a day off and go fishing. They rode out to the middle of the lake, baited their hooks, and were waiting for the first bite when all of a sudden one of them said, Sam, oh my gosh, we forgot to close the safe. So what said Sam? We're both here, aren't we? Well, for too long, that's the kind of partnership the states and the federal government have had. Neither really trusted the other, but it's Washington that's been dipping into the cash drawer when the states weren't looking. America's needs today are too great for one partner to solve alone. As I pointed out in the State of the Union address, in 1960, the federal government had 132 categorical grants costing $7 billion. When I took office, there were approximately 500 such grants costing nearly $100 billion. 13 programs for energy conservation, 36 for pollution control, 66 for social services, 90 for education, and in the Congress it takes at least 166 committees just to try and keep track of them. They try to keep track of them, but federal grants are like rabbits. They multiply like crazy, and when they're out, you can't catch them. The Congress spends most of its time on the budget these programs represent. Governor Babbitt of Arizona said that the Congress should worry about arms control, not potholes. And if Congress did that, he has said we would have both a better chance of survival and better streets. I've got a pause right here and interject something about that. I'm delighted in telling about the town that was decided in the interest of safety. They were going to raise all their street signs and everything that were only 5 feet high to 7 feet high. And the federal government came along and said we've got a program that will do that for you. It was quite an undertaking. It changed the height of all these. The federal government's idea was they'd lower the streets 2 feet. But according to an independent governmental commission, intergovernmental commission, the growth of such programs has made the federal government more pervasive, more intrusive, more unmanageable, more costly, and above all, more unaccountable. Polls show that the majority of Americans feel the state government can handle local problems better than the federal government. Absolutely no one, except the special interest groups and those who do their bidding, believes that we can continue as we have. In many respects, the federal government is still operating on the outdated, and if I may say so, arrogant assumption that the states can't manage their own affairs. At one time, possibly yes, certain states did ignore a portion of their citizenry. And when the Great Depression hit, the states weren't prepared to handle that kind of an emergency. But that was 50 years ago. There have been great changes in our land. As Governor Thompson of Illinois speaking for most state and local officials has said, it's time to give us our money back. It's time to give us our power and authority back. And it's time to let the governors and mayors of this nation respond to the needs of the people in their states. And to that I say, amen. It's high time the issue were debated. And our federalism initiative is designed to focus that debate. The plan, as you know, has two major components. Starting in fiscal 1984, the federal government will assume full responsibility for the rapidly growing Medicaid program in exchange for the states picking up aid to families with dependent children and food stamps. Now by assuming the whole governmental cost of health and virtually the entire financial responsibility for the elderly population, the federal government will be taking on the most rapidly growing social domestic needs. The states will be picking up the areas where growth is much less rapid. Under current law, the total funding for AFDC and food stamps is projected to increase only 10% by 1987 compared with a projected 83% increase in the total cost of Medicaid for the same period. The other aspect of the plan is a turn back of responsibilities to the states for over 40 federal programs in education, community development, transportation and social services along with the resources to pay for them. In 1984, the federal government will apply the full proceeds from certain excise taxes to a grassroots trust fund that will belong in fair shares to the 50 states. By 1988, the states will be in complete control of these grant programs. Now we have not filled in the details of the federalism program because we want your assistance. We want the plan to be fair and equitable. And I'll give you a flat and binding pledge. There will be no net winners or losers. This will not be a role of the dice. The state will not end up like the horse player who says, I hope to break even, I need the money. You'll break even and there will be no gamble. There are other guarantees as well, like the mandatory pass-through to the local governments of some funds, such as for mass transit assistance, community development. We will ensure civil rights projections and adequate welfare and the transition period will allow plenty of time for discussion and fine-tuning of the program. The concept of federalism is like the green and gold quilt of Indiana crops. There is protection in variety. Well, there's protection in the quilt of the 50 states as well. What the current issue comes down to is whether or not we trust the people and those closest to them to make governmental decisions, to make government itself work. I trust those James Whitcomb Riley, the Hoosier poet, who called them the good old-fashioned people, the hail hard-working people. And I believe that the decisions that come from this statehouse are as solid as the limestone it's built of. Statehouses all over the country must regain the authority to make decisions about those things that affect them most closely. In 1947, the General Assembly of Indiana adopted a resolution serving notice on the Congress of the United States that the people of Indiana are fed up with subsidies, doles, and paternalism, benevolently described as federal grants in aid. In 1951, the Congress still hadn't taken Indiana's good advice, so the assembly, under the regulation of one government department, those plastic bags in the waste baskets to protect the employees from contamination in handling the waste. But in came another federal department, took one look and said, someone might throw a cigarette butt in there and the fumes of the burning plastic would be injurious to the patients. Take them out. Well, they never did get together as to which one was right, so the only thing the hospital can do now is kind of keep an eye on the front door to see whose inspector is coming. Take them out, put them in. The federal government has, at great cost, been attempting to perform tasks that are not its proper function. So we're restoring the 10th Amendment to the Constitution, which says the federal government will do only those things called for in the Constitution and all others shall remain with the states or the people. The great American experiment will soon enter a new phase that will last until the end of this century and prepare us for the next. And you here are the ones who will carry this experiment forward. You are the public servants who offer the most creative solutions and most promising hopes for our nation's future. America needs your vitality and her people need your responsiveness. Let us join together to restore federalism, to restore the nation's vigor, and to restore the faith of our people in their government at every level. Thank you very much.


Hello and welcome to the session. Let us solve the following question which says, find the equation of a line that cuts off equal intercepts on the coordinate axis and passes through the point 2, 3. Let us learn the intercept form of a line. This one is y. Suppose a line L makes x intercept a, y intercept b on the axis, obviously L meets x axis at a point a0 at a point 0p. Now the equation of this line is given by x upon a plus y upon b is equal to 1. So, with the help of this idea, we are going to solve the above problem. So, this is our key idea. Let us now start with the solution. An equation of a line an intercept form is x upon a plus y upon b is equal to 1 and here we are given that the line cuts off equal intercept on the coordinate axis. So, this implies here a is equal to b. So, we are given a is equal to b. Therefore, equation of a line an coordinate less x upon a plus y upon a is equal to 1 or x plus y is equal to a. Now we are given that the line passes through the point 2, 3. Therefore, this point must satisfy the equation of a line that is we are given that line passes through 2, 3. So, this implies it must satisfy the equation of the line. So, we have 2 plus 3 is equal to a. So, this implies a is equal to 5 and therefore, equation of the line which cuts off equal intercept and passes through the point 2, 3 is given by x plus y is equal to 5 or x plus y is equal to minus 5 is equal to 0 and that is our answer is equation of line is x plus y is equal to 5. So, this completes the solution. Hope you have understood it. Take care and have a good day.


Alright listen if we can go the rest of this fight without Hisuka moaning one single time I'll consider that a W. Like what I can get these days. Ladies and gentlemen welcome back to the channel My name is Jack the Buster, I'm Shinobi. Today we have a 36 of our Hunter Hunter Watcher called a big debt and a small kick Very specific. On the last last episode we started the fight between going to Hisuka and it's actually turning relatively well And goings favor.  If you're new to the channel drop a sub, hit that big blue bell So you don't miss any future episodes.  You have to be good Okay, but he's still got points for that punch. It wasn't a kid. I'm sorry. I said it was a kick in the edge where it was a pun Yeah, the fact that he was actually able to get a hit and awarded him two points for his determination and persistence Oh and adaptation Yeah, who is this person? Obviously they're kind of important. They have like detailed features and whatnot He's actually walking He thinks he's got a fight against like he's actually got a fight going now. He knows he does they're meeting in the middle, bro He's gonna match his energy. Oh Let's like that.   Yeah Yeah, I mean you're not one to trust bud Oh, here we go. He's getting serious His aura I don't think he will but it's gonna be a hard fight, bro. The way he said go and he means business God thank you so fast man. He literally ran while going was still in the oh I don't think our boy stands a chance.  Don't take your eyes off of him He's so fat. He's hovering behind him. That's terrifying going you're gonna have to use something man I'm not gonna deal just run away and get in another random punch Gotta get you got a tap If he was fast before it's probably doubled at this point he was holding back so much Don't is losing vision, bro. This is terrible That's so that's three to two. Okay. Yeah No, what is he doing? Analyzing kind of looks like the walkie-la-la does with the What's it called? I just sort of after images What does that mean I don't like this do you like attach one of those strings to him Which was go oh see where the strings are. Yes, he does have one on him.  He's gonna pull him right into a punch, man. I can't watch. No, please be gentle Oh elastic love Bungee gum Wait, wasn't an earlier. Oh, he used it whenever he fought. What's his name? I Don't like that. I just don't like that. Oh It's over. I think it's over Go on got two points, bro Was a bungee gum the thing you guys memed on in the comments We're just like it has the properties of like gum and rubber or something like that. Everybody was commenting that why It looks like it's about over So if he's not even able to detach it, he's already lost. Yeah, he's the guy has full control over this fight. Oh People are actually cheering for gone But he has to fight with that on him. Oh No, he is he is running on empty. Oh, this should be good Okay, I like this Feel like it was like a long time ago clean hit elbow clean hit board Critical strike. I don't know. I feel like it's a trick question. Everything his ticket says is a trick This is what I'm saying, man Oh Very smart had him distracted. I said it was a trick question. Oh when he pointed He would have seen it coming Warning This is exactly what going just thought What did he do then like how could he have avoided those Boku Okay So he's like wasting energy to an extent Yeah, cuz you're in battle.   It's just so much power with such elegance This aura. It's the sinister. Oh shoot. It was the cap nine to four. Is it ten? He said no, sorry kid. I agree. He did get right back up Hey, maybe he actually is like ranked or something. I get deeper than that. It's all corrupt He literally has to dodge everything and with the bungee gun on him, too Huh, oh my that's open shot, baby. That's it. It's over Oh, no, don't disrespect him, man That's it.  He's walking away That's it. He has made insane progress Like just like fighting mastery in general and more fights, huh? Is that exact like My 10 here Okay, dude, oh man, it's just setting it up She she's saying the next fight one of them is gonna die because he knows if going keeps progressing this way He's gonna get absurdly strong. What a fight though. My goodness by far my favorite of the series thus far Metaphorically and physically far away, but not out of reach I mean, he's just at the beginning of men. He's just gotten like the basics down like he said So his ago moves up Wait, do we get to see him fight a foremaster? Do gong can take anyone on now that he's my hisika. Hi Coco. Thank you. Oh shoot This is getting deeper with the whole ref thing He stops it Okay, yeah, she's thought gong was in danger I guess that's true And they also know hisika likes to play with his opponents, so I mean obviously wouldn't be 10. Oh, I didn't even anyways True he learned more only someone in that fight could have learned from it Oh Not gonna share he's still got that positivity. I love it Like this is kind of like like wings signing off like he's taught them all he can Yeah, it's kind of like including that It's up to them to this to find the wrong path Dude, I hope she comes back man My wings on by sushi.  He's obviously talented and he was chosen for this Fighting and all that wait what he's going home Wait, I thought they were gonna stay at the arena This is it Yes That's so cute the duo off on an adventure That's it for heaven's arena. We never got to see the tip of the top, but that's okay. They're not ready for it Incredible progress This outro just gets you so hyped every time what a conclusion to the fight indeed about the way I expected it to go But obviously some twists and turns here and there said that this is like the moaning and everything. It's weird man I don't know how else to describe it I'm really glad it kind of wrapped this whole thing up because it did feel like we had been at heaven's arena for a little bit And not that it overstated its welcome or anything, but I want to see them explore in what not experience this world Especially since we haven't even checked in on Karapika since he started his training and Lerorio since he's studying But I guess I mean there's not much going on. He's just studying but nonetheless I guess we're gonna build at this point towards going in Kilauea going back to go into whale island And then I feel I really forgot the date but the date that this whole auction thing is gonna go down where we're gonna see maybe like Hisoka and the phantom troop and even the leader. I'm not really sure But I feel like it's all gonna build to that because it's been in for episode 36 for hunter hunter watch you drop a comment down below Let me know what you thought of the fight in general definitely exceeded expectations for me And there's always a hope you have a water for us today as per usual. I'll catch you in the next one Hey space


Dawn of the Dead, which is like top quality.  Hello and welcome to another episode of Frightfully Forgotten Horror Movies, but before we get started, what are we drinking? Today we're drinking Crystal Lake Colch. Nice. Today we're gonna bring to you a confusing history and downfall of the zombie movies. All of the zombie sequels after Dawn of the Dead, or what they call zombie in Italy. And that's where the confusion right from the start. So Dawn of the Dead was Dawn of the Dead everywhere else basically, except for in Italy it was called zombie. There was many cuts of Dawn of the Dead too, which adds to the confusion, right? There's the theatrical cut, Giorgio Romero's cut, which was 127 minutes. There was an extended cut, which is 139 minutes. And then there was the Dario Argento cut, which was cut down to 119 minutes, which was like the European cut. In Italy it was called zombie. Dawn of the Dead by Giorgio Romero is a masterpiece. Gotta put that in there. The best zombie movies of all time. So of course they have to kind of jump on that bandwagon and try to bank off the name a bit. Zombie was actually zombie 2 in Italy because they jumped on the back of it and made it a sequel. By name only. Yeah, by name only. It was just zombie in North America and in the UK it was zombie flesh eaters. It also gets back to the origins of the zombie, right, with voodoo and mysticism and stuff like that. And this movie is also a masterpiece on its own. Yeah. Even though it is not a legit sequel, it's a standalone movie. It's a great movie. It's probably again one of the more beloved of the zombie genre films. It would be this movie. It's shot magnificently. The cinematography is fantastic. The zombies look great. Yeah, it's nice and gory. It's got the eye scene, right? The famous eye scene. Got a great score.  Then we get to the sequel zombie 3. And this one was actually directed by Lucio Fulci. Sort of. So this one starts off with scientists in this lab and they're working on this compound called death one. This compound gets out. It gets out into the general public and starts to infect people and turn them into zombies. A clash between the scientists and the military on how to contain this. Start to cremate a lot of the bodies and then the ashes get thrown into the air. Yeah.  Neat idea but not a wholly original. Run into various groups of people who run into these zombies, these infected people and they have to survive. That's basically it. Pretty powerful course. Yeah. Zombie 3 was made like 10 years later after zombie 2 or zombie or zombie flesh eaters. First thing you'll notice is the massive decline in quality between zombie, zombie 2 and zombie 3. Yeah.  What happened? Just that opening shot in that lab. It's like what? Is this filming someone's basement? Yeah. It feels like an are you afraid of the dark episode or something? It looks like they're using like food heat lamps as lighting sources. I know it's like Fulgee Man what did you do?  Yeah. Like the budget in this movie is so low. It was filmed I think in the Philippines. And it shows. To save money and it's like oh man production quality is so bad. Yeah. The dubbing is horrible. I've got a better idea. Yeah. Of course. We must stop this. We are already working on studying an antidote for what in my belief. It's like yeah let's get going here.  Like is a virus? We're looking for an element which will enable us to stop this virus from reproducing. Fine. But actually when you watch that guy's lips he's actually talking like that so the dubbing has to follow that. He's trying to imagine it. Besides this death one getting out into public this movie is kind of void of plot. Yeah. Like that's it. Like it gets out and it just cuts to random people trying to survive. And then it cuts back to the military arguing with the scientists. Yeah. And that's the whole movie. There's no characters that you get introduced to that you like. You don't even really know who the main characters are. Because there aren't any really assistant. No. Just these random people you get into as military guys show up. Zombies kind of coming out of nowhere. Coming from the ceiling. Coming from walls. They're coming from everywhere. Zombies in this movie come out of the stupidest places. It's like at the end out of that hay bale. The guy's trying to like get onto the helicopter and they come out of the hay bale. Like they're just waiting in the hay bale. Like sleeping I don't know. Like when they're in that house there's that one scene where they go to the fridge. They open that fridge up and there's that zombie head. Why there's a zombie head in the fridge. I don't know. But it all comes flying out at them like. How. And why. Yeah. This is movie.  Like every scene seems like it's from a different movie. There's no like cohesion. Yeah. There's no continuity. Yeah. And I think a lot of that has to do because the fact that the full cheap buggered off. He didn't actually finish the movie. Like took off.  So it all set to come on board to finish it in it. You can tell that is there's no direction because there was no real director. Yeah. Yeah. Exactly. About halfway through the movie it instantly gets better actually. And I think maybe that's where whoever was else was brought on kind of took the production by the balls. The makeup for the zombies gets better. The lighting. The camera work. Yeah. If full cheap was directing the first half.  Or maybe he directed the last half. Or maybe he did the last. Yeah. Yeah.  It's like I've tried watching this movie about two three times before I was actually able to finish it. And the only reason I finished it because I knew we were doing this episode. Yeah.    But I had a good time anyways knowing what it was. You have to know that it's going to be garbage going in. Yeah. See I had a hard time enjoying it. It has its moments like with the head coming out of the fridge and a couple of zombie attacks are pretty good.  That DJ guy they always show for no reason. Yeah. Talking on the radio. And at the end he's all his zombie but he's still doing his radio show as a zombie. They don't do that.  That's funny because like one thing you'll notice from all these zombie sequels is there are no rules. Anything goes. Yeah. That's right. Anything goes in all these sequels. Zombie 4 goes back to its voodoo roots. So it's almost seems more like a sequel to zombie flesh eaters or zombie or zombie 2. Yeah.  The scientists are on the island to do research on cancer and during this research they're trying to cure the voodoo guy's daughter and she died. And the voodoo guy blames the scientists or he puts like a curse on the whole island. Yeah.  Yeah. It starts killing her.     Throwing that bolt. Yeah. They go that drop handle mustache. And they kind of find their way to this island. One of the girls happens to be the girl who escaped the island when she was a little girl. Right. Her memory is coming back about all this stuff right. In the meantime there's another group of people who are like researchers going to the island to find out what happened to this other research team and they stumble upon the zombies. Yeah. And they kind of have to join forces to fight off the zombies on this island. The first thing that you'll notice about this movie rather than its counterpart number three is the wicked opening 80s theme right away that you're introduced to.      Already this movie is a big improvement on zombie 3. And the plot and sort of the backstory of this movie makes sense, right? Like, so you've got this voodoo priest, everything he does and everything that the inhabitants of this island do, all make sense. And then the fact that they're on an island, so these zombies and all that that are coming out of the gates of hell... They're kind of contained on the island, right? Exactly. So there's no... there's nothing that's spreading throughout the whole world.  It all helps to make sense and also feel more like actual, legit sequel to zombie 2. Right. Is it as good as zombie 2 and dawn of the dead?  It is not a good movie on paper. If you look at like, you know, what makes a film good, this fails big time.  This movie is tons of fun. Definitely. The effects are good. It's funny. It's like legitimately funny. There's funny lines in the movie. The characters are funny. That bearded guy is so toothless and he's funny. It's legit funny. The lighting and the atmosphere is really good in this too. Like you can tell there's heart and soul put into this shitty movie. Definitely. Which makes you kind of like root for it. Even though this is filmed in Asia again. I think in the Philippines again. In the Philippines again. You don't really feel it besides like the jungle. You don't really feel it like you do in the third one. And the zombie extras and stuff look so much better. You can't see like the real faces and that they're all shitty. Yeah. Like in zombie 3 those extras are just like, just like bums. He's got these bums to like put rags on. I mean why all the zombies in zombie 3 are dressed like in rags. Like there's no normal everyday person zombie in zombie 3. They're all like these bums in pajamas. Yeah. So like they didn't have any money. Like nothing. Like come on. Like at least in zombie 4 it's on a voodoo island. So the fact that the zombies all look like they're in these rags. It makes more sense right as opposed to zombie 3. Zombie 4 great improvement. It's a lot of fun. If like if you want a fun schlocky so bad it's good movie. This is one of my favorites actually. Yeah. Definitely. It's a lot of fun. That brings us to zombie 5 killing birds. Oh man. This movie is only called zombie 5 just for the DVD release. They just plastered the zombie 5 title on and that was it. It was originally just called killing birds. Why out of all the movies to slap zombie 5 on why a movie about killing birds? I'm sure there's another shitty Italian zombie movie that could have put zombie 5 on. Yeah. So this movie starts off with like this vietnam vet and he finally comes home and he sees his wife in bed with another man. So he pulls out his naive all slow and everything and he kills the man. Then he kills her. So he's bird? Yeah. There's only birds and whatnot and he's like he starts getting attacked and everything by all the birds and they peck his eyes out. 20 years later you get introduced to all these college kids that are like researching birds. This famous bird researcher that they go visit to get some information from about these birds played by famous actor Robert Vaughn and you kind of assume that he's the guy from the beginning because he's blind he's wearing these glasses right. Let's them use his old house as a base to do their research and this old house is the house where those murders took place in the beginning of the movie. So they're setting up and doing this bird research hanging out in the house walking around and running into these ghosts and being taken back in time. Yeah. And then they run into some zombies in the basement.  It's kind of like listening to birds in his house and like reading braille. Reading all that braille.