Today, we're going to continue to talk on topic of worship as we go through the series of true worship and I love I love talking about this subject and it's this subject is very dear to my heart because it Through this I've learned a lot and I've grown a lot with God and my personal relationship with God as well as I've seen What worship is able to do in my personal life and a life of people? How many you love worshipping God and just spending time in his presence come on There's no better place to be than in the presence of God This is worship changes us more than We benefit from worship sometimes not sometimes all the time more than leaving God benefits from us God loves when we come we adore him and thank you in things and we honor him But when he comes with his presence he begins to change as he begins to move Things within us he means to cleanse as he begins to purify he begins to rebuild us And many times we end up benefiting more from it than God benefitted himself, right as pastor Vlad said last Last few Sundays this race said that worship is a gift Is the only gift we can bring to God that he hasn't given it to us himself? think about it Everything you have in your life Everything I have in my life the family the friends the ability to walk with two feet the ability to see the ability to hear the ability to function in our body an ability to breathe an ability to perceive the world through our eyes Every all the giftings that we have on inside of us all the talents that God placed on in all of us Everything that we do have in this world is given by God to us The money that we work for You know, that's why that's why tithing is not called giving to God It's called bringing back to God because he's given us the strength in the first place to Make that money everything in our life We don't give it to God. We really just bring it back. We return it But there's one gift that you can give God today That he himself has not given to you and that's worship and that's adoration and that's that's giving that's praise that's Pouring your heart out in adoration and acknowledgement of who he is and what he has done in your life That's the gift.  We see God through worship. We see God through reading of scripture How many God seekers do we have in this house?  They was always discovered. They worship something or someone. It's a it's a need within us It's what we were born to do Worship is it's a big part of us. It's how we connect with God and we can't escape it. We can just choose Who to worship? You know, we were born to worship and you know, I have little kids and Anytime the music comes on and they just They just start dancing. It's just like shaking. They just move This is moving they start singing without even knowing words. It's it's just who we are who we were born to do It's what we were born to do. Actually, I do have a few clips few second clips That's this morning she was getting her worship on we were born to worship come on, let's put our hands together for God we We are born to worship God We just choose who we worship and how we worship and Pastor blood covered many different subject in many different ways How how we worship what it means to worship and I just want to want to take it just a little bit a little bit a little bit Further today and talk about about talk about few things worship is simply Recognizing God worship is simply acknowledging who God is It's simply coming with the heart of things giving independence on him. That's all really what the worship is about It's not necessarily about the words that we say because many times we say the words, but we don't mean them worship is not about It's not about clapping or dancing or shouting even though that's a part of worship That's the way we express our worship, but worship comes down to acknowledging who God is acknowledging him Recognizing him and thanking him for who he is for what he has done. How many of us Have gone to the place to the party to the church to Hopefully it's not this church To some kind of a gathering you came in and nobody noticed you You nobody said hi to you. Nobody shook your hand. Nobody introduced Themselves to you.  Nobody says hi nobody. I'm looking for the exit sign I'm looking. Where's the door? I'm out of here and you know in those moments 30 seconds seems like 30 minutes Because you know when you in an awkward situation where you in the no man's land you just That's what worship is about worship is acknowledging God in our life in our space In our heart acknowledging that it is by him that we're sustained It is by him that we have our being it is by him that we have made it this far If it wouldn't be for him, I wouldn't be here today. That's what worship is really about It's about lifting a hand say thank you Jesus for saving me. Thank you Jesus for this day It's about caring attitude of gratitude attitude of thanksgiving and worship amen Everybody likes to be acknowledged We created an image and likeness of God And God likes when we're acknowledged so next time you get into prayer next time you get into worship Don't rush to say things that you don't mean don't rush to say words that that that you don't mean first Acknowledge him acknowledge him that he is here in this place.  I mean come on. This is supernatural you think like how in the world Can you complain in that moment? But a lot of times our hearts get dull We forget the goodness of God. We forget what he's done and he's doing that's like David calls upon us. He says magnify The Lord not that he needs to be magnified But in our minds it's grown dim. It's grown little. We begin to more murmur and complain That's what David calls to magnify the Lord We're talking about worship Worship is an attitude and action Many times people come to to church or come up to me or talk to the pastors or say, you know, I You guys a bit crazy, you know, I I'm not sure about this whole thing. I worship God in in my heart And it's good Definitely we have to have heart involved in our worship But worship is not just about heart and just about thought Yes, our heart has to be connected and our mind has to be connected to what we're doing But worship is also an action Throughout the bible we'll see we see that worship Worship involves a physical expression And we can read some of the physical expression the bible covers it says Among the physical expression of worship final scripture are kneeling clapping hands raising hands verbalizing praise sinning hymns and psalms We've been left in bearing witness allowed like saying a man Praise God reading the word aloud postrating before the Lord speaking in tongues dancing before the Lord giving public testimony standing Uh silence and spiritual songs if you noticed all of those things had to do with action everywhere throughout the bible God calls us To act as a sign of worship. So next time we get together Feel free to dance feel free to to clap feel free to to to get loose and just Just thank God not to care about what your neighbor is thinking not to care about who's standing beside me And most importantly to forget about the issues the things that you're going through in focus on God Amen church In saw in romans 12 verse 1 and 2 says therefore I urge you brothers in view of God's mercy to offer your bodies as a living sacrifice Holy and pleasing to God. This is your spiritual Act of worship Notice that apostle paul says offer your bodies Not your heart and emotion in your thoughts But your bodies a body has to be involved when we worship Especially when we get together in corporate settings We have to go all out your heart your mind your body your voice Everything has to go out go go all out. You have to leave the altar of worship Knowing that you left a hundred percent how many times How many of you can say that you know today?  I don't want you to be lying but In reality if we examine ourselves Do we feel like when worship comes and the altar is open? I'm not speaking of physical art I'm talking about worship as a living sacrifice Do we give ourselves to God and that also includes in our private time with God They also includes when we're driving in the car there's nobody around We could listen to some worship and we can praise God and pray and we can lift them up and we can begin to build ourselves Or are we just Do nothing or doing nonsense or listening to nonsense We have to be a people that Build a platform of worship for God amen I want you to go in the scripture and we i'm going to give you a few points From that scripture and we will We will take a few nuggets for ourselves from there As Isaiah chapter six and we're going to read first eight verses.  You have to begin to cry out holy You have to begin to cry out worthy The first thing that worship must do in in you when you begin to worship is to lift your gaze up Away from yourself away from your situation and away from your troubles and problems and focus on who god is I promise you one thing the moment you're going to begin to focus on god The moment you're going to begin to focus on his greatness The moment you're going to begin to focus on his power and his might The lesser and the smaller the problems and situations and the and the things you're facing will become Because worship is kind of like the airplane when you get on an airplane and it takes off The things that seem big the things that they seem Answer Big and you will not be able to overcome them as you begin to elevate It's not that they disappear and they become smaller. It's your perspective begins to change Your paradigm shifts Your vintage point changes and when you when you and when you look at those buildings when you look at those Roadblocks and those obstacles they seem small not that they are gone It's just because you begin to look upward It begins you be because you you begin to move upward When in our worship you have to start with acknowledging god you have to start with worshiping god You have to start focusing on who he is What he's done What he is doing and how great he is We have to like uh, david says in the psalm have to begin to Magnify him and the moment you begin to magnify god automatically other things Begin to look smaller Just like they are Come on church It's not always easy Especially when you're going through things to look upwards That's why David and it's in his psalm says I look up to the hills where my help comes from When you look up you're knowing that Yeah, I might be going through these things today But I know the one who can help me go through it I might be stuck in this place today But I know through my worship as I begin to cater to his presence as I begin to worship him as I begin to uplift him as I begin to usher him The things He when he comes he can bring a solution to it. He can take me out When we shift our focus from our mess to our master The master can begin to take the mess In shape in something beautiful. He can begin to take The things that were struggling he can take those those scars of ours that that the hurt I have gone through He can turn into a testimony you turn into stars. He can take the mass and turn it to a testimony he can In worship when we begin to worship god as god Then he can help us go through the rest of the things a man church in a story When king joseph had was facing an overwhelming odds against him And the armies that came against them were numerous and that he had he didn't stand a chance Everybody knew it. He knew it The other people were already rejoicing for the victory because they knew they were gonna crush him. There were nobody In their eyes But one thing that they didn't count on they they didn't count on worship And that's something that king joseph had said, you know what? We are done. We are in trouble.  Let me be destroyed with praises on my lips He knew the secret though. He knew that there's no way god's gonna let him lose that battle If god is on the front on the front of it And so we see that the god as they were worshiping as they were praising god caused a huge confusion in enemies camp They start killing each other and they came out of the problem A a woman from a new testament a woman that had a daughter severely possessed She was crying out to jesus as jesus. Please help me jesus. Please help me disciples already got annoyed said jesus Can't you hear that she's annoying us? Just do something not not even for the sake of compassion, but she just will not leave us alone And she kept pressing through she kept asking and when she saw that asking is not doing any good for her She ran ahead of them. She bowed and worshipped Jesus couldn't overstep worshipper Jesus could not step over worshipper. I don't know what you're facing today with I don't know what struggles you're going through I don't know what family issues you you're you're facing with I don't know what financial situation you're going through or marital situation you're facing or health thing But I know one thing for sure god can't step over worshipper We see that many times in the bible We're worshiped open a doorway To a supernatural change and man church How many of us will be worshipers? Second thing worship helps us to look inward Worship helps us to look inward what that means is In in in the light Of his worthiness we begin to see how unworthy we are In a light of his greatness in the light of his magnificence We begin to see how insignificant we are no sometimes We think too much of ourselves It's true Many times we think too much of ourselves Many times we rely too much on our own strength many times we just Think we've achieved something or we've got something going But when you get into the presence of god and you realize That you are sustained by his breath When you realize that you have what you have Because he gave it to you When you realize that I was no more than a myri clay and he plucked me out of it And he put my feet on a on a steadfast rock and today I am here where I am at when you begin to look inward and begin to see what he has done for your life you when you begin to focus on On why are you grateful what he has done? First when you start looking upward You begin to see the greatness of god the magnificence of god who he is as in general the creation that he That that that he created the the universe the stars just his his overall power and and and Glory but when you begin to look inward you begin to realize How much you need him? And out of that place you begin to worship out of that place you begin to draw closer to him because You began to understand that you're dependent on god And this is the best place this is the best soil where god can begin to work with us See because when you begin to realize that you're dependent on god You surrender to him and a surrender to vessel is the best kind of vessel that he can use A surrender vessel is a vessel where he can begin to shape and mold and and make it as as pleasing to him worship Helps us to focus Helps us to see inward and realize How much we need god And the third thing Before I go to a third to a third point in revelations chapter 4 11 It says the lay down the crowns before the throne and said you are worthy of lord and god To receive glory and honor and power for you created all things in and by your will They are created and have their beings see when you realize when you look inward During worship and you realize that you dependent on god What what what begins begins to happens next is you begin to lay down your crowns What does that mean?   I'm ready To do what you ask me to do. I'm ready to surrender these things. I'm ready to To take on and take take risk.  He brought them in He explained to them once again said licks listen. I like you guys. You are my uh, they were ahead of his departments. They were Ministers of different departments. He said look, I like you guys. You're doing a great job for me and all But listen, I've I've built this statue I put a lot of money into it a lot of gold and I want you to bow to it and worship to Worship it and if you don't i'm gonna kill you That's what's straight up like that and they said king. I'm sorry, but we won't be bound down We won't be worshiping so he got even more angry said I will The the fire pit will be seven times hotter. And if you don't do it I will kill you and they said this it is that listen king We don't worship any other god, but our god See a person that just cops in Once on Sunday worship and just lifts their hands once in a while and sings a song once in a while Those kind of worshipers that wouldn't be able to say these kind of things Those worshipper wouldn't be say wouldn't be able to say I mean come on. It's just a few bows a few seconds It's okay. Who knows in my heart. I worship god, but this is you know God will forgive me.   I don't know what you're carrying in your life I don't care what kind of what kind of struggles you're going through But I know one thing when you get into the presence of god These things begin to melt away. They might not come off First time second time third time But the closer you get to the fire of god the further you press in through worship into his presence Those bondages will be broken those things will be burnt and that fire will consume every demonic bondage and chain worship Looses you to move forward Worship opens away for you forward and it doesn't end there When the king began to look and see what's going on what's happening in the fire pit Didn't we throw three men now? Why is there four?  That's what true worship does when we live a lifestyle of worship It opens a platform It opens a way for us to bring the gospel into even the most stubbornest corners of the earth Next thing one thing that worship does One thing I want you to notice is that through all throughout the bible and I can I have tons of scriptures to tell you But because of time Everywhere where you see worship in the bible It's almost always 95 of the time was tied to the miracle All looked through every story where there was worship It was always tied to the miracle We see a story of Jericho when I begin to shout and worship god the walls fell down supernaturally We begin to see All the all the prophets of old Most of them they won't prophesy until obsolveness Or or a musician would come and begin to play for them and worship and create an atmosphere And then they would begin to prophesy the things that they prophesied came to pass We see in a new testament We see in old testament Solomon's temple when they were making sacrifices And when they worship god when Levi's were worshiping the glory of god came in a temple so strong that people could even stand It was physical it was tangible people could actually even see it because there was true worship and surrender King Solomon received his blessing in his life because he was spending time in prayer and worship David as a man known after god's heart. I'm a hundred percent certain He found faith in god's eyes not because he was the most righteous and the most holy guy Guy, but he was a worshipper despite of everything in his life He always worshiped god today. We read his Psalms every situation. He met with worship That's why god blessed him blesses descendants. He can't he will come to sit on his throne because David build a legacy through a lifestyle A worship. Thank you for watching this content. I hope this was a blessing to you If you're like me and you like to click on things Click on this Subscribe to our channel and the content will come to you every time we post it and remember the best is yet to come


Good morning. How's everyone doing? Good. Good. Awesome. All right. So we've had four years of Mesa's con so far. Four years in North America. We were in Chicago. Anybody here happen to be in any of the North American conferences? All right, there's a couple. Yeah, anybody in Chicago? Were you at the original one, Rich? That's amazing. That's awesome. And Vinod, awesome. Okay. We had one the year after that, we were in Seattle. The year after that in Denver. And just this year we had one in Los Angeles. So we had four years in North America. We've had three years in Europe. First year, 2015 Dublin. Anybody in Dublin? All right, got some folks there. Last year, Amsterdam, and this year Prague. So it's been a really, really fun run. We really enjoyed it. I also wanted to mention that this year we had our second Mesa's con Asia. Our first Mesa's con Asia, we did about a year ago around now. And then we did kind of a fast follow earlier this year in Beijing. And it was really fun to see the conference go from about two users presenting the work that they were doing, using Apache Mesa to over 14 different companies that presented the work that they're doing. So it was really, really, really fun to see the growth and adoption there. Okay. So we have a few additions to the conference this year. We decided to change a little bit based on feedback that we'd gotten from folks. The first is we introduced tracks to the conference. So basically, this is you can go into specific topics that you're interested in. The ones that we have this year are basically smack and machine learning. So the smack stack, which I'll talk about a little bit later. A DevOps plus ops track, which is just going to be today. A Mesa's internals track, which is just going to be today. And then a Mesa's frameworks track, which is tomorrow. And a users plus ops track, which is also tomorrow. So if you're interested, you can kind of just sit in the single room if that's just the topics you're interested in. Otherwise, you can bounce around. A couple other additions. We introduced something that we're calling Mesa's con university. So this is basically longer sessions where you bring your laptop, go and actually work on things, hack on things, go even deeper in the talks. Again, we heard from a bunch of folks that this kind of feedback is the second time we did it. We did it in Los Angeles as well. And it was hugely valuable. People really, really enjoyed it. So if you're interested in that, check it out. We've got three across the two days today at 1045, building production applications for maximum. Debug ability tomorrow, a smack stack one on one and also an intro to GPU isolation and TensorFlow. So if you're interested in that stuff, go check it out. There'll be longer sessions. Bring your laptops. All right. And then the last addition that we also added is this concept of town halls. So we felt like oftentimes we were having the conferences. We weren't spending enough time just talking together. And so we wanted to change that. So we added what we call our town halls there, 7 p.m. tonight after the booth crawl. So go have some beers to check out the sponsors and then come. We're going to have four. We're going to have an Apache Mesos one. So internals of Apache Mesos. That's going to be in Congress Hall one. We're going to have one on DCOS. That's going to be in Congress Hall three. One on Marathon and Chronos. That's going to be in Congress Hall two. And one on Kubernetes, which is going to be in Rome of Vienna, which I think is just around the corner here. So please come check those out. All right.  We have an amazing group of individuals across numerous different organizations. So it's really, really fun to see such a diverse and eclectic group. I'm really excited. I almost didn't believe that I could fit everything on the slide here. So really, really glad to have you all here. Okay. Getting into some of the good stuff. The state of the project. So since the last MesosCon Europe, we've had four minor releases and nine patch releases. We just done a 1.0 going into MesosCon Europe last year. You know, and since then, we've also added 13 new committers and PMC members for our Apache project. Everyone that we bring in as a committer, we also make a PMC member. So it's great to see all of those new committers and PMC members. And it's also great to see all the releases that we're doing. One of the other things that when I was asking some folks in the community what they'd like to me to share about the community, one of the things they said was they've been really, really excited to see the growth in Slack activity, more and more people there asking more questions, getting more answers. So I wanted to share that as well. Okay. When I also asked folks, hey, what should I share? What's new and noteworthy? They gave me a huge list. Obviously, I can't cover everything from that list in a few minutes. But I did want to call out a couple of the things that I was personally pretty excited about. And I think others in the community were as well. The first one I really wanted to call out is all the work we've been doing around containerization. So many of you know that in the Apache Mesos project, we started doing containerization a long time ago, back in about 2010. In fact, the very first version of Apache Mesos use Solaris zones and projects if you want to run on Solaris to actually get containerization. Over the years, we've gone through many different iterations of how we wanted to do containers. We've done C groups and namespaces ourselves. We had a Docker support in 2014. And in 2016 and 2017, one of the things we really focused on was making that initial containerization work that we'd done even more robust and to be able to support even more kinds of containers you wanted to run. So we introduced something that historically we'd always called the Mesos containerizer. We called it the universal container runtime. And it lets you run containers with a Docker image, with an app-c image, with an OCI image almost. I think that might be committed now. Or without any image, just with a zip file or a tar ball or a jar file. So it's the core components of containerization that we've had in Mesos for a very, very long time that now you can use to also run your Docker images or any other images that you want to run. So one of the really cool things about the containerization is it was really easy for us to add some more sophisticated support for doing other things. So one of the things that we added is this concept of nested containerization, which is, again, a feature that we've talked with a bunch of people about that they said they were really interested in. So the idea is when you run containers, you could then run containers within containers and containers within containers. And I think there is probably a kernel limit. There's only one place left in software where you can write limits. And I feel like that's the Linux kernel where you can write constants like 32 or 64. And so I'm pretty sure there is a limit on the number of containers you can have. But you can do really amazing things where you can launch your very first top level container as a zip file, have that itself launch a nested container from a Docker image, have that itself launch another container, which is an OCI image. And there's lots of really great practical applications for this. One of the big ones that we're excited about is things like Jenkins. When you go to deploy Jenkins, Jenkins itself wants to run a build, which is a Docker image. And maybe that Docker image itself needs to create yet another Docker image. In the past, what would end up happening is these Docker containers would all potentially be top level containers and could become orphans. Now we can contain them all really, really nicely. This is also how we run Kubernetes on top of Mesos. So you'll hear a little bit about that later. So I won't go into too much detail. Okay. And the last really cool thing about this is the top level container doesn't actually need to be privileged, which is really cool. You don't have to worry about any sort of security issues there. We also added the concepts of container, attach and container exec. So it was really, really easy for you to get information out of the containers. To hear more about all the stuff that we're actually doing in containers, you can check out a talk, a containerization in Mesos embracing the standards. It's later today. One last thing I want to mention is we're also out in support for standalone containers, which is going to make it even easier for running something like Mesos on top of Windows. So I'm really excited to see that work in progress right now. Okay. A big part of containerization is networking and storage. And one of the things that we've been really, really excited to see the community embrace is a lot of these more emerging standard-like things for doing stuff like networking and storage. The two big ones for us is CNI, the container networking interface, and CSI, the container storage interface. And I'm especially really excited that we've had folks from our community, G, U, and James, Dave Felice, that have really been helping to drive the container storage interface forward along with various other open source communities, including Docker, Cloud Foundry, Kubernetes, and others. So that's been really, really exciting to see. There's two talks where you can check out the work that's going on around networking and storage. Both are today, I believe they're in the Mesos internals track. Okay. One of the really cool things we're getting out of the storage work is this concept, this future concept of being able to extend the resource management capabilities inside of Mesos. So we're adding this concept of local and external resource providers. We're going to use them initially for all the storage work, but I think the sky's the limit in terms of the different things we might be able to apply here, how we can use this. We can make things like an external resource provider be a cloud, for example, where resources can be dynamically added in and removed. All right.  And one of the things we heard is it's being run both on-prem as well as in the cloud. So there's a lot more work that we're doing around the project when it comes to fault domains, hybrid support, multi-cloud, and there is one talk you can check out later today, fault domains in Mesos where we talk a little bit about that and you get a glimpse into what the future looks like when it comes to hybrid and multi-cloud for Mesos. You know, one of the other big areas that we've talked about in the survey was how people are actually, what things people are actually running on top of Mesos. Of course, many of you know the Mesos architecture is based on this concept of two-level scheduling and multiple frameworks and many people run many, many different frameworks on top, which is really driven for us this whole notion of the future world of the smack stack. So many of you, I'm sure, have heard of smack, Spark, Mesos, Acca, Cassandra, and Acca. There's various different frameworks that people are actually running on top, but these are really the frameworks that we're seeing the most and for a lot of organizations that are adopting this, they're seeing the same kind of wins out of adopting something like the smack stack as they got when they adopted something like LAMP. So there's a bunch of different talks today from organizations that are talking about running things like Kafka and Spark and Cassandra on top of Mesos. The one thing I wanted to mention that we're really excited about is when you're running these very disparate frameworks, there's a lot more multi-tenancy concerns that really come up and there's a bunch of work that we're doing in Mesos itself to address that. You know, the core for us is things like hierarchical fair shares, hierarchical quotas, and hierarchical reservations, where you can get much finer control around how many resources you want these various frameworks or these various users to actually be consuming within your cluster. So it's really cool to see all this work happening as well. The hierarchical fair share work and the hierarchical reservations and reservation refinement is all things you can use in your Mesos clusters today, and the hierarchical quota work continues to be work in progress. All right.  I think you can check out over the course of the next two days, a bunch of really, really interesting work. Go check out the town halls. Please try out the MesosCon University. I thought I'd end with just a couple of fun predictions. These are personal predictions, things I would love to see in the project. Along with all the other multi-tenancy work that we're doing, it'd be great to see the concept of revocable resources allocated by default. We're looking forward to potentially being able to remove the zookeeper dependency, so it's even easier to deploy a Mesos cluster. And who knows, maybe in the future we won't just be launching containers, but we'll also make it even easier to launch VMs. So that's all I had as a welcome. I hope everyone has a great MesosCon, and we'll see you again next year.


Hi everyone and welcome to your daily Barnes takeout. I am Karl Walsh. I'm a post-doctoral fellow in the Department of Research, Interpretation and Education at the Barnes and today I wanted to have a look at a very kind of curious figurine that we have in our collection, which is in this cabinet against the north wall of room 16. And if we zoom in on this cabinet, you can see that there are lots of representations of the human body. We have lots of terracotta figurines from ancient Greece. We have some other smaller figurines from possibly from the ancient Near East and these little bone and ivory Buddhist statues. And then we've got kind of representations of people on Greek ceramics and stone sculpture and relief sculpture. And the figurine that we're looking at today is right here on the bottom shelf. And the reason I wanted to talk about this figurine today is because it's one of the few objects outside of the Egyptian objects that we have in the collection that dates to the Bronze Age period. And this little figurine comes from Bronze Age Cyprus, particularly from the late Bronze Age period, roughly kind of 1500 to 1200 BC. And although Cyprus is a really big island in the Mediterranean, we still don't really fully understand a lot of things about ancient Cypriot society, how it was organized politically and socially and things like what the religious beliefs were. And so this figurine we're looking at today is an example of a type of Cypriot object that currently we don't know very much about and its role and function is very debated. So I thought this would be an interesting subject for us to have a look at today. So having a look at our figurine, you can see that it's made out of clay and that it's handmade, which is quite clear through kind of the asymmetrical features and the very kind of rough incisions that decorate the figurine. It's formed clearly female. You can see that it has a very kind of exaggerated hip area. And then it's got this pubic triangle, which is decorated with all these hatched incisions. And then she has two kind of small conical breasts. And the general shape of this figurine is kind of diamond. It's got this kind of wide hips in the middle which tapers down to very thin little legs and feet and then tapers upwards to this chest area where we have more decorations that kind of might be belts and garments and maybe some jewelry around the neck. And we have these two arms that are just kind of clasped against the chest and the fingers here are just literally incisions into the clay to suggest fingers. And then we got at the top this very kind of strange head, which is got this kind of pinched face and it's pinched literally because it was probably made by pinching the clay together to create this kind of almost beak-looking face, which lends to the term that archaeologists call these bird-faced goddesses. And it's just because the face kind of looks like a bird, not that we actually think this is a kind of bird-headed deity or anthropomorphic figure. So it's got this very kind of pinched face with these two sets of eyes which were made from kind of small bits of clay that have been attached separately. And then we have these massive ears or maybe it could be a headdress of some kind. And it has these two little perforations in each side. And we have lots of other examples of these figurines and in some a lot of the cases they actually have separately made little hoop earrings which are placed within these perforations. So these are probably originally had some kind of like earring attached to them too. So the form of this figurine is very interesting just because it is obviously some kind of female figure but who exactly it represents is really quite a mystery to us at the moment. Many archaeologists think that this is some kind of goddess, perhaps a fertility goddess given the kind of the emphasis on the female genitalia and kind of the breasts. And in some cases some of these figurines also have little infants who are kind of cradled in these arms against the chest. So people kind of suggested that these you know sexual features and these kind of links to motherhood might suggest that it's some kind of fertility goddess. And others have pointed out that this kind of form this nude form links it as well to near eastern goddesses. So goddesses like Astart and Ishtar who are worshipped in the Levant which is the area of Syria Palestine just across the water from Cyprus and in Mesopotamia who was a goddess of sexuality and warfare. So maybe our little figurine here is the result of Cypriot peoples adopting and kind of hybridizing near eastern goddesses to make them kind of Cypriot goddesses on Cyprus. And I have to kind of agree with this. I think others have pointed out that we really don't know very much about Cypriot religion at all from this period. And just because we kind of see a nude female form maybe we shouldn't always just go to an interpretation of seeing this as a fertility goddess. People make images of the nude human body for a variety of different reasons. And you can actually see this in the cabinet this figurine is in lots of nude figures and nudity is always kind of very interpretable like it has married a lot of different uses and functions. So we kind of had to be careful and sometimes I think archaeologists and art historians can be guilty of labeling objects like this that we don't know very much about and don't know how to interpret very well as something kind of religious or ritual or cultic which is kind of code for we don't really know how this was used or what it is. So it's something to do with supernatural forces or something that we don't really kind of understand. So currently it's really hard to say who our figurine represents here and what exactly the function of it was. So maybe instead we could think of other ways of interpreting it and some people have kind of suggested looking at these from a more kind of personal level. And I really like this interpretation and so for instance kind of thinking about where these figurines are usually found. They're usually found in houses and in burials. So that kind of straight away suggests that they are maybe something that is a little bit more of a kind of a personal object that has a kind of value to an individual that was used in life. So used in the household and then taken with them into death. So taken with them into the burial and looking at the form of them as well. The back of these figurines are often not decorated at all. So they're just kind of smooth. And the shape of them in this kind of diamond form kind of actually lends them to being held in the hands quite well. And if you actually look at this figurine as well, you'll notice that in the gallery it's presented on the stand standing up. But actually it would never be able to achieve this position in real life. The feet are just way too small and it would just fall over. So it must have been kind of displayed or stored on its back or kind of leaning against something. But again, I think it's probably something that is meant to be held. And having something kind of small that's portable really lends it to being something that's kind of more connected to a person because you can take it around with you and you can hold it and you can interact with it rather than just kind of looking at it. And another thing that's kind of interesting about these figurines is this kind of strange ears slash headdress at the top that often have these earrings. And at this time in Cyprus, there is a lot of production of bronze earrings. And they seem to be very kind of standardized in their weight, which almost kind of lends to them being a kind of currency or maybe a kind of a sign of personal wealth and status that is connected to the value and weight of bronze. So maybe this is more connected with expressing social status in society through kind of the wearing of jewelry and the wearing of these types of earrings. And I think this kind of allows us to be a little bit more flexible on how we interpret pieces of art like this rather than just taking the nude female form and saying it's something connected to sex and fertility and instead thinking about how these things can be used in other ways. So ultimately we don't really know how this was used. And so next time that you're in the barns, I actually really encourage you to go and have a look at this figurine and have a think about what your own interpretations of this might be, which might help to solve the mystery of what these little figurines represent and what they were used for. So thank you for watching this Barns Takeout. I hope you enjoyed it. And if you haven't already, please do subscribe to our channel to get your daily serving of art. And please leave a comment where we really enjoy reading and responding to these. So please take care and stay safe. Thanks for watching and for your support of the Barns Foundation.


Good afternoon. That's going to start soon, I hope. So let's start. Good afternoon. My name is Nuria Ricard. It's a pleasure for me to present the workshop, social participation and memory exchange of best practices. Its aim is to share different kinds of expertise about the involvement of civil society memory processes, institutions and policies in Europe. To achieve this goal, we have three presentations. The first by Ari Beobide and Maria Laura Mariskalki. Ari Beobide, she's a historian. She teaches at the University of Mondragon and the University of the Basque Country. She had actively participated in the organization of the Euro Clio International Training Seminar held in San Sebastian in 2013 and in the training event of Historiana in Madrid in 2014. Nowadays she's involved in the creation of the Historiana Units Alliance Citizens Through Censorship. And the preparation on the Euro Clio annual conference that will be held in Donostia, San Sebastian. And Maria Laura Mariskalki, she's graduated in Philosophy since 2010. She teaches at the Lisio Atasoni Modena. From the 90s she had been involved in history education experiences connected with the network of the institutes for the history of resistance and contemporary society. Being especially interested in heritage education, history and memory. Over the last decade she has been collaborating with the Villa Emma Foundation, to rescue Jewish children located in Nonantola near Modena, where she's right now involved in planning a memorial. As Ari Beobide, she's part of Euro Clio and they are both going to talk us about this project. So please. Okay. Well, good afternoon to everybody that is still here. My voice is not very well, but I tried to make me understand. This is the name of the project that we have enhanced. It says Silence and Citizens For Censorship. And we are trying to do some kind of sources bank and also learning activities related to censorship during the totalitarian regimes. But before I would like to explain a little bit what Euro Clio is. Euro Clio is an NGO that gathers history teachers of Europe and also around Europe. And that's different projects in order to develop and prepare innovative methodological tools. And also to create networking and development of different press national groups that can spread different programs or sources. The Euro Clio wants main idea would be to have sources that can be used in education, especially in secondary and high school education, so that we can have a common curricula, a historical common curricula somehow, so that we can create and try to do better citizens with common ideas and try to build a peaceful, a combi-based and critical citizens in the future. Yes, the project we are introducing now to you is aimed to contribute. Yes, so the project is encompassed in the frame of Historiana. Historiana is an educational website created by Euro Clio and constantly updated. And it is aimed to offer to schools source collections and learning activities based on a multi-perspective view. So just before to speak about the institutes involved, there are some sheets spread through the floor. We kindly ask you to sign them because we have to produce some evidence of the audience present at this presentation because it's important in order to have the project founded. So there are several institutes involved coming from seven different countries. As you can see, there are Spain, France, Germany, Italy, Poland, Hungary and Macedonia involved about the former Yugoslavia past. So we are starting the project. We agreed about five key questions. We can see them all together, but I would like just to offer you an overview of the source collection we are gathering so we can briefly pass through them showing you some sources among our collections. So first question, what was censored and why? Several things were censored and we are gathering several items. And then what were the second question? What were the tools and methods to censor? So they were spread from violence and also education. Propaganda was a very important tool and also the ministry and police departments and we are gathering also sources from them. And controlling the press was a very important way to censor. And also there were some methods, we are gathering sources about the methods to avoid being censored. And these are a couple of samples. Then who was involved and affected and how? So individuals, group of people and also the censors. To go to the end, what is nowadays the legacy? We can see here some samples of that, monuments, museums and also the streets changing their names. And to finish the last question, what is the bigger picture? Because we think that we have to speak about censorship. Yes, during the totalitarian periods because it's the main issue of our project. But also we have to put it in a historical perspective and also we have to come until the more recent times. So I think that now it's time for Harry to show us the learning activities that are ongoing. Yeah, we are going just to present you one of the learning activities we are preparing. They are working progress as it says. But I think that most of them try to make students in Mamba or to know in most of the churches engage them with the topic that we are doing and debate also. It's not only our opinion, it's they have to talk about and they have to discuss about it. One of the activities that we are preparing for the learning activities is how to be a good censor. So you can imagine what we tend to do is to give students different national sources so that they can understand better how censorship worked in that period. For example, we have a timeline just to contextualize the different totalitarian regimes that are involved in the project. And then we start having two lists of institutions from different counties so that the students can analyze or can start thinking or guessing what the countries would be and also try to think what were they censoring and why. And then we also give them, of course, the answers of the counties. These are more or less the questions that they should answer. We have also, why do we have to play in the orchestra, saying how the censorship worked and it's a test of Mussolini's story talking to the journalists how to do their job in order to be okay for them. Comparing with an orchestra with musicians, it's an Italian source. Then we have a Polish source that is the Black Book. That means it's a collection of the regulations that censors did in totalitarian movements. And the students have to analyze some of them that we have chosen and decide what does that religion mean and why it should be censored. And one of the last activities is to make them to be censored. For that, we have prepared a chat that it was a real censored chat of Spain. You have the translation there. That's the chat, that the report, that all the censors have to fill in about books in order to be decided to be published or not. So we give them to test, both of them in Catalonia, in the Rastakania event. And with those tests, they have to, first of all, they didn't carefully analyze them and try to complete the report to decide if it should be something against moral, against charge, against institutions, and that's all. And then they have to look also for code messages, if there was, and they have to guess, try to guess which of those documents would be censored or not, or both would be approved or not. Just to analyze how a censor was thinking. And of course, we gave them the real answer, given the real answer of those. The last activity of this learning activity is just what does it mean for us today to ask students to think about what censorship means for them. If censors assist from their viewpoint, they have kind of discussed how they did in the whole class. Of course, all of you know that a censor assist today is not something of the past or totalitarian regimes, and we can see in this vision that he's outside there. Some books that are censored from Spain, others from the other parts of the world, and also some were quite recent for the 21st century. We are also developing, we're starting to develop some other learning activities, just giving you our titles. Would you like playing in the orchestra? That is a case study, our Italian case, which talks about Mussolini. We also have, we are going to have some source collection, like this one, how has to be a good woman, different countries, and all this source collection and all the learning activities will be upload to Storiana so that any teacher in any country can use them as they know they want it. Just to finish our presentation, there are some pictures of the woman, Italian, Spanish, French, and just a small and short advertisement to finish our presentation. As Nuria was saying, the Eurocleanest annual conference will take part in San Sebastian. Many people involved in history, memory and remembrance will be there, sharing experiences and sharing knowledge, so the registration is already open and hope to see you there. Thank you very much, Harri and Laura. Let's go to the second presentation. We are going to organize this like this. We will have the free presentation, and after we are going to open the dialogue to the audience in order to have a lot of questions or comments as you want, okay? So let's go to the second presentation by Francesco Gerlosi, his philosopher, journalist, radiojournalist and political activist as organizer of the Living Memorial Group, or the 11 M. Lecmo support as it is known in Hungary. Actually, he's going to talk to us about the role of this group in the process of civic resistance against the so-called memorial of the big teams of the Nazi occupation in Liberty Square, Budapest. Can you hear me? Okay. So have you seen this book? Yes. This book titled Past and Power, edited by Jordi Giché, my pronunciation, sorry for that. So this is a picture on the cover photo about 11 M. Lecmo or Living Memorial from Budapest. And we are in the middle of a question now because 11 M. Lecmo or Living Memorial has two meanings. Originally, there was a memorial which was not living. The official title of that monument is Memorial of the Victims of German Occupation, or Nazi Occupation maybe. And it's in the Sabachakter or Liberty Square in the center of Budapest. And even when it was just an idea of the government to erect that monument there, there came out of nothing, huge and many, many demonstrations against it because the concept of the monument is that there is a totally innocent archangel Gabriel and above Gabriel there is an aggressive eagle which represented Germany and the archangel, the innocent angel represented Hungary. And I wanted to say this monument in those times already when it was still not at its place, but it is now for more than two years. And it is that Hungary is absolutely innocent and only Germany is to blame for the Holocaust and the killing of more than half a million Hungarian citizens in Auschwitz and other concentration camps. And this specification of history and this lying, rose up people from their armchairs and ivory towers. And there were demonstrations on the Liberty Square every day. And then finally the memorial was erected in the nighttime when the least people were there. So, and even until now it's not inaugurated, not officially it's not there. And so, and I told you that the phrase Eleven Emleik Müh or Living Memorial has two meanings. A little before the erection of the original memorial, there was a huge, relatively big flash mob there where a philosopher, a rightist philosopher for my taste, I'm rather an anarchist, he's rather a rightist philosopher and he had a brilliant speech about Hungarian memory, the memory of, historical memory of my country and said that without facing what really happened in history, we won't have a future. So, and all the demonstrations, so, and then we decided, so he said this Bindak Peter, this philosopher said that ask people to bring personal belongings, photographs, stones, candles, whatever.  This is the first sense of the phrase. The second sense is that a month later in 14 April, that was in 14 March what I said, another Eleven Emleik Müh or Living Memorial had been created. They were chairs in a round, in a circle. So this is, these are two chairs facing each other and Eleven Emleik Müh the two letters E. So they represent the dialogue, without a dialogue nothing would change. Say we, well, the pictures are absolutely random pictures from the Facebook. Sorry for that. This is a picture about connection of ours when the Eleven Emleik Müh as objects were just two years old and so Gabriel the Archangel is covered here and Hohman Balint, he was a minister of culture in the time of the Holocaust and was very active in backing, creating the so-called laws, the laws restricting the rights of Jews in 37 and 38 in Hungary. He was an anti-Semitic and he was still a member of the Hungarian parliament under the Nylos regime, the last helper of Hitler's Germany in the World War II. So, and we covered and we, it's a long story about his statue, a statue a government wanted to erect a Hohman Balint statue which is a city 60 kilometers from Budapest and even Barack Obama intervenated telling that it would not be good if such people would have sculptures, memorials in any allied country and he meant really Hohman Balint. And, you know, so there was Barack Obama and there were we. So these are people from, okay, you can see the guy in black shirt and glasses and the mother and the child, so he and her met each other on the square in the right-eleven Emelik Müh circle two activists and the youngest activist of ours. This is a very short part of the circle and on the background you can find some columns, they are part of the original Emelik Müh or memorial. This is a part of the living memorial, the object sense and on the other side a part of the original memorial and this guy who takes the chair now was a far-rightist guy and came there, sat down and we convinced about that it's not good and he's not a far-rightist any longer. This was... Sometimes we export our chairs and conversations so this is not in the Sabachak, it's another street. This is the other side of the street, of the same street. On the other side there is a museum which formerly was called Ernst Museum but now it's called Kappa Center after Robert Kappa. It's a photography museum and the way how it was created was absolutely a dictatorial mood of pushing money to friends and taking money away from not friends and such and the woman who had the exhibition had a talk with us not just about her art activity but about the situation of how new museums are being made in present Hungary. You can see me too and her is the artist. A demonstration where we took part and on the left she's the woman who was about to come here and not me but she couldn't so that's why I'm here. Someone is... is inciting a candle on the Eleven Emlik Müh in the sense number one. This is a very short talk in the Eleven Emlik Müh since number two. In every chair it's written Eleven Emlik Müh, the guy in whatever on his hat with beard is Corby Hopkins one of the founders of the Occupy Wall Street movement. He was just in Budapest a couple of days ago. Anyway, this is an Occupy movement too but we go home to sleep. Okay, so it was a random show. So it's a kind of an Occupy movement but we go home from Monday to Friday we are there. And I also wanted, I don't know how much time it was. Two minutes more? Okay, so the question is I wanted to pose why we are here on this book cover. What is so interesting in Eleven Emlik Müh? And so we demonstrate against the specification of history. We have three times a week we put chairs in a circle, invite several people from time to time, invite people to talk with artists and philosophers, politicians, students, whoever. And first we talked about making monuments but now we talk about everything which people are interested in. Participatory democracy, the condition of the Roma people in society, whatever. So it's a very small group but a lot of people know about us and everything is open and every conversation is recorded and can be listened to on the Internet. Everything is open source. Let's leave Glasnost. Well, let's go with the third presentation by Jordi Fonaguyo. He's going to speak in Spanish so I'm going to present him in Spanish to introduce him in Spanish too. He's a director, cultural manager and exhibition commissary, director of the Exilio Memorial Museum in the Catalonia Junkera which is a center integrated in the memory network of the democratic memorial. He's a technical coordinator and artistic director of the Espais Dal Contemporani Foundation. He attended it between 1991 and 2007 and at the academic level he has published numerous articles about various universities. He's going to talk about the socializing instruments of the memorial in the museum. I'll talk about it here. Well, first of all, I want to thank the organization for inviting me to this conference. And I think that after seeing the cases that have been presented so far I think it's my turn to present the initiative perhaps more institutional or more institutionalized which, in some way, was born in what the professor Rekarviñas and also Paco Ferrandi have talked about which is a result of that moment of memory that we've been experiencing in our country for about 15 years, approximately. The particularity of this initiative is that, in a good way, it emerged in a zone, we could say, peripheral, in a border zone. The area is the museum, that's what I'm going to talk about. It's located precisely in a... perhaps the one that was and that is still the most important border between France and Spain, which is the one in the Junquera del Portus and, in some way, at the end of the Civil War in Catalonia, exactly between the end of January of 1939 and the first ten days of February of 1969, because in that place a great number of people escaped from what we've talked about before the Franco dictatorship. In this case, the border pass of the Junquera del Portus was the area where more people fled from, let's say, the Franco terror. It is estimated that around 250,000 people, more or less, went through their place in ten days. That means more or less half of the almost half million people who took the way of the exit in that period that I've talked about. As I said, we have a border area, which is this area between France, between what would be the northern part of Catalonia and the southern part of France. As I said, we also have a memorable event. You can see here a photo of the pass of the Junquera del Portus in that precise moment, in February of 1939. Here we have other photographs that refer to that memorable moment and I'm talking about a memorable moment because in this area, especially in the municipality of Junquera and also in Portus, and everything that would be the area of the Eastern Pyrenees, what we call Catalonia del Nord, and also the northern part of Catalonia, it was really marked by that event. And because of this memorable event, in the Junquera, at the end of the 20th century, coinciding with this memorable moment, from the Junquera City Council, the initiative came out to take a museum around that event that in some way left a mark, we could say almost permanently, what would be the memory of the citizenship of that area. But not only the citizenship of that area, but as you can imagine, in the memory of what would be the contemporary Catalonia and also of the contemporary Spain, the Republican exile occupies a place that we could say privileged, in what would be the democratic memory, as has been mentioned before. Here, what I want to talk about very briefly is precisely what has been said before to carry out some public memory policies. We need instruments. In this case, we are in front of an instrument, quizas, it is one of those that have developed more throughout these last eight or nine years in Catalonia. The museum was founded, it was opened in 2008 after a process of creation. In some way, it also indicates or connects with those difficulties at the time of carrying out policies or public policy programs of democratic memory in our country. In summary, the museum consists of a permanent exposition which is one of the instruments, we could say, of socialization which refers to public capture, but it does not only have a permanent exposition. Here you see some fragments of this permanent exposition where it occupies a privileged place. Now I will not go into detail, but for example, all that would be art, the use of artistic works, for example, used or, let's say, placed in the middle of the museum discourse, in the middle of other museum devices of audiovisual or documentary charisma. Here we have some aspects of this permanent exposition and I will move quickly to what would be, in some way, how this permanent exposition is used, how the users of the museum benefit from this permanent exposition. As you see, for example, one of the peculiarities of the permanent exposition is a musograph designed in the form of labyrinth, in some way, it is a metaphor of that long exile from 1939 to 1975. That would be in reference to the permanent exposition. But then, the museum itself, from the beginning, from 2008, when the museum was opened, we have also worked on the concept of exile from a more open perspective, more broad, trying, above all, to approach what would be the same present, or also acting, leading to the end, a political exposition in which, above all, the comparatist issue, we could say, or, above all, talking about other realities related to exiles, forced displacement of population or political violence. In this case, I have put here a sample of temporary expositions, an exposition on Israel, Lebanon, another on Bosnia, on the absence, on the disappearance in Argentina, or a specific exposition that was carried out on the last war in Chechnya. Well, here. Then also, we have carried out an exercise, above all, of, we could say, of restitution, of artists who suffered the experience in the fields of internment in France. Catalan artists, Spaniards, who were completely unknown to the majority of the public, and we have carried out expositions of this type to recover them. I will quickly pass some of these. And then also, what is also, has been very relevant, also in this case, which connects precisely with the congress that we are carrying out here, from the Exilium Memorial Museum, we have also participated in some European projects. In this case, it is also a project that is part of the Programme Europe for Citizens, a project that is led by three Italian municipalities and that brings together different countries, different localities, different countries in which, in some way, they have also been impregnated, they have been, they have suffered, which are significant for the issue of war, because they have suffered the effects of war. And then, what we could say the objective of this presentation, one of the most important elements of the museum is the educational service of the museum, which has been configured from above a first experience before the museum was inaugurated, which was an experience of the University of Girona, emerged from the Pedagogical Faculty, from the Pedagogical Department, about the history of education, especially from the persecution of the Republican teachers and the Exilium of the Republican teachers. From here, a series of routes were articulated, which were later taken advantage of our educational service and it has been created throughout the years, apart from what would be the appropriate guide to the museum, to the permanent exhibition, they have also been articulating different workshops, workshops, workshops, focused above all for a public, let's say, school, above all, of institutes, but also a public adult in general, which can be a user of those services. And then, another of the, we could say, of the programme that for us, of our programme, of which we are most proud, above all, is, well, here we have other images, is above all because the museum is, as I said before, in a border area, with a, we could say, a long tradition of connections and at a historical level, of the commercial and above all, from the same experience of that exile, which, I suppose, is that huge transfer of population from one state to another. Well, that means that, on the other side of the border, there is also a very strong memory of what I suppose the reception, above all, of those refugees. In this case, throughout these years, we have been articulating a series of routes around that border area, which are routes that are carried out, above all, with students, but also with adults, and in some way, we have also been articulating, we could say, among quotes, a certain memory tourism, what is said in French, memory tourism. In this case, the route proposals are quite diverse, and above all, they take into account different aspects from the recovery of some secondary paths used by authorities, or representatives of the Republican governments, or of the Republican Catalonia, or even of the Basque Country, also. And we have also carried out, we have recovered significant spaces related, for example, with the internment in different fields, in France, and all this has also been possible thanks to the fact of working with the idea of the museum expanded in the territory. And that was also possible, and it has also been talked about, as a result of a design project of spaces and paths of the Republican Church, which was carried out between 2008 and 2009, from a project together with the Memorial Museum of the Exile, the Democratic Memorial Museum, and also a supra-municipal institution of the area, let's say, close to the Memorial Museum of the Exile. Well, and then, they carried out a few signs in the territory, and above all, taking into account the transfer of population from the south to the north of these Republican refugees, but also taking into account that during World War II a transfer was also produced to the reverse, especially of people who fled from Nazism during World War II. In that case, very close to the Memorial Museum of the Exile, we have the paradigmatic case for the relevance of the character of Walter Benjamin, who died, who committed suicide in Port Bo, close to where he is located. It is another border point, next to the juncture, and in some way, we also develop this work, especially from the persecution of people for their ideology, for ethnic issues, etc. This would be the map of that area with the signs. For the title, just to finish, I'm going to follow a text briefly, and in some way, it will be faster. In short, in the project that encarnes the MUME, the Memorial Museum of the Exile, I think we have to point out that we have left aside what would be the critical mentalisation, petrified, we could say, that it is often excessively dependent on a misunderstanding, patriotic, as well as that very present tendency that, in the name of entertainment, is to behave like a fall in vulgarisation, which often gets confused with the spread. And a pertinent concern when places marked by the pain and the pain are objects of massive touristisation that often ends up distorting them. In many cases, that usually means the parody of the past and also a loss of respect to our ancestors and their vital traditions. Therefore, for this reason, located in a general plane, but also in what is particularly referring to the MUME, when it is mentioned the alleged benefits of what we call memory tourism, it is necessary to insist that this type of approximation to the past requires especially the accompaniment of a solid pedagogical task, that is, that it is beneficial to know the events of the past that are associated with values and attitudes often forgotten, marginalized or banalized in the present and that by rescuing them they can increase the civic, ethical and democratic education of the citizens. This option, we could say, is the one in some way and with this I think I should end because the time is running out. This has been the option that we have been working from the opening of the MUME that was in February of 2008. Well, I have left many things to explain, but I leave it here and thank you very much for listening to my words. Thank you very much. Thank you very much, Jordi. Well, with these reflections we give way to your comments and questions. I think it has been like three models, three forms of expression of socialization, the transmission of memory from three different areas, from pedagogy, from civil society and from the memorial institution, from the institution itself, with all the complexities and implications that this contemplates. So I think it is a good time to give way to your reaction, your questions, your comments. Good afternoon. My name is Haya Feldman, Educational Coordinator of the International Department of Yad Vashem, Jerusalem, Israel, where the Yad Vashem complex is composed by not only the historical museum, which, of course, is the largest museum in the world today in the Holocaust, since 2005, which was inaugurated, but also has monuments of memory, of memory, of research centers, of association, of art museums and the International School of the teaching of the Holocaust, which is my question and my comment, especially despite that the three projects are very interesting and all these two days are very interesting. Specifically, I am going to address to the colleagues from Italy about the Euroclio that interests me and interests us and we are often also in collaboration. At the International School of Yad Vashem an educational philosophy was developed many years ago. It is not the moment because we do not have time to explain to you how much pleasure it would have but one of the things that we do is work, although we are not Europeans, we have the roots very linked to all of Europe and therefore they go through our classes and we travel to different countries from all over the world and especially with Europe. We have a lot of connection with many graduates from seminars, including from Italy, Portugal, Spain, what they did, and even Twin together with us too. And my question is first, comments too in a moment. Only history, only history teachers can approach, use or help this project that you are having or we could of course see it more interdisciplinary like I said already for, okay, languages, languages. In what way could they expand? For example, we from Yad Vashem I think we can collaborate a lot also in projects like we did also in itwining giving, since there are materials in all the developed languages, films, you can also see them on Yad Vashem's page, cultural exchange and from a pedagogical point of view since we can also exchange, I repeat again, experiences, see how we can enrich ourselves or help also integrate or see more how it is taught from the Holocaust which is one of the elements of philosophy, that the Holocaust although it is something particular in principle of the Jewish people we do not leave it there only but we pass it of course universal and that is where we could see how one collaborates with the other Thank you very much We are going to pick up the three questions of the moment of the audience and then we return Costes Carpos, I represent the Contemporary Social History Archives in Athens and I have a question based on the experience of the Hungarian movement for this monument and I think that this Hungarian story has a broader implication it's just not a Hungarian story and my question is to what extent do you relate your actions to the broader shift in history and public history and memory in Eastern Europe that we're witnessing now there's a new law in Poland the issue of status seems to be one of the main controversies in the Baltic countries and in Budapest itself the Museum of Terror exemplifies a conflation this dominant narrative of the you know the true totalitarianism and the Hagarians being in the middle of these two equally totalitarian ideologies and I was wondering your movement I mean in the ideal scenario what would happen in the public landscape of Budapest what would I mean what is your strategic goal? Okay We pick up a third and we go back to the table and then we do another one Here there was a part of you Excuse me Good afternoon My name is Teresa Deloyo and I'm coordinator of the Ravensbruck Amical We share the concern expressed by the director of the MUME about the banalization of facts and historical events We have many consultations apart from that we give periodic talks when they ask us in schools, libraries and other entities we have many direct consultations from the students when they do a research job the first thing they do is contact us through the web and tell us we want to interview the only survivor who is alive today here in Catalonia we have two but the other one lives in the south of France So we have a constant struggle to say no look this bibliography read whatever you want and if once you have read this if you have the consultations we will solve it What I want to say is how you can counteract this tendency to easy work when this lady comes out on TV I want to talk to her instead of reading the books that can illustrate you and then about those doubts that can arise if you ask for help Thank you Very good Yes, I'm going to answer Castellano since he did this to me Of course that all the material and all the humidity and all the sources that are there saving going up to the historian Eus Eus can be used in any way that is many times even we think that it is not only for history but for many signatures as a citizen yes with different names that can be different countries can be very useful with which at this moment there are already for example certain materials and certain units of the Holocaust that can be currently used our material about silence and I imagine that it will be half a year normally the material that is uploaded in English or if the material is in the original living if it is a post for example has a small translation in English so that at least we can have a small transcription of what is in a French language and of course that the historian would be delighted as a website that they would upload if they sent they could not add sources entering the same web there are many ways to explain how to try to send how to upload documents or photos or movies or whatever because the idea is to try to make as many resources as possible and as rich as possible so that you can send them to everyone I imagine that I have answered if not we will continue Yes Francis Yes to your question I don't hear myself well but it is not a problem so your first question was to put Living Memorial in an East European perspective of larger scale if we we take things into account which happened outside Hungary yes we try to take into account as many things as possible and three or four new very important topics and enter our view every day or something so and and our company there in the Sabachakte in Liberti Square in Budapest is broadening and there are new people from outside Hungary too so and now we start to think about making a blog a radio program so we want to open to the entire world really and then you will be able to contact us in English online not at the moment but very soon so concerning the question of when you mentioned the terror has the house of terror which is an entire so there is a Holocaust a memorial place in Budapest and that's the other that wants to be the other side of remembrance in history because there is a kind of as we call it a kind of war of traumas or trauma in Hungary and public life and and the Jews are crying for their Holocaust because they always speak about Auschwitz and the Saba Czakir why on earth can I not tell my own story my great-grandfather died and the Don banned my other great-grandfather died that or died or not died but had had lost a piece of land in Transylvania after Trianon so for the first since the first time we met there in Saba Czakir and formed that circle to speak with each other we realized that that we cannot think and cannot stress that one trauma is more valuable than another one but somehow somehow we say we insist that Auschwitz means something different we have to we have to keep it unrelativized relativized in order not to be you know in order for the other traumas to be taken into account it's a it sounds a paradox but it's not according to my view I don't know if if I answered what you really meant to answer the third question about the analysis of the memory a little directed to you but maybe it's transversal and you can but Jordi if you want to answer well in this particular case of Neus Katala for example I think he has quite he has a lot to do also with a transversal phenomenon of the last years in the contemporary societies that some sociologists have called me as the audio visual audio visualization of the society in which they acquire a lot of importance the media of communication and appear in the media of communication and above all talk about yourself and in some way this in some way it has been internalizing what would be the imaginary of the majority of the population and in this case there is also another phenomenon that you have talked about before which is the issue of institutionalization of the witness that in some cases other authors talk about the sacralization of the witness in this case there is a lot of bibliography about this issue but specifically in our country what refers to Catalonia which is what I know better I think that too precisely if if there is this problem that the witness only the witness as the only way of access to that past has also had a lot to do with especially the use that they have made of it media of communication in the last 15 years in some way I don't want to say the whole world but broad sectors in some way have been complex of this participation in the media of communication they have made documentaries many some have really had they have been useful but we are always in that line let's say dangerous to end up falling in what would be what we call banalization the superficial access to that past and I think it has a lot to do with this I even that we have relations especially with teachers of institutes I see that even the same the same educators that that promote that in some way they propose to their students that they do this type of work without giving importance to other sources that could be bibliographic but we also have on the network many sources that perhaps today are more easy for the students or the young students to use them since we know that they are very hard to read but I think it has a lot to do with this situation that we have lived in the last years and my answer how we can avoid these situations is really difficult because what is the media as we know is a a very powerful tool of contemporary society and really I think that from institutions like ours what we have to try to convey is precisely a critical work and especially try to show that try to explain that the destiny is a way of access to that past very very powerful and surely very good in this sense but that we have to have let's say a critical precaution at the time of approaching that past here also in our country we could say that we are paradigmatic precisely in what would be the falsification of the past through the witnesses we have the case of Enric Marcos somehow I don't know if I suppose that most of the people you are here you know the case but it is a person that for years appears well especially in the last 15 years usually the media explaining their deportation and their internment in the field of Flosenburg I think it was no Flosenburg how? Mazau Flosenburg no Flosenburg no no, it was Flosenburg and then it was discovered that it was a story totally false invented well we already know that it is not the only case but we know there were books made by journalists about this person it seemed habitually in the media precisely it is let's say a symptom of the problems we have in our society especially from that phenomenon that I think I don't know if it is human it gave visualization of contemporary society I think well I don't know if I have answered your question well I think we have opened a debate that we could continue 24 more hours between disciplinary conflicts and other themes that can come out and the time is over it is 5.30 I think an hour and a bit delayed we can still answer questions no we can't maybe we can leave these questions for the end of the session closing therefore we leave here this first workshop of the afternoon thanking thank you very much to all and all your presence and your contribution thank you very much thank you very much thank you very much thank you very much thank you very much