 First of all, I would like to express our thanks to Clara Masriera and the directors of the local museums for being able to participate here and I am very happy to be here With you to talk about accessibility to culture at archaeological sites And please excuse me because my English is not very fluent The tactile gaze played a story Since the year 2007 The Office of Cultural Heritage of Diputació de Barcelona Provincial Council of Barcelona Carry out different actions to bring museums and archaeological sites Closer to all citizens through the local museums network the the local museum networks include 67 museums from 52 municipalities some of them at last and percent fit archaeological teams 11 years of program together with the thematic variability of museums Have allowed us to ground and achieve new goals in the fields of accessibility The tactile gaze is a program of accessibility to culture Which adapt permanent exhibitions and archaeological sites to the whole society This program Focuses on the development of different displays tactile elements within the museums Including the various specific communicals channels to each disability groups The aim is to offer the cultural spaces designed for everyone We start from the tactile reality to reinforce the contents of the visit Of course this program should include visitor's guides in Spanish, Catalan and English Embray a macro a macro scale print The text of the sky is accompanied by images in relief Of those museums objects, which cannot be touched This tactically might help to better understand the various contents and meanings in addition for the diff community In addition for the diff community we have a channel in YouTube With all the contents of sign language We'd subtitulate for the oral community and is spoken in Catalan to offer a more universal use for the local community The tactile gaze introduce a multi-sensorial experience has a new way of presentation reality In the same of them we introduce the sense of smell Which is very important to create an imaginary wall which is environment and materials And now I will I Will like to show you a short video about the difference device developed to provide universal access To both the general contents of the giving museums As well as to read the permanent exhibitions The program is called the Mirá de Táctil It is developed a program called the Mirá de Táctil The goal of which is to adapt the permanent expositions In this action it is very important to approach the tactile perception of the contents of the museum discourse And this part of the tactile because the tactile is the most universal sense And therefore it is much more entertaining for the collective In this sense What we have done is also to develop the different channels of communication Which are appropriate for these collectives The Mirá de Táctil represents the opportunity to be able to gaze from the art Not only from a conceptual point of view But above all from a material point of view Making a real experience That allows you to know What are those objects that have been part of the life of the people From the mills All the instruments that have been used in the Roman era The Iberian times It is very different To read and to feel That you live from a tactile experience That allows you to see the coherence Between the historical moment in which things are produced Or how things are perceived And at the same time to gaze from a double sense Of the word and the tactile The support that we have obtained from the deputation of Barcelona Has been decided because through the project of the Mirá de Táctil We have put practically all the permanent exposure Accessible to people with these difficulties As we have done in the majority of the modules as you can see There is a discourse with macro characters With the Briley language There is also the possibility to observe Visualize some videos for the lucky people And above all What we have done is to extract the objects of the windows The original objects and put them at the bottom Of everyone And I say of everyone because from now on This sensory experience Not only can you understand the people with evident difficulties But also everyone Everyone will be able to play A ceramic piece A steel core Objects that are about 7000 years old And that until now Were inside the windows And were inaccessible Another of the communication elements That have been elaborated through this project Are some guides Also with Briley That are in Catalan In Spanish and English And as you can see They are very well decorated And inside there is also the possibility Of accessing certain textures Of certain volumes To be able to make a clearer idea Of the content of the exhibition For the moment There is a programme That was done in collaboration with The Department of Barcelona Which is the programme of the view of the tactile In which a series of pieces That are especially significant Especially important Inside the discourse Of the archaeological park These pieces are for a band A piece of mine The instrument with which the mines were exploited In the Neolithic era A piece of stone We are in the Neolithic There are no more details And it is a piece of a rock that is said to be corny A rock that was not found That had to be brought there They have been debauched Or preformed The mines that have been preserved until today The second object That we tried For this tactile view Is a mineral block The mineral that is extracted Was the verisita Then we tried a mineral block Together with the pizarra Which is the rock box In which this mineral is found That has very different textures One from the other The third object is a verisita collar The mineral extracted from the mines Was used only to make Body elements To make collars To make bracelets That were elements of exchange The fourth object that I included Is a particularly significant element Of gava That is the piece that was made With the name of Benus de gava It is a ceramic container In which we clearly recognize The representation of a woman In the shape of the sun The wider and stylized A collar in the shape of paint The suspicions, the arms The hands that rest on her To be inflated like a pregnant woman Which is a piece that In the beginning Is a band for her feminine character For the other band Also for the bright color Which is the color of the fertile earth And for the other band For the maternal and protective aspect Of the creation of the eye And we get to the last object That is a collar A collar of an adult man With a double trepidation On the back of the collar A trepidation that was surely made To resolve An impact that was caused Or a fracture Of the bones produced Of an impact It is not only about People with sensory difficulties Majority of them are the dwarves Which are always More Direct at the time To be balanced About the objects that are In their own way So they manipulate And they can see these volumes These textures And play pieces That cost them what they were They can play the walls To see the materials That are reconstructed Inside the house And above all The elements that reconstruct The everyday life Of the families Of La Yetania two thousand years ago When they planned To make a tactile module For this museum The main idea was To think about How we could transmit What was the management It is also a strategic place As many of the ancient archaeological sites can be Presumably because They occupied places that had A strategic function At times we were focused on Making a module that explains The part of Iberian remains With an ecology that goes from The sixth century, more or less before Christ Until the first century And then the medieval part So here you can see The structures that have The management And then a detail Of what would be the part Of the Iberian wall And another one With what is the whole Of the Roman region of San Pere And everything that would entail The part of the secret, we could say Of houses that would entail This religious building That is dedicated to San Pere Interesting of this project A roller coaster That is a collective occupation That has been working for more than 25 years That makes some Absolutely well-worked And very detailed And we asked them to collaborate To make this model A copy of the model The first that you will find The original archaeological elements Of the building That can be manipulated by hands To understand how it was built And the structures corresponding To the ancient door of the building To complement these elements You can see some architectural elements That help to understand How to make the architectural intervention To forget the public management For example, the engines Or the profile of the old tower That reproduces the volume Of the entire human group That presides the building And in third place You can see replicas of archaeological materials In the building of the first style Of the model is based on three pieces That are three elements That are reproductions of pieces That we say are icons Of the history of Tona We have the Iberian printing Through the Iberian stele of Tona Founded hundreds of years before the archaeological management Then we have a very important piece That would be the Romani That is the miliary of Mani Sergi Mani Sergi's way Sergi, we have dedicated A lot of people in the city A lot of people We used to build a Biary infrastructure Of the republican era According to the construction of this road That communicated to the territory Of the people who were on the mountain Of the coast of Lajatana Here is a feeling That gives a sense to the military That are constructing this biary infrastructure The third piece would be The birth of the medieval moment which is also very important in the media press in the town hall, because the town hall is in the town hall, and this is an iconographic piece that represents a quadruped that is in the L'Apsis de Santa Maria del Barri, re-approfited in the Romantic L'Apsis de Santa Maria del Barri. We have to say that how we have improved, in some way or another, is through workshops that we do with the people who visit us and that they are workshops made with reproductions so much so that they are working with everyday life through the reproductions of a table and of the pieces that are placed on the table at this time in the Republic, that is, the ceramics, and a workshop dedicated to the military panoply of the Republican soldiers who lived or frequented in the Lleses camp 2,100 years ago. This is the... Thank you for your attention, and that's all.