 back to the Adriatic and so today, today me are going to present some overview of what has been done on the so-called set in a culture or set in a phenomenon that we all are going to see also the difference between these two sorts of denomination for this white connectivity pattern but let me start for the few of you that maybe are not that familiar with this so-called set in a culture or set in a phenomenon which is a sort of this very complex and quite large connectivity pattern that we can recognize in the Adriatic and partially in the Union area especially during the second half of the third millennium BC so besides this very characteristically decorated potteries which stand out also in the western Balkans which pottery is generally not decorated for this period so we have also the association of this peculiar type of ceramic production with particularly ferrari structures that is tumuli we have different types of architecture different type of treatment of the body so we have emission and cremation several times in the same in the same tumulus and one of the characteristic unfortunately is that settlements are almost unknown most of the evidences that we have are coming or from caves or from few ill forts but the evidence from ill forts is unfortunately limited to a handful of pots so there are a lot of open questions especially as regards this pattern of this set in a culture in which you can see here involves not only the Balkans but also Italy and we can also expand this area to the Union sea and involve southern Italy of course Sicily, Malta and the Peloponnese in this white connectivity potter so in the last year our knowledge of this set in a culture has really increased in both of the areas under analysis so here I show just two images in which we can see the large amount of sites known so let's say that one is complementing the other as you can see this is not only because of new research and excavation but mainly because many people are getting interested in this period and in this connectivity pattern phenomenon so the review of all the excavation gave us really interesting data and enlarged the area so that the number of sites that we know in particular I want to point out so the importance of this kind of provision in the so-called peripheral areas of the set in our phenomenon so especially for example in Bosnia in Serbia even in southern Serbia and of course as regards central Mediterranean also Sicily, Malta and Greece so I'm just going to briefly sum up the most important steps in the research on the set in our culture which occurred in different time at different geographic and chronological scales and with different theoretical approaches so let me start with Marovic who worked at a very local level because in doing his lifetime work at the Split Museum he excavated a huge amount of tooling maybe too many and so produced an enormous quantity of data so for this reason especially the set in a valley which was the center of use of the search is very well known from the quantity of archaeological ascended but it presents a lot of problems because for example some of those too many we are not able to locate them today so we don't know where they are basically another but one of the I'm sorry I forgot to mention that he was the first one who recognized the presence of set in our pottery in Italy during a conference in another personality that really is a key one for the study of this set in a culture is of course who approached this with a cultural historical theoretical framework but he was very crucial in pointing out the extension of this phenomenon which was not only located limited to central danmisha but it covered wide area from the Caput adria to Albania so in the starting from the the 90s of course the dimension that the focus of this set in our culture and that's why they are something to talk about that set in a phenomenon was not in the Balkans and more also because of historical circumstances as you can imagine in the 90s there was the Yugoslav conflict and but there was also a renewed interest in this wide connectivity patterns so those are gone out of the Balkans which were navigating through the Adriatic in the search of probably metal where then located in the wide pattern of the Mediterranean Bronze Age so for those of you who are familiar with the study on set in a maybe you see that somebody is missing but Julia and me we thought that is better to look at Philippi de la casa just directly if you can then to put a picture here and of course he was working at both local level with the publication of the so-called princely tumur in Montenegro and also of a large macro scale publishing one of the first work in 1995 so slowly now we are recognizing however that this set in our phenomenon as not only an Indian dimension but also of course an overseas one but most important things we are trying to see the both combined together so the the the new this is just a visualization of the different scales of the research on this set in a culture set in a phenomenon so where we are now so we are at the point in which we have to go back in time and maybe start again to work on the inland aspect of the culture and not just emphasizing this of great narrative and this widespread overseas connectivity so that's why we are combining our work just trying to address these these problems from different points of view at a local scale with the work of Helena Thomas in the set in a valley so Helena is directing surveys there and she got sending results trying to locate set in a settlement which as I mentioned early is and they're still unknown then we are also working do me both at local level trying to work on all collections and published material and trying to integrate all the new data and of course Sasha was already mentioned who has a work a lot on both from a ramp point of view connectivity and latex of course so so this is just a summary just to visualize all the the sites that we are trying to study again and to illustrate the work our work which is at a different scale so by combining overland and seaporn connectivity patterns another problem that has recently been brought up by a researcher especially people who are working in central Europe is the connection between the beggars and set in a which is considered by a high as a sort of referee but so the situation is not that clear and also those aspects are not those networks are not exactly comparable because if on one side we have a bigger package that maybe we can understand and trace although the client in different ways so there is no set in a package at all so some beggars element of our beauty accent to like pottery and the only things that we have are stone objects this is also interesting to trace this relationship between set in a and the beggars because sorry for this very bad representation that I just wanted to show you so how we have different types of connections which different beggars group one is more central european and internal so but but we ended this mostly known for ceramics we have two sides Petrovaradin and Strykovac in which we have both pottery and stone elements and on the coast the coast we have no but bigger pottery at all so another element that now is being emphasized and I'm of course I'm not going to repeat what Philip already said earlier is the presence of raw material from of church so the material procurement and the presence of gargano litics in the Adriatic one one thing that I want to stress is that we have at least two minds in the gargano in which there are 30 millennia litics so we know that also in the 30 millennium it was a quite lively representation of the arias is also showed by the abundant material found on palagrucia palagrucia is a very interesting case because we have a sort of a stop between these two shores with a quite a huge amount of material both of course connected to baldigas is risk guard and satina pots so a new perspective what are we trying to do now we are trying to understand this satina phenomenon at different scales by applying difference metallurgies and by looking at the macrogical material from different points of view and one of this is trying to understand pottery technology and pottery production and cultural transmission between different arias and for these reasons we are adopting a shinoperatoir approach to the study of pottery in particular collaborating with the amicone of the University of Tobingen and we are trying to cover the whole macro aria which we can find satina so these are the first analysis now the analysis on Greek material from Olympia and other sites is on its way another study that we are trying to that we are confident is going to give us many important information is the one with median on isotopes which is quite challenging we encountered many difficulties but I'm confident that it's going to produce good results so to combine all those evidences together and see this pattern so at present as I mentioned there are several projects ongoing one is the Cevas project directed by Helena Thomas in which Julian and I are collaborating your the other is in Adris which is which Julian and me are working since three years now and the last is the one I'm doing with a colleague of mine Fredaic Schaap of the Rural University of Bogum and we are trying to assess migration by using the agent-based modeling so to understand different push-pull factors and reasons for migrations so thank you for maybe I'll leave you with this wonderful view from the Schipanik Museum thank you for your attention