# Transcript: Urban space as a meeting place: connecting people and transforming cities ## Description You will learn how simple interventions like pianos on the streets or community gardens can transform public spaces into places where people naturally meet, create, and share. Come and hear how to connect city residents and create a living organism full of opportunities for interaction and collaboration. Who is Ondřej Kobza Ondřej Kobza is a Czech café owner, cultural activist, and visionary who transforms public spaces and creates new places for people to gather through his projects. He is known for initiatives such as pianos on the street, street chess, Poesiomaty, the long table on Charles Bridge and at Prague Castle, and the Lucerna roof. His work connects people and communities through simple yet powerful ideas that encourage dialogue and sharing. Kobza is a symbol of modern urban activism, inspiring people to create better cities together. ## Transcript **[00:00:00]** www.hradeckesluzby.cz **[00:00:30]** www.hradeckesluzby.cz **[00:01:00]** www.hradeckesluzby.cz **[00:01:05]** www.hradeckesluzby.cz **[00:01:10]** www.hradeckesluzby.cz **[00:01:15]** www.hradeckesluzby.cz **[00:01:20]** www.hradeckesluzby.cz **[00:01:25]** www.hradeckesluzby.cz **[00:01:30]** www.hradeckesluzby.cz **[00:01:35]** www.hradeckesluzby.cz **[00:01:40]** www.hradeckesluzby.cz **[00:01:45]** www.hradeckesluzby.cz **[00:01:50]** www.hradeckesluzby.cz **[00:01:55]** www.hradeckesluzby.cz **[00:02:00]** www.hradeckesluzby.cz **[00:02:05]** www.hradeckesluzby.cz **[00:02:10]** www.hradeckesluzby.cz **[00:02:15]** www.hradeckesluzby.cz **[00:02:20]** www.hradeckesluzby.cz **[00:02:25]** www.hradeckesluzby.cz **[00:02:30]** www.hradeckesluzby.cz **[00:02:35]** www.hradeckesluzby.cz **[00:02:40]** www.hradeckesluzby.cz **[00:02:45]** www.hradeckesluzby.cz **[00:02:50]** www.hradeckesluzby.cz **[00:02:55]** www.hradeckesluzby.cz **[00:03:00]** www.hradeckesluzby.cz **[00:03:05]** www.hradeckesluzby.cz **[00:03:10]** www.hradeckesluzby.cz **[00:03:15]** www.hradeckesluzby.cz **[00:03:20]** www.hradeckesluzby.cz **[00:03:25]** www.hradeckesluzby.cz **[00:03:30]** www.hradeckesluzby.cz **[00:03:35]** www.hradeckesluzby.cz **[00:03:40]** www.hradeckesluzby.cz **[00:03:45]** www.hradeckesluzby.cz **[00:03:50]** www.hradeckesluzby.cz **[00:03:55]** www.hradeckesluzby.cz **[00:04:00]** www.hradeckesluzby.cz **[00:04:05]** www.hradeckesluzby.cz **[00:04:10]** www.hradeckesluzby.cz **[00:04:15]** www.hradeckesluzby.cz **[00:04:20]** www.hradeckesluzby.cz **[00:04:25]** www.hradeckesluzby.cz **[00:04:30]** www.hradeckesluzby.cz **[00:04:35]** www.hradeckesluzby.cz **[00:04:40]** www.hradeckesluzby.cz **[00:04:45]** www.hradeckesluzby.cz **[00:04:50]** www.hradeckesluzby.cz **[00:04:55]** www.hradeckesluzby.cz **[00:05:00]** www.hradeckesluzby.cz **[00:05:05]** www.hradeckesluzby.cz **[00:05:10]** www.hradeckesluzby.cz **[00:05:15]** www.hradeckesluzby.cz **[00:05:20]** www.hradeckesluzby.cz **[00:05:25]** www.hradeckesluzby.cz **[00:05:30]** www.hradeckesluzby.cz **[00:05:35]** www.hradeckesluzby.cz **[00:05:40]** www.hradeckesluzby.cz **[00:05:45]** www.hradeckesluzby.cz **[00:05:50]** www.hradeckesluzby.cz **[00:05:55]** www.hradeckesluzby.cz **[00:06:00]** www.hradeckesluzby.cz **[00:06:05]** www.hradeckesluzby.cz **[00:06:10]** www.hradeckesluzby.cz **[00:06:15]** www.hradeckesluzby.cz **[00:06:20]** www.hradeckesluzby.cz **[00:06:25]** www.hradeckesluzby.cz **[00:06:30]** www.hradeckesluzby.cz **[00:06:35]** www.hradeckesluzby.cz **[00:06:40]** www.hradeckesluzby.cz **[00:06:45]** www.hradeckesluzby.cz **[00:06:50]** www.hradeckesluzby.cz **[00:06:55]** www.hradeckesluzby.cz **[00:07:00]** www.hradeckesluzby.cz **[00:07:05]** www.hradeckesluzby.cz **[00:07:10]** www.hradeckesluzby.cz **[00:07:15]** www.hradeckesluzby.cz **[00:07:20]** www.hradeckesluzby.cz **[00:07:25]** www.hradeckesluzby.cz **[00:07:30]** www.hradeckesluzby.cz **[00:07:35]** www.hradeckesluzby.cz **[00:07:40]** www.hradeckesluzby.cz **[00:07:45]** www.hradeckesluzby.cz **[00:07:50]** www.hradeckesluzby.cz **[00:07:55]** www.hradeckesluzby.cz **[00:08:00]** www.hradeckesluzby.cz **[00:08:05]** www.hradeckesluzby.cz **[00:08:10]** www.hradeckesluzby.cz **[00:08:15]** www.hradeckesluzby.cz **[00:08:20]** www.hradeckesluzby.cz **[00:08:25]** www.hradeckesluzby.cz **[00:08:30]** www.hradeckesluzby.cz **[00:08:35]** www.hradeckesluzby.cz **[00:08:40]** www.hradeckesluzby.cz **[00:08:45]** www.hradeckesluzby.cz **[00:08:50]** www.hradeckesluzby.cz **[00:08:55]** www.hradeckesluzby.cz **[00:09:00]** www.hradeckesluzby.cz **[00:09:05]** www.hradeckesluzby.cz **[00:09:10]** www.hradeckesluzby.cz **[00:09:15]** www.hradeckesluzby.cz **[00:09:20]** www.hradeckesluzby.cz **[00:09:25]** www.hradeckesluzby.cz **[00:09:30]** www.hradeckesluzby.cz **[00:09:35]** www.hradeckesluzby.cz **[00:09:40]** www.hradeckesluzby.cz **[00:09:45]** www.hradeckesluzby.cz **[00:09:50]** www.hradeckesluzby.cz **[00:09:55]** www.hradeckesluzby.cz **[00:10:00]** Mr. Garbage Collector, here we have a book, here we see everything you've done, here we see that you play slot machines, **[00:10:08]** so say a little poem. These are sparks of what accompanies what interests me. **[00:10:17]** It's a cliché word, 'rapture,' but it's really something that interests me, **[00:10:24]** that even an adult can meet an angel who sings to them, **[00:10:30]** that a normal adult might sing on a tram, these are really powerful moments. **[00:10:36]** Another image, also somewhat alchemical, the evangelical story of the Sower, what he sowed, that word, that seed, **[00:10:46]** somewhat for my other activities, Pianos on the Street and so on, I also felt **[00:10:52]** that a person sows projects, objects into the public space. **[00:10:57]** Somehow, I don't know why, when I was selecting images for today's lecture, I somehow entered that. **[00:11:03]** I will circulate around various things, but as I searched for myself for a long time, in 2010 I found myself in that, **[00:11:12]** I opened the café Kafé v lese on Krymská street, where I enjoyed bringing people together. **[00:11:22]** I'm a café owner in the sense that I was more into designing the interior, organizing programs, and working the bar. **[00:11:31]** And constantly meeting people and creating that kind of atmosphere where coffee is made. **[00:11:35]** I still don't know how to make coffee, and I actually don't drink it much; I prefer good loose-leaf teas. **[00:11:40]** At the same time, the café was a stepping stone for me to move into that street, **[00:11:46]** because very soon we brought out a piano and held lunchtime events. **[00:11:50]** So cafés, I always reflected on what they really are. **[00:11:55]** Radovan Lipus, whom I really like, co-author of Šumná města with David Vábor, says **[00:12:00]** that a café is an urbanized hearth. **[00:12:03]** Just like when we sat around a fire telling stories about mammoth hunts, **[00:12:07]** that's the kind of situation a café represents. **[00:12:10]** There is a focal point of interest and attention. **[00:12:13]** Either together at the table, or looking from the window niche onto the street, **[00:12:18]** where events unfold and we are contemplative within ourselves. **[00:12:24]** So I very early on thought about what a café really is, **[00:12:30]** what it means in a truly free sense. **[00:12:36]** Of course, there is beer, wine, coffee, but mainly it's about people meeting. **[00:12:41]** That's what I enjoyed about it, but of course I have this trait, **[00:12:47]** that I like to play with something until I stop enjoying it, **[00:12:51]** and I nurture this trait, **[00:12:54]** so I don't stay stuck with just one thing, **[00:12:57]** though I could have stayed my whole life with one café, **[00:13:00]** being like Balbín's apolitical pub, **[00:13:03]** being a kind of lighthearted, already a bit of a local character for 35 more years, **[00:13:08]** but to be able to do other things, **[00:13:12]** I started to lose interest, **[00:13:15]** when other cafés and coffee spots popped up in the Municipal Hall **[00:13:18]** and at the riverbank Bajkařila. **[00:13:21]** I don't want to focus too much on those cafés, **[00:13:24]** because I no longer really feel like a café owner, **[00:13:27]** but in 2013 we placed the first pianos, **[00:13:30]** and that marked a big change in my life, **[00:13:34]** because there was huge interest back then, **[00:13:37]** and a lot of energy around it, **[00:13:42]** and I was amazed at what had happened, **[00:13:45]** how people got involved, **[00:13:48]** that's always interested me, **[00:13:51]** how someone comes up with a specific idea. **[00:13:54]** It was a gift, but it developed gradually **[00:13:57]** from all those smaller things, **[00:14:00]** So thousands, tens of thousands of micro-stories emerged there, **[00:14:04]** some YouTube videos have 60 million views, **[00:14:08]** like the one at the airport or the two policemen, etc. **[00:14:11]** So I was glad we could infiltrate those media with **[00:14:16]** a bit different things than the usual negative war stories, etc. **[00:14:20]** And of course, the object caused **[00:14:24]** someone to perform something. **[00:14:28]** We wanted to help individual initiative, **[00:14:31]** so someone could show something to other commuters, etc. **[00:14:35]** That principle naturally interests us a lot. **[00:14:40]** So rather these were created, **[00:14:44]** just like when I was at that devil St. Nicholas, **[00:14:48]** it's actually a strange thing. **[00:14:52]** It was a kind of new thing. **[00:14:56]** A drinking fountain that belongs indoors, you put it outdoors, **[00:15:00]** and everyone says it won't get destroyed, etc. **[00:15:04]** With these public space projects, we actually count on **[00:15:07]** it being a new thing, **[00:15:11]** and we don't mind. **[00:15:15]** Even if it only lasts half a year, **[00:15:19]** because so many people use it somehow, **[00:15:23]** it doesn't matter. **[00:15:27]** So the fact that it's at the main station **[00:15:31]** causes a transformation of the place. **[00:15:35]** Everything we do is also about encouraging awareness, **[00:15:39]** curiosity, and showing the potential **[00:15:43]** of what else could happen there. **[00:15:47]** I know they're now making a fish pond at the main station. **[00:15:51]** Maybe we helped with that, the inspirations **[00:15:55]** that are happening there. **[00:15:59]** Of course, what we do would be most fun for us **[00:16:03]** if we could work in the city space. **[00:16:07]** And of course, we do it in Prague and show it at iconic places. **[00:16:11]** Maybe also deliberately as an example so people can adopt it. **[00:16:15]** When we get to Charles Bridge, the long table, **[00:16:19]** this event Long Table could also be in Malá Street, or in Karviná. **[00:16:23]** But we deliberately put it in those epicenters where it would be. **[00:16:27]** With those pianos, **[00:16:31]** some energy has accumulated, **[00:16:35]** people around me and lots of other crazy ideas. **[00:16:39]** Of course, we were wondering, **[00:16:43]** what else could be placed in public spaces. **[00:16:47]** So we started working with chess tables. **[00:16:51]** We placed about 80 such chess tables. **[00:16:55]** I'll get to that soon, because this project wasn't very good in that, **[00:16:59]** but people didn't play on it much. **[00:17:03]** I'll get to that later. We started leaving chess pieces, **[00:17:07]** but I'll get to that later. **[00:17:11]** But it was just a phase of certain dead ends. **[00:17:15]** But it doesn't matter, after 8 years you realize, **[00:17:19]** that the project wasn't perfect, **[00:17:23]** but then it pushes you to improve it to make it ideal. **[00:17:27]** I thought I was attracting those forces and inspirations, **[00:17:35]** so we would have more ideas, like the piano. **[00:17:39]** Since the pianos were successful, I said, **[00:17:43]** I want more, I want something else. **[00:17:47]** People asked what was new. **[00:17:51]** So I asked a poet friend, **[00:17:55]** for a walk with a poet around Prague, **[00:17:59]** to teach us to look, to learn to see things, to notice. **[00:18:03]** So we did walks around Malá Strana and pubs, **[00:18:07]** where Egon Bondy and Josef Topol used to go. **[00:18:11]** We were at a courtyard on Nerudova Street, **[00:18:17]** where Egon Bondy lived. **[00:18:21]** So we made not only objects like the piano and chess, **[00:18:25]** but also one-name events for about a hundred people. **[00:18:29]** There, the rule proved true for me, **[00:18:33]** that every event generates another event. **[00:18:37]** Thanks to that, I learned that **[00:18:41]** Malá Strana courtyards were held around 1983, **[00:18:45]** when young creators were never allowed to exhibit, the normal ones, the alternative ones. **[00:18:49]** They rented some courtyards from houses **[00:18:53]** and exhibited there for three weeks. **[00:18:55]** These were legendary events, like Kurt, Geber, and others. **[00:18:59]** So in 2013, I was kind of **[00:19:01]** thinking that whatever I touched would succeed. **[00:19:05]** Then I realized it wasn't quite like that. **[00:19:09]** So I said, let's do the Malá Strana courtyards again. **[00:19:13]** I don't have very good photos from that, **[00:19:15]** but in about thirteen courtyards there was classical music, **[00:19:19]** reading poets, displaying things, **[00:19:21]** but mainly people could look inside. **[00:19:23]** The phenomenon that courtyards used to be open **[00:19:27]** and now the owners close them, **[00:19:29]** I understand, because there are many more tourists now, **[00:19:31]** who climb in and so on. **[00:19:33]** But we all know how in some countries they don't lock up. **[00:19:37]** So it was also meant to highlight **[00:19:42]** that courtyards are amazing spaces for theater and concerts. **[00:19:48]** We wanted to show the potential of that space. **[00:19:51]** Then we repeated it once more, **[00:19:53]** but I also lost a lot of money on it, **[00:19:55]** because I never really knew how to write grants. **[00:20:00]** That's also a topic, that I did a lot of things, but often burned out, kind of like in folklore projects. **[00:20:09]** And before I found the business model I've had for the last three years, anyone can do things enthusiastically for three years. **[00:20:17]** But I think maintaining it for thirty years is a different story. **[00:20:23]** I've really met many people who did amazing things for three years, but then stopped. **[00:20:31]** But every event showed us some potential, that not only when the harp sounded in the courtyard where you can't get in, **[00:20:38]** there was also the resonance of the space. You know the post office on Jindřichská street, we invited a symphony orchestra there. **[00:20:51]** There were about a thousand people, it was free. **[00:20:57]** And now, whenever I go there and wait 45 minutes for some mail, I always remember it, **[00:21:03]** that a person creates a new layer of memory. **[00:21:05]** Surely many events have been forgotten, maybe few people remember them now, but that's how it was. **[00:21:12]** Some things happen fleetingly and we don't even mind. **[00:21:15]** And exactly repeating it is no longer necessary. **[00:21:21]** But it's good to return to similar other places where the space can be transformed into a concert hall. **[00:21:29]** We also did it because such a concert at the post office could be done again in a small district town. **[00:21:37]** If they had a nice building, to show that the place can be transformed. **[00:21:44]** And that's something we explore and look for ways to do. **[00:21:50]** Another transformed place was that we were supposed to see the cattle wing on the Vltava. **[00:21:58]** There we also brought a great pianist, Michal Šupák. **[00:22:02]** And the background of Prague Castle and the water surface was also beautiful. **[00:22:20]** This year Smetana had his 200th anniversary and I thought we could do something. **[00:22:28]** On Smetana Embankment there's the Slávia café and he lived right in that building, that's why it's called Smetana Embankment. **[00:22:38]** So I reserved Slávia café that day at 9 a.m., and he was born at 10 a.m. **[00:22:44]** And Ivo Kahánek was there... We love wordplays, so we called it 'Council coffee with Smetana'. **[00:22:53]** We made it as a tribute to Smetana. It was for a few friends, about 110 invited people. **[00:23:02]** The wordplays rang out, the passing trams rang out, and we watched the shimmering surface of the Vltava. **[00:23:12]** And somehow we experienced the birth. **[00:23:17]** And again, you might say, well, now they probably play in cafés. **[00:23:23]** There is music, but in the background, there's an old gentleman playing gentle melodies, as if it were a real concert. **[00:23:30]** We also learned that in Vienna, there really were concert cafés where concerts actually took place. **[00:23:37]** So I hope I showed the owners of Sláva café some potential. **[00:23:44]** Of course, the fact that the concert is in the morning, at nine o'clock. **[00:23:48]** But that's the point—you have some champagne and get a kind of injection, just like here, which is also in the morning, **[00:23:56]** and you get a candle and coffee with cream. **[00:24:00]** And every event generates something for us; we did a similar thing at Café Louvre, also in the morning, at seven. **[00:24:08]** There we performed a repertoire of French avant-garde and ate croissants with it. **[00:24:17]** We experienced the café and a small lecture about how Einstein and Kafka used to visit. **[00:24:24]** And more—about cafés, I could talk for an hour weekly about what a café is and its important social role. **[00:24:32]** So cafés revolve around me, and I still feel like a café owner in the sense that I invite people there. **[00:24:42]** Whether it's Cadouff Most with a few thousand people or a hundred people walking through Prague courtyards, it's always about bonding, **[00:24:52]** because people start conversations there and so on. **[00:24:56]** Another small thing was a beautiful tunnel from Žižkov to Karlín, where we held poetry readings, **[00:25:03]** but every thirty meters, so it was like tunneling poetry, a small thing. **[00:25:11]** Interestingly, that was in 2014, and I don't do things like that anymore. **[00:25:18]** It's interesting; it was such a magical time... **[00:25:24]** I feel that now I focus more on making things sustainable, avoiding burnout, and having a business model. **[00:25:32]** We still do many things I pay for myself, but we had to limit it. **[00:25:39]** So looking back, I admit I don't do as many things like that anymore. **[00:25:51]** A small thing: I founded Šesták at Kuleťák, a space with 16 parking spots. **[00:26:00]** Now there's a wooden deck; I don't run it anymore, but it was nice to establish a place above the public space, **[00:26:07]** where people could have coffee and hang out. **[00:26:15]** We also thought it might set a precedent for other places in Prague, **[00:26:20]** that some place could be turned into a small square. **[00:26:24]** I had a food truck with a café, but nothing followed up on it yet. **[00:26:29]** Another small thing: I ran a stall at Malostranské náměstí by František Skála, **[00:26:34]** made from a 350-year-old oak; he created a stand, a kiosk. **[00:26:42]** It was a kind of infiltration of strangeness into the power center where the deputies go. **[00:26:54]** When I started in 2013 with the pianos and everything was going well, **[00:26:58]** I saw some photos of green roofs in New York and asked people, **[00:27:03]** if they knew any roof where I could create a green roof. **[00:27:07]** People told me about the Lucerna roof, but it probably wouldn't work out. **[00:27:15]** But somehow, when I met Mrs. Havlová, **[00:27:20]** I had a basket for her farm Košík, where Ivana Havel, her wife, lives. **[00:27:25]** There are two Mrs. Havlovás. **[00:27:27]** At that time, a sheep was giving birth, and she really had her hands in the sheep. **[00:27:33]** We were negotiating the business, whether she would rent me the Lucerna roof. **[00:27:37]** Her hands were really bloody from the lambs. **[00:27:39]** Back then, I had been an entrepreneur for four years, doing everything. **[00:27:45]** And I was like, how to say it, the roof of Lucerna, before that I didn't know anything about it at all. **[00:27:50]** How to do it structurally, legalize it, and so on. **[00:27:56]** It was really like some kind of movie. **[00:27:58]** But then we laid a thousand meters of decking there, and after centuries, **[00:28:03]** when the president's grandfather built the building, but three months after **[00:28:07]** he finished it, he died, and the two sons, Václav and Miloš, **[00:28:11]** then focused on other things. **[00:28:13]** So somehow no one ever got around to opening it, **[00:28:16]** but we opened it. **[00:28:19]** I just thank for two years, now it’s paused, **[00:28:22]** because some reconstruction still needs to be finished in the building, **[00:28:25]** but those were nice years and I will probably have to return there. **[00:28:29]** And it again shows some transformation of the place, **[00:28:34]** that one day it’s quiet there, the next day there’s a kind of sun salutation, **[00:28:40]** literally greeting the sun. **[00:28:43]** And that’s a poetic view of the thing, **[00:28:49]** so we kept asking ourselves what else could happen there. **[00:28:53]** Petr Hájek, the stonemason and architect who helped me with it, **[00:28:56]** says the roof is a modern square, **[00:28:59]** below are the cars and the noise and the commerce, **[00:29:02]** so it’s no longer such a burden. **[00:29:04]** There we could really experience **[00:29:07]** a different kind of spatial experience. **[00:29:11]** So then, for example, with Láďa Herian, **[00:29:14]** we always held a mass on the anniversary of President Havel’s birth, **[00:29:17]** a Havel tribute mass. **[00:29:30]** We made a kind of event, **[00:29:32]** where Adam Pachetka sang the opera Don Giovanni, **[00:29:36]** which Mozart composed in Prague. **[00:29:40]** We searched all over Bohemia, at flea markets, for those metal tubs, **[00:29:44]** which now are with my mom. **[00:29:46]** And again, when I was at Recykl, **[00:29:48]** I was somewhere with the mayor of Františkovy Lázně, **[00:29:51]** they have those mud baths, **[00:29:53]** so I also offered to do something similar there. **[00:29:56]** And sure, in all those mud baths... **[00:30:00]** They said it would get ruined, so of course you start thinking about how guys buy a suit for two hundred crowns. **[00:30:05]** And in my opinion, everyone wanted to go into the mud, which is like chocolate, to lie down and listen to some opera **[00:30:16]** in some space, maybe at Lázeňská promenade we will see. I think we will repeat those tubs there somehow. **[00:30:26]** Back then Sonja Červená came to our event, and also Ivan Havel, who unfortunately died three years ago. **[00:30:35]** They saw that it was an honor for me to be able to create such reactions for Ivan Havel. **[00:30:42]** I think he quite liked it; he enjoyed these kind of crazy things. **[00:30:47]** For example, we did a fall event under Čirák, where people living in Prague took sleeping bags and a city tram musician **[00:31:03]** and a fire, and they roasted sausages there. **[00:31:06]** The principle of what else could happen in that place is something we always try to encourage different mayors to think about. **[00:31:15]** We say, you have a square, so what else could be on that square besides Christmas markets or similar events? **[00:31:23]** I can imagine that in some places there could also be a fall event under Čirák, or somewhere else. **[00:31:29]** I'm not saying they have to do this exactly, but by showing what is possible, it might inspire someone to come up with something else. **[00:31:37]** We even did something like that during Advent, really in the snow, it was freezing cold, early morning events we held. **[00:31:48]** But now, I say, we don't do three-hour events here. **[00:31:52]** Another transformation of the musical space was that this year we also held a concert by Kolegium 17.4 and Vojtyryk directly in one of the halls of the Chamber of Deputies, **[00:32:05]** where the space naturally invites the idea that this is an orchestra after all, **[00:32:17]** the one who speaks to their deputies is like conducting behind the podium, that's the metaphor. **[00:32:24]** So it's a redefinition of the meaning, but of course, usually there's cacophony, so we wanted to create harmony. **[00:32:32]** And precisely in that space is the seat of the Italian opera company, so we connected to that. **[00:32:42]** Of course, it looks nice like this, but the hardest part is getting permission to do it. **[00:32:50]** Nothing like that happened in the main chamber, but you have to come up with a good story, **[00:32:57]** that we are returning the space to its original meaning after 230 years, and Vojtyryk played Mysliveček, **[00:33:06]** whose works were performed in that space, and the event was for the public, deputies, and staff. **[00:33:14]** I think even ordinary staff who have worked there for thirty years could suddenly sit in the deputies' benches **[00:33:20]** and experience something they enjoyed. So we basically did it for those little workers too. **[00:33:27]** Where they could sit in the deputies' benches, not just the bosses. **[00:33:32]** That's the transformation of the carnival, where even the subject could kick the king in the backside and so on. **[00:33:40]** And here, this is another one, it was really very nice, I have a short video here for us to watch. **[00:33:52]** I was thinking about the seat of the Italian opera company 230 years ago. **[00:33:58]** And when the day was nice, we thought about returning to that, so we came up with a repertoire and orchestra **[00:34:03]** that could play pieces likely performed in that place. **[00:34:07]** So I came to Slimovna with this idea, and it somehow collided with a sporty reaction. **[00:34:51]** The improbable situations I created were probably one of the most important events I've ever done. **[00:34:59]** When you redefine a center of power into beauty, into the poetization of things. **[00:35:07]** And you might ask me how it was financed, honestly it was terrible. **[00:35:17]** I sought some sponsors, but still ended up with a 250,000 CZK loss. **[00:35:21]** You manage somehow, but you can't do too many of these. **[00:35:25]** Of course, I'm still learning to find a business model, I always manage somehow. **[00:35:31]** And at the same time, I'd like to try this concert in parliaments again, since I have the experience, **[00:35:37]** I'd like to offer it to others, maybe in America. **[00:35:43]** Usually, it's always some grand event. **[00:35:46]** The chambers, for example, for city councils and so on, are always like that. **[00:35:52]** So we'll see if I manage. **[00:35:54]** And I believe it probably happens somewhere, but it just hasn't occurred to me until now. **[00:35:59]** And the symbol that it actually opens it up to the public, I think that's great. **[00:36:05]** And for me, it was also a kind of life project, Poesia Mat. **[00:36:14]** The pianos were created, they were great, but they have no sustainability at all, **[00:36:19]** because, to be honest, I really have to pay for it myself, **[00:36:23]** because no one else will cover it, because if someone said, **[00:36:26]** 'We want a piano,' and I told them it costs 100 thousand, **[00:36:29]** they would just say, 'No, I can buy one at a secondhand store.' **[00:36:32]** But you have to buy it, refurbish it, **[00:36:35]** move it, tune it, you have to... **[00:36:38]** We have a nice illustrator who usually draws motifs of the place, for example at the main station, **[00:36:42]** he draws some local themes or so, yeah. **[00:36:45]** We take care of it. **[00:36:48]** So basically, it's more like we started it, **[00:36:51]** inspired other people, and we maintain it ourselves, especially at the main station, **[00:36:54]** at the airport. **[00:36:56]** But it's not something we could now have in 50 places, you know. **[00:37:02]** But the speaking tube, you'd be surprised, can be sold. **[00:37:10]** Even though it sounds a bit like some shady Mr. Tao, **[00:37:17]** selling a strange thing. **[00:37:21]** It's deliberately designed to look like some kind of ventilation outlet, **[00:37:28]** to slightly confuse and also to blend into the urban space, **[00:37:32]** so people might not even notice it. **[00:37:37]** And in a landscape setting, it looks like a submarine periscope. **[00:37:41]** This photo is from Jezeří, where the Most coal basin is. **[00:37:50]** I think the combination of the powerful place and the view, **[00:37:55]** when you listen to the fact that we are at this spot, **[00:37:58]** there is Beethoven's Eroica, which he composed there. **[00:38:01]** Imagine Beethoven walking there on foot, **[00:38:05]** and that place inspired him to create these tones. **[00:38:11]** And you can listen to it there. **[00:38:13]** Or you can listen to other poets **[00:38:17]** or memories of people who were born there 45 years ago. **[00:38:22]** Where there is nothing now, there used to be villages. **[00:38:25]** It's quite moving. **[00:38:28]** We really have recordings of those people's memories, **[00:38:31]** who lived in those villages. **[00:38:33]** Their first loves walked there and no longer have them. **[00:38:36]** So actually, Poesia Mat was created just because **[00:38:40]** there was poetry at the beginning, **[00:38:42]** so we work much more with the different memory layers of the place. **[00:38:48]** We say it's like an audio totem, **[00:38:51]** when we come to the local community and say, **[00:38:54]** hey, here’s this poezema, there are 20 recordings, **[00:38:57]** so what would fit here? **[00:38:59]** What should this place say to the person, the traveler? **[00:39:03]** So it's a good process. **[00:39:05]** I think people enjoy it. **[00:39:10]** Of course, at first everyone wants to do everything in New York. **[00:39:15]** So I tried doing it there, **[00:39:19]** it was at this place for about a year, then at another place for a long time. **[00:39:23]** Now we’re working in Chinatown. **[00:39:29]** Of course, I want to make it a global project. **[00:39:32]** We have it in about 80 places, **[00:39:34]** about 10% of which are already worldwide. **[00:39:37]** This year we managed Buffalo, for example. **[00:39:40]** I got a call 14 weeks ago from Silicon Valley, **[00:39:43]** that they want it there. **[00:39:45]** So we’ll see. **[00:39:47]** But that’s exactly... **[00:39:49]** I’m getting to sustainability now. **[00:39:51]** The Poesy Mats finally represent a sustainable model, **[00:39:55]** where I learned to ask for money for the first 8 years. **[00:39:58]** I just put it on the books. **[00:40:00]** Under expenses, as long as it was somewhere. **[00:40:02]** And I kept waiting for the world to discover it, that we’d ride this brilliant thing, **[00:40:05]** and they’d call me Mr. Kopsa, we want it, count ten for us. **[00:40:08]** But since no one was reaching out, I had to go more towards it **[00:40:13]** and learn to sell the idea. **[00:40:18]** So there would be a margin, because I felt weird saying, **[00:40:22]** I can’t make money from creating public space. **[00:40:25]** I just couldn’t understand that here. **[00:40:28]** Now I think of it as a service to the place, **[00:40:31]** we remind people of the place’s stories, it’s also marketing for the place, **[00:40:35]** media usually come, so the mayor appreciates it. **[00:40:38]** So the poezemat has value. **[00:40:41]** And at the same time, it’s something people can pay for. **[00:40:46]** You basically can’t pay for the piano. **[00:40:48]** Local officials wouldn’t justify spending a hundred thousand on a piano. **[00:40:53]** And at the same time, it’s an entry point for thinking about other things, **[00:40:59]** that pojezimat will succeed. **[00:41:01]** The mayor sees that the media is interested, people are paying attention, **[00:41:05]** so next year we'll tell him, maybe we won't do the long table, **[00:41:09]** and he often says yes. **[00:41:11]** So it's an expansion of my thinking. **[00:41:16]** It's a kind of military thinking, **[00:41:20]** how to conquer the public space of the whole world. **[00:41:24]** These poezimaty are like the vanguard, **[00:41:28]** where they get stuck, and we can already say, **[00:41:33]** we are the poezimaty, we won't do anything else. **[00:41:37]** It's a kind of game, as I said, **[00:41:41]** Pardubice, also beautiful texts about train stations, **[00:41:47]** and you wait there, the train leaves without you. **[00:41:53]** Here I'm just brief, so there are some shots, **[00:41:57]** I put a video. **[00:41:59]** Hi, I'm Ondřej Kobza from Prague, Czech Republic. **[00:42:02]** I placed various pianos on the street, chess, **[00:42:05]** and at the same time I place these pipes, I call them poezimaty. **[00:42:09]** Maybe you know the book The Man Who Planted Trees. **[00:42:12]** I also try to place these poezimaty into public urban spaces, **[00:42:15]** public places in the countryside, **[00:42:17]** exactly these poezimaty. **[00:42:19]** They have a handle, you turn it, **[00:42:21]** you generate electricity, **[00:42:23]** at the start you choose a recording, **[00:42:25]** and then you listen to one of 20 tracks. **[00:42:28]** It can be a song, poem, memory, thought, **[00:42:31]** or an authentic sound. **[00:42:34]** Spring timidly announces itself. **[00:42:37]** At the beginning of March, they welcomed in Hradec Králové **[00:42:40]** the start of the national Kopanina championship. **[00:42:43]** For each place, we create a special dramaturgy, **[00:42:46]** involving local enthusiasts. **[00:42:49]** We try to capture the identity and magic of the place, **[00:42:52]** a kind of amplifier of genius loci. **[00:42:55]** I'm not interested in your Bigby. **[00:42:58]** I spent half a day listening to the croaking of the Ovnivíc firefly. **[00:43:02]** And we would like, **[00:43:05]** if the poezimaty could serve **[00:43:08]** to tell the stories of your places as well. **[00:43:19]** So, if you like the poezimaty, **[00:43:22]** So we would be glad if you get in touch with us. **[00:43:27]** Thank you. **[00:43:31]** I know there was that photo of Kunitická hora, **[00:43:34]** which is slangily called kůňka. **[00:43:37]** So it's exactly like listening to kůňka outside Kunitická hora, **[00:43:40]** I don't know, I enjoy it. **[00:43:43]** Here is another photo of Vynohradský Řibitov, **[00:43:46]** where Havlovský is again, lying just a few meters away, **[00:43:49]** so you can listen to the voice of that person at Řibitov. **[00:43:52]** And again, I’m no longer ashamed **[00:43:55]** to think business-wise. **[00:43:59]** Řibitovy is a good segment for us, **[00:44:02]** we like that. **[00:44:05]** Because really everywhere there are, **[00:44:08]** not everywhere, but quite often there are Řibitovy, **[00:44:11]** where Hemingways and other greats lie. **[00:44:14]** And we have it just on the edge, **[00:44:17]** so it doesn’t disturb the peace. **[00:44:20]** So I think it could attract the attention of those people, **[00:44:23]** that somehow they can experience those greats. **[00:44:27]** Again, when they go to their graves. **[00:44:30]** It was also done successfully in the Philippines. **[00:44:33]** I also used to change clothes, **[00:44:36]** now I don’t do it so much, **[00:44:39]** so I tried to be an activist, **[00:44:42]** at this beautiful place Ušček near Kalvárie. **[00:44:45]** You showed me it takes 15 minutes, right? **[00:44:48]** I have time, right? **[00:44:51]** Really, yes? **[00:44:55]** Yes, okay, okay. **[00:44:58]** That’s good you tell me. **[00:45:01]** That’s for example Seil in Brno, in the riding hall, where Zahraniček sat. **[00:45:04]** So exactly about 50 meters with a soulful line, **[00:45:07]** Jan Zahraniček sat there for about 8 years, **[00:45:10]** whose two children died at home. **[00:45:13]** And he just found out there and wrote a poem. **[00:45:16]** You can listen to that poem. **[00:45:19]** We have it at the airport. **[00:45:23]** So that’s another good segment for us, right? **[00:45:26]** And another important project, **[00:45:29]** which I would like to spread around the world, **[00:45:32]** are these long tables. **[00:45:35]** The first one was at Karlovo náměstí in 2000. **[00:45:38]** And then one thing happens again **[00:45:41]** and it fills you up with energy **[00:45:44]** and you start thinking about where to do it next. **[00:45:47]** In the meantime, we made about 8 places **[00:45:50]** and I think there will be more next year. **[00:45:53]** It's like drawing. **[00:45:56]** I actually can't draw, **[00:45:59]** but in the photos it looks like **[00:46:02]** you're dragging a line with some brush. **[00:46:05]** Only you are the one dragging it. **[00:46:08]** It's a bit like land art or city art. **[00:46:11]** Again, in a place where tourists kind of took it, **[00:46:14]** the locals could **[00:46:18]** wrap and transform the place again. **[00:46:21]** So I'll speed up. **[00:46:24]** Last year we did it at Prague Castle, **[00:46:27]** because it's obviously a symbol of the new president's openness, **[00:46:30]** since the strict security checks stopped there. **[00:46:33]** We went around the cathedral and made a heart shape. **[00:46:36]** And again, it was done in a rush of enthusiasm. **[00:46:39]** This year I wanted to repeat it, **[00:46:42]** but they didn't want to let us into the third courtyard at all. **[00:46:45]** I don't know if you noticed, **[00:46:48]** but some events are things that won't happen again for me. **[00:46:51]** So we really took advantage of the 20 years of Zeman's closure **[00:46:54]** and the openness of the castle. **[00:46:57]** I discussed it with Mrs. Vohralíková, the chancellor, **[00:47:00]** and they let us into the third courtyard, **[00:47:03]** so now security measures, **[00:47:06]** like the assassination attempts on Trump and Fico, **[00:47:09]** say you can do it in the gardens. **[00:47:12]** But it really wasn't a given **[00:47:15]** that we managed to surround the cathedral with the table. **[00:47:18]** In Pardubice, Třída Míru, **[00:47:21]** it was also the second year, **[00:47:24]** and I think the last Thursday in Opráziny, **[00:47:27]** they will always want to do it there. **[00:47:30]** The people from Pardubice were really enthusiastic. **[00:47:33]** It started at five o'clock, and already by 4:50 **[00:47:36]** it was almost full. **[00:47:40]** You tell them you have a white tablecloth, **[00:47:43]** flowers in a vase, and to bring something. **[00:47:46]** I'm not saying it was packed everywhere, but quite often. **[00:47:49]** People were happy that someone told them, **[00:47:52]** 'Come.' And they came and started exchanging **[00:47:55]** what they baked, like some rolls, etc. **[00:47:58]** In Brno, of course, we try to pick symbolic places, **[00:48:01]** so it was under Jošt. **[00:48:04]** You also imagine and pretend **[00:48:07]** that these are trams. **[00:48:10]** They call it the sea in Brno. **[00:48:13]** In Mělník, we upgraded it, **[00:48:16]** hanging some fabric from the tower. **[00:48:19]** That's when you get bored **[00:48:22]** and want to do something differently. **[00:48:25]** And also for the people from Mělník, **[00:48:28]** you can see the tower from afar. **[00:48:31]** You drive about five kilometers and see what's there. **[00:48:34]** It's reframing how you see your place. **[00:48:37]** You live there for 50 years, **[00:48:40]** but about that viewpoint, they said **[00:48:43]** it's an amazing spot for tourists like me. **[00:48:46]** And locals say they don't go there much. **[00:48:49]** We brought the locals to that viewpoint, **[00:48:52]** to Mělník, and they wanted to make it a tradition. **[00:48:55]** And again, drawing with those tables, **[00:48:58]** with the white line. **[00:49:02]** And I sped up Honza. **[00:49:06]** And those were sails, **[00:49:09]** when you suddenly created a mast and a sail. **[00:49:12]** And for people, as the wind fluttered it there. **[00:49:15]** Just a silly thing. **[00:49:18]** It cost about 15,000 crowns. **[00:49:21]** And it caused so many things. **[00:49:26]** So it's a small thing. **[00:49:30]** Things like these, **[00:49:33]** things like these, things like these, **[00:49:36]** things that are just things, **[00:49:39]** things that are just things, **[00:49:42]** things that are just things, **[00:49:45]** things that are just things, **[00:49:48]** things that are just things, **[00:49:51]** things that are just things, **[00:49:54]** things that are just things, **[00:49:57]** things that are just things, **[00:50:00]** things that are just things, **[00:50:03]** things that are just things, **[00:50:06]** things that are just things. **[00:50:00]** I think, let's have that meeting during a walk, yeah, I always forget, but it's always the best thing to do, **[00:50:07]** not sit in my café for a meeting, but go for a walk. This is another project I can't really talk about. **[00:50:18]** There are salons in Ivan Havel's apartment, which I can't really talk about because I think, **[00:50:27]** in this age of widespread sharing and online news, like here for example, it's good when something is just here and now, **[00:50:34]** when nothing is photographed or recorded. They always invite people from different genres and fields, today for example Jakub Hrůša, **[00:50:45]** a conductor, and they invite about 35 interesting people who have something to say on the topic, sometimes more political, **[00:50:52]** or economic issues. The word salon also originated before the French Revolution, when cafés were created, **[00:51:00]** which actually enabled the revolution, because people started meeting in cafés in Paris, where newspapers were available, **[00:51:11]** and some emancipation began. Salons were places where influential people met, so it's simply dangerous. **[00:51:22]** That's why there's the Prague café and the contrast of the village pub. I love village pubs, **[00:51:28]** but a revolution can never start in a village pub, it's too fragmented. **[00:51:33]** So it's just a simple thing, there's an apartment with tradition, where Ivan Havel held apartment seminars since the 70s, **[00:51:41]** because back then intellectuals couldn't lecture publicly, so they met in apartments, reading various texts, Heidegger and so on. **[00:51:48]** So wine is drunk at my salons, and that was also the main role in the symposium, **[00:51:54]** in Plato's symposia there was a person who mixed the krater, a large vessel, **[00:52:02]** mixing wine, because the wines were strong, and depending on whether someone talked too much or too little, **[00:52:08]** they adjusted the mix. I'm kind of the one who sets the tone of the salon, the symposium, **[00:52:20]** more with energy than moderating, but rather by selecting people, trying to create an unlikely mix of people. **[00:52:29]** And since it's here and now, not recorded, it has a certain... **[00:52:33]** So it's not secret, just like when we're with friends somewhere talking about important things, **[00:52:40]** we don't stream it. **[00:52:42]** And that goes against the spirit of these things here. **[00:52:46]** Sometimes I also do traveling salons, I did one in Ostrava, for example. **[00:52:50]** And again, when I do a traveling salon, I try to choose something symbolic for the place. **[00:52:56]** Like in Ostrava. **[00:52:58]** If a salon could be held in Ostrava, I borrowed the whole Gong from Světlík. **[00:53:04]** And on that stage, I invited only 30 people. **[00:53:07]** And I focused on the Ostrava scenery. **[00:53:13]** And also the contrast in the big Gong, **[00:53:17]** Just 30 people, a debate with Minister Stanějura, and wine is being drunk. **[00:53:24]** So I try to do these kinds of offsite events too. **[00:53:27]** I'd like to do it, for example, in Šumava, at Kašperk, at Kašperk Castle. **[00:53:30]** Talking about Šumava, at Kašperk. **[00:53:32]** I did it at the Genhad retreat. **[00:53:34]** Again, in Brno salons. **[00:53:36]** So you can never have too many salons, so organize salons too. **[00:53:41]** Or home seminars. **[00:53:43]** Just invite someone, people will come. **[00:53:49]** Invite 20 friends. **[00:53:51]** And again, like I showed at the beginning with the photo, **[00:53:54]** how I turn public space, from the street, from the highway, into a living room, **[00:53:59]** sometimes you do the opposite and turn your living room into public space. **[00:54:03]** So it's always these kinds of role reversals. **[00:54:11]** Next, this is a bit more of a private matter. **[00:54:15]** I was lucky to get to the point where **[00:54:18]** I have rented Pirkštejn Castle. **[00:54:20]** I don't own the castle. **[00:54:21]** And I'm actually glad I don't own it. **[00:54:23]** I wouldn't even have the money for it. **[00:54:25]** But it's owned by the Catholic Church, where a rectory stood for 300 years. **[00:54:29]** And priests no longer live there. **[00:54:31]** They were looking for someone to rent it. **[00:54:33]** So until recently, I lived there as an old bachelor. **[00:54:36]** But now I've moved in... **[00:54:38]** And I always lived there with two goats. **[00:54:40]** And now I've moved in a partner to help with the driving. **[00:54:43]** And now I've moved in a partner to help with the driving. **[00:54:45]** And now I've moved in a partner to help with the driving. **[00:54:47]** And now I've moved in a partner to help with the driving. **[00:54:49]** And now I've moved in a partner to help with the driving. **[00:54:51]** And now I've moved in a partner to help with the driving. **[00:54:53]** And now I've moved in a partner to help with the driving. **[00:54:55]** And now I've moved in a partner to help with the driving. **[00:54:57]** And now I've moved in a partner to help with the driving. **[00:54:59]** And now I've moved in a partner to help with the driving. **[00:55:01]** And now I've moved in a partner to help with the driving. **[00:55:03]** And now I've moved in a partner to help with the driving. **[00:55:05]** And now I've moved in a partner to help with the driving. **[00:55:07]** And now I've moved in a partner to help with the driving. **[00:55:09]** And now I got stuck in a loop. **[00:55:11]** And now I got stuck in a loop. **[00:55:13]** And now I got stuck in a loop. **[00:55:15]** And now I got stuck in a loop. **[00:55:17]** And now I got stuck in a loop. **[00:55:19]** And now I got stuck in a loop. **[00:55:21]** And now I got stuck in a loop. **[00:55:23]** And now I got stuck in a loop. **[00:55:25]** And now I got stuck in a loop. **[00:55:27]** And now I got stuck in a loop. **[00:55:29]** And now I got stuck in a loop. **[00:55:31]** And now I got stuck in a loop. **[00:55:33]** And now I got stuck in a loop. **[00:55:39]** And now I got stuck in a loop. **[00:55:41]** And now I got stuck in a loop. **[00:55:43]** And now I got stuck in a loop. **[00:55:45]** And now I got stuck in a loop. **[00:55:47]** And now I got stuck in a loop. **[00:55:49]** And now I got stuck in a loop. **[00:55:51]** And now I got stuck in a loop. **[00:55:53]** And now I got stuck in a loop. **[00:55:55]** And now I got stuck in a loop. **[00:55:57]** And now I got stuck in a loop. **[00:55:59]** And now I got stuck in a loop. **[00:56:01]** And now I got stuck in a loop. **[00:56:03]** And now I got stuck in a loop. **[00:56:09]** And now I got stuck in a loop. **[00:56:11]** And now I got stuck in a loop. **[00:56:13]** And now I got stuck in a loop. **[00:56:15]** And now I got stuck in a loop. **[00:56:17]** And now I got stuck in a loop. **[00:56:19]** And now I got stuck in a loop. **[00:56:21]** And now I got stuck in a loop. **[00:56:23]** And now I got stuck in a loop. **[00:56:25]** And now I got stuck in a loop. **[00:56:27]** And now I got stuck in a loop. **[00:56:29]** And now I got stuck in a loop. **[00:56:31]** And now I got stuck in a loop. **[00:56:33]** And now I got stuck in a loop. **[00:56:39]** And now I got stuck in a loop. **[00:56:41]** And now I got stuck in a loop. **[00:56:43]** And now I got stuck in a loop. **[00:56:45]** And now I got stuck in a loop. **[00:56:47]** And now I got stuck in a loop. **[00:56:49]** And now I got stuck in a loop. **[00:56:51]** And now I got stuck in a loop. **[00:56:53]** And now I got stuck in a loop. **[00:56:55]** And now I got stuck in a loop. **[00:56:57]** And now I got stuck in a loop. **[00:56:59]** And now I got stuck in a loop. **[00:57:01]** And now I got stuck in a loop. **[00:57:03]** And now I got stuck in a loop. **[00:57:09]** And now I got stuck in a loop. **[00:57:11]** And now I got stuck in a loop. **[00:57:13]** And now I got stuck in a loop. **[00:57:15]** And now I got stuck in a loop. **[00:57:17]** And now I got stuck in a loop. **[00:57:19]** And now I got stuck in a loop. **[00:57:21]** And now I got stuck in a loop. **[00:57:23]** And now I got stuck in a loop. **[00:57:25]** And now I got stuck in a loop. **[00:57:27]** And now I got stuck in a loop. **[00:57:29]** And now I got stuck in a loop. **[00:57:31]** And now I got stuck in a loop. **[00:57:33]** And now I got stuck in a loop. **[00:57:39]** So, like they say about water retention in the landscape, **[00:57:42]** we kind of retain people in the landscape, the city or so, **[00:57:47]** to make them stay longer. **[00:57:49]** And we deliberately chose these concrete blocks, **[00:57:56]** because they now appear in cities as a symbol of terrorism. **[00:58:01]** So that no terrorist would come to Old Town **[00:58:04]** and drive into people. **[00:58:06]** And that's a kind of subliminally negative thing. **[00:58:09]** So we try to rebrand them. **[00:58:12]** Artists will probably work on them more, **[00:58:15]** adding some local motifs. **[00:58:21]** And it's also a kind of commentary on things in public space. **[00:58:26]** If we remember what we experienced, **[00:58:28]** we experienced the gas pumps in villages. **[00:58:31]** And we pumped a lot as kids. **[00:58:34]** So the handle works on a similar principle, **[00:58:36]** that you have to do something and then the rod responds, **[00:58:39]** not with water, but with thoughts and words. **[00:58:42]** Or there used to be phone booths, **[00:58:45]** where we'd put in a five-crown coin **[00:58:47]** and call our first love. **[00:58:49]** And the phone booth was kind of sentimental. **[00:58:53]** Or there were mailboxes, where we'd go, **[00:58:56]** write a simple letter, **[00:58:58]** and now those objects are disappearing. **[00:59:00]** And that's why these terrorist-like, **[00:59:03]** there are digital tram departure boards, **[00:59:06]** billboards, city lights, **[00:59:09]** and also these so-called terrorist cubes. **[00:59:12]** That's why we want to use our objects **[00:59:15]** to return a bit to that old-school **[00:59:24]** political stuff that has some sentiment. **[00:59:26]** You might also see a cylinder there, **[00:59:30]** those are station cylinders. **[00:59:32]** I only have it in front of my castle so far, **[00:59:34]** and I want to offer it to cities, **[00:59:36]** because when you say information board, **[00:59:39]** it's usually a bit boring, **[00:59:41]** but the cylinder holds memory. **[00:59:44]** It has touch. **[00:59:46]** As kids, we used to spin it. **[00:59:49]** The departures were already printed there, **[00:59:52]** not digital. **[00:59:54]** So we want to place these cylinders around **[00:59:58]** and put things on them, **[01:00:00]** like very old photos and postcards of those places. **[01:00:03]** Navara, our best Czech chess player, **[01:00:08]** played chess in front of Pirkštejn. **[01:00:11]** And of course, there are endless political views there. **[01:00:17]** You just stand in awe, it's a great gift, thank you very much. **[01:00:26]** We always try to do everything differently, so the band Zrní played in the evening, **[01:00:30]** but as we agreed, even though we barely slept, **[01:00:34]** there was a small concert at 8 a.m. on the Sázava river. **[01:00:38]** So people were swimming while they played acoustically, **[01:00:42]** and nature was waking up, the birds. **[01:00:45]** It's a small thing, but I'll show it again, **[01:00:48]** how we try to add something to it... **[01:00:52]** There were actually forty people, after the first night they really got up **[01:00:56]** and went to a council concert on the Sázava river. **[01:01:00]** Ivo Kahánek, fresh, fresh Ivo Kahánek. **[01:01:04]** He was there again this year... **[01:01:12]** And when people ask, what are you planning, Mr. Kopza, **[01:01:16]** for next year I'm planning **[01:01:20]** that people will be able to see the team’s words face to face. **[01:01:24]** Since there will be reconstruction for about two or three years now, **[01:01:28]** I think there’s a good chance they’ll allow it. **[01:01:32]** I already have many permits, not all of them, but I think **[01:01:36]** everyone is excited about it. **[01:01:40]** It won’t look like this, but we’ll make some stairs there, **[01:01:44]** so you can look from about two meters up, **[01:01:48]** because this will never happen again, since if the construction site wasn’t there, **[01:01:52]** I don’t think anyone would allow me, **[01:01:56]** but thanks to the construction site, it will work out. **[01:02:00]** And if this thing succeeds, another thing will happen, **[01:02:04]** and maybe more things will come from it. **[01:02:08]** Is that the uninterrupted time, or is that what I have left? **[01:02:12]** Thanks, I’ll just do some reflection. **[01:02:16]** So we’re planning this, and if it works out, maybe we’ll reflect on it, **[01:02:20]** like the astronomical clock. Nobody really knows the clock from afar. **[01:02:24]** So maybe I’ll manage to make stairs to the clock, **[01:02:28]** but you’ll only see the clock from two meters away. I don’t know. **[01:02:32]** But it’s again about drawing attention somewhere, **[01:02:36]** where we walk by and don’t notice something. **[01:02:40]** Another thing planned for next year, **[01:02:44]** was one of the most impressive crosses in the world, **[01:02:48]** or one of the most beautiful crosses. **[01:02:52]** So we’ll make a kind of footbridge for three weeks down on the Vltava. **[01:02:56]** I already have permission from the Vltava River Authority, which is the most important body. **[01:03:00]** And also for three weeks. **[01:03:04]** Maybe this thing can show the potential of this footbridge. **[01:03:08]** I’ll gladly do the three weeks, it will be a very demanding thing **[01:03:12]** that’s coming, but then someone will implement it permanently. **[01:03:16]** I’m more showing the paths, the possibilities. **[01:03:20]** I’m not an architect, so I can’t do complicated things, **[01:03:24]** I don’t understand that, but I show more symbols, **[01:03:28]** that could happen. **[01:03:32]** So that's the end of the picture. **[01:03:42]** And so we can probably stir things up. **[01:03:46]** I'm coming to you. **[01:03:54]** Thanks so much for that overview. **[01:03:58]** A quick overview. **[01:04:02]** I believe we could talk for hours more. **[01:04:06]** I have a lot of questions, **[01:04:10]** because as we went through it together, as we discussed these things, **[01:04:14]** I'm always struck by, A, **[01:04:18]** why do I actually want to keep people in the landscape? **[01:04:22]** In today's age of success, **[01:04:26]** when everyone is just rushing, watching the clock. **[01:04:30]** Hey, I should have been there five minutes ago, here's your countdown timer. **[01:04:34]** Why? **[01:04:38]** As I said at the start, it's that gut feeling in the carnival, really like a symbol of the gut, **[01:04:42]** that you don't know what's happening to you and somehow your body is pulling you somewhere. **[01:04:46]** I just feel good doing it. **[01:04:50]** When I was fifteen and we did **[01:04:54]** Witches, where we chopped wood **[01:04:58]** somewhere in the forest and there were only six people, **[01:05:02]** I felt good that I could organize it. **[01:05:06]** When we watched those people talking together and so on. **[01:05:10]** Some love bugs, some butterflies, some music, **[01:05:14]** and they experience the greatest passion in it. **[01:05:18]** My greatest passion is when I can organize an event for six people or six thousand, it doesn't matter. **[01:05:22]** But I could help a little. **[01:05:26]** Everyone has that passion that drives them **[01:05:30]** in something else. **[01:05:34]** It just feels good to me, so it's total selfishness. I'm just doing it for myself. **[01:05:38]** We have that a lot in common, when you step back and watch the people, it's great. **[01:05:42]** Then I have another question, that also **[01:05:46]** today we are very much measured **[01:05:50]** by quantity. That means **[01:05:54]** it would seem that some concert **[01:05:58]** for forty people, or you say here a seminar for thirty, **[01:06:02]** if you don't have a hundred thousand likes and so on. **[01:06:06]** And I'm fascinated that you are someone who does all this without social media. **[01:06:10]** And it really amazes me. **[01:06:14]** So how do you see what is actually important in this? **[01:06:22]** By having these objects in public spaces, **[01:06:26]** where hundreds of thousands of people pass by, **[01:06:30]** thousands walk around our objects daily, **[01:06:34]** I don't know, really hundreds of thousands, maybe millions of people, **[01:06:38]** if I count all the pianos, poezimats, all 80 poezimats, **[01:06:42]** all those pianos, so we actually don't need that many. **[01:06:46]** Of course, usually when we install a poezima somewhere, we're in the media, **[01:06:50]** Charles Bridge was in the media worldwide, that was a media event here **[01:06:54]** for about five years, except after Havel's death, **[01:06:58]** it had a big impact worldwide. **[01:07:02]** So we don't really need it that much, **[01:07:06]** social media, our projects are somewhat present there, **[01:07:10]** but we don't focus on it much, I'm kind of passive there, **[01:07:14]** so now, I think, of course, **[01:07:18]** social media is great, but I don't know how to manage it, **[01:07:22]** so I'm very passive there now, **[01:07:26]** having had it seven years ago, but it really damaged my soul. **[01:07:30]** So it's a great thing if someone knows how to use it, **[01:07:34]** I don't, it just took over, **[01:07:38]** that thing. **[01:07:46]** So some events are for a few people, **[01:07:50]** and that's exactly the strength, **[01:07:54]** because those salons are just for a few people, **[01:07:58]** and nothing is recorded, so important people come there, **[01:08:02]** and many important people are not on social media, **[01:08:06]** I think most billionaires or very influential people **[01:08:10]** are not on social media, they don't feel the need, so many people **[01:08:14]** bother them with something, they prefer to stay hidden. **[01:08:20]** Here's a question, thank you Ilona and ten **[01:08:24]** or maybe more people. I'm really curious, **[01:08:28]** what actually supports you from those inspiring events? **[01:08:32]** What do you live on, Ondra? **[01:08:36]** It's different every year, and during covid, when cafes were completely **[01:08:40]** in a difficult phase, it's a combination. **[01:08:44]** Only in the last three years have I found **[01:08:48]** some business based on those poezimats. **[01:08:52]** I came up with the idea in 2014, 2015 was the first poezimat. **[01:08:56]** Until 2021 it was totally unprofitable. **[01:09:00]** I was dumping prices just to have it somewhere. **[01:09:04]** And in the last three years, I stopped being ashamed to call it **[01:09:08]** some margin. So partly now even the poezimaty **[01:09:12]** have been alive for the last three years. Before that, the cafes **[01:09:16]** were supported by the pjána and other projects and the poezimaty. **[01:09:20]** Now sometimes the cafes are supported by the poezimaty. **[01:09:24]** So it's a combination. Now also those long tables, **[01:09:28]** Charles Bridge, Preskyrad, one small town, maybe 350 thousand. **[01:09:32]** But now we're also learning to charge those towns some margin for it. **[01:09:36]** I say, I had a bit of a problem with it, **[01:09:40]** and now I'm realizing I need colleagues, **[01:09:44]** who are great, two colleagues Jirka and Martin, **[01:09:48]** that I need to pay those people decently and so on. **[01:09:52]** To be professional, there's no other way. **[01:09:56]** It was dumping, but we didn't even have good programming there. **[01:10:00]** I didn't have anyone proper to send there or so, so the whole thing didn't work. **[01:10:04]** So now it's... **[01:10:08]** Can you raise it like that? **[01:10:10]** Definitely, definitely. I think the pojezdní maty will feed us the most. **[01:10:15]** I think there will be thousands of them one day, and from those pojezdní maty we will be able to pay for other things. **[01:10:22]** We still haven't worked out the name of what we call ourselves. **[01:10:29]** Somewhere officially in the Register we are a foam on the street association. **[01:10:34]** We've discussed branding many times, how we will name ourselves. **[01:10:37]** One of the working names, which... **[01:10:39]** I always say it's just a working name, I don't want to use it, but I always like to mention it, **[01:10:43]** is the Ministry of Gentle Interventions. **[01:10:47]** We realized we don't need branding, that it's enough to just do something **[01:10:51]** and make that one-time thing, and what it's called, which is still standing, **[01:10:55]** isn't as important as we thought. **[01:10:58]** We don't have the need for it yet. **[01:11:02]** That's actually a thing for me... **[01:11:06]** Now I'm wondering if we won't disagree on it, **[01:11:10]** because I feel that in that space, which is shrouded, **[01:11:16]** you actually need to enter with projects that you do or others. **[01:11:20]** And I generally always have the problem that people who do these kinds of things **[01:11:24]** are actually in the background. **[01:11:27]** And when we talked about it on that walk, you said, **[01:11:30]** but it's not important who, where, how, but that it happened. **[01:11:34]** And now I'm actually thinking if it's like that, **[01:11:37]** that when a tree falls somewhere and no one is there, the sound doesn't exist. **[01:11:41]** In that terrible noise that is happening. **[01:11:44]** And I'm thinking about how to amplify it. **[01:11:47]** How to amplify the fact that suddenly in the Chamber of Deputies, **[01:11:50]** where people argue and are rude to each other, **[01:11:53]** people just sit down and spend an hour and a half, **[01:11:56]** experiencing something that has never happened there before. **[01:11:59]** We were there, it was broadcast live on Czech Television news, **[01:12:02]** and sometimes I don't need to overthink it, **[01:12:06]** I'm an exhibitionist and it makes me happy somewhere, **[01:12:10]** and so far I've earned money, but I also try hard, **[01:12:13]** that it's not important, that it's not that important, **[01:12:16]** the combination that makes it happen, **[01:12:19]** because we work a lot with mayors. **[01:12:24]** For example, after this meeting, I'm going **[01:12:27]** to about three more, to Doslaný, **[01:12:31]** then Česká Kamenice and so on, to meet with mayors, **[01:12:34]** and there I'll talk about those projects. **[01:12:36]** For me, the project is important, that it exists somewhere, **[01:12:39]** that it gains some media attention, **[01:12:42]** like earned media. **[01:12:44]** That means it's not about the media department, **[01:12:47]** that some big bank would come to you, **[01:12:50]** watching us and say, **[01:12:53]** we like this, we'd like to be **[01:12:56]** under this signing, come up with something for us. **[01:12:59]** I'm just giving an example of what could be done. **[01:13:02]** I don't return to that, but it hasn't happened yet. **[01:13:07]** Andrea asks. **[01:13:10]** If you experience such intense moments in life, **[01:13:13]** can you then enjoy the uniqueness of every moment of life? **[01:13:18]** I definitely sometimes feel, **[01:13:21]** that it's a kind of pretending. **[01:13:24]** That sometimes so much is happening, **[01:13:27]** that you can't fully and carefully **[01:13:30]** experience it. **[01:13:33]** Maybe it would be better that way. **[01:13:36]** I definitely sometimes feel it's demanding **[01:13:39]** and that it's humbling. **[01:13:42]** But at the same time, the castle actually grounds me. **[01:13:45]** That I left social media, **[01:13:48]** I'm there, but extremely passively, **[01:13:51]** so I'm not active on social media. **[01:13:54]** Leaving social media and being here at the castle, **[01:13:57]** helps me maintain some healthy personality. **[01:14:00]** Otherwise, I'd probably be a soulless person. **[01:14:03]** My crushed teas help a lot, **[01:14:06]** and economically, it's nice. **[01:14:09]** So this is manageable. **[01:14:12]** Do you have people for that? **[01:14:15]** Or who has been working with you **[01:14:18]** on projects for a long time? **[01:14:21]** How does it actually work? **[01:14:24]** Or are you looking for someone who might want to, **[01:14:27]** sign up and maybe volunteer or something? **[01:14:30]** How does this actually, **[01:14:33]** someone writes here, **[01:14:36]** hey, I already have it in my head, Honza, **[01:14:39]** a housing seminar, or just tables? **[01:14:42]** Like this, or more questions. **[01:14:45]** Of course, teachers **[01:14:48]** at all schools have consultation hours, **[01:14:51]** where maybe anyone can come, **[01:14:55]** if it makes sense. **[01:14:58]** Maybe you know it too, when someone asks you, **[01:15:01]** if they can meet with you. **[01:15:04]** You find out by phone if it makes sense, **[01:15:07]** because you don’t want to sit with someone for an hour **[01:15:10]** and they’re just waiting, so entertain me. **[01:15:13]** But if I can really help someone, of course, **[01:15:16]** I offer my time endlessly. **[01:15:19]** Maybe it’s good to say that I feel, **[01:15:22]** we could explain how **[01:15:25]** these things work. Because for me it works like this, **[01:15:28]** yes, a lot of people reach out to me, **[01:15:31]** wanting to describe how Red Button and this works. **[01:15:34]** And for me, it’s always good to phase it somehow, **[01:15:37]** before I get to that hour and a half walk with you, **[01:15:40]** and say someone connected us here. **[01:15:43]** So for me, the first thing that could be **[01:15:46]** is if you want to connect someone with someone else, **[01:15:49]** please ask both parties if it makes sense. **[01:15:52]** Because if you just write an email, hey Honza, this person **[01:15:55]** you should meet and actually if you don't do it, **[01:15:58]** like you don't give permission, then I might feel bad, **[01:16:01]** because there's already some pressure on me and I actually don't need that pressure, **[01:16:04]** right now I'm in a situation where I can't. **[01:16:07]** So ask both sides. Then it's really great, **[01:16:10]** if you want to meet, just give it a little time, **[01:16:13]** whether it's a call or a 15-30 minute online meeting, **[01:16:16]** it doesn't matter. And then proceed further. **[01:16:19]** And it's good to formulate what you want from that person. **[01:16:22]** I really like it when someone tells me, **[01:16:25]** my expectations are these, these, these, **[01:16:28]** and I need this and that, that's much better for me, **[01:16:31]** than when someone just says, well, I don't really know and I'm just curious. **[01:16:34]** That's kind of, okay, great. **[01:16:37]** And when someone says, hey, here in Slovakia I'm founding an association, **[01:16:40]** I like how you empower people, **[01:16:43]** I need to institutionalize it somehow, I need to find **[01:16:46]** a business model because I don't know it, yay, then that's kind of **[01:16:49]** something, I say, sure, let's meet for 45 minutes and talk about it. **[01:16:52]** What experience do you have with this? Is it similar? **[01:16:55]** Yeah, as I said, then I'll definitely find out, **[01:16:58]** how I can help you. **[01:17:01]** If they want to meet in person, we usually call first **[01:17:04]** and then figure out what makes sense. **[01:17:07]** Wait, there were more questions. **[01:17:10]** Then if you accept volunteers and how this could multiply? **[01:17:13]** And what team do I have? Well, like this, I **[01:17:16]** always say, but we mainly do it **[01:17:20]** to inspire, which is also a cliché phrase, **[01:17:23]** but that's just how it is. I would like **[01:17:26]** in district towns for some individuals **[01:17:29]** to borrow a post office and hold a concert there, **[01:17:32]** or put a piano or chess somewhere, **[01:17:35]** or do a warm-up on the square. **[01:17:38]** That's just how it is. It's a cliché phrase. **[01:17:41]** We want to inspire, it's a cheesy phrase, but that's just how it is. **[01:17:44]** And I also get inspired by someone else. **[01:17:48]** The bridges, how they were made on the Smetana embankment, **[01:17:51]** something was done for me by the artist Christo. **[01:18:00]** The artist Christo, who is probably the greatest **[01:18:03]** like my inspiration, in Central Park in New York **[01:18:06]** he made these gates, about five thousand of them **[01:18:09]** waving gates, and he once said exactly **[01:18:12]** how long it took him, that it was 26 years **[01:18:16]** 25 years negotiating with the authorities and one year actually preparing it. **[01:18:21]** I’m also learning from some things, **[01:18:24]** that things can take maybe 25 years. **[01:18:27]** Because usually I want to go to the most prestigious points **[01:18:30]** acupuncture points. And that’s not easy. **[01:18:33]** And because no one has been in those waters before. **[01:18:36]** No one has been there with that concert. **[01:18:40]** No one has been at the Astronomical Clock at half past noon. **[01:18:43]** So that’s damn hard. **[01:18:46]** The authorities just won’t allow it. **[01:18:49]** Or there are 50 authorities at Wenceslas Square. **[01:18:52]** But the audacity and so on. **[01:18:55]** And because you already have some experience behind you **[01:18:58]** and the authorities see **[01:19:01]** that we really care about it, **[01:19:04]** that it’s something meaningful. **[01:19:08]** And I have two great guys. **[01:19:11]** It’s clear they can handle it with me. **[01:19:14]** Because I’m not a manager. **[01:19:17]** I just have an idea. **[01:19:20]** So somehow make it happen. **[01:19:23]** And I don’t really deal with operations. **[01:19:26]** It’s kind of managing by not managing. **[01:19:29]** I don’t check any hours. **[01:19:32]** I try to give them the money, **[01:19:35]** that they ask for. **[01:19:38]** Of course, they are reasonable, **[01:19:41]** so we can afford it. **[01:19:44]** And so far I enjoy **[01:19:47]** keeping us small. **[01:19:50]** I feel like I don’t want to grow too much. **[01:19:53]** I mean in terms of staff. **[01:19:56]** I think it loses everything then. **[01:19:59]** So having a small, tight team is best **[01:20:00]** Because then you start managing the management. And I never want to manage things in life. **[01:20:07]** I want to invent and put energy into it. To come with the mayor, **[01:20:12]** Inspire the mayor today in Česká Kamenice. We say, clearly, **[01:20:17]** I'll pass it on to the guys and then I'll come to the opening and can do other things. **[01:20:21]** And whether we gather volunteers, of course, if it resonated with someone, **[01:20:26]** then how they respond. **[01:20:29]** Great. How did the idea for poetry come about, Mat? You came up with something that doesn't exist, **[01:20:36]** to create and build a decent performance. And it's great. Petr asks. **[01:20:40]** Since I was about 14, maybe even younger, **[01:20:46]** I used to buy those silly little books in the stores, **[01:20:50]** like The One Minute Manager or those completely silly books. **[01:20:54]** That was around 1994 or so. **[01:20:58]** I was studying at a business academy in Česká Třebová and I also thought, **[01:21:02]** I don't know how many billion people in the world would want to come up with an idea. **[01:21:07]** I think maybe one or two billion would want that, maybe even more. **[01:21:11]** To come up with an idea that could support them. **[01:21:15]** So it doesn't exactly make him a millionaire. **[01:21:19]** I don't even need to be a millionaire. I just enjoy doing it and it already supports us. **[01:21:25]** But it's true that this gives me a great inner strength. **[01:21:30]** That I managed to come up with something that makes extreme sense to me. **[01:21:36]** That I create the memory of that place and it also supports me. **[01:21:42]** I say it once, I thank for it every day, **[01:21:46]** that it was given to me from above. **[01:21:50]** But the process was like this, **[01:21:54]** Piana was created and in August 2013 **[01:22:00]** I was doing some crowdfunding on Hiddy to Daddy **[01:22:04]** and I had to offer some rewards and one of those rewards was, **[01:22:08]** I came up with the idea to go on a trip to Českého Středohoří, **[01:22:12]** which I like, where I would arrange a cellist and a picnic **[01:22:17]** and I would read poetry to them because I really like reading poetry. **[01:22:21]** Aloud in the countryside, because I always have these pilgrimages to Petrkov and Rejnkov, **[01:22:25]** where usually about ten people go on All Souls' Day **[01:22:29]** and in the mud and rain they read the texts. **[01:22:33]** We are tired and then we go to the pub and so on. **[01:22:37]** When I organized it, there were about eight people **[01:22:41]** and it was already the end of October and I was driving in the car with those strangers, **[01:22:49]** whom I didn't know, and I said I actually forgot, **[01:22:53]** that I wanted to bring a megaphone because I wouldn't be heard properly there, **[01:22:57]** so I could read the poetry through the megaphone and then I realized the image. **[01:23:01]** Down there in the village, of course it's far, it wouldn't be funny, **[01:23:05]** if people in the village heard how loudly from above, **[01:23:09]** like the pub owner spoke: Abraham, don't kill Isaac. **[01:23:14]** Not only there did I hear the voice of poetry. **[01:23:17]** Not only did I see that unreal, hypothetical image, **[01:23:22]** that actually from the local radio loudspeakers, **[01:23:27]** that my dad is a troublemaker, **[01:23:30]** I was a kid riding with that voice of skin and feathers, **[01:23:33]** poetry will dream. **[01:23:35]** And here I said, yeah, but wait, this should dream, **[01:23:41]** but poetry should dream in villages and towns. **[01:23:45]** And so I was driving in the car and I saw it, **[01:23:50]** I didn’t see what the thing would look like, **[01:23:53]** but the phenomenon that people would be in it, **[01:23:56]** but again it was guided by the fact that I was making those pianos, those things, and so on. **[01:24:00]** And there I saw, I saw that it would be big one day. **[01:24:04]** I thought I would crash. **[01:24:07]** And then I gathered some team of people **[01:24:10]** and we discussed how it would look. **[01:24:12]** And also the great Jitka Tomsová, who invented it, **[01:24:14]** the design, which is brilliant, **[01:24:16]** because it could look like this **[01:24:18]** and there could be a digital screen again, **[01:24:20]** but it has that metaphorical face and so on. **[01:24:23]** But it’s true that it was also from that energy buildup **[01:24:27]** and those seats, those ideas, **[01:24:29]** those coincidences, synchronicities. **[01:24:31]** Because one has to try, **[01:24:36]** but not like push, **[01:24:39]** but like attract. **[01:24:42]** It seems to me that very similarly **[01:24:45]** I imagine the innovation process. **[01:24:48]** That means you surround yourself **[01:24:51]** not straightforwardly with yourself, but with different contexts, **[01:24:54]** different people, and so on. **[01:24:56]** And when suddenly it clicks, **[01:24:58]** then the process is creative. **[01:25:00]** Also a well-known explanation, **[01:25:03]** that we summarize the thing from the position of winners. **[01:25:06]** That we look at someone who succeeded **[01:25:08]** and don’t see those who failed. **[01:25:10]** And just four years ago **[01:25:12]** the Poezima project was completely on the verge of closing, **[01:25:14]** because it was extremely loss-making, **[01:25:17]** nobody wanted it. **[01:25:19]** Not even for the costs, nobody wanted it. **[01:25:22]** But that’s because I had the luck, **[01:25:24]** which allowed simplifying those things. **[01:25:26]** We had to pile up cables **[01:25:28]** and once we delivered to that place, **[01:25:30]** only then did it start to work. **[01:25:32]** You were lucky. **[01:25:34]** So just that now it looks like, **[01:25:36]** how it turned out. **[01:25:38]** But that I endured it, **[01:25:40]** because I could have simply not endured it. **[01:25:42]** Yeah, yeah. **[01:25:44]** How do you manage to cope with the fact **[01:25:46]** that the meaning and depth of your intention **[01:25:48]** definitely at first **[01:25:50]** many people don’t understand? **[01:25:54]** Thank you, Veronika. **[01:25:56]** I don’t know. **[01:25:58]** As I see it, **[01:26:00]** and I think, **[01:26:02]** many people see it, **[01:26:04]** so I think, **[01:26:06]** people actually, **[01:26:08]** I actually disagree, **[01:26:10]** I think people **[01:26:12]** do see the meaning in it. **[01:26:14]** Of course, every day I deal with **[01:26:16]** whether it’s pointless. **[01:26:18]** Whether I shouldn’t be doing something like Šimon Pánek **[01:26:20]** or that doctor Tomáš Šebek. **[01:26:22]** I don’t know. **[01:26:24]** Of course, sometimes I tell myself, **[01:26:26]** people are basically such nonsense. **[01:26:28]** The important thing is to help Ukraine and so on. **[01:26:30]** But... **[01:26:34]** I’ve already set out on a path **[01:26:36]** and I’m still thinking, **[01:26:38]** that I probably won’t do something completely different **[01:26:40]** than the public space, **[01:26:42]** the street, the carnival, **[01:26:44]** and support the spontaneity, **[01:26:46]** the mindfulness of those people. **[01:26:48]** But before I die, something will happen. **[01:26:50]** One of those 14 days of daughters, **[01:26:52]** maybe the daughter will continue it, **[01:26:54]** I don't know, yeah. **[01:26:56]** I'm definitely not straightforwardly, **[01:26:58]** the meaning of what I do, **[01:27:00]** is not as clear as with Šimon Pánek **[01:27:02]** and Tomáš Šebek. **[01:27:04]** In my opinion, any thing **[01:27:06]** is not evaluated by anything, **[01:27:08]** but anyone who can contribute in any way, **[01:27:10]** whether it's a grandmother, **[01:27:12]** who sits down somewhere to make jam, **[01:27:14]** which is again from one lecture, **[01:27:16]** that we had. **[01:27:18]** Ondro, I would **[01:27:20]** like to thank you with this. **[01:27:22]** Thank you very much for coming, **[01:27:24]** thank you very much for doing this, **[01:27:26]** and especially thank you very much for doing it. **[01:27:28]** Thank you for doing it, Ondra. **[01:27:30]** Ondra Kouza. **[01:27:38]** So. **[01:27:40]** I would like to ask you, **[01:27:42]** traditionally. **[01:27:44]** This was a breakfast, **[01:27:46]** for which we would like **[01:27:48]** to either get scolded **[01:27:50]** or praised, so please, **[01:27:52]** give us some feedback, we are very interested. **[01:27:54]** So please on the slide, **[01:27:56]** when you vote for us. **[01:27:58]** At the same time, I will be very glad if, **[01:28:00]** and especially today, **[01:28:02]** if you share with us the one word, **[01:28:04]** that this breakfast gave you. **[01:28:06]** somehow came to mind. **[01:28:08]** That really interests me a lot. **[01:28:10]** I'll move on now **[01:28:12]** quickly. **[01:28:14]** These things **[01:28:16]** need some time to settle. **[01:28:18]** And the breakfasts are such that **[01:28:20]** they're meant to give you **[01:28:22]** some initial impulse, but it's good **[01:28:24]** if you take it with you **[01:28:26]** and think a bit more about these things. **[01:28:28]** We like to do that **[01:28:30]** and we do it **[01:28:32]** either through **[01:28:34]** a questionnaire you can fill out, which helps you a bit, **[01:28:36]** like what your aha moment was, and so on. **[01:28:38]** But at the same time, **[01:28:40]** we organize roughly every two weeks **[01:28:42]** a discussion after the breakfasts, **[01:28:44]** with some delay. **[01:28:46]** We call these discussions Brain & Breakfast Digestive, **[01:28:48]** and I **[01:28:50]** invite you to the Digestive, **[01:28:52]** which will be on December 6th. **[01:28:54]** During the lunch break, **[01:28:56]** so if you'd like to chat with Ondra **[01:28:58]** and the guests who **[01:29:00]** will have a lot to say on the topic, **[01:29:02]** just as you nicely put it, **[01:29:04]** if you want to talk **[01:29:06]** or just let it sink in, **[01:29:08]** join us. **[01:29:10]** And of course, I remind you of other **[01:29:12]** projects, whether it's the business **[01:29:14]** Brain & Breakfast, **[01:29:16]** others will focus on **[01:29:18]** health, mental resilience, or how to approach **[01:29:20]** innovation and innovation culture. Michal Šrajer, **[01:29:26]** Péťa Šídl, people who definitely **[01:29:28]** know what they're talking about. We also do **[01:29:30]** books of the month, so follow **[01:29:32]** Red Button book of the month. **[01:29:34]** Interesting people **[01:29:36]** choose their books, **[01:29:38]** so I think this one **[01:29:40]** was chosen by Miloš Čermák, **[01:29:42]** so that's another **[01:29:44]** invitation for you. **[01:29:46]** And if you need anything, **[01:29:48]** I mean in the area **[01:29:50]** related to **[01:29:52]** business and entrepreneurship, just press **[01:29:54]** the red button and it will guide you **[01:29:56]** to us, or you can **[01:29:58]** simply write to us. **[01:30:00]** End of the commercial break. **[01:30:02]** And now an invitation to the next breakfast. **[01:30:06]** I am very happy **[01:30:09]** that on December 19th, just before Christmas, **[01:30:12]** my great teacher Ján Kušturek will come again, **[01:30:15]** a person who does incredible things, **[01:30:17]** is extremely inspiring, **[01:30:19]** and has shaped my life for the past several years. **[01:30:22]** And besides Ján being here on December 19th at breakfast, **[01:30:26]** we will present a Christmas gift **[01:30:29]** that Ján and I have prepared for you. **[01:30:31]** So if you want to come, **[01:30:33]** whether it's Brain McLean's Digestive, **[01:30:35]** or breakfast with Ján, **[01:30:37]** or any other activity **[01:30:39]** we do in the Red Button network, **[01:30:41]** come, stay, and we look forward to seeing you. **[01:30:44]** Thank you very much for making the trip today, **[01:30:46]** thank you for watching us, **[01:30:48]** take care, bye and see you soon. **[01:30:51]** Thank you.