Hey, what's up folks and welcome back to another layer by layer in today's tutorial We're gonna take a look at this week's project and pull out some tips on how we design the case So this is a little smart mirror that uses the pipe portal And one of the things I wanted to show is how you can optimize parts when you're doing a similar type of thing So in this case, I have a little stand And I'm attaching that with some screws and a lock nut to the main enclosure where the pipe portal is So if I head over to the back and remove the back cover, you can kind of see where I'm looking at here So I got a little hexagonal kind of holder for this lock nut with a nylon insert And what's really cool about this sort of design technique is that it holds the Lock nut in place so you don't have to hold it when you're attaching and inserting the screw So the screw goes in this end and and it comes out this end and if I didn't have this geometry here I would have to use something like needle-nose pliers to hold the hex nut in place While fastening the screw on the other side So what's pretty cool about this is that it prints without any support material because we have a drafted angle here at the Bottom and we have enough clearance just enough clearance for the screw to not hit the actual PCB here So you have a little bit of clearance there, but it's really cool because you can just press fit this This lock nut this m3 Lock nut into the holder that's built into the enclosure and then when you attach The stand to the enclosure you just fasten You just fashion the screw in and just kind of hold this in there And if it has a tight fitting then you don't even have to hold it It'll the thing will just hold it for you So that's kind of a neat design approach for making really anything that attaches To something else and needs a hex nut and it worked out pretty well for this for this project So let me create a new tab and kind of show off how how we can make something like that I'll start off with kind of drawing a little box And then we'll make a wall. So I'll just do something like 50 by 50 And then I'll extrude this out Let's say one and a half millimeters and then I want to kind of create A box so instead of doing one and a half millimeters Let's make this the whole extent of the box. Let's say it's uh, let's go with 12 hit. Okay I'll select the top here and then just do a shell And I'll make that shell one and a half millimeters. So I got my box now And I'm going to go ahead and start drawing out You know the hex nut holder So you want to Depending on your case you want to figure out which side you want it. What did you want it on? So I'm just going to do it on this side here So I'll just kind of create a new sketch and select where I want it to be And just to get some uh, some geometry here I'll select the surface again and project in that surface And then here you can see it's a projection linked So that means if I ever change the dimensions of this shape, uh, this Lines this projected surface will update with it. So now, uh, you can kind of Either freehand where like the position of where you want your your hex nut to be or it could be very precise Um, and I'll I'll I'll kind of do it freehand And then I'll lock it down with some dimensions. So let's go ahead and make our circle Um, you can use this the command C anywhere here will work just fine I'm gonna try to keep it in the middle here. Let's make it three and a half millimeters So that the m3 screw can just pass through it And that's kind of what I want and then next I'll create a A polygon using the subscribe circumscribed polygon. That's kind of the one I like to use And I'll start uh, I'll I'll click in the center Of our circle that we just created that way it'll be um It'll be a kind of lock to it. So at this point, um, you can see like as I drag it out I can I can see that the the dimensions are changing And in this case, I'm going to make it three millimeters And then hit okay So the dimension here is just half of the full length. So from this line to this line is actually six millimeters Um, but here you can see it's only three. So what we can do is you can either delete that And then you can add a new Uh sketch dimension by selecting and holding down shift and selecting both of those Those lines and then I'll add a dimension by hitting, uh, the hot key d And then there you can see I'm starting to create that so if I ever wanted to change it Let's say I want 5.6 for example. I can do that Now you'll see that as I move the circle now the circumscribe polygon is going with me But there's some weirdness going on. So what I want to do is I want to lock this one of these I want to apply a horizontal, uh, or vertical constraint to one of these lines and You want to think about your printing orientation. So in this case, uh, this will be the bottom And I kind of don't want a flat surface So like if if I was printing this out your printer could do it But I think it'd be better if you had a point going straight up that way that this These two lines kind of face up as a port as a as a as opposed to, you know, having a flat surface and 90 degree overhang So let's pick this line here to be horizontally or vertically constrained So I'll just pick that and now it is Always going to be vertically constrained. So I can just about free move this wherever I want And uh, you can see here That this 5.6 is going to be pretty much wherever I go So if I select these two just to confirm. Yeah, it's 5.6 So even though it looks like this is out of the place, uh, it is not But we could always delete it too, you know, and then add a new one Just to kind of get some sanity here. So this is 5.6 All right, that looks good. Now it's it can move it wherever we want Um, so that depends on where you want it. So let's say I wanted it to be in the center of this whole thing I could use the line tool and then one of these edges here I can just roll over until I get that triangle that triangle. Let's me. It's the mid Point constraint. So I'll click that and then I'll follow through the other side and do the same thing Right where I see that triangle. I know that it's locking to the middle of that line. So whenever I change Let's say that the the the height of this case This will this line will always be in the center now that I have it selected. Let's go ahead and make it a construction line by hitting the either hitting the the hot key x on my keyboard Or using this This button here that's it's very hard to see for some reason So I'm going to hit the x key and you'll see it makes it a dotted line that way It's just you it's just being used as a reference Uh line and not something that will cut through our profile Now what I can do is I can grab this line here And with it selected I'll hold down shift and select that dotted line. I'll bring up my sketch Shortcuts window with the s key and then I'll make it midpoint and watch what happens and click that midpoint It'll bring it right in the middle. So it is in the absolute middle of this line And then this line is in the middle of this line. So everything's kind of in the middle So if you wanted your Attachment bit to be in the exact center of this of this surface here Then this is how you would do it. So let's hit finish sketch And then let's start making some extrusions. So I'll select my circle I'll want it to go this way out So instead of adding a dimension, let's go ahead and do some uh Some smarts here where I say the extent type Let's make it to object and I'll select this surface So it goes from that profile to that surface And if the thickness ever changes that'll change as well because it's always going to this surface. So hit okay And the next step will do another extrusion But I've just noticed that I need to do a little bit of work to my thing here If I were to extrude this then where would the hex nut be right? So I actually need to make an offset to this uh to this, uh This thing so I'll go back into my sketch by double clicking it And it's really easy to do an offset of a thing Because this shape is like a chain a loopable chain I could just hit the hot key o o is for offset and you can see I need to select it So if your chain selection is checked on Then that means you can select just this whole shape here and you can see it's already doing A nice offset for me. So uh what you want to do is probably use the same number That we use for the shell when we shelled this out that was one and a half millimeters and I'll hit okay All right, so now I can start extruding so I'll just hit the e key on my keyboard And then how much we want to make this it depends on how thick Or how deep you want your hex nut to be I'm going to go with uh two millimeters is fine for this one And that's kind of it for that. So I've extruded it out But now what I want to do is I want to Optimize these edges here some of these surfaces because right now The printer is going to struggle on printing this out because it is it is it is an overhang even though it's got um Some sort of uh It's still going to struggle a little bit. So what we can do is we can use the draft edges Uh feature to draft those edges. So uh in my shortcuts window, I'll just type in draft I'll select that And what you want to do is for the pull direction want to select the surface That you are going to pull It's always a little bit backwards. So I'm going to hit select the face that I want to be um Drafted and it's going to be these two bottom ones. It's a little hard to kind of see it Um, so we could do a cross section And I recommend doing that because it's really hard to see so let's do a cross section So under inspect I'll click on that And then I'll select one of these surfaces here And then I'll use the uh the arrow to kind of pull so I can get in there Um, I kind of will change the orientation of it so that I can kind of Do one of these views where I can see kind of half of it. I think that'll work better I think that will be okay. So let's hit okay And that gives us a little bit better view. So back to the design shortcuts window. We'll select draft Click on that faces and we'll select this face here Rotate around and I think I could just about get under here And then hold down the command on mac or probably control on pc to do is it's kind of a Multi selection of those two surfaces. So we got our face to select and now we need to pull that direction And the surface to do that is actually this front facing surface here So I'll click on that and now I have a little handle as to which I can start pulling this So let's make it 45 degrees and you can see here as I'm doing that It's kind of Eating into or merging into the bottom floor plane there and you can see I'm getting a little bit of extra geometry there So you want to be aware of that But I'll hit okay And that tend to have kind of went away automatically, which is Which is nice for us and now we don't have to delete those But that's a good way to kind of see that When you have some overhang you can use that draft edges Feature to optimize the jump for printing better Yeah, and then because of the way this is printing out We don't have to draft these edges here. These edges can be flat But that's kind of what you want to do now. The next thing I'll do is maybe play around a little bit with like the height Let's say I want to go 16 millimeters if I update that feature Fusion will calculate all that again and you'll see that our Our our mounting hole is actually Exactly in the middle because we have that midpoint constraint And that means if we were to extend The dimension of the case itself, let's say we made it longer. Let's make that 100 millimeters You can see it'll always be in the center and that is sort of the power of combining The midpoint constraint with A coincident constraint, let's say for this case So that's cool From here, we can do like we can mirror it if we want If you wanted to find the center of this Of this case here, you can do that very easily with a construction plane the mid plane right here It lets you select one surface Another surface and then it'll find and calculate the middle of those two surfaces now. We can use this This construction plane as a as a reference point to create our mirror So let me go ahead and type in mirror. I want to do the type as a feature. I want This extrusion this extrusion I got a hold down command or something These there we go I deselected the one of them and I can select those three items In my timeline, you can see a little preview of it. It looks green And then my mirror plane is already selected. I'll hit okay And it gave me a little error there Let's read the error. It says compute failed. No target body It looked fine to me fusion will sometimes do that Yeah, it doesn't like it for some reason. Let me see if it It's there though. It's happening. I don't know why fusion is freaking out Um, but it looks fine to me. Oh, it didn't do the uh the extrusion because The extrusion over here was set to um You know to to be uh the extent type set to object So in that case, let's go back into the mirror and instead of Futures, let's try faces And then I'll uh deselect that and then select these three things um Let me just select them manually these surfaces then it shouldn't be that difficult But sometimes it is All right, that looks like the the hole is going to be a part of it. Let's hit okay Still didn't do it.  So let me uh go back into that extrusion that made the hole And then instead of extent type two object, we're trying to be fancy and parametric Let's just put distance Leave it at negative 1.5 because that is the right number we want And then when we mirror it, let's go back to features And then I'll select those uh those features here the extrude the extrude And the draft let's see if that works And that worked Yeah, you just have to understand like what is actually going on when you're mirroring if you have those sort of Uh special things like two objects. It will just not do it Um, but you know, you could be smart and then say you could use um Instead of using a hard-coded Number here, we could have created a user parameter and said thickness And then that way when we created our shell, we could have made this hard-coded value into a user parameter And that way we could retain that parametric ability But you can always go back in to change it But that's a quick look at how you can make some optimized geometry for attaching one thing to another thing And a little bit of work on troubleshooting mirrors infusion And uh, just a good lesson in using the circumscribe Uh tool and the draft edges tool. So check out the project here I got a couple things here that are they're pretty interesting. You could check out This 3d model of the pi portal is available to download as well. It's got all the onboard components Uh, I'll give a little promotion to the learn guide as well If you want to pick up the pi portal, they are in stock and you can create this smart mirror project Connects over wi-fi And this pi portal is fully featured if you ever want to do anything with the display and iot projects This is definitely the way to go And then the cad parts are over here on our get hub repo at get hub.com slash adafruit slash Adafruit underscore cad parts Check this out if you have a parts request you can always add them to the issues tab And I'll post up when I get through them But uh, the way it works is you just search for the pid In this case, I could just type in pi portal and you can see all the pi portals that are here Because you got the titano the pint and the regular classic pi portal You can download in a step file fusion 360 file and an stl. So check this out That's going to do it for this tutorial. Let me know what you thought of it in the comments below I'll see you next time. But until then remember to Make a great day. Bye folks


And my last word for this fascinating day is that if we bring the subject of global health in the WPC, it is precisely because the usual customers, you can say, so participants, members of the WPC are people who have an interest in global governance issues in general, in general, from the global viewpoint. There is a wonderful, very rich community of experts on global health or on healthcare problems, but most of them have a very limited understanding of familiarity with political issues and international politics in general. So what we are aiming at with the WPC health and the WPC in general is to try to bring the two together so that some useful insights could be developed thanks to this complementarity and transdisciplinarity. We should always have a case with complexity. So I propose to conclude with these words and we will be in touch with all the speakers of today's conference. We will be in touch very soon. The whole debates of this day will be on light on the website of the WPC tomorrow. That should be put on the website tomorrow. And as you know, there will be a book printed as soon as possible for the next few weeks with your contributions or written contribution and some summary of the debates. That book will be widely distributed before the next plenary of the World Policy Conference which is scheduled at the end of February. So thank you very much all the speakers, all the contributors. My personal feeling is that for this first edition of the WPC health was a success thanks to you. And there is a lot of food for thought and many issues I think which have been identified and that we will try to deepen in the next meeting. So thank you everybody. And I look forward to seeing you sooner.


Hi, I'm Zor. Welcome to a new Zor education. We are talking about gravitation and we have actually considered a couple of simple cases. We are considering the point mass field of gravitation and also we have considered a case when you have two point masses and we were talking about gravitational potential of the field created by these two masses and we have proven that the gravitational potential is additive function, which means that the gravitational potential of two masses at any point in the space around them is exactly the same as the sum of two potentials with which each of them, each of these two point masses, creates in its own field. So the fields are superpositioning each other. They're adding the potential, the gravitational potential is additive function. So to calculate what's the gravitational potential at any point, if you have more than one source of gravity, you can calculate what's the gravitational potential of each and it's a scalar. It's not a vector, potential is a scalar. So each of objects which are the source of gravity and then add these potentials together. Now today I would like to consider, instead of point masses, I would consider a little bit more complicated object, a thin rod which has mass distributed along its length. And I would like to basically calculate what is the potential, gravitational potential at any point around this rod. Okay, so that's the plan for today. Now this lecture is part of the physics 14's course which is presented on unidisor.com. I do recommend you to watch this lecture from the website because it contains detailed notes. Plus it's a course which means every lecture has its predecessors which you should really know before you approach anything else. So if you just found this lecture somewhere on YouTube by itself, just keep in mind that this is part of the course. Plus there is a prerequisite course on the same website unidisor.com. It's called mass for teens. And mass is definitely needed. Now today, in whatever I'm going to discuss today, the calculus is a must because we're talking about integration obviously. So if you have certain hesitations about using integrals, then please refresh this from the mass and then go to this particular lecture. Okay, so you would like to know what is the gravitational potential of the rod. So we have a rod which has mass linearly distributed, uniformly distributed along its length. And it's a very thin, well, mathematically speaking, this is the infinitely thin rod. Right? And as much as mathematically speaking, point mass is actually a point that has zero dimension. Now in this particular case, it's a one-dimensional object with a mass distributed along its length. And I would like to know what is the gravitational potential at any point in space around it. Okay, now, first of all, it's obvious that if I will have a plane which contains this line and this point, and line and point outside of this line, do determine a plane. And I will consider only this plane. I will have only two-dimensional task instead of three-dimensional. So when I was talking about space, the whole thing is just to put the proper coordinates. So we'll consider this particular plane as the xy system of coordinates with a z perpendicular to this particular plane. And obviously, nothing happens in the z, right? So all the potential at any point in space can be actually determined using these calculations made in this plane, basically, because we can always, for any other plane, for any other point, we can do this plane and basically calculate what exactly the potential is. So it would be probably even easier if I will put this along the x-axis from point A to point B. So let's say our rod has legs L from A to B. And our point where we are interested to find out the potential, it has certain coordinates PQ on this plane. So I have to find out what is the gravitational potential at this point if I have a mass distributed, uniformly distributed along this rod.  That will take another piece and another piece and another piece and add them up together. Now, speaking more mathematically, we will divide our segment AB into infinitesimal number of infinitesimally small, sorry, infinite number of infinitesimally small segments. So this is, let's say, x and this is dx. And we will integrate. I mean, after we will find what is my potential d differential of my potential based on x, then I will just integrate it from A to B. And that would be my gravitational potential of the entire rod. So all I have to do is to find this function and then integrate. Simple. All right, now what is this function? Well, we know that if you have an object of mass m, then on a distance r from it, if it's a point object, this is the gravitational potential. Right? Now, we have addressed this in the previous lectures. But g is universal constant, m is mass of the point object, and r is the distance from this source of gravitation to a point where we are measuring our gravitational potential. Now, what is in our case this thing is? Well, mass is very easily calculated for this thing because if we know that the mass of the entire rod is m, let's say, and the length is l, then the density of the mass along the linear dimension would be m divided by l. That's the mass of the unit of lengths. So if I will multiply it by dx, I will actually have the mass of this thing. We'll call it dm equals to m divided by l dx. So this is the mass of this particular thing. And in our formula, we have to use this one. So g we have, mass we have, this is dm, which is m dx divided by l. And now we have to divide by r. Now, r is the distance between here and here. Well, if this is x and this is p, then this catatose of this triangle is p minus x. And another catatose is q. Right? So the distance is p minus x square or x minus p, that minus p doesn't really matter, since it's a square, x minus p looks better, plus q square. That's it. This is a potential, this is a potential of this infinitesimal segment of our rod. It has a gravitational constant. It has the mass. And it has, in the denominator, it has the distance from this, as we consider this to be an equivalent of the point mass, obviously, since it's a very small, it's infinitesimally small. And the distance from here to the point of interest, where we are measuring our potential. So from this point on, it's just pure technicality. It's just exercise and calculus. And here it is. We don't need any more of this. All right. Well, first of all, to tell you the truth, if you are attempting to take this integral just by yourself, it might be a little bit difficult. Now, we do have something which is called table of integrals. And there are a lot of simple integrals which look more or less simply already been found, determined, proven, etc., etc. So I personally just went to the website where this table of integrals is presented. And I just found that integral which I'm interested in, which is this one, is equal to natural logarithm of t plus square root of t square plus c square plus c. Okay. So again, I didn't do it myself. I just took it from the website. But, however, I don't really trust too much anybody in this particular case. So I took a derivative of this. And derivative of this is equal exactly this. And that's very, very easy to prove. What's the derivative of logarithm? It's one over this thing, right? So it's t divided by square root of t square plus c square times the derivative of the inner function. Inner function is this one. So its derivative is one. That's the derivative of t is one. Derivative of square root is one over two square roots times derivative of internal function. Internal function is t square. So I have to multiply it by 2t, right? Derivative of t square is 2t. And what happens now? Well, first of all, these two are canceling. If you will take this into common denominator, you will have square root of t square plus c square plus t over square root of t square plus c square. And here is t plus t square plus c square. So they will cancel each other and you will have one over this, which is this. So I checked it. Alright, fine. So everything is fine. And I can use this particular expression as an indefinite integral, as an indefinite integral which I need for this particular case. Okay, so this is equal to, well obviously g times m divided by l goes out. Now here I have x minus p square. So I will substitute t is equal to x minus p to make it simpler. Then my limits of integration would be a minus p b minus p dt. dt and dx are the same because it's a constant divided by square root of t square plus q square, which is exactly this one where q is c and t is t. So nothing strange with this. So let me wipe out this one. So I will do this. So my answer is logarithm of t plus square root of t square plus q square in limits from a minus p to b minus p. So that's my result. I don't mean the constant obviously because now it's a definite integral, which is equal to logarithm if we substitute b minus p instead of t minus logarithm when we substitute a minus p. So difference between logarithms is logarithm of their division, result of their division.  Well, not such a simple expression mind you, right? Actually, I don't need that. Absolutely. So it's not such a simple expression and obviously it would be nice if you can somehow check if this is exactly the right thing. And there are many different checks. For instance, you can check a particular case when our point is exactly on the perpendicular bisector to this particular rod. And check again against maybe something which you can find on the internet, etc. Another case which is which is researched on the internet in many, many, many different websites I checked is when the point is here on the same line with this one. So there are many different particular cases where you can check this formula. So my point here is that from the qualitative standpoint problems like this one when you have some kind of an object which is not a material point like rod in this case or maybe maybe a ring or something like this, these are straightforward. So qualitatively, they are not really very, very difficult problems. However, when you start really doing this thing, you might find that it really tends to formulas really complicated like this one, for instance. It should not really scare you. And I wanted actually to mention that these calculational difficulties are just, again, technicalities. They are just calculations. Computers can probably do something like this very easily. What is important is the ability to break the big problem like in this particular case, we have to break the problem of determination of the gravitational potential of the entire rod into smaller pieces which we already know how to do like individual material point which is a point mass that we know how to do it. And then considering that gravitational potential is an additive function, you can integrate them together. And again, granted, integral can be complicated. I agree with that. However, I mean, that should not really discourage you because, again, these are technical problems. What's most important is to find out the approach. Approach is divide and conquer. Divide your rod or your solid object into smaller pieces and integrate around the whole object. So that was the point of this particular lecture. I was trying to present this particular problem. I don't know why, but for some reason, I was trying to find similar problem on the Internet. And I found the only particular case when the point is on the same axis as the rod. And in one particular case, when it's on the perpendicular bisector, but only one actually. So that's kind of strange because it's really straightforward thing and obviously, but probably people got a little bit scared of these integrals because the formulas are kind of complex and people don't like the complex formulas. In any case, I hope it was educational. And I do suggest you to read the notes for this lecture. They are very detailed. And whatever I was just writing, it's all presented in the notes. So read it again. I mean, it's always a good exercise. And I will probably provide a little bit more examples of integration because you see, this is gravity integration one. I do intend to have at least one more where I will try to present some problem related to solid objects. So we have a gravitational field of solid objects. Okay, so that's it for today. Thank you very much and good luck.


بسم الله الرحمن الرحيم القول مني في جميع الأشياء قول والي محمد عليهم السلام فيما أسر وما أعلن وفيما بلغني عنهم وما لم يبلغني الحمد لله رب العالمين والصلاة والسلام على أفطل الأنبياء والمرسلين حبيبي الله العالمين أب القاسم المصطفى محمد وعلى آلي بيته الطيبين الطاهرين الذي أذهب عنهم الرجسة وطهرهم تطهيرا واللعن الدائم وعلى أعدائهم أجمعين من الألعان إلى قيام يوم الدين أمين رب العالمين My dear brothers and sisters I begin in the name of Allah the most beneficent and the most merciful all praise be to Him and I send my peace and blessings upon Muhammad and his holy progeny in my eternal damnation and my curses upon their enemies from today until the day of judgment من رب العالمين My dear brothers and sisters I want to welcome you welcome you to the holy sacred site of my two imams الحسن العسكري and his father Imam Al-Hadi peace be upon them we are now directly behind us lies the beautiful transcendent dome this beautiful new dome of Al-Hadi that was finally installed this year since the attack on the dome of Al-Hadi peace be upon them in the year 2006 till today meaning the year 2015 the believers in the Shi'a of Al-Hadi Al-Hadi did not have a dome to come to did not have the shrine the sacred sanctuary itself was mostly ruins and right now if you are sitting where I'm sitting as you look at the beautiful city of Samara most of it is abandoned homes and ruined houses of course that is because of the enemies of the Ahl al-Bait peace be upon them that continue till today they try to distinguish this light but Allah سبحانه وتعالى says والله متم نوره ولو كريه الكافرون أو المشركون Allah سبحانه وتعالى that this light that the unbelievers the kuffar that wish to distinguish Allah سبحانه وتعالى says this light will continue and continue to shine and continue to be burning even if this believers do not like that even if the kuffar or the مشركين find it that they don't like this matter that this light continues and of course this light is nothing but Ahl al-Bait peace be upon him and like Sayyid al-Zaynab peace be upon him said and now we repeated this in various different programs but as she said والله يزيد لم تم حو ذكرنا أهل البيت you will never erase our dhikr our remembrance because our remembrance it lives in the heart and as you can see behind me right now we're sitting in the secret site of my master Imam al-Azkariya alaihi salam and my master Imam al-Hadiya alaihi salam and as well you have the pure body and the pure grave of our Sayyida الصديقة الطاهرة السيدة نرجس the mother of Imam al-Mahdi alaihi salam and you also have the aunt of Imam al-Azkariya alaihi salam السيدة حكيمة and also you have Hussein who is the brother of al-Azkariya alaihi salam and the brother of Sayyid Muhammad who is also buried in this beautiful location and on top of all that you have صرداب الغيبة the basement in which Imam al-Mahdi عجل الله تعالى فرجو الشريف وروحه للفداء was the last location in which Imam al-Mahdi alaihi was seen before he went into of course his minor agitation and then after he was seen again by the pious scholars and then of course right now we are in the period of the major occultation but this area or these lands that we are standing on these are very precious land they are very sacred lands especially that this used to be the house of Imam al-Hadiya alaihi salam one one the wall of Abbasid and all the Abbasids of course when they tried to move their seat of government to wear the Samara because they thought they have Baghdad already but why not why not prepare a new seat of government and let's go to Samara when the Abbasid ruler at the time what did he call for Imam al-Hadiya alaihi salam Imam al-Hadiya alaihi salam came with the son and the soldier alaihi salam two Samara the hadith tell us that the Imam alaihi salam had purchased this land I think the amount was approximately 10,000 dirhams or dinars from a Christian pastor from a Christian man that used to live in these areas meaning these imams are the only imams that are buried in their own houses and of course not excluding that of the Rasool Allah the Rasool Allah was also born in his own house and his own house is also his masjid but that's why there is a special sanctity that surrounds this place that you won't find anywhere else because the other locations where the imams are buried technically yes they were bought beforehand but they are not a house per se and we read in the Quran سبحانه وتعالى tells the believers in general that do not enter the houses of the prophets and the messengers unless he gives you that permission our علماء by the way just so people can know this especially the pioneers from them for example الشيخ الموفيد الشيخ المشهدين المزار الكبير الشيخ الصدوق and I might be mistaken but some of these علماء the pioneers some of these علماء from us like I said توسي الموفيد if you read for example the مسبحة في شيخ التوسي or you read the مزار of الشيخ الموفيد I think or الشيخ المشهدي you will discover that when they speak about the زيارة of the يوامل حسن العسكي يوامل هادي peace be upon them and they begin to narrate the زيارة itself you read that it says when وصلت تأذي وصلت تأذي وصلت تأذي باب الإمام فزره من بعض that means do not enter the house of the Imam but in fact visit him from behind the hijab from behind the limits of the house of course the فقهاء now have changed his opinion so right now you see the Shi'a entering and leaving the shrine but why did the فقهاء make it مباح make it make it lawful for us to enter the shrine of the Imam but in our presence for us to be to tell him يا مولاي can you please give me permission to come into your house of course there are hadith from the أهل البيت عليهم السلام that I've stated that Imam صادق I think it was the narrator and one of the hadith or one of the imams were in the hadith states that ولقد أباح ولقد أباحنا or we made مباح for our شياع من حقوقنا that from our rights that we have our assets that are made it lawful for our شياع and of course we also have the أحاديث found in the books of مزار in the books of زيارة that speak of or that narrate for example if you open فاتحة جنان of المحدة القومي عليها الرحمة ورضوان you discover that there are specific sections of the زيارة wherein the محدة القومي has narrated وإذا أردت زيارة خبر الحسين وأردت زيارة العسكري فقف عند الباب وعند الحائر وقرى الإذن للدخول that when you arrive to the شراين of الحسين عليه السلام وشراين of العسكري عين that when you reach the door recite the شراين for example that oh Allah do you grant me permission oh Muhammad do you grant me permission oh Hussein do you grant permission and then of course then it says that after you complete this technically you have been given that permission to enter the house so that is just a side note because the topic that I would like to really speak about today since I am in this sacred divine shrine where my Imam شريف was last seen and I thought that it would be very appropriate to take this time or whatever time I have especially that I am in this beautiful location and the sacred site and the beautiful scenery of Samarra the city of Samarra honestly the atmosphere in Samarra is something that is unexplainable 40 has atmosphere Karbala has an atmosphere but knowing that Samarra has this atmosphere from all over the local cities come and you see that Samarra is approximately only 60 to 70 kilometers away from اتكريت or other districts and other cities that were known to be districts and cities that support terrorism that supports رحاب they support these extremist groups that have no religion whatsoever these extremist groups that do what that kill the Shia that kill the Shia for no apparent reason that kill the Shia because why because they say that we love Ali Ibn Abi Talib but to see that Samarra after this تشهد of Imam الحسن العسكري the Shia in Samarra from all over they flocked towards Samarra and the Samarra that the Abbasid that the Muhtasim wanted to build fell apart and now if you look at the map of Samarra you will discover that the beginning of Samarra began where at the shrine of the العسكريين and as if the homes and the homes surrounding the shrine after a long period of time expanded to the city we see today and then if you see the city limits for example for example the ملوية which is one of those structures that was built during the time of the Abbasids which was in a helixical shape structure a structure that was used for Idan if you look at the maps the old maps you will find that this structure is located outside the the area where the imams are so you would see the imams you would see cities covering the imam and then you would see a gate then you would see the ملوية this location where in Idan was resided during the time of the Abbasids because the Samarra that they wanted to build fell apart the Samarra that lives today is the Samarra of the Samarra that during the time of the Al-Nirza Muhammad Hassan Al-Shirazi and Mujedid he made this location into what a beautiful house first of its kind all of these houses you see around me by the imam behind the imam in front of the imam right and left to the imam they were all students of the house the Mujedid Al-Shirazi wanted to come and place a footstep in history and open the house of Al-Hasan Al-Askel and Imam Al-Hadi now to go to the topic at hand which is the topic that of the divine nomination the divine nomination of imama now imama is something so holy imama is something very sacred and what I want to the reason that I want to speak about imama today is I want to I want to try try my best of course and of course I will never reach that that point where I will be able to truly understand what imama is and what willaya is but we want to give you my dear viewers the weight of imama how heavy is imama is imama something simplified or is imama something heavy and we will look at the Qur'an الكريم and insha'Allah we will try to connect that with imama المهدي about Islam in the Qur'an what does the Qur'an say about the ظهور about the appearance about المهدي المنتظر عجر الله فرجو الشريف now let's say one thing imama is divine imama comes from Allah willaya is nothing but that that comes from Allah and willaya and imama is not something that is inherited from father to son father to son why what do we look we look at imama عليه السلام then we look at حسين زرية after حسين who was حسين أسجد عليه السلام was أسجد the oldest of the son of حسين عليه السلام no عدي الأكبر was the oldest so these lessons that we find in the in the lineage of the the 12 imams you see that it was not always the oldest son that gained imama in the in the terms of imam الحسن العسكري عليه السلام the oldest son was sayid muhammad sayid muhammad سبع الدجيل was born in the year 291 after Hijrah اللي بأبو محمد العسكري was born in the year 231 or 232 after Hijrah the hadith here there is a hadith that is narrated let me read the hadith this nas here this explicit nomination is narrated by شيخ الصفار محمد حسن الصفار in his book بصائر درجات on the authority أفعالي ابن عبدالله ابن مروان الأنباري he said I was present when أبو جعفر is the cunea محمد the son of al-hadi peace be upon him passed away my master أبو الحسن الحادي brought forth a chair and sat on it while أبو محمد العسكري عليه السلام was standing at his side meaning مام الحسن العسكري when أبو الحسن completed the funeral processions of his son أبو جعفر he looked at his son أبو محمد and son and son give thanks to Allah for what he has decreed for he made this important matter rest upon you now there is another hadith here that is narrated by أحمد ابن عيسة العلوي who is from the progeny of علي ابن جعفر and the truth عليه السلام he says we entered upon أبو الحسن in Samarra and greeted him as we completed our greetings we noticed that أبو جعفر and أبو محمد الحسن العسكري عليه السلام had entered behind us we rose from our seats in order to greet أبو جعفر thinking that أبو جعفر will be the imam because أبو جعفر had such high qualities and such nobility that people actually thought he was the imam to the point that there is a sect called المحمدية but of course a sect can no longer be found in history today or of course in our era today that actually fell to the imama of سيد محمد سبع الدجيل عليه السلام and then of course here أبو الحسن الهادي said he is not your divine leader your patron in this matter for go toward the divine authority then he pointed towards his son أبو محمد العسكري عليه السلام so you see that willaya this authority this divine covenant that this individual who was the recipient of the divine سبريم covenant of Allah سبحانه وتعالى this is not inherited but in fact الله سبحانه وتعالى is the one who has organized everything what do we do in زيادة عشرة حادو كنت زيادة عشرة زيادة عشرة says الذين أزالك أزالكم عن مراتبكم التي رتبكم الله فيها من الله من الله's damnation and curses be upon those who altered this divine command of الله سبحانه وتعالى who moved you from the locations in which you are supposed to be situated in who put you Ali as fourth when you are Ali our first of course we believe as a Shi'a that whatever this fourth being Ali بطالب عليه السلام this is just on the حكم الظاهري بنما in the حكم الباطن the inner governance and the inner will-i the divine will-i not the will-i of this world no the will-i of Allah سبحانه وتعالى is in fact Ali المطالب عليه السلام and the proof of will-i lies in the Quran now we want to look at the the verses in the Quran concerning will-i so before we do that Insha'Allah and then Insha'Allah we will continue and we have approximately 2 to 3 verses that speak about will-i so Insha'Allah please stay tuned with us السلام عليكم


Every culture in the world has its own folklore and within folklore. There are always Nuggets of truth, but before we go any further You know what to do. Please hit that subscribe button and give us a like also as always a very very very special Thank you to all of our patrons if you would like to join our patron and help support this channel There are links down in the description box below Welcome to esoteric Atlanta and today on mystery Monday We are gonna be talking about the legend of the mass of Saint Sacaire So I know on Friday. I told you guys that your Monday video would be shot on the old camera However, I am attempting to shoot this with the new camera You might notice that I'm a little bit lower than I normally am We're still trying to figure out the lights and how to position this camera and all that jazz But I hope that the picture is better. I hope that my face is Facing you. I know that was a big complaint with the old camera that it couldn't quite get the angle of my face Otherwise, please be patient with us as we try to figure out what works best for this camera with the lights with the set All that boring background stuff that happens when you run a YouTube channel But nonetheless, thank you all for your patience as we learn and grow on this channel All right, let's get started with today's mystery and legend coming from France in 1890 sir James Fraser released a book called the golden bow Now this book really started to develop over time especially from its original release date now There's multiple volumes of sir James Fraser's work now sir James Fraser was known for his academics and his scholarship on things like magic and folklore and spirituality and in fact There are many people that believe sir James Fraser is one of the most important scholars who ever lived His book the golden bow is still in print over a hundred years later in the golden bow one of Frasier's topics is this idea of a thought process why we believe the things we believe and how they evolve over time He had this theory of magic then evolving into religion which then eventually turns into science Now those who have been a part of this channel for a while know that our ancient ancestors did not separate Religion from science the separation of religion in science is more of a modern Perspective on the world around us. I personally believe that our ancestors Knew a thing or two that we don't know and that religion and science do go hand in hand God is science in science is God now from what I understand one of the biggest Differences between magic and religion according to sir James Fraser was that magic was something that someone participated in when they wanted to control the elements or control the world around them Whereas religion was a form of spiritual practice someone engaged in when they wanted to learn how to Accept of the world around them now this concept isn't new to me We know that in the world of spirituality there are white lights and dark lights angels and demon gods Satan There's this dichotomy that's happening not just on the earthly realm on our plane of existence But in the heavens as well and I have studied before that a type of black magic is when you try to change nature and a type of white magic or Light-bearing spirituality is when you learn to work with nature to surrender to God's will And as we dive deeper into the concept of black mass in this total inversion From the Catholic mass we do start to look at these opposing forces of this same idea of a spiritual practice But for two different reasons one service to self in the darker negative side and one service to others and Accepting of divine will on the light side or the side of God well in James Fraser's book of golden bow He speaks about a legend that came from France called the mass of Saint-Sacare Now this was one of the most potent black masses that I have ever heard of But the thing is is sir James Fraser wasn't the first one for scholar to write about this particular legend of this particular mass in fact sir James Fraser quotes John François Blade in his work on studying the folklore around this mass by the way I really hope I'm saying his name right again. I'm not French So I apologize if I did not say the French dudes name right now the legends of this mass Originated in Gascony France, which is right on the southwestern side of France close to the Pyramids on the Atlantic coast This area is known as the Tuscany of France and as I was researching this story. Oh my gosh What a beautiful part of the world I really hope to be able to go there one day and see this magnificent area now the terrifying Legend of this black mass started in the Middle Ages It was rumored amongst the farmers in the area that if you wanted to get Even with your enemy then you would perform this Particular black mass now as I've stated on this channel many many times I myself grew up Presbyterian I come from a background of Protestants yes, my niece and my nephew are being raised Catholic and I am my nephew's godmother However, because I was not raised in the Catholic face There are a lot of things that I might miss in regards to these stories But from what I understand and this is a theory I had heard before is that when one enters of the priesthood This is dating back from the very beginning and of course in the Middle Ages There was no Protestant faith yet that was still to come so everybody in the European world was a form of a Catholic faith well when the priest would go to Priest school to seminary school to learn how to be a Priest they were taught the ways of a magician or a wizard They learned how to invoke certain spiritual forces I do believe this because I do believe that man is Capable of a lot more than we've been taught and I do believe that the powers that be try to separate us and keep the masses Dumb down to their full potential now of course whether you use your techniques of spiritual attunement Positive or negative is totally up to you as we know there are good priests to have a heart of gold that really want to serve humanity and as we know to there are obviously very very Bad priests who do really bad things You see this power of good and evil within the Catholic Church is almost two sides of the same coin this this massive dichotomy again, we know Vatican means the head of a serpent and we know that there's a Lucifer room Directly under the Vatican as well and as we know the Pope we have now with and most of the popes Have pretty much been serviced to self well within the recorded information. We have about this legendary mass It is said that this is one of the most dangerous Black masses that anybody can perform and in fact in some of the sources they call the priest performing this mass a magician it is claimed in some sources that a lot of priests Do know how to perform this mass But most won't because it's so evil that most priests Prefer to stay as far away from this mass as humanly possible And as it said in one of the sources no gold money or fame would ever tempt them into Performing this mass. That's how evil this whole thing is This also makes a lot of sense if you guys can remember from our Friday video Catherine would hire priests to perform the black masses for the French royal court during Louis the 14th's rain So they're definitely going to priest for these black masses It's not like they're there's like a Satan school down the street They can go get a priest from the Satan school No, they're going to the priest in the Catholic Church and bribing them with money to perform these horrifically evil task it is said in these sources that only the most evil of all the priests would be willing to perform these masses and Because these masses were so potent and so evil These priests could not stay in the same town for more than two days because if they were caught Performing these masses then the priests themselves would be executed now Let's say a farmer out in this area in the Middle Ages had an enemy another farmer that they wanted to get rid of they would go and find one of these wickedly evil priests to perform these black masses to cast a spell on Their enemy once they found the priest that was willing to do it Of course the farmer would have to pay a lot of money for the priest to perform this curse on Their sworn enemies Well, then they would have to find an abandoned church and this abandoned church couldn't just be like any old abandoned church There had to be some ruin to it some destruction done to the property of course There had to be bats and owls that lived in the church because why not and Under the altar the person hiring the priest was responsible for placing a bunch of live totes now before the official mass would start the priest would have to enter into this church with his lover his mistress who also Had to work as a prostitute and alone together the two of them would eat a dinner Once the clock struck 11 o'clock the ceremony would begin This is 11 o'clock in the evening of course. It wouldn't be in the middle of the day It would be in the evening at that point the priest would start to recite a mass Backwards during the communion portion of the mask the priest would eat Wafers the communion wafers and in the Catholic Church. So usually round circular wafers, but in this black mass They were black and triangles and instead of consecrated wine The priest would drink water from a well where an unbaptized Baby had been drowned during the mass the priest would also draw a cross on the ground with his left foot and By the time the clock strikes midnight. They have to then start to chant The name of the victim now once the mass was over It was believed that the victim would get really really sick and would start to wither away and die a long And agonizing death that doctors could not diagnose they couldn't figure out what was wrong with this victim Now it is written that there is a counter mass to this mass where you can reverse The curse and put it back on the priest and the person who paid for the mass However, most of the sources didn't didn't write down what that counter mass actually Was now get a title of this mass was the mass of saint's a care This is a very particular style of black mass Now the interesting thing is as I did my research. I couldn't figure out who sick hair was or if sick hair was a Real person like a lot of the saints that are within the Catholic faith I even got on to duck duck go and some of these Better search engines where there's not a lot of censorship and even though I could find more about this mass on duck duck Oh, I still could not find any origins for who this mass is named for So that within itself is a mystery part of me believes that it might be named after potentially the first priest to Allegedly do this mass or maybe it's the name of some demon that somebody chanted at one point I have no idea and it seems a lot of people have no idea either where the name came from Or it could just be a named that evolved over time Within this legend now within my research I couldn't find any actual eyewitness accounts from the Middle Ages to have witnessed any of these masses and Of course, we know that legend snowball on themselves and grow and become wilder and wilder and wilder as time passes We also have to remember that with the Middle Ages. We are coming out of the Dark Ages and I'm sure there were a lot of times where people would get really really sick and Doctors couldn't figure out what was wrong with them And so maybe that's where the legend came from that they would just accuse it and and say the reason for this death Was because somebody put a hex on them or used this black mass to curse them. However, I'm not so sure As I've said throughout my research the French People especially the Royals have been a lot more open about Their authority figures participating in these types of religious ceremonies way more open than My English background. So in my opinion this folklore had to start somewhere as I said in the opening most folklore has a nugget of truth in it Is there a black mass that somebody witnessed at one time in this area and did that story evolve over time and become the catalyst for anything unexplained that happened to particular people or is it all just simply legend and even scarier if it's not legend is It's still going on today Let me know your thoughts down in the description box below Have you heard of this black mass and if you haven't what do you think? Also, do you know of any other spooky legends about a black mass? Maybe in New Orleans that you would like me to cover. All right guys Thank you once again for being super patient with us as we try to work out this new camera Again as this channel grows Hopefully the equipment will get better and better and better and the quality of production will get even better Once again, thank you so much to Josh McKay for doing our music if you would like to purchase our opening song as always there is a link down in the description box below and Thank you so much to Todd Broderick for helping me get this video out to you guys today and being very patient as You explain the new camera to me Also, if you guys want to check out Todd's band the flying mystics There is a link to their channel down in the description box too All right guys I hope you have a wonderful day and a wonderful week ahead and I will talk to you soon. Bye


I have the pleasure now to go on a virtual tour with you. But before I do that, let me just invite you to our next panel, which is happening tomorrow at 10 am CET understanding differences changing perspectives. Make sure you join a bit earlier since we're starting on time. For those who have not registered and those who have registered, you should have received a separate link for the panel in the after in the morning. If you're interested in this panel, but you haven't registered, you will find the link to join in this chat. So now we are going to our online tour. Yes, with a virtual tour of the exhibition. Yes. 51,000. Thank you. Balthasar City at the Museum of Modern and Contemporary Art, the virtual tours facilitated by our partner Rijeka 2020. We would actually have love to see this tour in person, but I'm actually also very excited to see how the digital translation of this tour is going to happen. So I will do this introduction with masks and then we will unmask afterwards. Okay. Here we are. Are you hearing seeing and hearing as well it's all working fine. I hope so. Yes. Okay, so fine. Okay, so my name is Zoran Krushver I work for the year 2020. And I will, I will now present my guests well guests. I'm actually their guests when we are on the exhibition because they are the most responsible people for it. This lady here is Christina Wolf. Hello. She is from Brigada Brigada is a design agency. And she is our director, and gentlemen here is Jerry Kulukovich he's our custodian. So he's responsible for all the articles that you can see on our exhibition. And they will do most of the talking. I will just do a short introduction here and I would like to start my presentation right now if you don't object. Share this. So I would like to welcome you all to Baltazar town. Now I can remove this. Baltazar town is the name of the fictional town where Professor Baltazar the hero of most famous creation animated series has his adventures. So why do we have exhibition about Baltazar town is because our town, Rieka is actually inspiration for actual Baltazar town but other speakers will tell you more about that. What I would like to say is that this is of course part of the Rieka 2020 program European capital of culture. And while we were announcing our European capital of culture, we were always saying that it's going to be one very, very, very special year. And guess what it's really a special year. So, well, we do have also a special exhibition. The exhibition is part of the Children's House program program line. Children's House, it's one of the program lines of Rieka 2020 European capital of culture program. And what's so special about Children's House is that it is a program line dedicated to children, of course. Now, when we were thinking about children's programs. We wanted to do something special, we will, we were thinking about children as a future citizens of our city and of our country and of our world. We wanted them to be better citizens. So we were thinking about what shall we do about it. And we decided to make a program line, which consists of programs that involve children as active participants. We had a very passive audience. So we had a number of programs festivals. Performances exhibitions where children could be could take part and do something actively. So this exhibition was one of those programs we wanted we wanted children to take part to experience it and to be submerged into the into the world of cartoons and into the world of Professor Baltazar. Besides Rieka being inspiration for the background for the Baltazar town in the cartoon. We also love this idea of having an exhibition dedicated to Professor Baltazar, because we shared certain values. So we had as a Children's House program line and also as Rieka 2020 European Capital of Culture are the same values that were promoted by animated series Professor Baltazar. Those values are helping each other non violence learning, always finding something new science as very important part of our lives. And of course, taking action, not being just passive observers. So, since we shared all those values with Professor Baltazar. It was only logical to take Professor Baltazar as main. Well, this is the main exhibition that Children's House is doing. This is what I wanted to say. And now I would like to invite Jacob is our custodian who will say some other things about how Professor Baltazar came to be and what are we doing with this exhibition. Jacob, please. Thank you, Zoran. Thank you for introduction. This is a call look at each other curator of the Baltazar town exhibition. And as Zoran said before, this exhibition was part of the values shared values between Rieka 2020 and animated series, Professor Baltazar for those who are unacquainted with this. This is probably the most famous animated cartoon series in ex Yugoslavia now, now Croatia. It started in 1967 with the first episode, I think the next screen will show that. Okay, this is Baltazar history. So I already started it started in 1967 and was made up until 1978. It was a for four seasons as we used to speak today. 59 episodes, 10 minutes each and the last seasons were only five minutes. The famous series was very well received all over the world, especially in Asia and America and Scandinavia, where it was also shown in the panel institutions. It was shown in schools. It was very popular. We also have on our exhibition, even some children's records with songs about Baltazar translated into Swedish. So it's kind of a famous character who stood alone as a single single most recognizable character in Zagreb school animation. Animation was probably, as you know, mostly known for its for its abstract art and animation. It already with the ersatz from Dushan Vukotic received an Oscar, but the Baltazar series were aimed at children's audience and it really succeeded in that it was already in 1968. It came first to Mamiya Animation Festival. It received the contributions from another production house. So it so it became one of the first joint ventures. Between then, I was loving on a production house Zagreb film and German production house windows that don't time, which later became a window that fans and Baltazar is a famous cartoon character for its let me go to the next panel. Yeah, on this panel, you will see that we on the exhibition, Baltazar Town tried to cover a few aspects of the history. One was the starting of the series, the reaching to audience reaching to festivals and also we tried to put the children into knowing about the process of animation. So we split the exhibition into four parts, which will be later explained by our designer, but from the history part, it is used to inform children and all the audiences about the offers about the animation process. We are of course talking about analog animation, which is now completely done digital way. So it was, as you see here, you can see some of the offers offers famous are from, of course, Zagreb House of animation is like a garbage and it's an image and especially it's like a Borek. You might know him from his other cartoon work and especially theater work. He made scenery, and he was responsible for making Rieke and Baltazar the town quite the same because first time he came into Rieke, he was amazed with the town with its structure, architecture and vivid colors. So he put the scenery in Baltazar. So Baltazar was, we've seen now, was not only made with those offers which were on the credits, but with some unknown workers, which is one part of the exhibition, we dedicated to famously unknown drawers or copies or other workers on the series because it was manual work and one frame of the film, exactly one second was made of 24 drawings. So each drawing had to be done manually. Each had to be faced copied and colored and all that work was done by female workers, unknown female workers, who was, who were never credited. So one of the part of the exhibition we took an acknowledgement of that female work, which is kind of unrepresented and typical for the 60s and the 70s. Even for the job applications for the series, they didn't had to know how to draw. They just wanted as some of the heads said to have a firm hand. So there was lots of firm hands, mostly female, and we tried to acknowledge that work with some of the exhibits. As I already said, part of the exhibition is learning about animation process. It was like from the process between the first idea, then the first drawings, then the storyboards, the screenplays and at last the taping and drawing of the each cells. So on the exhibition we have a huge selection of original cells from that period. They were very hard to find because it's almost 40 to 50 years old material and some of the cells are really, really piece of the art itself, although they were done in animation way like they were exactly copies done by the female workers you have seen before. Other parts of the exhibition are the Baltasars receiving and traveling around the world on the various festivals and film reviews. One of, as you see there, this is Cartoon Club in Italy in 1996. This was important because you can see the Baltas are here in a really good company from Alina famous, Alina famous Italian cartoon and other cartoons. The Baltas are really very well known. Even Chuck Jones famous animator from USA paid tribute to Baltas are with one of his characters. So, let me go to another international context was also important because the Baltas are started with the first exhibition in MoMA Museum of Modern Art in New York. When it when it when it was screened and later ABC television took the series on their screens. So even American audiences were very well known with the Baltas are concept. The concept was really simple for that time. It was one or two problems in the Baltas are town with its with its inhabitants and the Baltas are always told the problems in non violent way. Of course, with the use of science he had his wondrous machine for solving problems and they never as it was similar to other cartoons of that time like Tom and Jerry and others. There is no chasing there is no beating there is no violence of any kind. So Baltas are learned children to solve the problems with agreement and on the way that each each side should be satisfied. Every episode ended with solving the problem they everybody danced or sang a song on the he was also emphasizing the value of friendship, the value of noting different the other, the other was always important in the concept of Baltas are and all that was done in particular design way, which was of course inspired by Rieke but also with naive art or creation I even art and mostly with psychedelic art in America, one of the very well known influences on the designs of Baltas are was, of course, yellow submarine and it was right right there up until the fourth season when the German production house wanted to go with the Baltas are in another way we all be covered all that with the committee documentation on the exhibition, we even have letters between directors and handwritten notes on storyboards where you can see the process how the character grows into life, what the production bosses want of the character, what the German side wants wanted to do with Baltas are and what the creation side wanted to do with Baltas are. It was actually very very successful right right out until the end in 1978 when it was actually financing the other cartoons from the famous Zagreb school of animation. Let me go to the next oh, I'm already on the next so let me finish this with the further notes about the exhibition that are including from the famous Baltas machine we have the design of credits of the whole series, where you can see the changes in design we have international awards from Maya to most try in Italy, then photographs from the show photographs from the offers storyboards, and even some kind of a special films which were never in a filmography of the Baltas are they were called. Many films, because they even they called it bridges, it was a short educational films done between two seasons for the educational purposes in Germany, sadly, none of these films are digitized in Croatia, so we only have storyboards. And so lots of material combined with the learning possibilities for children, but for their parents to. So, let me know. I want to conclude this with the thank you note for the Rijeka 2020 the city Rijeka the mayor and museum of contemporary culture in Rijeka who all did this together with us and it was a really large effort in this usually unusual strange times, we should include in Baltas are to solve some of these problems so thank you for listening to me and may I introduce now our designer Christina from Brigada design studio thank you for listening. Nice to meet you all. I'm Christina from Brigada agency with the visual identity and exhibition design for the Baltas are sitting. I'm really happy to do it. It was a whole project that we did. I would just like to say, like the gel corady said the inspiration between the city of Rijeka and the Baltas are city. So we came here from the similarities. We divided the whole museum in the four parts. We came from the city to Rijeka. So you here cross the cross one room that is presented at the sea. Then we cross the river and then we entered the Baltas are city and at the last we have a room for the space. I will go now through each part of the exhibition and how we designed. And here the main motive is the head from the professor Baltas are in the cartoon, and we use to it in the now regional visual identity and it is the main part. When you come into the museum so it's like a welcoming part of the exhibition. You will see how it looks now. You're climbing up the stairs. So when you climb there is a welcoming note on the wall. And when you climb you see about all the heads in this colorful tones. This is the main wall that represents the interest to the Baltas city. And when you're clapping your hands the lights are switching from red to yellow blue and green. The specialty in all the episodes of Baltas are Baltas are cartoon is ice cream so we put this ice cream machine so every little visitor can have an ice cream. Because everything that was sold all the problems in the episodes, they always have ice cream like a reward. So when we come into the room to see and it's it was inspired by the episode Hannibal Alps and we wanted to hear to have this atmosphere that is calm. The main team was the lighthouse and the sea and over the walls you can see the projection of the cartoon characters and the whales and you can hear the sound of the sea seagulls and other sounds. Here's the movie. It is quite nice and ambient room for the start. Yes, so they're traveling all around the walls. This is the main character from the episode. So, when we come to the other wall of the lighthouse. It's, we have now this the moment for the cartoonist female cartoonist, and we put a big, big blank part of the paper so the kids can draw it whenever they want. So over four weeks it's the exhibition it showed it's full of the drawings and the Baltas are city, how they see it and inspiration of the Baltas are. So, yeah, you can see them. It's the thing when you give them opportunity the kids will definitely use it. And even the grown ups. Even I did it when it was the first opening the first day. Then we cross the river, the river, the name of the river is reaching now, and the inspiration was the vanilla monster is the name of the episode. And when you cross the bridge, you came to the Baltas are city, but from the Baltas are city you can come to this little dog, where you can, if you rotate the wheel, then you can see the episode of the vanilla master or how we call the master for full. This is quite interactive, and kids can stop it or let the animation go by turning on the wheel. Like you see it like here. So the idea was that the little children always think maybe in their river really exists the master for full. Finally, we came to the Baltas are city town. The whole idea was when the visitors come come to the exhibition that they really feel that they're in some other place so it is really about as a city. They go through the passage to the windows. They see little squares they're watching this whole exhibition with the new eyes. And so when they come to the different parts of the exhibition, the experience something new. The third part of this Baltas are town exhibition has its inspiration in the episodes of the Baltas are cartoon. So here you can see a lot of plant plants plants that you're viewing through panels that are in other colors. So it's, it's quite complex to it invites you to explore and go through all the whole space. The parts where original cells from the animation hand drawn and how this is how you move through the exhibition. Part of where the pink flowers are was the inspiration in birthday story from the original episode. All the exhibits. This part is the design by Lena Kovacic designer. She invented the Baltas are machine that always solves some kind of problem depends on the episode. Yes, this park is maybe the most loud one. It's the pyramid where every visitor can play something on their own, but it's not usually instrumented something that you can rarely see, but definitely inspires you to think stuff in a different way. And now finally we come to the room space. This is inspiration was from all the episode that have connections with some visitors from space. It's interactive tool. And here, even without the space you can watch the all episodes from about as a series. The main inspiration was in propellers that usually about as are always used to travel somewhere in the sea in the space to the town. The cartoon characters are from the space there are three main characters through all the episodes and they're all presented here. And this is the one episode. One sound and song where you will say. I just want to say here that this is interactive part where is there is an episode with this visitor from the space who always says this one song, no other characters are invited to play along with him in this series. We always use bottle scissors to play some kind of music. It was not the classical instruments. So we gave here ability to play with this singer from space so the children can play and be part of the episode and the part of the song. Yes, I think that I explained everything. Thank you very much. Hope you enjoyed and we're here for the questions or anything else. Thank you. Bye. Okay, thank you. Okay, thank you. Do you maybe have any questions or something you're welcome please come. You're also welcome to come in physical form. Yes. Thank you very much to you rega team. Yeah, you're the few that are still open most of the museums in Europe are closed a second time. So this would actually be the moment to visit you. Thank you very much. And we are also handing out the three ice creams. No, we actually do. Thank you.