 My presentation is called Heritage Shall Be Our Light Motif. As you can see, there is a picture, a symphony in green. It's a picture of our World Heritage sites, our World Heritage property in Austria, one of the component sites of the UNESCO World Heritage of prehistoric high dwellings around the Alps, which is, as you probably know, a trans-boundary, a transnational serial world heritage. And as you can see on this map, all these little red dots are high dwellings, high dwelling find spots. Not all of them are on the list of the UNESCO World Heritage property, but 111 of those little red dots are on the list. And our biggest challenge, probably, in the management of this World Heritage, when I say we, is, as in Austria, as the codatorium file button, like the management body of this World Heritage site in Austria, that there is also, of course, in every country, there is a management body, and there is a joint group, the international coordination group, and all the session organizers are part of this group. And so when I ask what is our biggest, on my point of view, what is the biggest challenge is how we can find this kind of golden thread in between this World Heritage, this component sites, because it's quite confusing, and it's also a very large time frame. We have more or less 4,500 years, maybe more of prehistory, six countries, different areas, different landscape types. So it's quite complex. And how can we do this and are there good recipes for that? And when I designed my idea for the session, I had the idea that we would just make an online survey and find other places, other maybe older transnational sites. There are not so many there. There are seven inscribed sites or inscribed properties in the group of 1,092 World Heritage sites, all in all. And so I thought maybe it's easier. It's good to ask the others, how do you deal with this context that you're a transnational site. You have to take care on the local conditions, the local context, but you have also bring everything together. What was kind of problematic is that when you look, for instance, at the official World Heritage center site, you have all the listings of the inscribed sites. And of all these 37, you can find only seven sites with a joint presentation. So it's kind of limited. I thought every site, every World Heritage property should have or would have a joint management, a link, a website address where you can find more information and contact. And it's not even possible to find the contact for most of the World Heritage sites. So to give you a very quick overview, there are of these seven sites with a joint presentation you can find, for instance, the Struve Geodetic Arc. They have something like a de-keep. That's their joint presentation, which is already a little bit outdated. I think the last update was from 2010. You can find presentations like this one, the Venetian works of defense between 16th and 17th century of Italy and Croatia, I think. But when you click on the Continue button, then you end up on an Italian web page with little information about the joint, the World Heritage. You can find sites like this, the Pyrenee Montpellier, which is basically more a touristic site. And one of the few examples where it's really an attempt to bring everything together is this natural heritage site, the Badensee between Germany, Denmark, and the Netherlands, who bring everything together and start from a position of a joint World Heritage. So I failed to have this online survey because I still need to get contacts. So maybe there are some concepts, but you can't find them. That brings me back to our own web presentation. That's just a random screenshot, which is, I have to confess, also something that is, in that form, quite a recent status that we already had from the very beginning for the joint website. But it was very much focused on the perspective of Switzerland. Switzerland's lead partner in this nomination was kind of dominating this website. After more or less five or six years, we did it a little bit different, also recognizing that there should be a more balanced presentation of the joint World Heritage. But we experienced that in all the countries. What is our daily life is that the people close by to the component parts, to the actual sites, the fine spots, they're only connected to their own heritage in front of their buildings, in front of their villages. So that's part of a research project that we did together with schools in Austria. It's translated, I tell that the people of 6,000 years before already knew how beautiful it is to live here. That's a kind of culture that not everybody got. And you should see that it's nice that we have something like this. Or it's important for the identity of the inhabitants or the locals that they know they live in a very special region. So in many of these, we did a lot of interviews, or the school kids did a lot of interviews. In many of these quotes, people refer to this local identity. And that's the only thing that they never refer to a global identity, or a joint identity, or a common culture. So it's very much focused on the local level, which we can also use, which is every now and then very useful. So for instance, all the part of this research project was that we created or encouraged also local narratives. And so we, for instance, there's a story about a canoodle, a dumpling, which became part of the local heritage, which is, of course, something that is rooted in ideology because they found something like a bread, remnants of bread. But people made something new out of it. So it's very useful to start with these local narratives. But on the other side, it's a little bit too limited and connected with many problems. In the preparation of the European Year of Cultural Heritage, there was also one of the many studies, preparation studies. This one is made from Markuzi Pruc, European identity, made for the European Parliament. And he said, accordingly, it would be most striking and indeed irresponsible of nation states but also the EU were not to pursue any action or even formalized policies aimed at strengthening collective identities. Identities, again. So we're working with identities. But a little bit earlier, he already says, in a nutshell, no identity is stable over time or eternal. No identity is intrinsically superior to another and no identity is indispensable. So he already, in his report, is quite clear that the concept of identity is a very problematic one. Going back to the World Heritage in the UNESCO, you can find another quote, heritage constitutes of sources of identity and cohesion for communities disrupted by bewildering change and economic instability. Creativity contributes to building open, inclusive, and pluralistic societies, both heritage and creativity, later foundations for vibrant, innovative, and prosperous knowledge societies. So I thought it would be wise when you think about these additional dimensions of our heritage, especially a global heritage, when we think about training that to a next level to look a little bit more on the identity aspect. What is clear, and I think most of us already touched this topic, is that heritage and archaeology, in particular, can act as means to create a local identity. It's very useful, as we did it, with the dumplings that can put society together, opposing things like rural exodus. But it's a very constrictivistic concept. We all know that, I think, that the concept of this local identity or cultural identity is very problematic. And it's, of course, and that's very important. Also, in the context of the global heritage, which should be something for all, it's very exclusive and very rarely inclusive. So I think we have to find a differentiation. And when we speak about identity, we should maybe define the terms, the terminology, a little bit more. So quite often people speak about a cultural identity, but then maybe we should think much more about personal identity or the identification with something. To make it a little bit more clear, I brought some examples. So what is identification? That's what you call an English spin beautiful, some single word, thank you. And I use that quite often for workshops. So I have a workshop with teenagers, also including teenagers with the migration background. One of the guys was from Tajikistan, I think, and he was very close, quiet, language problems. And when I showed this, and my point was to ask the teenagers what they think, what kind of object is this, in most cases. A small wheel or a model of a cart or something like this. But this guy immediately recognized it because his grandmother, she still uses a single wheel tool for threads. So he found this as a hallmarker, and he got an element to identify with this topic with the pilot warnings and the heritage of the pilot weather. So that was something on a very personal level. And he had the chance to identify with that. And then the rest of the workshop, he was very open and he really enjoyed the workshop. If you think about personal identity, how can people identify with culture as a model of a piloting house from France? That is kind of difficult to approach. It's very far away. Isn't it much easier to identify with something much more recent? There are also still houses in Southeast Asia, Myanmar, for instance. So they're much closer, I would say. And maybe that's even closer, having holidays in a luxury stint house, holding in the meadow dyes. Maybe the persons there are much more identifiable for the persons, for us, for people living in the most Australian piloting areas than to identify with this very far past. And cultural identity is the concept, as I said already, that is not really existing because it's always connected to something that is created and very artificial, for instance. Probably I don't know how many in this room already saw the sound of music, not so many. But if you go to Austria, almost nobody saw it. But if you ask any American, for instance, what would you, from a cultural aspect, connect to Austria? Maybe the first thing would be sound of music. So people start now in marketing to connect the pilot dwelling with sound of music as a commercial package. But it's nothing that is connected to our Austrian cultural identity. So that's something that is very artificial and not useful. That struck me always that people who are very fond of their national identity or state national identity, they refuse to identify with certain elements of this identity. So that's a quote from the German former German president, Gauck. There is no German identity without Auschwitz. And the guy who blocked this is a far-right activist. And he asks or tells this president, remember that you have been elected as head of state to represent the German nation, people and not to be great. So he's, on one side, always referring to the German identity, but he's neglecting this identification with part of it. It's probably you will see other features of this event. I have to hurry a little bit. It's tempting to use identity and national identity. And we are also not immune to that. So we had this event. It's an international log boat regatta where we bring together a whole group of people involved in the world heritage and the pilot dwelling heritage. And as you can see, we also, as a team, we have the Austrian team, which is kind of contradictory, contradictory, rowery, because it should be on a different level. I will skip that because it's, I think, presentation on its own. So I just wanted to bring that in as maybe something that can take home as well, think about the world heritage as places of otherness. My last slides, just a little bit. I think if we try to find a solution how we can connect to the people and how we can describe, how we can talk about these cultures, what is a culture? But if we talk about the past, is that we maybe remind ourselves on our profession. Archaeologists are, as many people say, interpreters of the past. So they are used to work with transformation, typologies. Inter is the in-between. So you have a distance with room and space, time in-between. And there is a French philosopher, François Chouin, and he said, transformation is the root of culture. So it's impossible to fix a cultural identity in one place at one spot. So he is very strongly opposing the concept of a cultural identity. And he proposes that we should focus on the transformation, not on the differences, which are obstacles. And they are very static and isolating. But he says that if you think about space and distance in-between and try to analyze it, then it's dynamic and brings the in-between into the light. So that's also, again, a piece of transformation that could help us to display cultural heritage. Coming back to the title, Heritage as a Light Motif, I would suggest that we, in our representation, interpretation also, when we do, I don't know, museums, exhibitions, and try to think of new ways how to tell stories about the past, create a narrative. Then we can think also, imagine this heritage as a piece of music. That's also something that we always discussed in the World Heritage together. Can we find something like a common general narrative as a foundation, as a basis? And when you think of this common light motif as this basis, then that could help us to create something new. And there are also room for deviations, two of my favorite hacks of the past. Stone tools in new design with the 3D printed handles or these hipster Greek sculptures. You can find a more, I don't know, not so serious way to talk about heritage. So to conclude my thoughts about identity and heritage, I would suggest that we cherish the distance, not the distinction, and create open ends into the future because that's also something that is really strongly connected to this idea of having a transformation and more something that is not separated and put into separated pieces. And also to try to find easy access for heritage, create a soundtrack for identification. Thank you very much.