 Good afternoon, and thank you again to Arsling for inviting me. I sense a conspiracy in putting me up next after these speakers. Talk about nation-state. I represent the Department of State, otherwise known as whatever it is known as in your heads, but we're not all evil. So I represent the Bureau of Educational and Cultural Affairs, and we'll just play a, the slideshow will just, is scenes from engagements that we have sponsored recently. The Bureau of Educational and Cultural Affairs is home to the Arts Envoy Program, as well as other cultural programs with not a very large annual budget, but roughly hovering at about 10 million dollars a year. And our goal, our primary goal is to put American artists overseas in meaningful interactions with foreign audiences to advance foreign service, foreign policy priorities. And while that advancement of foreign policy priorities is our mission, we do find that artists are both uniquely open to interactions with foreign publics and also incredibly selfish. So when they come back, they just take this experience and run with it, which is fantastic for us. Sixty years ago, next year, Dave Brubeck came back from State Department sponsored trip and wrote some music. And next year we hope to send his children back to Moscow to play that music and other music that he wrote. So we have a very long history. Recognize that art and artists go where no diplomat shall tread sometimes. They go where they find conversations where governments cannot talk to each other just yet. And they have profound impact on people that they encounter. We also believe it is important to maintain international exposure for American artists. And we are proud to contribute to domestic economy by supporting our artists and hopefully inspiring them to make new records, new paintings, new theatrical productions, whatever it may be. All the trips are inspiring and meaningful to those who participate in them. And I can say that bravely because we've run alumni surveys and that's what people tell us. The appetite for participation is more than what we can handle, which is great news. We also believe that the reason art has this unique power is because we always put artists in meaningful interactions with foreign audiences. These are workshops or collaborations that they participate in. And the experience of making art is a uniquely democratizing experience. It is an experience of individual agency where the individual participating in the making of art is uniquely responsible for the outcome, the accomplishment or the failure that results. And that experience of exercising one's agency may not be available to them in other spheres of their life depending on what kind of society they live in. So art is not a doubt to disenfranchisement. And thus sows the seeds of a more equitable society. I think we also all know and to comment on what Michal said is that art also creates empathy. Whether it's through observing characters in a story that a person witnesses or in a conversation with an artist or in the process of making art together, an individual experiences the world through the eyes of another individual, which is the definition of developing relation and empathy. And this, we believe, is the antidote to radicalization and other violent ideologies that are based on dehumanizing the other. So every day of the year, somewhere around the world, there are two artists funded by the State Department or other two events funded by the State Department engaging foreign audiences. We would like that to be three. They'll probably blow up our team, but we would like that to happen. We support several programs that I will name just so you can search for them or Google them. Our flagship program is Arts Envoy and it has a short turnaround time from the first sort of idea of we would like X to travel to country Y and do this to the person being on the plane takes four to six weeks. We also have American Music Abroad, which presents Americana bands to audiences overseas. The application process is now open. We sponsor next level residencies. These are collaborative residencies for pit makers, hip hop musicians, dancers and graffiti artists. All of those in a group with local folks who do the same art. We sponsor Center Stage, which brings foreign artists to United States, as well as the full residency at the Iowa International Writing Program, which is also a very long running program with a lot of alumni. We operate in over 160 countries and all of that was a fairly small budget. I will leave my business cards with Simon. We're very happy to be part of this landscape and hope to continue doing what we're doing.