Katura Reynolds is an Interpretive Content Developer and scientific illustrator. She has worked in exhibit design since 1997 and has created learning environments at museums such as The Huntington Library, Art Museum, and Botanical Garden, the Oregon Museum of Science and Industry, and most recently Woodland Park Zoo in Seattle, WA. She is especially interested in bilingual and bi-cultural content development and community-based social marketing. How did Katura learn to design bilingual learning environments? How recommendations does she have for us? Let’s find out.
Katura Reynolds is an Interpretive Content Developer and scientific illustrator. She has worked in exhibit design since 1997 and has created learning environments at museums such as The Huntington Library, Art Museum, and Botanical Garden, the Oregon Museum of Science and Industry, and most recently Woodland Park Zoo in Seattle, WA.
She is especially interested in bilingual and bi-cultural content development and community-based social marketing.
How did Katura learn to design bilingual learning environments?
What recommendations does she have for us?
Let’s find out.
LINKS
Best practices for the design of bilingual museum graphics (NISE Network)
Translation Process Guide (NISE Network)
Bilingual Exhibit Research Initiative (BERI), diving into how folks use bilingual graphics in museums.
Roots of Wisdom Legacy Document, with insights on cross-cultural collaborations.
Thank you for listening.
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Tania Marien:
Welcome to Talaterra, a podcast about freelance educators working in natural resource fields and environmental education. Who are these educators? What do they do? Join me and let's find out together. This is your host, Tania Marien.
Tania Marien:
Today my guest is Katura Reynolds. Katura is an Interpretive Content Developer and scientific illustrator. She has worked in exhibit design since 1997, and has created learning environments at museums, such as the Huntington Library, Art Museum and Botanical Garden, the Oregon Museum of Science and Industry, and most recently Woodland Park Zoo in Seattle, Washington. She is especially interested in bilingual and bi-cultural content development and community-based social marketing. Today I'm thrilled to introduce you to Katura and to speak with her about developing bilingual and bi-cultural content, and touch upon the socio-cultural aspects of learning. Welcome, Katura, and thank you so much for stopping by today.
Katura Reynolds:
I'm so glad I can join you today.
Tania Marien:
Just so listeners know, I met Katura, I met you many, many years ago at a gathering for the LA chapter of the Guild of Natural Science Illustrators, back when there was a chapter like that.
Katura Reynolds:
Yes.
Tania Marien:
And at the time you were working as an exhibits assistant at the Huntington Library, and I thought, oh, that's a cool job. That sounds like a wonderful job to work at the museum. And you were the first person who I've met who worked in a museum like that to develop educational content. That's been an interest for all these many years. And so I'm just really thrilled to be able to catch up with you today and talk about your work. I know you also, through, of course, the Guild of Natural Science Illustrators, and I know how involved you are with environmental education and using scientific illustration to do science communication. And it's clear to me that your interest in nature goes way back.
Katura Reynolds:
Absolutely. Yep.
Tania Marien:
When was your earliest memory of enjoying nature or what is your earliest memory of enjoying nature?
Katura Reynolds:
Oh my goodness. That is a really good question. I have some friends who can remember every single thing back to when they were just born. I don't have a memory that's that sharp, but I do have a very strong memory that I look back at as sort of a formative moment for me. I was probably three or four years old, I'm not sure, playing in my parents' backyard. I grew up in Southern California, sort of in the suburbs with big old backyard, and I could just kind of wander around out there while mom did the dishes. And there was a big tangle of blackberry vines at the back of the yard, and I was always in there in the summer because blackberries are the best. And had little small feet so I could just walk right in and not step on any thorns. It was great.
Katura Reynolds:
And one afternoon, when I was picking berries, I came across a really big, beautiful splendid spider, some kind of Orb-weaver spider on its web, probably her web. It was a big enough spider that most likely female looking back. And I was really excited, I'd never seen a spider like that before. So I went running to the house and running into the kitchen and I said, "Mom, mom, mom. I saw this amazing spider." And then I grabbed a pencil and a piece of paper, and I said, "Here, I'm going to draw a picture of it for you." And so I pick up the pencil and paper, and I'm three or four, and so what I ended up drawing is this ragged shape that almost looks like there might be a circle related to it and then some sticks coming out that just don't even really connect. I do my best and it looks nothing like what I saw.
Katura Reynolds:
And I'm just looking at the paper, and I look up at my mom and I'm like, "That's not at all the picture that's in my head, what came out of my hand right there." And she said, "Yeah, honey, that's sometimes how it is. You can't always get what's in your head down on the paper just right." And I just sort of, that moment of, here's this cool thing, I want to share it. How do I get that onto a piece of paper so I can share it? I look back on that and I credit that one random Orb-weaver spider for kind of setting my track from that point forward.
Tania Marien:
That's wonderful. And when did you realize nature was important to you?
Katura Reynolds:
Oh my goodness. I grew up in a very outdoorsy family. My dad is a geologist and a paleontologist. I have one older brother, and the story goes that when my brother was born, they waited until he was maybe three months old to go camping with him. When I was born, they were like, "Ah, she's three weeks old, let's take her out to the field." So we were just by the defacto field assistance for the geology teams, carrying the jackhammers up and down the mountains, piling up the rocks in our backpacks, trudging across the desert to see if that's really a fault line or if it was just a road cut or whatever.
Katura Reynolds:
And when you're a little kid, hanging out with a bunch of scientists who were all talking in their jargon, it's boring listening to them, but it's really fun looking for lizards under the rocks, or just watching the way the shadows move across the sand or whatever it might be. I did a lot of self entertaining in the middle of the Eastern Mojave Desert for decades in my childhood, and so I love the desert and I love being able to slow down enough that you can really just sort of focus on all those little details that you would miss if you were busy.
Tania Marien:
When you went to school then, did you study biology or natural resources, or what was your path to what you do now?
Katura Reynolds:
I had a funny path through school. When I was in high school, I really enjoyed both art and science. And I went to college at the University of California Santa Cruz, and going into college as an undergraduate, I knew that whatever I did, I was not going to major in art because there's no way you can make a living at that. That was the assumption that I carried with me in my brain. So I tried a little bit of this and I tried a little bit of that, and then I discovered that they had a graduate program there in science illustration, which was really very good. And there were maybe 10 graduate students every year, but 12 chairs in the classroom. So every now and then an undergraduate could manage to sneak in and get one of those classes. And I snuck in and I managed to get one of those graduate classes in science illustration, and discovering that you can study science and how to communicate it through art just completely blew me away.
Katura Reynolds:
That was the exact right balance. Because I love science and I love the, obviously geology I know a lot of, paleontology, plants, lizards, herpetology, just sort of a real passionate generalist, which isn't really what being a science major was about. When you're a science major, you really have to sort of specialize in one thing and then get finer and finer and finer focus. In science illustration, you can be a generalist who can then do a deep dive for a short term into all sorts of different projects and then move on to other things. So I would jump from fossils, to botany, to the structure of the inside of the moons of Jupiter. And I just had so much fun, and learned so much and had so much fun trying to figure out how to make these abstract concepts visual that I was just hooked.
Katura Reynolds:
And so I ended up declaring an art major as an undergraduate, even though I said I wouldn't going into school. I declared an art major, and then did most of my credits through the graduate level biology department so that I could keep taking these science illustration classes. It was an exercise in bureaucracy for sure. And then a few years later after I had been working at some museums and doing outreach with my local Girl Scout organization, and just really sort of diving a little deeper into the world of an informal science education and these different organizations, I thought, I should really go back and do the graduate program itself, do the whole thing instead of sneaking into little tiny classes. And so then I went and got a certificate in science illustration from UC Santa Cruz after a few years.
Tania Marien:
And what was your first freelance position? Did you start freelance or did you start working for a museum or an organization first?
Katura Reynolds:
That's a good question. I sporadically do freelance work. I always thought that I would be able to be just sailing in and doing the cover of National Geographic on a whim, no big deal. But I am not passionate about marketing myself, and I feel like there's a skill there, the skill of self promotion is one that can kind of make or break an artist in some ways. I love art history. And when I look back at the artists that are featured in the textbooks, sometimes I wondered, was it that Picasso was a genius, or was it that Picasso knew how to sell himself really? Nothing against Picasso specifically, just eh. So what I ended up doing was freelance work whenever I could drum it up from colleagues or people I knew, and then working jobs in museum education to sort of pay the bills while I was theoretically drumming up the business for this freelance career.
Katura Reynolds:
And then I just gained so much experience doing the informal science education in museums. Thousands of kindergartners come rolling through the gates, and let's all talk about dinosaurs, and oops, this group speaks Spanish, let's all talk about dinosaurios. Actually the two ended up really complimenting each other really nicely. So it wasn't a deliberate plan, but the work that I was doing on the side in education while I was going to dream of being a famous artist, ended up really influencing my career choice and giving a focus to the illustration work that I do.
Tania Marien:
Designing learning environments in English is challenging enough. How did you learn to create learning environments in another language?
Katura Reynolds:
This is a good question. I think we're going to have some good stories in this podcast. And I will say that there's no one right way to do it and I don't consider myself an expert, but I consider myself very lucky to have worked on projects where we've managed to do some great things. Because I've learned from people who know a lot and have implemented what they've taught me, and done some more exploration along the way. So I first got involved in designing learning environments in general when I was working at the Huntington Library on a grant that was showcasing botany and the science of botany, and we had so much fun. We were putting microscopes and all the scientific equipment inside of a big working greenhouse, and we were using sort of popup book technology inside the greenhouse to sort of show you how things work inside of plants, and just all sorts of neat things.
Katura Reynolds:
So I took that kind of creative zeal with me when I went to work at the Oregon Museum of Science and Industry, which we affectionately call OMSI. And when I applied for the job there, one of the things that made me stand out as a candidate is the fact that I speak pretty good Spanish. I worked in the Peace Corps in Central America for a while, and like I mentioned earlier, the doing education at the museums in Southern California meant that easily half of the kids rolling through the doors, especially in the younger grades, were a little more comfortable in Spanish than English because that's just the demographics we've got. And doing community programs with families coming in, I learned really quickly just to sort of get the feel of the crowd. Okay, does anyone here prefer English versus Spanish? I do both.
Katura Reynolds:
And then kind of take a rough feel of where people are at, and then we'd do the planetarium show or whatever in the languages that people preferred. Well, English, Spanish, or both. I don't actually know many other languages than that yet. So when I applied at the Oregon Museum of Science and Industry, they really specialize in traveling exhibits that are funded by sort of big government agencies, like the National Science Foundation or the National Institutes of Health, for example. And one thing that makes a grant application at the big federal level more competitive is if you can really show that your message is getting out to a lot of people. So if you build an exhibit that stays at one museum, that's not as much as exposure as if you build an exhibit that travels to many museums.
Katura Reynolds:
If you build an exhibit that's in one language, that's not as much exposure as an exhibit that's in more than one language. So being able to plug in at OMSY with a good working knowledge of Spanish and this experience of sort of creating fun, playful working environments, suddenly all the pieces were in place where, oh, they had projects that were in Spanish and let's dive into this. The first project I worked with them on was called Zoo in You, and it was about the human microbiome, which is kind of a jargon word. It means the collection of all of the bacteria, and fungus, and viruses and other nonhuman creatures that live either on your skin, or in your mouth, or swimming around in your guts. It's a fabulous project. So much potential to talk about poop. And it was funded based on the fact that it was going to be both in English and Spanish.
Katura Reynolds:
And so we got to sit down and say, okay, how do we, number one, make these invisible organisms visible, and interesting, and alive and relatable in a way kind of moving beyond that germs are inherently bad, but germs are us kind of? We are them and they are we. And then also, how do we do that in a way that makes sense in Spanish and culturally resonates with different audiences across North America? And I will say, I believe your question initially was how do you do it? That was just the lead up to, there I was doing. It really takes an amazing team. That's the way that we've been able to have good success with this. And it OMSY, we had some really great partners on this project, both staff that worked at OMSY. We had a lot of folks on our evaluation staff that were bilingual themselves, and so I had a lot of just personal insights into what kind of questions to ask and what kind of issues we wanted to explore there.
Katura Reynolds:
And as I started the project, that's what we did, is we really dug it into just taking surveys, and inviting families in and saying, hey, what do you know about germs? What are you interested about, about this topic? Have you ever heard of this word? Have you ever thought about things that way? And just really trying to dig in to get a baseline sense of what it is that folks from Latino communities in the Portland, Oregon area already knew and what they wanted to know. And so that helped kind of shape the program there. Some of the other great team members that I worked with, my friend, Veronica Nunez, got her start at OMSY delivering public programs in the Portland area to different schools, and then she went on to be a program developer that is just, she's just a powerhouse of ideas. She really knows how to connect with people, she really knows how to kind of think about things from different angles, but she's also just really playful and creative.
Katura Reynolds:
And so we could sit down and bounce ideas around, and have fabulous fun that would then sort of spill out into the experiences we were designing. And then the Zoo in You project was part of a grant that specifically partners research labs with educational organizations. And so we were teamed up with the J. Craig Venter Institute, and Craig Venter was one of the innovators who worked really hard on the human genome sequencing, and then he was leading one of the big pushes on the human microbiome sequencing, essentially looking at all the DNA of the bugs inside our body, bugs in quotes, of course, to get a sense of what's living in us that we can't see.
Katura Reynolds:
And his lab has amazing scientists from around the world, including a lot of folks from Latin America. So our advisors from the scientific end of things were also bringing their own sort of cultural knowledge just because the one guy was from Argentina and the one lady was from Northern Mexico. And so, when we had advisory meetings, we really specifically broke out into breakout groups to say, okay, let's talk about this from all of these different points of view. And as we're talking about taking fecal samples, for example, how can we really go about doing that in a way that is fun, but also isn't too icky? I remember there was one conversation we were having when we were reviewing our texts where my co exhibit developer, Veronica, she's from Venezuela, and so she was like, oh yeah, we can totally talk about poop in this way. And then one of our scientific advisors was from Northern Mexico, said, excuse me, I would never say that word in front of my grandmother. And the two of them looked at each other. It's like, okay, good to know. Poop is complex.
Katura Reynolds:
And so it really, it was just such a fun project to be able to really get everyone's voices in from the beginning of it. And rather than developing the whole experience in English and then trying to figure out how to fit those pegs into the concepts that work in the Spanish language, we had all the conversations in and out of English and Spanish. And so as I was writing the copy and we were designing the interactives, the culture and the wording was already kind of baked in at the start of the process and it was really fun.
Tania Marien:
Oh, wonderful. And then the signage was in English and Spanish as well?
Katura Reynolds:
Exactly. Yeah. Everything except for the title ended up being in English and Spanish. And actually, when you first invited me to do this podcast, one of my earliest questions was, do I get to cite references?
Tania Marien:
Yes.
Katura Reynolds:
The team at OMSI on a different project, a project about nanotechnology, actually collaborated with a bunch of other institutions and developed kind of a style guide and a best practices book for how to do bilingual projects. And they focused on English and Spanish because those are such dominant languages here in North America. But the process works in pretty much any language, I think, sort of the bare bones of it. So I can definitely send you that link and you can share it with your podcast listeners.
Tania Marien:
Oh, wonderful. Well, thank you. Yes, definitely. That will go in your show notes.
Katura Reynolds:
A lot of the basic principle is that you really want to make sure that one language doesn't seem like it has more importance or more white than the other. And a lot of this is about the fact that we're in an environment when you're in a science museum where families are learning together, usually. I mean, you'll get an occasional nerd like me who's like, I'm just a random grownup who's walking through looking at all the exhibits. But generally speaking, folks who are attending science museums, or zoos, or botanical gardens are often there in a family group. And so, to be able to have the Spanish just as big as the English and side by side, really lets multigenerational families where maybe grandpa knows Spanish best and the grandkids know English best, let's all come together, and look at the same thing and have the same discussion, and even sort of code switch from one set of terms to the other, depending on which is more comfortable for what content matter.
Katura Reynolds:
So really making sure that that hierarchy is distinct. And there's some tricks that we learned about using color so it's easy to zone in on your preferred language. Like, oh, here's the blue, that's what I want to read. Oh, there's the red, that's the one that I want to read. Trying to think if there are any other good tricks. There's another study that I'll mention that really informed our work on this too, and it's called the ... Okay, the acronym for this study is BERI, and we just call it the BERI report, like a strawberry or raspberry. But essentially a group of researchers got a grant to put both interview museum visitors, but also put microphones on them so they could record the conversations as they were moving through bilingual exhibits in a range of places. There were folks at the Smithsonian, I think some folks came to an OMSY exhibit that was bilingual, a couple other exhibits.
Katura Reynolds:
And what they discovered about how people use bilingual text, is that there's a whole lot of code switching back and forth. So as families are having conversations about what they're seeing and what they're doing, they'll be jumping in and out of English to Spanish, to English and Spanish, often in the middle of a sentence, maybe even a couple of times through the course of a sentence. And it's a really interesting report, because what it honed in on, when you're looking to design bilingual graphics, a lot of people assume that, well, as long as you have English over here, you can have Spanish maybe on the other side of the sign or on the other side of the room. As long as it's all there, it's fine.
Katura Reynolds:
But what this BERI report pointed out, is that people are usually using both the English and the Spanish at the same time and kind of cross referencing them. So making sure that the text is side-by-side, easy to distinguish which is which, but you'll be leaping sort of back and forth between them often as a family group as you read. And being able to structure it so that it's usable to that kind of social dynamic is part of the best practices that we were picking up.
Tania Marien:
That's interesting that there is a lot of back and forth speaking in English or Spanish and English or Spanish. And so, okay. So if you have a parallel translation on a panel, that takes a lot of room side by side. How do you know what to keep in and what to keep out?
Katura Reynolds:
Oh my gosh, it takes up so much room. I know that Beverly Serrell, who wrote the classic book Exhibit Labels, always recommends that you keep 50 words to a panel or less. I mean, I'm speaking in broad generalities. But when you start going bilingual, you kind of slice that in half because you still have really limited space. And one of the tricks that we used a lot in the Zoo in You exhibition, is we try to get as much of the communication across in the visuals as possible. So we started off saying, okay, we're going to develop the labels bilingually and biculturally so the concepts make sense and the words are sort of written about the same time so that it's not an awkward translation. But then as we moved into the project in more detail, we realized that we're almost sort of inching towards the idea of universal design.
Katura Reynolds:
If you think about the diagrams on an airplane that show you how to evacuate in case of an emergency, there are context in which you can communicate what you need to know just with really clear visuals. And so, that ended up being a really nice tool for us to be able to keep the word countdown by having the images do a lot of the communication. And that's nice too, that has the added benefit of little kids who maybe aren't strong readers yet can still pick up on what's going on, or adults that maybe aren't fully literate can pick up on what's going on. Like with so many elements of design, when you get into that universal design realm of trying to make something that works for everybody, the strength of universal design is that by making something really visual, it often ends up working better for a lot more people.
Katura Reynolds:
People who learn in a visual way, people who are going really fast chasing their kid and they don't have time to stop and read, people who maybe aren't literate, like younger kids or older folks who haven't had that level of education. So as a way to shorten down text by increasing graphics and having the pictures tell the story, it really ended up being an important tool in the toolkit.
Tania Marien:
Individuals in my audience workout in the communities, in their respective communities. And so, they will be more inclined to create tabletop activities instead of a static, something that stays in place for a longer period of time. The principles in creating an bilingual exhibit, do you know how well the principles transfer to a tabletop activity?
Katura Reynolds:
I feel like whether it's a tabletop activity or a big exhibit component that is heavy and you need a forklift to move it, the basic concept of it really needs to come across quickly, and to some degree be a little bit intuitive usually for it to really work. If you have an activity that's really complex and the presenter needs to sort of tell you three or four times and coach you through it all the way through, even if that's your dominant language that the presenter is speaking with, that's going to kind of be hard to keep your attention. So setting things up, setting up whatever the activity is so that you can kind of see where it's going and dive in and start doing it, even before you hear all the directions, sometimes is a huge advantage. And I know it's not always possible to do that, especially when you're getting into really nitty gritty scientific minutia.
Katura Reynolds:
But I feel like there's a certain filter of, okay, let's take a step back. And if we didn't have any labels at all, how could we set this up so that someone could see instinctively where we're going and know what to do next? And then sort of trying to conceptually build out from there. And usually it's hard, it's a good trick. That's why I love this work because it's untying the Gordian knot every time. There's no way to talk about the human micro biome when only 25 words on a panel, and then you do it anyway.
Tania Marien:
What's next for you?
Katura Reynolds:
What's next for me? Here we are in the world of COVID-19, which does not seem to be going anywhere fast. It seems to be settling in and flaring up even stronger. And I remember, it was actually a couple months ago that I read an article where they referred to COVID-19 as a nonprofit extinction event. And when I read that, I thought, oh dear, here it comes. And sure enough, museums, and zoos and botanical gardens have had to resort to furloughs and layoffs because sheltering at home means no one's buying a ticket to the institution. So I'm getting laid off this week from the zoo. I've been there for three years and it's been fabulous. And now I get to look for my next steps. I know that I am in very good company, as a lot of educators and bright lights in the museum world and the zoo world are also scratching their heads and thinking, okay, now what?
Katura Reynolds:
I've been looking a lot about at sort of different angles to communication. At Woodland Park Zoo we've been looking a lot at community based social marketing, which is kind of a creative approach to helping guide people towards sustainable behaviors, whether it's recycling, or turning off the water while they're brushing their teeth or whatever it might be, in a way that sort of reinforces that behavior with social norms so that it feels like this is what we do. And there's a lot of community based social marketing principles that are showing up in a lot of the COVID-19 communications right now about wearing masks and washing hands. And we're all doing this, this is what we do. Your neighbor's are going to look at you funny if you don't go out with your mask on sort of a thing. And as we've been trying to apply that in the zoo world, it's kind of worked and it's kind of not, depending on the project, just because the important messages at the zoo were kind of diffuse.
Katura Reynolds:
We'll be talking about wildlife trafficking and say, so if you ever happen to find yourself in Alaska, and happen to run into a guy who's selling carved walrus ivory out of the back of his truck, and happen to remember that maybe there are laws about that, here's what you should do. It's so many steps removed that it's all a little sort of vague and fuzzy. I feel like a lot of the zoo education, while it's been really fun, has been sort of general raising awareness. So I'm really interested to, I'm seeing a handful of jobs out there that are more about communicating about health issues or communicating about early childhood development resources, and seeing if there's a pivot to get a little more into that, okay, here's an actual action that can affect you today. That kind of a work could be really interesting. So I'm both looking at jobs and also looking at graduate programs, just trying to see what in that toolkit might be able to either help steer the museum type career into new and interesting directions, or pivot it away from museums into a whole new world. I don't know.
Tania Marien:
You do wonderful work.
Katura Reynolds:
Thank you.
Tania Marien:
And you know I followed your work all this time on your websites, and your different projects and different things that you post and talk about. And right now your current website is Scribbling Science.
Katura Reynolds:
Yes, yes. I just launched that this past month. I have a six year old daughter who is delightful, and she's also a lot of work as everyone who deals with little kids knows. They take a lot of attention. So I went for a good lag with no website because I just needed to put all my energy elsewhere. But once when she started kindergarten, I thought, oh, I could do a website again. So scribblingscience.com is up and running.
Tania Marien:
And what are your plans for Scribbling Science?
Katura Reynolds:
I think right now it's almost like a way to remind myself what it is that I love to do. I went with the title, Scribbling Science, because it kind of encompasses artwork, and writing, and sticky notes all over the wall, planning out ideas. The scribble theme is a nice way to address the fact that there are so many angles to this work. When I first started out in this career and I was thinking I was going to illustrate the cover of National Geographic, I thought, okay, it's all about just doing the most beautiful artwork possible. Hyper realistic, everything very precise. And at this stage in my career I'm really like, sometimes that messy scribble that's on the back of a napkin at the lunch meeting, that's where the genius is. So I think Scribbling Science is kind of a way to try to capture the enthusiasm of how ideas are developed from lots of angles at once, and how creativity has lots of branches that need to sort of sway together in order for the project to get off the ground.
Tania Marien:
Yes. So true. Well, thank you, Katura, so much for your time today.
Katura Reynolds:
I'm so glad I could check in with you. Thank you for having me.
Tania Marien:
Katura discussed a lot of information during our conversation, and I am so grateful that she left behind resources for you and me. If you go to the show notes for this episode, you will find four documents. One document is about best practices for design of bilingual museum graphics. Another document is a translation guide. You'll also find a document that explores how people use bilingual graphics in museums. And you will find a document that provides insights on cross cultural collaborations. I want to thank Katura for sharing these resources with us. Thank you for your time today. I'll see you next time.
Tania Marien:
Talaterra is a podcast for and about independent educators working in natural resource fields and environmental education. If you enjoyed this episode, please share it with friends and colleagues. Thank you so much for joining us today. This is Tania Marien.