 Hello everybody, and welcome to this session webinar about the value of international cooperation and funding opportunities. I'm Julia Parkel, I'm the Secretary General of NEMO for the ones who are new in this NEMO European Museum conference. This is the last day, but we have quite many sessions in front of us. Before I give the floor to our moderator, Ludwig Kuiper, I would like to make you familiar with some of the technical details for this webinar. Your camera will always be turned off. If you have any questions, please post them in the chat in the Zoom function. And we also want to inform you that all the webinar will be recorded so you can access it later on our channels. So now, without further ado, I'm giving the floor to Ludwig Kuiper, who is managing or moderating the session together with Margarita, Sani, with Jenny Xiong and Pierre Johammari. Thank you, Julia. Good morning, participants. Welcome to this webinar about the value of international cooperation for museums, a toolkit to get started. Today, we are going to talk about international cooperation. The background of this webinar is that in 2019, NEMO ordered a valuable study with an analysis of museums participation in the four main EU funding programs from 2014 to 2018. NEMO did this to get a full picture of which museums and from which countries profited from EU funding in order to ensure the best possible access from museums to their future EU funding programs starting in 2021. The outcome of this study was very insightful, but also slightly worrying. Out of the cultural institutions that profited from the Creative Europe program, the main program from the EU, only 6% were museums. And for the other three programs, Erasmus Plus, Horizon 2020, and Europe for Citizens, the percentage of the share of museums was even less than 1%. Therefore, the working group at Focassie drew the conclusion that museums do not use all the EU resources that are there. Following this study, the working group at Focassie started to think of instruments to improve museums' knowledge about international cooperation and access to the EU funding. We as a working group, for which I am the chair, that's why I'm also referring to it, we came up with the idea of a toolkit providing museums with a map how to navigate the international cooperation and EU program landscape and help museums get access to the resources that are there. That's what brings us together in this webinar. Margarita Zani has done an impressive job in creating a toolkit with practical tips, but also a lot of valuable background information. She will start with a presentation on the EU toolkit. If you have questions, feel free to submit them in a chat. We will have time for a Q&A straight after Margarita's presentations, I will be your moderator. Then we will have two cases from Pirio and Jenny, who will share their experiences with international cooperation and EU funding, and share their lessons learned. Now I want to introduce the speakers a little bit more in detail. First of all, Margarita Zani works at the Institute of Cultural Heritage of the region, Emilia Romagna, where she is in charge of international projects in the museum field. In the last 20 years, she has designed and managed several EU funded projects, in particular on museum education, lifelong learning, and intercultural dialogue. She's an active member of many professional museum associations and networks, among which NIMO, ICOM, and the European Museum Academy. Then our next speaker is Pirio Hamari. She is an experienced heritage professional who has been working with heritage management and policy related questions at the Finnish Heritage Agency since 2001. She graduated in archaeology in 1996 and even received a PhD in 2019, and initially worked in the archaeological field work and site management as a researcher. In 2001, she moved on to digital heritage management and policy development as a senior advisor. Then our last speaker of this session will be Jenny Seier, and she is head of education in the Chester BD in W. She commenced her post at the Chester BD first as the best Chester BD first education of 2000 and has developed the first multi and intercultural learning program in Irish Museum. Her work involves engaging with the Islamic, East Asian, North African, East Asian and European collections of the museum. There are numerous programs, including intercultural projects for schools, cultural festivals, and creating links with local multi-ethnic communities. With no further ado, I'd like to give the floor to Margarita for her presentation. Thank you very much, Ludvig. I will start sharing my screen right away, but I should be able to share the screen, and at the moment it tells me I can't. My office can go ahead and use the presentation I sent, or else please let me be able to share my screen. Right, so here we go. The value of international cooperation for European museums, a toolkit to get started. That's what the advocacy group of Nemo asked me to do and to prepare, and this is what I've been working on in the last weeks, months. Of course, as Ludvig said, the initiative starts from this publication, which Nemo commissioned in 2019 to see how museums were faring in what it is called the EU jungle, the jungle of European programs. Indeed, as Ludvig was saying, there is a lot that can be done and improved to encourage museums to take part in European projects. Because there is a value and I'm very fond of international cooperation, which has given to me so much personally and professionally. There is a lot that can be done and the objective of the toolkit is to encourage museums to start these international cooperation projects. The toolkit will be ready, I guess, if not at the end of this year, very early in 2021, it is finished and it's going now to the designer, so it should be. So I'm giving you a preview of what you will be able to see and read very soon. After an introduction on the benefits for museums of international cooperation projects, we go into the toolkit, such into the step by step guide of what one should do. And let's look at these areas together. First of all, the organizational check. First of all, the questions that one should ask oneself like, do I already have contacts? Do I have a network? Do I belong to an organization which is active at European or international level? Are there events in my area that could create some useful connections like festivals like the European Europe of capital or some other twinning maybe opportunities and so on. But the organizational checking in the sense of also doing an internal self evaluation of how your organization is ready and willing to undertake an international cooperation project. That's also very important. So does my organization have an international strategy, what are our mission and values and when it comes to the funding program, do they match with this international funding program and so on. Also personally, this is very important for me to underline because in my own experience, the governance that of my organization which changed at some point really changed also my way of working internationally. I really had the moment in time, a period in time in which I was given the possibility to explore and to produce and to be creative in the European arena. With the governance we knew director board of directors and so on my this this freedom of of experiment and and and try out different international cooperation models was a bit limited my change again but please check that if you want to embark on one of these initiatives, you have the organization behind you but then because then it is up to the decision makers to decide whether you can go ahead or not. The second element of building a network, this is absolutely a prerequisite for international cooperation projects not only because you need partners in your project but also because you need to develop your project with your partners in order for it to be successful to be there and to really be successful. So of course now we are in a context Nemo which which really facilitates and allows to to have this sort of contacts and to have an exchange with colleagues. And of course other networks are equally important in the in the toolkit you will find one testimonial of a maritime museum and Italian maritime museum which belongs to the International Association of maritime museums and surely these exchange with with with peers would like minded organizations and individuals helps a lot, although I must say that international projects are also very good to try out cooperation with non museum organizations with adult education organizations with tech companies with NGOs with a variety of partners that otherwise you would not meet so also thinking out of the box is very important. How do one build, how does one build a network or how does one enter into a network there are very many ways and as I keep repeating in this context start small. Maybe start even with a with a study visit to someplace with a travel grant that you can obtain either through various organizations that are available, or also using the Nemo grants to go and be part of a learning exchange or a study visit. So, again, building a network having a network is is very important. Developing the project idea I wish it was really like this that at some point one light bulb gets off in your head. It's not like that there is a lot of preparatory work before the right project idea comes around because again. I said already it is not your own idea, your own as an individual and not even your own as an organization, because in international cooperation what you need to be aware of is that what is important for you might not be important for other organizations that will be your partners, and therefore also the project idea needs to be developed in partnership. And needs to have an international value. This is, this is what will be asked of you when you fill in the application one of the applications maybe. What is the international value of your project why does it need to be funded internationally and not nationally or regionally or locally. So, developing the project idea for me is something like this and this refers to a real life experience in 2006 I think it was at the end of an Nemo conference that I had breakfast with some Slovenian colleagues of the Slovenian Museums Association, they talked about different things, and then they came up with the fact that there was a new piece of legislation being passed on volunteering in the country. And because I knew that we were interested in in the topic my organization was and other organizations I knew in different countries where we put together a project on volunteering and call it which was then called Valk volunteering where the heritage was funded and producing produce the handbook and so on. So, developing the project idea also starts during coffee breaks or breakfast time. Okay, and looking for funds okay this is very important when you have bright project idea you've shared it with possible partners then you, you're looking for funds. In the toolkit I deal with different kinds of funding sources both direct and indirect so the structure of funds, I mean they cannot they are not delting in detail but mentioned so you can follow up. And then of course they direct funds that we all know that the programs that we all know that fund culture Europe for citizens. Horizon 2020 which will then be called the starting in 2021 horizon for Europe creative Europe, and so on. So these these projects, these programs and also other programs are briefly describing the toolkit. The main thing that I would like to underline here is that Europe doesn't fund your project Europe funds its own policies and programs to your projects so that is very important. I mean, no matter how relevant for you and for your partners your project is, it is only relevant in as long as it is relevant for the European Union, because the European Union sets is priorities, its policies, and when your project matches those priorities and policies, then it is a good project that can be funded. Again, the EU co funds project so the it's it's important to to find that matching funding source. And we have in the toolkit some interesting suggestions by some countries which created a fund to co fund approved European projects. Also, in this case, looking for funds, my advice is to start small and to and to get acquainted with projects with programs and I'm focusing now on European programs by maybe being a minor partner in a partnership in a consortium because you really learn a lot by, you know, by being there not having maybe a relevant role or a demanding role, but getting to know how things work and I personally, when I started in 1999. My organization was a partner in a project which was very badly managed. I'm not mentioning the program not mentioning the project or the person that was very badly managed. I learned a lot. That's what I started. I learned a lot of how not to manage a project. So, you know, even if you enter even if you're a bit doubtful, but enter the partnership and see how things go. And, and, and, and you can also learn a lot from other people's mistakes. Very quickly now from the project idea to the project application, how we love those forms, how we love those application for all those questions. So, of course, as I was saying, it's important to know the priorities of the program that you're going for. And when you start working on an application, you really need to start thinking systematically. So this is what is required of you being aware that the application, if the project if your project is funded becomes your contract in some EU programs, you can still negotiate. There are still, there is maybe two stage process, but in many programs like creative Europe, you what you write is what you bind yourself to so be very careful that what you offer is realistic is doable is manageable, and so on. So, the project application as I said requires systematic way of thinking the EU programs force you to think in detail how your project is going to be action by action starting from the goals and then detailing the goals into actions in some actions and so on. So these actions need to be costly. So in the toolkit you will find some tools that will help you think systematically, but again referring to my own personal experience when I started writing applications, I was not aware of these tools, and I was successful, because I simply followed the application form questions and they force you to think systematically and to think ahead and to plan forward. So it's good to be aware of those of those tools, but don't get scared if they are a bit complex, because even without knowing them you can be successful in following the application writing the proposal, okay, writing the proposal means, of course, again, having looked at all the project in all its details, answering all the questions, and doing it in a way which is simple, straightforward, understandable, because the application and the proposal is what the evaluator will look at and assess. And so it is important that the application is consistent, that it is comprehensible and so on. In the toolkit we also have tips from the evaluator, some tips that an evaluator of creative Europe projects and Erasmus Plus projects provided and those are very good to be looked at because you have to put yourselves also in the shoes of the evaluator. Not all evaluators know your field, so it's important to be very clear and so on. I think the proposal can be a collective exercise or a solo exercise and when I mean a solo exercise, I don't only mean the exercise of one person, but maybe of one organization because it is important to bring together all the components, the budget in itself needs some expertise. And so, even if it is a solo exercise, nevertheless, it has to be shared with the partners because when the project is approved when it has to be carried out, every partner needs to feel that that project belongs to him or her. This sense of ownership is very important and you only achieve that if you take all the ideas and needs and expectations of your partners into consideration. So if the project is funded, what is next? Now the funds are tried, the meetings, the conferences, the study visits and so on. In the toolkit we have tips for the project leader when the project is funded and tips for the project partners. My main suggestion is be very clear, invest, well, this is true for every phase of an international project, invest very much in the planning phase that is before the project is funded, invest very much in the initial phase. So if you are the project leader, invest very much in the kickoff meeting, first time when people get together, make it also fun, make it a good interesting opportunity to meet colleagues, but plan it very carefully so that everyone knows exactly what he or she is meant to do in the following two, three or four years. So being very clear and having a clear idea of what everybody's tasks is important. Okay, and for project partners, don't be afraid to ask. So the other sections of the toolkit tells you where to find support in the different contact points of the different projects of the different programs. The role of the Musings Association that can also be very supportive in advising about opportunities for funding in liaising also with the national contact points. And the resources we have resources websites and bibliography the glossary for glossary. And then we have two appendix is one is, I call it now maybe I don't know whether it will be called hyperlinks in the end but anyway, it provides links to the parts that are not detailed in the toolkit needs to be an agile in order to be to be manageable and readable. But these other parts where you find more detailed information is in the hyperlinks and then there is this very valuable part for me, which is called challenges personal benefits and lessons learned. And where we have some testimonials like period like Jenny, who tell about their own experience their lessons learned what they did wrong or right and how they would live differently. So, indeed, the toolkit is a bit a sort of like the scaffolding, but the lessons learned and the challenges these appendix be is really the flesh and what is interesting. So to conclude, I think that the I mean this is me right in in a tight rope walking exercise because to me European projects are a tight rope walking exercise in the sense that you have to juggle between different objectives. The objectives of your own organization and the priorities of the funding program, the different, the different cultural backgrounds and organizational cultures of your partners, and also what you write in the project application and how the project develops, because every project is is an organic, say, endeavor, and so can develop in a way that is unexpected. In this case, you should know that, of course, what you have written is binding, but there is a margin of flexibility that unexpected events are, if explained, possible, and you should take the advantage of them, because also from from new new possibilities and new suggestions of partners things that you had not considered. A lot of good things can follow. So this is for me. Thank you very much. And I give it back to you. Thank you, Margarita for this very lively and very clear walkthrough through the different parts of the toolbox. I'm seeing, I think that your, your story was so very clear that there are not yet questions. Also looking at the time I suggested is a good move that we straight away go to video to hear her case first. And if people in the meantime have questions still you can put them in the jets and we can discuss them later. So I would love now to give the floor to Pio. Thank you very much. Thank you very much. Thank you very much. And also thanks to Margarita for for the presentation. I'm sure this tool kit will become a very useful tool for us to in the future. And now I would like to ask you if you can see my presentation. I hope so it looks promising from my part. Yes. Yes. Thank you. All right. So, following Margarita, I will now make a short introduction of how we develop one project for the creative Europe funding. It's an applicant experience. And I should warn you beforehand that we are the co-ordinating partner. So this is a description of a partner that perhaps has done most work in order to make this project happen. But don't be alarmed by this. It's a description of that. But there are many other ways of joining a project besides being the lead partner. But I will share our experience with you and we can hopefully then also discuss parts of it. What I'm talking about is a project called Moi Museums of Impact. Moi in Finnish means hello. That's a really nice thing for us always to remind people of. And we are a project that has now received funding from Creative Europe programme. We are running until November 2022. And like many projects currently there's a slight COVID extension to the activities. But our project has not overly suffered from this impact. The only downside is that we have not been able to organise the physical meetings we are looking for, we're looking for, but these have been turned into virtual meetings. We are a partnership of 11 partners across eight countries across Europe. And as you see from the number of partners and also the co-operation too, we are a large co-operation project from the Creative Europe programme. And what we aim to do is to produce a European Museum self-evaluation framework for museums of all size and types with the help of which museums can increase their impact in society. So it's a tool for museums to work with their activities and to think about their mission and the way their activities are organised in order to achieve impact. And this aim and this framework we will create through a series of workshops for partners working together. We organise a number of open stakeholder forums for the museum communities across different countries in Europe to help us formulate the new framework. When we have a draft framework we will organise a number of pilots in different museums across Europe to test in real life how applicable what we have been thinking is to the activities of the museums or how practical the model is to be used and fine tune it after these pilots through another series of workshops and stakeholder forums. And finally publish the models and disseminate information about that. It's quite a straightforward work programme, but of course our aim is to create something that has European added value. And specifically for that a European cooperation project is a very good way of working for us. I'm also advertising the next session where I will be going to more detail about the project itself and there will be links at the end of this presentation where you can read more about Moi and the project itself. But following Margarita's presentation I wanted to take you through our application process since we are an example of failing and then coming back and being successful. And we thought together that this might also give you an idea that this is also possible to do. And here you see the path we follow through the development of the project. Of course user evaluation is something that we have been working with a nationally for already several years in Finland and we knew already that other places, other countries and other actors in Europe were working with the same kinds of or similar or connected ways of working. And we had networks through which we could start building an idea about European cooperation, but the first ideas, our first concept paper was written in October 2016. And all throughout 2017 we then developed, I see a typo in the first arrow, but don't mind that, we contacted officially more partners in order to be able to leave the application in January 2018. And all through the autumn of 2017 we continued discussion with prospective partners first through emails. But there was also a possibility to organize a pre submission partner meeting and this was actually done in connection with the Nemo conference organized in Ghent in October 2017. So networking activities like Nemo is organizing where an essential part of our success in submitting this application. I've also put in that the contact with our national creative Europe desk was very useful and I strongly recommend everybody who's thinking about applying, contacting their national desk because they have a lot of expertise and they are usually very happy to help you onwards. That's why they exist and get funded. So our application date was in January 2018. The evaluation process takes time. And eventually we got the results back in July 2018. Unfortunately it was a rejection of the first application. I put also in the scoring so we scored 74 points out of 100 when the threshold for successful application was 81. So this was the first point that we were quite close in being successful as an applicant. Of course you know these are very competitive funding and it's not easy to get through, but we knew it was not completely in the woods. The application. In between these two application phases I put two main things that made us decide to go forward with the reapplication and the first one was a very positive feedback from our partners for all the work done and immediate questions about the possibility of reapplying and also joining the application. And of course we had an innate desire to work on this topic on a European level. So this was also our, we had our own motivation to try, think about trying to do this another time. So we took the decision to reapply in our organization quite soon after we received information about the first rejection. So we started an official dialogue with our partners and luckily or because of the partnership was already strong it was possible to reapply with most of the existing partners with only some replacements or dropouts. So basically the same consortium applying again. The second application date was in December 2018 and we got an acceptance letter in in July 2019 there's all again a typo. And this time reaching 81 points out of 100 with the threshold of being 80. So, not by much, but enough to be a successful project. As this was an reapplication, of course, in addition to having to decide whether it's worth to reapply, we needed to make and needed to be very careful about adjusting the project in a way that would make it more successful next time. Where did we fail. You receive an evaluation report for for both successful and not successful proposals and of course they are a very good source for you to understand what exactly was seen as not so well developed in the proposal so failing is also an opportunity to improve. We could see because it's divided like Margarita said it's very structural and we could see that there was where some specific parts where our, our proposal not was not very successful, specifically the relevance, which means for creative Europe how well the project matches the objectives of the call. And we did a lot of work with this and we managed to raise the scores we got from relevance from 1926 so so the feedback from from the evaluators was really helpful in helping us to do this there were there were other things as well. And the remedies we did that we fixed things that were obviously wrong. We explained things better that were misunderstood, for example, one of the evaluators was expecting artistic fees or artistic direction for the pilots, which was clearly and misunderstanding what what we were talking talking about the pilots and and this was then our job to do a better explanation with. And for some comments we thought that okay they have their views and we have our views and we feel quite strongly about that Margarita was already making a mention that projects can well be developed in breakfast tables and dinner so we feel strongly that good food makes better project so catering costs are not. Something extra but they are key to the activities well this is this this is because this is a cooperation project where we bring together a lot of stakeholders, so this was the explanation why there are. And a lot of no mention not specified not sufficiently detailed so things just needed to be better explained. And I'm probably nearing the end of what I thought what time I have a lot of it but I have gathered here some key points that are learning outcomes from the process itself. Many of these are or all of these are in the toolkits and no need to go into detail, but I would just re emphasize what Margarita was saying that this is not about what you think is the key in the project. It's about what the objectives of the call expect you to do. And even though we might not like this approach from the European Commission or the programs. That's how they categorize projects and and that's what you need to match so it's very, very important that your application explains or matches the objectives of the call. And the other thing there are things here. Several things I just wanted to emphasize the importance of having a good consortium so use your existing networks and and and that's an experienced applicant on and also from the other side of the desk I would emphasize that pay attention to not only not only to the relevance part the beef of your presentation but please make sure that all the extra bits are also in order you need to have a good communication and dissemination plan you need to explain your risk management you need to explain your management processes you need to explain how you will ensure quality you need to explain who is doing what all these bits that might be left undeveloped because you are focusing on the key activities but they are very important for for you to gain the extra points in the presentation in the application in order to reach the threshold above which you will be funded. And I just wanted to emphasize in the in the end that it's not an easy process, but it's absolutely worth it. There are so many benefits for working on a European level, and I would encourage you also to perhaps not start with the whole project of your own but just to put your hands in between the door and join an existing project find the connections and and spread your wings in a smaller way but but but during European cooperation this has also given me a lot of personal advancement and and also benefits for my organization. Just some contact details if you want to know more you can contact me or our project and you can also find the Moin Museums of Impact project on Facebook and and on on internet. And if I finish my presentation just to show that the consortium we have this mostly represented in the image this was the first and the only physical meeting we have been able to organize so far. I was talking about the importance of kickoff meetings, and this is was our kickoff meeting in Helsinki in January 2000 and and 19 in 2020 sorry, and I think I've said everything I can in the time a lot it to me and we'll move on. Thank you very much. Thank you, period. That was again a very insightful case that you shared with us even yours or honest also to tell the project was first in a certain moment rejected and then improve the plan and then it got awarded in the end it's I think very interesting to also hear that people can learn from that. And I want to go straight away to our next speaker which is Jenny, also looking a little bit at the time so Jenny before is yours. Thank you. Ludwig, I'm just going to share my screen. Except my PowerPoint. I'm sorry would I be able to ask Nemo to upload my PowerPoint. Is that possible. Yeah, give me a minute. I have it on my desktop. This is not appearing. Thank you. Thank you very much. And thank you to everybody in Nemo for all of this organizing this, as well as my colleagues on the panel. And my name is Jenny, I'm from the Chester beauty. It's an art library museum in Dublin. And I suppose the benefits of working with international partners has been incredibly useful for the practice of museum education and learning, particularly in my organization. Because when we relocated from the suburbs to the city center and opened in January to February 2000, there was very little elsewhere in terms of my peer organizations working with an Islamic East Asian European collection. So when we won the European Museum of the Year in 2002, that opened a door into the world of European networks and European projects because I met Margarita in 2003 at a EU funded workshop in Italy. And I met her again the following year. And then she invited me, our organization to be part of the European project. I initially said no, because I didn't understand it. And then I did a U turn and said, yes, I think we should join it. And I suppose that if you look at the next slide, this is just to give you an idea of our collection. Because it comprises of, as I said, Islamic East Asian and European rare books, religious objects, decorative materials, but it's unique within the island of Ireland. And for most Irish people, these collections would have been very unfamiliar to them, as well as the cultures. And I suppose the benefits of being part of the European project is I was able to meet other organizations and colleagues who are working in a similar area, such as the collections similar to ours. I also had experience of devising learning programs, which again wouldn't have been prevalent in Ireland back around, you know, first up from 2002 2010 or thereabouts. I've just give you a sense that in a small country with a small cluster of museums, which tend to look at Irish national history. This doesn't really fit into that remit. However, we are an Irish culture institution, we do have a national remit, but we are very international as well in our standing because the nature of the collections. We'll just look at the next slide please. And I suppose in terms of where we've come since then is how do museums compete with the outside world. I think the last time I stepped out of Ireland before COVID-19, I went to icon Kyoto in September 2019. And I had the fortune I was able to look at team lab, which is a digital immersive experience. Some of you around Europe may have had the fortune of having team lab come to your country or come to your museum, but they are high tech, incredibly innovative, and I would imagine incredibly expensive. And how do museums on a low budget meet the needs of people who are our audiences who are tech savvy and are looking for that immersive experience. That I suppose comes from the ability to be flexible, but also the ability to be creative. Let me look at the next slide, because I think I come from the world of the old formula. And I think a lot of my peers have this traditional trajectory of going to school, graduating from college and planning of the ladder in your career. But I don't believe that works anymore. This became very apparent in a project we were involved in with IBC and Margarita's organization called the Learning Museum, and we were looking at different elements of learning for museum practitioners. And we wanted to continue working together as partners. But we realized that, okay, Margarita was going to go off and do other initiatives. We decided to take our experience from collaborating in European projects and start looking at how do museums take on on the other side and the maker mindset, because the maker mindset sprung out of the crash, the economic crash in 2008. And they just started tinkering and experimenting and using their hands and using their ideas and trying and experimenting how to make things out of pretty much basic tools. In a subgroup, I know Margarita talked about meeting colleagues for coffee. We stood on corners in the streets of Bologna trying to work out where do we take this project next? How do we continue this synergy that we've developed through the Learning Museum? And we came up with the idea that we'll look at the makers, look at what they're doing. How can we learn from them? And this came about through our, we took the chance and we made our own brand application for a project called the Creator Museum. And we took the maker mindset and applied it to how do we upskill museum practitioners with a maker mindset. Thank you. Go to the next slide, please. And so the Creator Museum came about as a result of these conversations that took place on the streets of Bologna. And the grant application went in in 2013. And from 2014 onwards, we successfully acquired Erases Plus funding to upskill and train museum professionals but also collaborate and work with our local maker community. And that was a three year initiative. And then we got an extension of another year to continue the work of the Creator Museum with the Making Museum Project. Go to the next slide, please. And as a result, we've successfully acquired further funding to continue this idea and concepts of bringing creativity and critical thinking and experimentation to a new project that started in 2019. And we'll finish in 2020 called the Creator School, but bring it from the museum professionals and practitioners and makers to teachers and students because as those as a fallout of the economic crash, we're now expected to be far more multifaceted. We're expected to be far more creative and inventive as well as collaborative. And those skills we can share with young people who are coming out of the education system and are going into the workforce because those expectations are also being applied to young people today as well. Go to the next slide, please. So this is the trajectory from the Learning Museum Project from 2010 to 2013. And that moved over to the Creator Museum Project, which went from 2014 to 2016 and then that short turnaround making museum project. And from that, you know, the benefits and I think a margaretian hero have both reflected the benefits of these European projects is the networking, learning from peers, the exchange of the practice and risk taking. Because I suppose when you are working with partners, you are taking a risk through working collaboratively because you're stepping out of your own organization where you're very familiar with its own structures and way of practice. And working with people who may not come from your world, such as I mentioned the makers, and we also collaborate with science centers. I've never worked with a science center until the Creator Museum Project. So there was a great exchange of new ideas and experimenting is something that I really do believe in without feeling afraid or hesitant in experimenting and trying things out. Go to the next slide, please. And this, I suppose, is our biggest experiment in the Chester Beauty is as part of the legacy of the Creator's and Making Museum Project. We started to take on makers as part of a residency. Most museums will take on an artist in residency. They might have a studio allocated for an artist to interpret or respond to the collection. We took on a maker and a maker, somebody who, as I said, uses DIY, do it yourself, comes from a techie engineering background, computer design, digital design, and so on and so forth. And through our partners, the Finnish Museums Association, they were able to put us in contact with a maker who came to Dublin in 2016. It's a 2016, gosh, yes. And he had an MA in digital mapping or digital projection and interpreted our collections and he mapped out, I don't know if you can see in that slide, the very top one on our atrium wall. He mapped out the projection of our images using a Raspberry Pi. And a Raspberry Pi is a homemade computer for around 40 euro. And again, that's the beauty about working with makers is they, they work from the bottom up. And things may not always be as expensive as I showed with team lab immersive experience in Tokyo, which is definitely not 40 euro. It costs a lot more. We had our first projection mapping and projection mapping in an Irish Museum. Because there are other commercial events that do use projection mapping on buildings or images or lights and lights display. There's a light festival in Milan. There's a digital projection festival in Latvia. So it is very familiar, but for museums, it's very expensive. And we also did two follow up sessions with two more makers in residencies through the San Jose twinning, which is a twinning between the city of San Jose and Dublin. And we were able to tap into funding. Margarita mentioned funding as well. And we tapped into that funding in 2017 and 2019 with two makers. The first being Korean Polkata Takara, who responded to the art of Japanese knot making inspired by Celtic knots. And she came over and did a week of workshops with our teams. And then last year we worked with an Iranian American artist called Pantia Karimi. And she responded to our Persian medieval scientific manuscripts and worked with teens for a week as well. Next slide please. And I suppose the benefits for our own organization is we're embedding a practice of exchange with other European partners. But it's bringing in the non-museum practitioners to work in collaboration with our organization. I think that's really, really important to bring in outsiders who may not be familiar with our organization. The nature of our organization. But also I get to know the creative, innovative thinking of makers who we're not familiar with. It's trying something new and testing and experimenting. And it's okay for planning and carrying out activities to messy. I'm saying messy because it's often perfect. Be prepared to test and learn and fail and try again without getting into trouble. We can play the clip of the projection mapping. So that should play. There's a play button underneath the image. And that's to give you a sense of the projection mapping. I personally think it's one of the most beautiful things I've seen in our museum engagement with our public. And then the last slide I think. So the two, just to give you an idea of makers. And so the left is Korean. Korean is not making workshops. We do the teams and Pente on the right. This is a, we went out to our local maker space called hog. And we were able to just explore local maker practice and have an exchange of ideas. And the last slide. And that's to say thank you because we've got to wrap up now. So thank you everyone. Thank you to Jenny for a very insightful narrative with a lot of experiences shared. And it's also nice to see it in the comments. Also people are mentioning, for example, Joe's on the land that she can put into words how much experience has been gained from you projects and cooperation. Also reduces the class and seven so it's nice to hear people recognize the story and experiences that you share. It's time for one question that was there for period. And that's the question. Is the mentioned European self evaluation framework somehow connected to the ISO key indicators from museums. That's a question to you. Maybe you can quickly answer that one. Yes. Very quick answer is no it's not connected. The ISO ISO, we know, of course, about the ISO ISO indicators, but they are indicators and museums of impact evaluation frameworks framework is not an indicator framework. It doesn't assess your performance. So this is the basic difference. But we are positioning the more project in conjunction with all these kinds of previous, for example, registration or accreditation systems in addition to these kinds of of indicator frameworks. Thank you. Thank you. Then we have time for one last question to Jenny. Do you have experience of horizon EU projects written developed and coordinated by graduating students as capstone projects proposing to a network of museums and international cooperation. In other words, do you think that EU international development programs have to be pushed and developed into only internationally. That's a tricky question. I have never myself apply for a horizon EU project because it tends to lie in the world of third level university researchers and departments. And we've been invited to participate, but I believe the competition is very stiff. I also believe the lead in time takes up around two years to develop. Before you submit your application. So it's something we haven't taken on ourselves. But we've had a little taste of the grant application by participating in applications and they seem quite unwieldy. But they tend to be used by the third level university sector. That's all I can say for my own experience. I don't know if that answers novella's question. Thank you Jenny. I think that's a great moment to wrap up this whole session. I want to thank all three of you, Margarita, Perio and Jenny for your contributions on behalf of all the participants. All the participants thank you so much for joining in the session and being involved and reading the questions. I would like now to give the floor back to Julia. Hello everybody and I would actually like to thank all four of you including Lodewijk and Margarita, Jenny and Perio. And maybe to this question we are now presenting.