 Good evening, good afternoon and good morning. Welcome everyone. Well, depending on the location of those who join us in this virtual session today, a session that in reality was long awaited and with quite intense program. This is nothing less surprising, considering that the booklet we are about to launch officially results from a country, a concern, a central concern of each members with replications at all levels of archeological archeological activity from the production of scientific knowledge to its reception by different audiences. If there were any doubts about the relevance of this project, the numbers pick for themselves from the financial support obtained for printing the booklet to the downloads made so far of it. We have therefore here and now the opportunity to share this achievement, achievement of the editors, the authors, sponsors, age, and above all, if I may say so, of the readers, whether they are archeologists, teachers, students, heritage managers, professors, historians of archeology or simple anonymous individuals to whom this booklet informs, alerts, inspires and urges to review dogmas, prejudices, stereotypes and myths. The idea of this book launch was to get together all the persons who are in creating this booklet in it, collaborating and with the celebrating with them and of course with the public. It's publication and here how their experience with working and all supporting the booklet was. So, we are absolutely ready to begin with this session, and we begin precisely with the words of the three editors, the responsible for this booklet, our very well known age members, archeologists, Uros Matich, Laura Koltofan, and Biserka Gajdarska. So, if you please, the three of you, the floor is yours, even if virtual. Thank you very much Anna Cristina. Welcome everyone I'm going to start with our input presentation about the booklet gender stereotypes in archeology. And since we have a very tight schedule my job is to give you a very short introduction about how we actually came to this idea. So, this is our booklet gender stereotypes in archeology. And as you also probably saw already the cover probably looks very witty to everyone, but actually, this is some very serious business so can I please have the second slide. As you look at this short overview of the literature in gender archeology, you can see that a lot of work has been done for several decades since the 70s and the 80s, both in Europe and states, but also outside of these academic areas. And the problem is that since I joined European Association of archeologists and archeology and gender in Europe community of this association. I've noticed that a lot of academic discussion in gender archeology is going on, however the general impact of the discipline is not big and there is a lot of stereotypes still present in both the discipline and outside of it. You can find these stereotypes both in academic writing in museum exhibitions, sometimes also in projects and popular culture. So please the next slide. Yeah, so, as I said, these gender stereotypes continue to live and even flourish both in academic and nonacademic settings. What do we do about this. And this is how we came to the idea to answer with a booklet. Next slide please. We have to do something different and we have to do something which is attractive to a broader audience. Something which is presented both in image and text so that everyone can understand it and not only those who are educated in archeology or who are focusing on gender archeology or who have background in gender studies. Next slide please. And of course, we were thinking about various ideas how to tackle this problem. And in 2020 at one of the archeology and gender in Europe community meetings, we together came to an idea of producing a provocative short straightforward and illustrated booklet, which is supposed to deconstruct various gender stereotypes. Next slide please. I'm sick of connecting stuff. And we discussed this idea with other age members. So we contacted 17 authors who agreed to work with us on these projects and we deconstructed some 24 stereotypes details about these stereotypes are going to be presented a little bit later. Next slide please. So each stereotype was suggested by one of the authors or from the editors in this booklet, and it is deconstructed both in image and in words. So we thought about this as a complementary thing so short 250 word texts are following these provocative images as you can see here on the slide. Next slide please. And here are some examples. So on the left, you can see one of the images which is very often found in archaeological reconstructions and dioramas that certain activities are associated to women and other to men. And it is actually quite hard sometimes to pinpoint in archaeology, whether or not this gender district gender division is actually based on the reality of the archaeological record, and something similar, you can see on on the image on the right. So we are having two types of illustrations. One is a stereotypical portrayal of gender one can find in archaeological writings on different societies, and these are repeatedly reproduced as reality in pictures and in different contexts so whether or not these are museum exhibitions or in the scientific writing, but also we have this other types of illustrations. So we're asking the question, was this situation valid for every society everywhere in the world through time, or is this culturally relative. Next slide please. But we also have following types of illustrations. So on the left is something we titled what is wrong with this image. So we are asking the community to engage with the image in the text and to think about how changes can be made. And this is also leading to a type of illustration you can see here on the right, which is aspirational so how can we imagine more inclusive archaeology and gender archaeology in general. Right. So we were thinking a lot about diversity, how we can recognize it in the archaeological record and also how we can start thinking in archaeology through diversity of the past and present. Next slide please. So this is how the idea was born to. Yeah, finance this project, also in a way which is going to include other, not so common and diverse ways of funding. And I give my word to Laura also found my colleague thank you. Thank you. So, I will be talking a bit about how this book was made our reality from concept to an actual physical and digital product. We themed up with size thumb press for publishing the booklet because of the impressive quality of their publications. And because of the attention that they pay to design and illustrations. And we knew that they would be able to create a unique fresh and modern design for the booklet which indeed happened. And they were very excited about the idea of the book and support us throughout the entire project. So I realize that the easiest and fastest way to raise the necessary funds for creating the illustrations for printing the booklet and publishing it open access was through crowdfunding. And this was also a good solution to reach out to people outside archaeology and raise awareness among them. We worked on a one month all or nothing crowdfunding campaign on the Kickstarter platform, and we flesh for a 5300 euros which we unexpectedly raised in just six days. And the campaign was so successful that by end we managed to raise more than 7000 euros with the support of 160 56 factors. And this means that our project was not only 100% but 134% funded, and it was really an amazing result. And given that this was a crowdfunding campaign we also had to give something back to our donors. So this has forced us to step outside our archaeology box, get creative and design products for rewards, which we never did before. So inspired by Nikolaas illustrations and impacting quotes from the entries written by the authors we created stickers postcards and fabric bags for our backers, which together with the booklet we combined in four different reward packages. And we then shipped these packages to our backers this autumn and we hope that most of them have received them. And crowdfunding campaigns are kick on Kickstarter are all or nothing, which means that if you don't raise the entire amount of money that you pledge for until the end of the campaign, you lose everything. So this has made us realize that we really have to put all our efforts into disseminating the campaign. And this has a game for us to step outside the box and think about effective ways of disseminate effective dissemination ways and channels so we decided to launch the campaign in the Christmas season, exactly one year ago. When we knew that people are more open to supporting to support different causes. We created a visually impacting poster for the campaign which you can see on the slide. And together with this poster we sent out dozens of emails and messages and shared dozens of posts about the campaign on Facebook and Twitter. We sent out messages to the archaeology and gender in Europe community and to the European Association of archaeologists which became our biggest sponsor. And in this dissemination process we also contacted influencers from the field of archaeology, such as Natasha Wilson from behind the travel, who invited us to live interview on her YouTube channel. And we were also in touch with archaeology related projects and collective with large online communities, such as by a tattoo L behind the travel and the archaeology channel, and all of them further disseminated the campaign and became our partners, and the strong dissemination made a huge impact, which increased the number of our backers. On the 6th of September this year, the booklet was made available online on the website of site from press, and we deliberately chose this day because it coincided with the beginning of the largest yearly archaeological event in Europe, which is the annual meeting of the European Association of archaeologists. And we announced the booklets online publication at this event and that on that very first day it had more than 1000 downloads. It was an incredible number which kept increasing since then, until reaching more than 4800 downloads, and we are still amazed by these numbers and thankful to everyone who downloaded the booklet. So on the 6th of September, the booklet was also published in print. And my colleague will now share how the booklet has got its own life after publication. Yes, and this is the developments that we know of what people have shared with us if there are things that we don't know about please and you know about please let us know. Basically, we had a presentation at the year itself, which you can see here on the screen but we also had another shortly after that we had another presentation on the European heritage days as well. And we had Urus participated in a radio interview in Germany, while me and Laura had a very interesting talk with Peter I'm not going to tell you anything about it because Peter is one of our backers and he is working for Microsoft and he himself will tell you but we had extremely interesting conversation with him as well. And we also had a, the departments of archeogenetics in the Max Plan Institute for evolutionary anthropology has contacted us richly literally out of the blue and said we have this ethics group and we have seminars, and we are going to discuss your ideas and what would you like to come. And, of course, who refuses that kind of invitation so it was myself and three of our authors that could quickly participate into into that seminar, and it was extremely interesting for us because what we realized that there are very deeply entrenched disciplinary practices and we got that became really really very obvious, and we really realize that we need dialogues between disciplines, if we are ever to break from future stereotyping. And that was really very instructive for all of us. Next please. Nothing is happening. Oh, yes, thank you. I'll start with a hamper because he's isn't that lovely because we are close to Christmas, and whoever may have that idea. And they're really. I was lost for words when I saw this Christmas come so he as we say our baby has a life of its own so if that's how people see it and how that's what they think they need to do. But on the most serious part, one of the most prestigious journals in archaeology is antiquity, and in its December issue. The editorial was fronted, the picture was fronted by an illustration from our booklet, which we really find the very proud of that because we are really reaching to a very wide audience because this is one of the most widely read journals in archaeology and you're really really very happy that we reached kind of more official channels if you wish for something which maybe an outside doesn't look very academic, but yet it found its way to a very academic journals like like antiquity. We also know from from what we were told that the booklet, not necessarily in its in its printed form, but the link, the download the downloadable link has been distributed around departments with the idea that needs to be a teaching material that will be used in teaching as several people have come back to us with that, which we find as a very, as a very positive development. We also think that it's not only in it's not it's not only in English speaking departments but we also heard from one of our authors that the booklet has reached Latin America. Around that we have been asked do we really want to translate the booklet into different languages, because obviously we would like to venture with different languages not just English and to kind of expand our audience with different with different languages. And of course, we know that people have been approached personally to say for their personal entries how people like their what they're saying, and they're taking their own entries to develop on different platforms which again is a it's a venturing in a different in a different in a completely different world. The next please. And of course, one of the most reaction of course come from social media problem, some of you most of you all of you on any sort of these platforms we've seen a lot of these. I would love to say that most of them have been really really positive. And I had only one not so positive comments on on a Facebook feed in a major British Facebook group, but it was very quickly quashed by the people around that there was a lot of support in which that one person kind of really didn't didn't get the support they wanted to get and also be approached by somebody who called themselves museum space invaders and this is a feminist group in museums and heritage. And they wanted to ask us, and we are probably will continue to do that how to ask to explain the whole process, how, because they want to replicate that. And, oh, to do something similar maybe replicate is a strong word, and from the idea from the conception of the idea to the final product through the funding to the final product of the of the printed copy, and we'll be in touch with everybody to share our know how so this is again another way of disseminating our product. Thank you. Thank you. Thank you. Thanks, Laura, and we are already a bit late, but nevertheless, we are moving on to the video, sent by the illustrator, Nikola, Radoslav, Jovic, who is on a research trip in Armenia so rules, could you please. Yes, you are already sharing it so thank you. Thank you, the rules. I'm not listening. Yeah, I can't either there sometimes there are problems when it comes to this kind of thing. Yeah, I cannot hear it either and it's worked when we're not doing it now. No. Oh, okay. No, no. And now. No. Hello, everybody. Oh, yeah, my name is Nikola, the Saudi beach and I'm the person who illustrated the booklet that we are discussing about today. First of all, I'm really sorry that I can't be with you at this moment to be present at this question, but I hope that you will mind since I'm right now at mine own research on the field. Anyway, thank you, of course, for the everyone who supported this project and who involved in any way we really all of us really appreciate your full support. And of course your interest in this kind of booklets and topics sit and all of us actually agreed. How important and how much do we all need things like this. Well, when we are talking about the booklet and the process of creating and making it. I will have to mention the first starting point to an Urash Matic contact me. He told me that he and his colleagues are going to create a book, some like short book with short stories about certain gender stereotypes during the history and something that archaeology can support can actually like throw away with full evidences. To me as an artist, it wasn't that kind of impressive and interesting because at that first moment I was thinking about that I'm going to work as like, you know, like boring illustrations that we already saw everywhere and that we learn them like really good. And what they asked to Urash was, well, how, how much of artistic freedom can I have during this process and he was like, well, we will see how much but let me show you let me make you sure that people with who I'm going to work are like fully reminded and he actually sent me like few of the first stories in which I really saw like a really good potential for illustrating because when we're talking about illustrating things like this, it's always the question of the artistic freedom. You know, that that that number of historical facts, localities, the sonographies and costimography in details, you can't be like fully believing in full fantasy world you have to work with facts that the writers gave to you. And when I read the stories, the first few ones, I thought, well, there is a certain underlying under the cover of the main tax that can be fully supported with picture. Then we actually started talking about the pictures more than about illustrations actually I treated them the whole process during the whole process as drawings, not illustration which was really important because I stepped away from classical illustration and classical process of illustrating the text. You see, when you work with illustrator, you give him or you give them certain information you give the text and you expect for the image to represent the text. Well, this was completely different and maybe an opposite situation because in this case during the working with his booklet, we all knew that image should not represent text, it should support it. We use the picture actually the drawings as the part of the text like integral part of the story to which we try to show what the stereotypes are in these cases. Now, in some of the moments during the process, of course, there were lots of variations in between all of us because we worked as a collective as a group. There were like points in which I was completely amazed by the unknown information to the history that archaeology can support. And I was completely amazed with ancient cultures of course because to me, it was a completely new field. So far I was working in fine art disciplines and I've been working in contemporary art for a long time. But since I knew orders as a friend, he was like, well, you could be creative enough to work with us. So working with this collective was some completely new experience and to me I learned a lot working with them, not only about the archaeology and history and impact in history, but also learned that some of the sciences and part of the sciences should be and could be supported on this way. Also what was really interesting was the experience of me as an artist on the project. This was not my first illustrated book on which I worked, but it was it and it is still the first book in which to which I realized that I am the part of the team who are creating it. Because the illustrations took the most of the place inside the booklet. It was because I was included in the whole process as a person who actually creates story with writers. The writers who are one amazing bunch of people really did amazing work. And to me, the knowledge about many things was improved, but I know that through my way to my work. Also, what what did and what made this journey much easier was that I was working with creative people. I think that somehow some stringed universe forces really brought us all together, because you see, when you work with one writer, you can rely only on expectation of one writer. But when you work with a group of writers, then you need to rely on editors expectation. In this case, we had like three editors. And all of them, of course, they they had their own, their own desires and wishes. But because these people were really, really, really understanding to me, they actually gave me like full artistic freedom. During the process, we had like some ups and downs in the moments in which I could not just get it that there were no like chickens in practice history. And to me, it was completely new and amazing thing that like there were no chicken in practice story. And okay, it was really funny because for the first one of the first illustrations, of course, in which we are talking about the family. I was, I was thinking about, you know, like a village and a house and a man and woman and wife and like there were kids and dogs and the chickens on the roof. And then I was slightly suggested to change the chicken to the sky. And so to me, to me, it was like a certain journey. And through this journey, I think that we, with, of course, completely creative forces and working as a team, not as an individuals did done something that could be and is important to the community. And the reason why at first stepped into hold this process was because I wanted to work with community more talking about the stereotypes, especially about the jungle stereotypes, actually does involve me a lot in in that storytelling and even me as an independent artist, I'm trying to fight them and to oppress them, of course, and to fight back the system. So this booklet was not finding the fighting the system and this booklet does not call the revolution. It just informs people, actually, what time we are in now and what is happening around us and that the situations in which we might felt really suddenly a non southern at all. I think that this booklet actually shows how history is completely not two dimensional, and how actually during the archaeology, the call the archaeologist facts can prove that the issues we are fighting given right now are something that we took from our ancestors not wanting to resolve them. In this case, the booklet is trying to resolve something and to point out the things that we have to change. That's the reason why I really worked hard with these great people, and why we created this as a finishing product of our work. I'm really grateful for this opportunity and couldn't be grateful more to like work with them all again. I'm somehow really tempted about working again. So I hope that we will manage to continue working like this. Since it was like a really teamwork, even if I'm not a writer, I'm not a scientist. I did felt like a part of the group in which I can work with full time freedom. So thank you once again of course for your support and for your presence today and thank you for listening this short talk. See you soon I hope. Bye bye. Thank you. And we now have now the pleasure to give the floor to Esther Banffi, President of the European Association of Archaeologists, if you please. Thank you for the possibility. And let me allow to start with a commonplace, which however I feel fits especially to our book launch today or tonight. The science knowledge is sour. This also involves the opposite direction. No information. Let's go knowledge is the seed of pedophiles is the den of cynical opinions, and even sometimes discrimination. Everyone so not having information and knowledge might be easily exploited misled or used for dirty purposes. In the last series, where governments claim that the gender ideology is invented by the dark forces were better informed about the existence and nature of gender roles in society. In this case, the cynical monitoring against sociologists, historians, archaeologists, LGBTQIA community members, or teachers at school, and even kindergartens were not possible to happen at all. Anyone manages to get rid of their stereotypes biases, the new avenues open up for friendly discussions for learning from each other for expressing solidarity, instead of turning our backs boycotting places and events. Approaching involving informing people is the real support. This is the expression of solidarity when problems are to be faced as solidarity also to archaeologists who care and work hard for an unbiased and more knowledgeable society. As I said, I have learned much from the book that is introduced now. I learned how easy it is to read and understand about social roles of women and men, and they're constantly changing sometimes fluid cultural constructions social roles in human prehistory and early history. I'm keeping in mind for a lifetime that what the difference between sex and gender is let alone that. But I have especially had fun on reading about Mother Goddesses, for instance, as I have been engaged so intensively with Neolithic figurines and struggled with all that is mentioned in that chapter for a long time. The illustrations we have just got acquainted with Nicola are to my mind also to be highlighted because I think they are funny eloquent, both simple and compound, but always serving the text of the individual chapters. So I congratulate the editors, all the authors, and all the fortunate present and future readers of this book. I would like to express my thanks and to not just the graphic artist of the book, but also to Carsten Bentink with Sidestone Press. I am pleased that our age community came up with such a jolly and meanwhile important publication for which EAA happily sponsored because I think this story really reflects what EAA stands for. Thank you. Thank you very much, Esteban Faye, for your words. And now we move on to Carsten Bentink, founder of the Sidestone Press, if you please. Thank you very much. And yes, it was indeed a very special project to work on on our end as well. And we immediately saw that this was something we fully supported. And I mean, we are archaeologists ourselves so many of these things are things we have experienced both academically and like how to interpret the data but also the people that work for us have experienced things in in in the field and how people react to each other and deal with each other. So we were like, yeah, this is something we fully support and we want to make possible. And when the editors first approached us they wanted to make a booklet and maybe have an online version and then maybe print like 200 or 300 copies. And in the end, we managed to print I think 4,000 copies. And we did the sort of nonprofit so all the money that was raised was completely spent on making the illustrations paying the designer to to come up with the crazy idea of using the fluorescent ink and and print as many copies as we could. And we subsequently gave most of these away for free. And so every parcel that we send out, we have included a copy of the booklet for free as a gift. And we also offered many universities the option to buy copies at cost price. So for example the Christmas gift you saw at Leiden University they they bought copies for all the students and stuff and they they apparently just handed them out last week. So that was excellent. And of the 4000 copies that were printed 3000 already have been distributed now in the last three months. So we only have 1000 copies left. And in, in addition to the almost 5000 downloads we have so in total, we're already sort of approaching the 10,000 mark, which is really amazing so congratulations to the whole team for this accomplishment. Thank you. Thank you very much. And of course inventing for your presence in your words. And now we ask Professor Bettina Arnold from the University of Wings County and Milwaukee to give some words from the booklet contributors. Thank you very much. Yeah, and I just want to say that, you know, obviously all of us have lots of commitments and publications are very rarely as enjoyable as this one was I mean working, you know, kind of as a team was was actually one of the aspects of it that I particularly I for me anyway was personally really rewarding but I think in addition to obviously just congratulating the editors for for all the really hard work that they put into this book the speed with which it came was really remarkable. And that needs to be mentioned because I think it reminds me a little bit of that very early conference at Chuck wool on gender where, you know it was seemed as though there was a sort of synergy that was meant to be and you just get people immediately on board you don't even have to sell it they're already there halfway, you know, to meet you halfway. I think that the audience response and the student response as well I had a chance to, to test drive the booklet and one of my classes in a seminar this semester, and, you know, the audience responses obviously been correspondingly enthusiastic so what that tells me is that you, this is you've tapped into the site geist in a really important way with this thing. So it's both relevant and necessary. So those two things come together this is what you have you end up with a really successful, you know, kind of rapidly proliferating kind of project which I suspect is going to have a lot of we say legs meaning that it's going to go. It'll have unintended consequences and we'll continue to sort of develop in ways that we can't predict right now and and for me in particular, you know I think one of the areas we might think about expanding into would be specifically museum studies programs because they're the ones that don't necessarily always have the archaeological training or background we have a program like that at our institution. And this, the way this thing is set up, but so brilliant about it, apart from the fact that you know having such a short amount of text forced all the authors to be extremely pithy and efficient about how they got their point in a simple language is that you can use any one of these particular chapters as a starting point for really complicated discussions. So it basically is so flexible that it can be used at any sort of in any pedagogical context in a museum context in an undergrad class, you don't have to use the whole thing just a couple of selected, you know kind of elements and again, you know kudos to the to the editors for recognizing that that flexibility was going to make it much more adaptable and more likely to find a really ready audience so for me, given that you know in the US right now obviously we have a situation which is less than ideal there was a recent case where a student, or rather a teacher in the schools here was suspended by the school board for having for having flown, you know, kind of a flag basically rainbow flag, you know kind of in her classroom, suspended without pay. I don't think there's any question that you know, you can see that this is very much relevant at this point right in, in a lot of different cultural context so we did our part with this thing but I have a feeling that will sort of be continuing to see it and develop in ways that that will turn out to be very positive and as an author I can say the experience was unique and and overall, you know, definitely one of the more positive things that happened last year which God knows we needed something positive to come out of out of the pandemic so as a pandemic project, you know, full marks. So thank you. Thank you very much, but you know, for your words and now it's Peter Leonard's turn, head of Microsoft Word to speak on behalf of the Kickstarter backers, please. Yeah, hello everybody. Can you hear me. Yes, perfectly. Well, thanks for inviting me to this great event. And my name is Peter Leonard, and I head up Microsoft Word and I'm calling it from Seattle. And I guess as a non professional, I also participate in Kickstarter program. So when I first heard of the book gender story types in archaeology, I connected it on two levels, one professional and the other personal. Let's talk about the professional connection first because, well how does a book on archaeology connected with a software engineer. And I can explain that. So, how many times have you downloaded an application to your phone, and your first reaction is who designed this that they've ever talked to a real person. I mean, who do they even think of. And when you're designing software, a key ingredient is intense curiosity about who you're building it for. And the teacher is at a parent, a student, a lawyer, what age income level, how do they commute, what else they do, how often and with who. And an important part of the process is to use data to constantly identifying question, what assumptions you're creating in your user research, and being conscious of any implicit bias that you're bringing to the narrative. You'll end up building software that only feels to people like yourself. And that's how this book connected to me firstly on a professional connection, the importance of just questioning stereotypes and bias, and making sure you're data informed and data driven. That's the professional side of it. On the personal side of it, I grew up in Ireland in the 1970s. I love school trips to museums. I was always fascinated by dioramas of prehistoric villages in Ireland, and those dioramas for the basis of lots of childhood role based games my brothers and sisters played. And we never questioned the narrative on display in those dioramas because we assumed it was true. Well, it was in the museum. It must be true. First, I hadn't thought about that until I saw this book advertised. And one look at the title and the image on the cover and I thought, Yes, of course. And since receiving the book, I've noticed myself increasingly questioning other narratives that are victims of bias. For example, why so few women artists are represented in the history of art, or in art collections, and how that is influenced by who wrote the art history books, and who curated the collections. So congratulations to Laura and team on the launch of a really fantastic book that is so accessible and provokes questions, not only about archaeology, but encourages questioning that the underlying bias in all narratives. So thank you all much appreciate from the Kickstarter community. Thank you very much, Peter Leonard. And now we have the opportunity to hear some words from the project sponsors and partners. I'm going to talk a little bit about Pella Troll and Troll Blazers. I don't know if Brenna is with us. On behalf of Troll Blazers. So Brenna had an emergency and he sent me a message which asked me to read. Perfect. So if you please, Laura. So she says, they're all, we are so excited to have been part of this wonderful project. We would be here ourselves, but interestingly enough, it's quite difficult to be a primary carer for a small person and also attend evening events. That's exactly why we are so excited about the booklet. It highlights so many of the gender based difficulties faced in interpretation of the past, and in the practice of interpreting it. It's a great example of how people can come together through collaboration crowdfunding and building networks spent on seeing change. We are so happy that could be part of your network. And we hope that your success only strengthens networks of support for understanding the connection between gender and archaeology. Keep travel blazing. Okay, thank you, Laura. I don't know who we speak on behalf of the project Pella Troll, Trolls. Is it Isabel? No, it's actually three. Oh, sorry. And Isabel, and it's not from at all. So thank you so much, especially for the editors, Laura Becerca and Oroch for their amazing work on this important subject. We are really honored to support it as a collective and as an association. We especially love the fact that Nicholas beautiful illustrations have been put from the very beginning at the center of the project. We are living in a society with a very strong visual culture and images are very powerful way to communicate to share ideas and to have an impact. There's something you can really feel very well when you open the booklet. First you read the table of contents and you find chapters like only women cooked in past societies, or only high ranking men were literate. And then you see the images and you're like, I see what you mean I have seen this kind of illustrations I've seen this kind of representations before. So we really believe this is a very strong. A booklet about gender stereotype in archeology was indeed very much needed, because we already have plenty of article and books in English but we didn't have one to reach a larger audience. And by largest audience, particularly think about the people or colleagues who don't know what we are doing what is gender what is creo archeology. We particularly appreciate the 17 stereotype written by rush about gender archeology is an ideology, because it's indeed the kind of criticism we receive about from our colleagues, and we don't always have the time and energy to make conversation with them so we can just send them now and it's a good basis to start a conversation. And we know the time is limited so I know and over to Isabel. Thank you. In October, we distributed the booklets as part of an awareness raising workshop on sexism, harassment and assaults, organized in connection with the archeosexism exhibition at the University of Lyon de in south France. They had a lot of success among those present and would be very happy to have a translation in French. We will continue to support the project to the French speaking archeological community, which is only beginning to discover these teams. So thank you for your work. Thank you very much to the three of you, a belly, Laura and Isabel. And now we have some minutes for questions and answers, of course. So if you please. Any questions or even comments. I do have a question I don't know if Carsten is still with us but one thing that he's noticed is that it isn't possible I guess at this point for people to order the book directly from the for the United States I don't know if it's a postage issue or what the problem is. But I mean obviously, you know we'll find ways to distribute them here as much as we can. But that was one of the things that I had told the class I would look into I was surprised that they wanted hard copies. I mean they all downloaded the book immediately, but then they came the next class and said, can we get the actual book which I had passed around and obviously the thing itself was it was attractive to them in a way which surprised me a bit. So I don't know if I mean I you know we talked a little bit about this but I didn't actually find out why it wasn't possible at this point to for people in the US to order them and have them sent directly. So maybe that's something we could look into. Yeah. The main problem is the postage. And it would be so expensive to send it so people can actually order it from our website if they just order it from the EU section and but then the yeah there will be like 20 euros or 25 euros postage on it. That's what I figured. Yeah, and the idea was that probably and I can check that in a minute or so it should be available on Amazon, I think. Okay, and that was my my my intention that once once it takes a while for it to go through the Dutch system into the Amazon system and then suddenly it also is also available in in the US with zero postage if you order from Amazon. Okay, so that's what I'll tell them so just to wait, be patient, get a physical copy if you hang on. Yeah, it's the PDF or if you want to buy copies for the whole classroom and we can send the full box and then the postage is quite limited. Yeah, that's just fun. So, yeah, well, we send it last week so it should arrive next week. Thank you. Thank you. I want to point about this because I remember Bettina saying when we're having a conversation before she said everybody every young people they prefer PDFs, and I know that. But it's different, you know, and I urge you to see I mean I've seen it. I've seen the thing on the PDF and I've seen the real thing. I will advertise the real thing but truly believe me the real thing is really much better so I urge anybody to really, if you can get your hands on the real thing. I honestly think that the printed booklet it's an experience in itself. But that's why it's like so defining the images and the text and the design and the colors it's because it is showing the neon orange. It's really an experience and you can sense that from the online version, but you can actually experience when you have it in your hand. Any other questions. Or maybe there is. There are other contributors. Can you hear me. Yes, perfectly. Well, thank you for making this booklet. I really love it. I have a question about the illustrations like on several occasions you chose to illustrate the stereotype by reproducing it. And also by reproducing the male gaze that is part of the stereotype. And people have pointed out that those pictures are very powerful and even more powerful that the words accompanying them so I found it an interesting decision to reproduce those pictures on some occasion so could you elaborate on that. We're going to answer. I wanted to suggest be secure to address this. Yeah. Yeah. Okay. Yes. Well, initially, when we started the whole project, we had an idea that we will mock it. We will start with mocking all of it. But very soon we realize that this is not going to be possible. Because if for example what I, you know, one of the thing is harassment in in archaeology, you cannot mock that you have to be absolutely front and center saying the things as they are. Or you want to shock people with the image he says, like what Peter said, you look at something, and it comes to you straightforward and you start to realize that what you're having in front of you is, you have to pause, you have to take a deep breath and think about it. And then that's what it was deliberately. And obviously the cover, for example, is, is a fictional thing or maybe it isn't a fictional thing. Nobody knows. But that again, it was a very deliberate thing that you will look at it and you will not turn the page. You will stay on that image because that image will cause a reaction to you a reaction that you may not like in the beginning. You might actually might say, how did they, but then you read it, the text, and that eventually get it to the point we wanted you, we wanted to alert people to make them think, not just, you know, just one of those things that you passing the museum, because it's something that you've seen with the chickens with nothing that engages you, because you expect to see it is something that should. Because it says gender stereotype and you would, you would expect them therefore to be something different, not to reproduce the stereotypes when that is reproduced. It is a, it is the kind of a, again, we didn't want to be essentialist because we can't be sure that in certain societies, patriarchal systems are not in place, that will be a wrong thing to say, they may be in place. So again, it is more contested past, you have to think about the past, you don't need to say, oh that's it is we are giving you the ultimate picture and the ultimate text about it. So, it is supposed to make you think it is not supposed to give you the ultimate essentialist idea of what happened in the past. So, yes, we know that and we look for that effect by all means we don't want to reproduce these stereotypes, we want people to think with these images. I don't know whether that answered your question but that's, that was our intention. Yes, thank you. Any other questions. Nobody raised. We are on time. Yes. Exactly. So, um, Uros, Laura, Bisebka, want, do you want to say some final words? If so, please, the floor is yours again. I, all I want to say is thank you, thank you, thank you, thank you, thank you. Zylans times thank you to everybody who was part of this project without any of you that will not have been possible. It was a pleasure to work and not all the time. I have to admit that they were very difficult times. I'm not going like that so I will be lying if I say it was entirely pleasure. But we got there in the end and the authors were very cooperative it was a difficult time. And, but as, as Bettina said, the authors we met them halfway in the line along the path. We didn't need to drag anybody into that. So, I suppose, I really hope that you can see that through the pages that was really a book that we love to do. Despite the uncomfortable truths that are there, we will be enjoying very much and I'm really, really grateful to everyone. It was a great pleasure to moderate a fantastic session on a very, very successful project and I thank the editors for the invitation. I congratulate all those who are directly and directly involved in the booklet. I want to wish that many other projects may be carried out. I want to thank the presence of all who join us today. And last but not the least, I wish you a peaceful Christmas and 2022 with health and a lot of archaeology, namely of gender. So see you next year. Bye bye.