 I'm sorry for that. Okay, welcome Klaus Tepe. And his lecture is about futurity of heritage. Thank you for that kind introduction. And first of all, I'd like to thank Katarina and Elliot for this amazing conference. The more I'm here, the more impressed I am. And also thank you for starting a very timely and highly relevant discussion, how I think. I'm going to tell you why I think that in a couple of minutes. And also I'd like to thank you for giving me the opportunity to be here and talk to you. And at the same time, I feel the incredible pressure of what has been said, presented and shared before me. And particularly the livestream adds a sense of global weight on my shoulders. So actually, the livestream is in itself very exciting and provides very many interesting possibilities for exchange and so on. However, it actually provided me with a really serious problem because artists writes, I could present something to you in this room. However, when it is livestreamed, it becomes a public performance. And therefore I could get potentially sued for doing something in here. And so I decided not to. And it made me work a little bit harder and to get myself around this. And therefore also the title of the presentation, The Talk Changed, and also slightly the scope of what I'm going to talk about. And what I'm going to propose in the following has no claim to be truer or has a better grip on reality than things we have heard before in this conference. However, it is also most certainly not the final word in any type of discussion or discourse. Whatever I'm wanting to say is that the approach what I'm going to put forward here is maybe a little bit better suited in addressing certain types of problems or certain types of issues than others. And I'm trying to prove the usefulness of this approach by doing the presentation the way I'm doing it. But the proof of the pudding lies in the eating and the proof of the talk lies in its discussion. So looking for the tiger, the futurity of heritage. So after I had been blown out of my original presentation or my original talk by the livestream, I tried to put the tiger into the tank of my talk by putting the tiger into the title and the talk. And as some of you may have noticed, the why in the tiger is not a typo. It's actually a reference to the poem of William Blake from 1794, which is called The Tiger. I think like many of you might actually know it. And according to Wikipedia, which is quoting the 2003 Cambridge companion to William Blake, it is actually one of the most anthologized poems in the English language. So many people of you may know it, but anyway, I'm going to recite it here because native English speakers tend to make a mistake to my ears. Well, listen for yourself. Tiger, tiger, burning bright in the forests of the night. What immortal hand or eye could frame thy fearful, simile try? In what distant deeps or skies burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare seize the fire? And what shoulder and what art could twist the sinews of thy heart? And when thy heart began to beat, what dread hand and what dread feet? What the hammer, what the chain? In what firmness was thy brain? What the anvil, what dread grasp? Dare its deadly terrors clasp? When the stars threw down their spears and water heavened with their tears, did he smile his work to see? Did he who made the lamb make thee? Tiger, tiger, burning bright in the forests of the night. What immortal hand or eye did frame thy fearful, simile try? The poem brings me straight to the central claim of my talk, that poetic language has the potential to change people's lives and their outlook on the world. And by saying that poetic language, I'm using a fairly wide concept of poetic language here. For Richard Roti, who am I extensively drawing on and relying on for this talk, he even says that Paul Newton, the one with the gravity and the apple. It's not Helmut, it's Helmut Newton. I say like, oh God, Helmut Newton is a photographer. Dear. So anyway, Roti says that Newton is actually also a poet because he described the world in a new way. So I'm using a fairly wide concept of art, which is boiling down to poetic or figurative language here. And this claim, which I just made, that poetic language can change the world of people, draws in two fundamental claims and assumptions I'm going to make. The first one is that language isn't transparent to its users. That means whatever we say, right, or otherwise communicate has no direct relationship to what other people here read or understand from such utterances. And communication between a me, a first space, to a you, a second space, moves always to a third space. And this third space I'm drawing here on the theories of Homi Baba, who describes this in a post-colonial context as something, a space where new meanings are being made up, negotiated, exchanged, and contested, or even agreed upon. And to support that claim, why that is reasonable, I'm proposing a simple experiment. How does the tiger in Blake's poem look like? I conjecture because I have done that experiment myself in order to see what might be an answer to my question. I had a kind of hazy understanding what a tiger might look like. And actually what sprang to my mind was the image of a tiger, which I had been engaging with recently. So irrespective, and I assume from that thing, because it's a rather arbitrary image, because if I had been to the zoo, that particular book cover, which I had in my mind, wouldn't have come to my mind. And from that experience, I assume that your tigers would look different from my tigers. And among you also your tigers would be different. However, I think if we're talking about tigers, most of us would agree that if we accounted for the animal of the species Panteigatiris, which is the Latin genus name of a tiger, that we wouldn't prefer to be face to face. Or if it was walking in the room, I'd rather prefer to be somewhere else. So in reciting the tiger, I have deliberately chosen not to show you the page of the notebook of William Blake, because if you are searching on the internet for that poem, you get frequently the image of that notebook page where there's the poem with a tiger. So the question I would have asked you, the answer would have been very easy. We could have pointed to that illustration of the tiger and say, well, that's easy. This is how Blake's tiger looks like. And then you could agree to what I said just now, this is what tigers look like, or disagree. And this brings me to the second assumption, that truth about the world do not reside outside of how we talk about the world. So in Roti, and what he proposed is actually very useful for in that respect, he claims that only sentences can be true and that human beings make sentences and make languages in order to form sentences. And Roti makes here a very useful distinction. I quote, we need to make a distinction between the claim that the world is out there and the claim that the truth is out there. To say that the world is out there, that it is not our creation, that is to say with common sense that most things in space and time are effects of causes which do not include human-mental activity. To say that truth is not out there is simply to say that where there are no sentences, there is no truth. And the sentences are elements of human languages. And that human languages are human creations. Truth cannot be out there, cannot exist independently of the human mind because sentences cannot so exist or be out there. The world is out there, but descriptions of the world are not. Only descriptions of the world can be true or false. The world on its own, unaided by the describing activities of human beings, cannot, i.e. being true or false. By drawing attention to the construction of the world in and through the description of the world, Roti allows us to examine what constitutes the world for us. And in which world we live in and what kind of world we interact with. So I describe the world in sentences. I see immediately in front of me a black object with a cable sticking out, which is possibly a speaker. So I give by describing it a certain type of reality. Again, you could agree or disagree what this thing is. And by shifting the attention to the sentences how we describe the world, actually, the vocabulary, how we describe the world becomes of prime importance for Roti. And it becomes a central point of analysis. It is vocabularies, things we are putting together in order to describe the world. There's a useful analogy which I'm going to briefly illustrate how this works. I mean, like it's a little bit constructed. Nonetheless, it serves as an example how we construct the world. And at the same time, how fundamentally important language is to us, any type of language and why every language is important. This is actually a small simulation which I create in order to illustrate what Gregory Bateson has formulated as the notion of punctuation. What Roti describes as vocabularies, how we put together the world. Bateson says this is about punctuation. And punctuation in English gives meaning to sentences. It clarifies meanings. So I'm going to just briefly illustrate what that means. So here's a raw chunk of reality. Oh God, what I'm going to do with that. So I'm German, I'm going to be methodical about it. So I'm going to process this thing from the beginning. Okay, how am I going to go about this? Oh no, don't flip, I want to have. Ah, sorry, nope, no spoilers, yep, okay. So this is how can I do it. So I'm going to mark, I'm trying to chunk my reality, I'm going to punctuate it. So wo man vita, that doesn't make sense. Ah, it's not German. So, okay, so this is another language. Possibly it's English. So I'm going to do something about English. Woman without her man is nothing. Okay, it's a proper sentence, isn't it? So we are going to add punctuation to it. Woman without her man is nothing. So we've got three parts. Okay, that's a certain type of claim to reality. We can agree to this or not. Okay, however, punctuation allows also to do something else. Take a different color, woman without her man is nothing. That's a biological fact, no women, no men. At least to the current state of technology. Okay, so I mean, this is how punctuation works. It gives clarity and meaning to sentences and actually this chunk of reality could be read in different ways. However, punctuation orders the world as we see it into a certain type of handleble concept or kind of like an environment which we could interact with. So depending on what you prefer, you add the punctuation of your world in order to do what you need to do. However, punctuation in German doesn't work like that. The notion of punctuation, I never understood Bateson before. Only by having done this, I understand what he wanted to tell by the concept of punctuation. He gave that term to this concept. It only works because he's speaking English and thinking in English. It's an alien construct punctuation to describe how I'm constructing my world. Anyway, so this is at one point why language is important and how we are constructing, we are stringing together our reality by adding elements, vocabularies, and we're punctuating it in order to give it meaning. Right, so if we follow Rorty's claim and if we can only talk about the world out there in sentences and if the sentences are formed in languages consisting of vocabularies and which are created by human beings, and we grant that languages change over time because people are putting new things to names and that these things are created by actually fellow humans, then actually it follows also by changing the vocabularies, we could change the world by changing how we describe it. The world possibly is there but would change the world by describing it. And the power of Rorty's philosophy of language for my argument lies in the fact that it actually has a built-in model of change, how things change in this place, this world. Rorty identifies a particular area of languages which lands itself most readily to such re-description of the world which is figurative or poetic language. The initial poem, The Tiger, and here comes The Tiger again, is an example of such poetic language. One of the characteristics of poetic language is its reliance on metaphor. And here comes The Tiger, again, tiger, tiger, burning bright. I think whatever Blake wanted to tell us, it is not that his Pantera Tigris was on fire. Oh, excuse me, your tiger is burning. So, he combines two images and this is what a metaphor does. It links two conceptual areas. It links the animal with a fire in order to combine it in order to draw out a new quality, to make us think about that new quality which is now becoming a property of The Tiger. And evoking Barbara's third space, this link between these two conceptual areas should not be understood as a hard and fast bridge which is once there and for all, but it is actually a thought across a river where we have to negotiate every step in order to get to the other side. And here comes a visual metaphor because I'm going to elaborate this concept more. A metaphor is something which is carried across and this is a drawn out metaphor. This is Christopher Ross. The name is the program, he who carries Christ. So, he carries across and he is actually the one who carries something. He is folding the river with Christ on his back. So, the metaphor actually links these two areas and we negotiate the meaning of what is being carried. Does anyone know of this object? Does anyone have one? I do. Actually, people are fix it to their cars. It's a good luck charm to not have an accident. So, the story of Christopher Ross is actually a point in case because the story of the one who carries Christ across the river implies that we're going to reach the safety of our own journey at the end. And suddenly, Christopher Ross became the patron sign of journeymen. And maybe this is a German thing, this plaque. I don't know which other country's island also. Oh, okay. All right, okay. So, actually, that old story became transformed and transfixed so it actually became applicable to new modes of transportation. And the idea that a potentially traffic, unsafe traffic situation becomes a safe traffic situation by putting this thing in your car. Well, I mean, like, that's another discussion. Right. However, what I'd like to draw out on is a certain type of process of reworking things, of redescribing things because of certain type of poetic language which has meaning for people. And this type of poetic language offers vocabularies for us to understand and interact with the world in different ways. Now, that I have elaborated the language philosophical talks and grounds of this talk, I'm now trying to put the tiger into the tank and unleash its power on heritage and to that end, I need to make another brief clarification. Notions in the heritage industry, especially in the framework of UNESCO's conventions concerning the protection of world, cultural and natural heritage and their related institutions and professions frequently define heritage in terms of its inherent value. These values manifest themselves in things which UNESCO tests on types of criteria such as the outstanding universal value and particularly the notions of integrity and authenticity. I'm taking that notion from Yucca Euclidot's compilation of heritage meanings where he's listing a series of meanings what heritage could mean. And this is more or less the meanings of the 2092 convention of UNESCO which are being applied here. Apart from several problems which we heard in previous talks especially like who's heritage and this type of definition of heritage becomes untenable from the point of view of Rorty's language philosophy because what Rorty claims is things don't have meanings out of in themselves but only in terms of what they do on other people. So I mean like there cannot be any inherent value but only something which is negotiated in language which could be true or false. So in order to bring these kind of like two concepts together the language philosophy of Rorty and the notions of heritage I have actually brought a heritage site in order to illustrate this. And because I had actually material on the World Heritage Site of Niko at hand I'm going to use it and it's actually a very good example in many respects because I mean like just giving you the details is the World Heritage Site of the Trimples and Shrines of Niko which is a city in the middle of Japan 150 kilometers north of Tokyo and the whole property has roughly 103 buildings and was inscribed in 1999 onto the World Heritage List under criteria one, four and six and for the sake of my argument I'm going to just focus onto one complex of buildings which is the Toshogu Shrine which is the shrine which deifies the first Tokugawa Shogun. This is Tokugawa EES who lived from 1543 to 1616, right? And in order to understand some of the meanings of the site it is useful to actually understand a little bit better things about EES because there's a couple of people who left big footprints on the history of Japan and Buddha is one and you can see the big sandals of Buddha hanging in certain temples and EES is certainly one of the other people who did that because he ended a period of roughly 100 years of civil war and defeated, managed to do that in defeating his enemies in a one decisive battle in 1600 where roughly 160,000 people clashed to give a scale that is like Moabit and Tiergarten standing up going over to Mitte and beating everybody up. So that's 160,000 people. The inhabitants of Tiergarten and Moabit taken together going over to Mitte and doing battle. Right. Through this victory he was the only military leader in Japan left and consequently he got the title of Shogun from the emperor in 1603 and it also marked the beginning of the rule of the Tokugawa Shoguns. The Tokugawa Shogunate ushered in a period of relative peace over 250 years if you think about the time which is lapsed since the Second World War it's actually quite a long time to 150 years and which is only broken when the Americans came under the Admiral Matthew C. Perry and forced to open the land in 1852 to 1854. And the Tokugawa were responsible for many changes in the social and political organization of Japan which is actually still shaping Japanese identities to this day. One of those changes which is maybe the most manifest if we're not familiar with Japanese history because it is actually the relocation of the capital from Kyoto the ancient capital to Tokyo which was at the time called Edo or Yedo and which only became named Tokyo after the emperor was reinstated as the official head of the state in 1867. Tokugawa yes actually planned many of these processes and he actually had a vision which lasted beyond his death. So before he died he sat down with a priest and he stylized himself into a deity, a kind of Buddha which brings peace and enlightenment to the east or from the east where he took his capital. So the site of his mausoleum and this is the shrine I'm going to focus on turned into a place of quasi state religious worship. It enshrines because it enshrines this deity and it houses this mausoleum and there is to this day, there have been more but more than a hundred strewn all over Japan shrines which are actually a place for worship for this shogun. But it would be misconstruing that worship as some kind of Christian type of cult because he's just one god among a multitude of gods so he's just blending in. However, how he's blending in I'm going to show you a little bit with this site. So you're walking through a forest and this is the main entrance after passing through this gate and once you are past the gate you are seeing these buildings and which leads on the staircase to the inner part of the shrine. This is the famous gate which marks the inner part, the inner sanctum and this is most well known for its elaborate carvings. It's also called the gate where people don't get tired to look at it from day to night. So it has a lot of carvings in it and I'm going to show you a couple of ones. You don't see it very well, but oh, yeah. I can't make it a little bit bigger still not very good to see but I mean like it shows lots of playing children. So it's emphasizing the achievement of Ies that he brought peace to the land and that this is now a place where children could play safely outside. Right. And this is actually the burial where he's, this is his mausoleum. It's actually a little bit removed. It's on the mountain top and he's actually in this thing. In 2008, I spent a couple of days in order to understand a little bit better what people were actually doing at this heritage site. And methodologically, I used a little bit of participant observation and photography and also time lapse photography which I actually borrowed from the film Koyanis Katsu and the cinematographics of Ron Fricker who uses time lapse photography extensively and time lapse photography does a very interesting things. It brings out the flows of people and this is what I'm going to show you. Nope, ah, no spoilers. Okay, maybe do it again in order to. Most people do this way to concentrate on that building and then I ask a couple of people who are standing there and then they are taking over there and here's the bridge over the bridge, it's the stairs up to the intersection. So there seem to be a couple of hot points or hotspots where people engage with a little bit more intensively. And this is the one place. This is the famous three apes of Niko which are actually in a stable. So people take photos of that one and the small group of people, the small group of people they're looking at the elephants of Niko. So I mean like it's actually a Japanese representation of elements which they possibly never saw in their life. And then the other hotspot is actually the third area which I marked out which is actually a ritual purification area. So you have a wash basin where people are washing their hands and mouth in order to be clean in order to progress to the inner sanctum. And even though people are focusing more on the aesthetic side of Niko, still most people will undergo this purification ritual in order to go into the inner parts of the. What you see here is actually a group of school children doing the hand washing and mouth washing. The school children actually are a significant group in this whole site. What you see here is unfortunately the colors are not very good because all these school children have different caps on in order to know which group they belong, which school they are in. So here's the blue caps, the red caps and I think like there's another couple of blue caps and they're queuing in order to take a group photo in that area. So this is an integral part of the whole site. It's actually like many heritage sites children are being brought in in order to get some kind of educational benefit from going through there. I have brought another video from a different perspective. This is on the top of the stairs and I mean like you can see now a little bit better especially after a certain time the school groups come. This is what they do. Doesn't want to. Sorry, I don't see it. I don't see it on the thing. So I mean basically the school groups follow the same pattern, like here is the monkeys. This is actually a shrine where you can buy souvenirs. So they're actually moving and you see the teachers or the tour guides signaling wildly and explaining what they are seeing. Follow the flags and then like you see what is being explained to these children. And here we see a little bit of what Nick Wilson has described as that subjection to heritage and actually it was a hot day like this. So they are going through there in a very hot day. My skin doctor can still see the sunburned I got on that day. 10 years, almost 10 years later. So it's actually hard work and you can see here a little bit of the identity work which is going on at the site which Laura Jane Smith and users of heritage has so saliently described. So actually by visiting the site people get to school children and here's again because here's a small school group and maybe people remember their own school trips. Here's the teacher explaining what they see. So actually this is how Japanese, one part of the Japanese identity is inscribed by visiting the site. So people emerge on the other side of that process with a little bit better understanding who they are, what it means to be Japanese, what it means to belong to a Japanese history, why this E.S. guy is there and why this is so important and what it means to be a member of their respective communities. Right, and that type of pattern is stable. What people do over these days is relatively stable. So I mean like I have been there for three days and the pattern is, individual patterns vary, people do different things, individuals, but in general the pattern is quite stable. There's certain type of hotspots, people do that, they get the explanation, this is a very important carving, this is very important in Japanese history. Okay, going over this material, I started wondering how can come from such a heritage site, something new, something which has an impact of change on that community. And I identified for myself that I was personally most interested in a certain type of discourse which was actually looking at how new things come into the world and how this could be turned into the benefit of the community. So I started looking for a word or a term to give meaning to my concrete experience and to give direction to the research I was going, doing. So I started consulting the internet. I put in a couple of keywords, like past futures. Okay, maybe not. Like future perfect, steampunk, futility. Oh yeah, yeah, that's a good one. No, hang on, somebody wrote already about that. So maybe not a good idea. So actually this is how I got to know futurity and how I met through the internet, Amir Eshel in his study of 2012, of where he studied contemporary German literature, working the modernist catastrophes of the Holocaust and the Second World War. However, by borrowing the book after my return from the Berlin Library, I started realizing that he was actually using very similar theoretical groundings. He also draws on raw tea and that he's also making certain type of theoretical assumptions of the world like I had. So Eshel, he is a Jewish American scholar of literature at Stanford. He takes claim, he takes raw tea and in order to examine what the raw tea says on narrative fiction and poetic language. And this is what he uses in order to examine post-World War II literary works. Through the analysis of metaphors, rhetorical figures, plot elements, and their arrangement, Eshel concludes that authors not simply describe these events. He's talking particularly about Gras Blechtromel, which was in the 1950s a seminal novel in Germany reworking the German experience and the German guilt in the Second World War in relation to the Jews. And he concluded from that examination that these authors are not describing history but re-describing it. Through the authors' literary and re-imagination of these situations, they offer the reader's perspective which is not focused on the past, on the past events, but on a position which is concerned towards the reader's own present future. And Eshel, he draws on the British historian Michael Oakishott, who has termed these distinctions between like the historical past, i.e. the things which have been, which we are interested in if we want to know where things come from and why they are there. However, he makes the distinction of the practical past, i.e. what does the past mean to us. So by this engagement with the practical past, something might emerge which is important for our present future, i.e. what we want to have in life, who we want to be, or who we want to become. No, who we want to become, okay. Right, and this happens through emotionally and intellectually engaging with the work, with the poetic language. And Eshel calls this future-oriented potential of literature, futurity, I quote. Contemporary literature creates the open future possible by expanding vocabularies, probing the human ability to act and by prompting reflection and debate. I call these capacities of contemporary literature, futurity, and further, futurity is tied to questions of liability and responsibility, to attentiveness, to one's own lingering pains, and to the sorrows and agonies of others. Futurity marks literature's ability to raise via engagement with the past political and ethical dilemmas crucial to the human future. Eshel elaborates on the basis of Hannah Arendt's philosophy how this changed relationship to the past offers a potential to influence people's behavior in the future. Arguing with Arendt, Eshel proposes that the futurity of works of art offers people a point of inserting themselves into the historic continuum between past and future. And this insertion into history by virtue of people being born into this world, Arendt calls this nativity, allows human action and social change. Having now outlined the theoretical foundations of futurity, I will have to hurry and look for the tiger in the previously discussed heritage site in order to hint at how this so far very theoretical talk can actually turn into some kind of artistic practice and which could actually affect people's lives for the better. Right, this is what we had. And here it is, here's the tiger. It sleeps and the metaphor sleeps. So I'm going to figuratively wake the metaphor and make it alive. We have previously agreed that tigers are dangerous animals. A tiger is a mortal threat, not just to an individual, but to the society. And we see three people here. Two are company, three is a crowd. Three is society. And there's various threats to human life and to human society. If I look at our contemporary vocabularies, I mean like just to name a few, there's fascism, there's communism, terrorism, extremism, war, the devaluation of the euro, the collapse of the banking system, thriving for profit and I mean like there's just a few threats. And depending on your vocabulary and how you string that vocabulary together, it actually promotes certain types of perspectives on the future. Anyway, there's a lot of threats. So the tiger is a metaphor for me for threat. The politics of the Tokugawa Shogun succeeded in pacifying Japan and the image brings actually three Tokugawa Shoguns into play into this picture. EAS, who is actually deified in this location. And then there is his son Hidetada who ordered this shrine to be built. And his grandson Iemitsu who actually created this work or who ordered this work of art to be created. So in this picture we indirectly see the three politics of three Tokugawa Shoguns. It would actually maybe stretch that metaphor a little bit too far to identify the three people with the three Shoguns. However, it is maybe another analogy. What matters to my argument in this point is the tiger is not dead. It sleeps. The Tokugawa's actually knew this that the tiger just sleeps. And we heard previously that people are people. And this is also a fundamental assumption that people know for themselves what is best and there is very little you can possibly do in order to make them believe otherwise. However, what the Tokugawa's did is that they ensured with an iron fist that nobody there threatened their political order. What they did is they invited the local lords to reside in the capital so that they would not be in contact with their armies and their power base in the provinces. They also policed the population. They restricted, they set up kind of like checkpoints across the whole country where you had to have a pass in order to pass through. So they restricted people's movement within Japan and they actually also prohibited the travel abroad by pain of death. So who was caught outside of Japan was either prohibited to actually ever re-enter Japan or they were executed when they were found. There were actually some kind of connections but they were really very fastly regulated. And they persecuted religious factions. The Christians are actually one because the Portuguese when they came to Japan they also tried to spread Christianity so the Tokugawa shoguns actually made an exercise to crucify the Christians they could find. And of course they killed all their political opponents when they became actually a nuisance. So when I all know this and if I'm looking at this image I'm not so sure anymore if these people are actually cuddling the tiger or just waiting there for the tiger to wake up and then to jump on it and subdue it. So it actually becomes a little bit ambiguous this picture for me. However what the shogun succeeded in is that kept the peace in the country for 250 years. And this long time of peace and stability allowed many important social and cultural developments in Japan. The arts actually flourished in that time. And what you've seen yesterday me performing is a little bit older than the Tokugawa shoguns however it was condensed into the form at that time. And also part of that exercise was because the form I was following through is actually the traditional form. The song which I put on it is not. The movements are all traditional. So actually what happened at that time things were put into a book. This is the rule. This is how you have to do it. This is what you have to aspire to. You don't deviate from that rule. Follow your master. If you do something else, it's a problem. Right. So what does that tell us today? Now almost one year after Edward Snowden's unveiling of the various internet surveillance program and the NSA can listen to my talk for free. Hello. I asked myself seeing the tiger and knowing the history of that Tokugawa shogunate what is actually the price for keeping the tigers of our times asleep? Who guards the tigers? Who sleeps with the tiger? Where and why? What are the criteria for being a tiger? Stripes? Would I be considered a tiger? Because I have stripes. This is my little artist intervention out of it because I mean like I discovered today it could be actually an artist intervention in this talk as well. Right. So what I'm trying to say and what I'm trying to prove is this is not a theoretical consideration. I mean like it is built on theory and it is built significantly on the transference and linking of concepts through the idea of metaphor and language and it allows actually a practical reality where people could ask questions and take a position in the present and insert themselves as I have done into history even as a foreigner on that basis of that image and ask myself questions and think about the things which ought to be done which things would be good to have. And this inserts us, this question and the activity which we're bringing forth from that inserts us into the historic continuum between the past and the future and hopefully brings us to take action. And there is certain types of action which might not be a good idea to do at certain points. However, there is certain things which could be done. And Eschel cautions that futurity, as he frames it, is not a cure all and not a given in any works of art or in heritage for that matter but it is actually a strategy of search to find the various sleeping tigers here as a metaphor and to spring the doors open to new beginnings and actually I have to make a choice and I have to actively look for the tigers. The tiger is actually there and I took the photo but I'm actually not really sure where I took the photo. It is on that gate. However, for the talk, I had to search for it. I had to search for that type of metaphor in order to emphasize what metaphor can be done with metaphor can be done. And I hope it has become clear in this talk that this task is of a different order from other professions in the field of heritage. For example, protection and use, conservation and management as these are vocabularies which are frequently used in Codbus. These are necessary and complementary to the task which I have outlined here but it requires I think people of a different order to ask these type of questions and bring these to the attention of people and actually prompt them into action to do something about it. So, and this is why I think that this conference is so important and so timely and it has been actually a great honor to talk to you. Thanks. We have five minutes for questions. Do you have any questions? Sorry. Anybody? Questions, yeah? Thanks, Klaus. When you talk about symmetry, how do you know? Yeah, exactly. So your interpretation of, you've never heard a recording of this and you're making an assumption that a poet would write a poem where every line has to rhyme which is not necessarily Blake's form or whatever. So that change is just, it's a challenge, just a riseable action sort of thing to say, ah, this is another way of looking at it kind of thing. And you don't know something. You don't have a secret about, there's no wax recording that someone made of. No, I mean like basically. Just checking. No, I mean like basically, of course I try to prepare and I try to find how people are actually using it and I again consulted the internet and then there was Patti Smith and they're also symmetry. All, I mean like my sample is very small. I have three people to look at. I looked at three people. They all said symmetry. And my assumption was that, okay, all the stanzas rhyme, why shouldn't this? And actually if you look at the last try, it is actually try, which rhymes with I? Well, it could or it could not. I mean, if you look at Blake's other works. But you'd have to look at all Blake's other work because not anyway. Not all of his work in this thing. Anyway, and just interesting. I just thought, oh, maybe there's something, you know that I don't know. Cause as far as I know, yeah, if you're using that language, I mean, it's very strange why in one state you can sometime pronounce like ascertain or ascertain, yeah? But as far as I know, symmetry is one of those, the way in which is, but for all I know in a state of Texas or somewhere, it might be called symmetry. I don't know, but it's interesting. And I just genuinely thought, I've never seen that page, but I just genuinely thought there might be a place where there's been a question about how, it seems to me that it would have to go back to how he, in fact, what was the pattern of the way in which he constructed his work. And I don't know enough about Blake. So I was just curious, yeah. Thank you. Thank you, Klaus, for our presentation. And now we will have a 15 minutes break, tip break, and afterwards, music performance.