IN: The Iberians (Latin: Hiberi, from Greek: Iberes, Iberes) were a set of peoples that Greek and Roman sources (among others, Hecataeus of Miletus, Avienus, Herodotus and Strabo) identified with that name in the eastern and southern coasts of the Iberian peninsula, at least from the 6th century BC. The Roman sources also use the term Hispani to refer to the Iberians. The term Iberian, as used by the ancient authors, had two distinct meanings. One, more general, referred to all the populations of the Iberian peninsula without regard to ethnic differences (Pre-Indo-European, Celts and non-Celtic Indo-Europeans).

The Iberians produced sculpture in stone and bronze, most of which was much influenced by the Greeks and Phoenicians, and other cultures such as Assyrian, Hittite and Egyptian influences. The styles of Iberian sculpture are divided geographically into Levantine, Central, Southern, and Western groups, of which the Levantine group displays the most Greek influence. Iberian pottery and painting was also distinct and widespread throughout the region. The Iberian polytheistic religion was influenced by the Greek and Phoenician practices, as it is evident in their sculptures. The man-bull Bicha of Balazote (possibly a fertility deity) and various depictions of sphinxes and lions bear a resemblance to eastern Mediterranean mythological creatures. The Lady of Elche and Lady of Guardamar show clear Hellenistic influence. Phoenician and Greek deities like Tanit, Baal, Melkart, Artemis, Demeter and Asclepius were known in the region and worshiped. Currently few native Iberian gods are known, though the oracular healing deity "Betatun" is known from a Latin inscription at Fuertes del Rey. There was clearly an important female deity associated with the earth and regeneration as depicted by the Lady of Baza and linked with birds, flowers and wheat. The horse was also an important religious figure and an important sanctuary dedicated to Horses has been found in Mula (Murcia). There are many depictions of a "horse taming god" or "lord of the horses" (despotes hippon). The female goddess Ataegina is also widely attested in the inscriptions. Iberians performed their rites in the open and also maintained sanctuaries in holy places like groves, springs and caves. Archaeological evidence suggests the existence of a priestly class and Silius Italicus mentions priests in the region of Tartessos at a temple of Melqart. Evidence from pottery reveals some information about Iberian myth and ritual. Common themes are a celebratory ritual dance described by Strabo [c.f. 3.3.7.] and seen in a relief from Fuerte del Rey known as the "Bastetania dance" and the confrontation between the deceased and a wolf figure. Ritual sacrifice of animals was also common. The Iberians incinerated their dead and placed their ashes in ceremonial urns, the remains were then placed in stone tombs. Iberians venerated the war god Cariociecus.

Did they create any famous sculptures ?

OUT:

input: In 1993, Povenmire and Marsh conceived the series Phineas and Ferb, based on their similar experiences of childhood summers spent outdoors. Povenmire spent 14-16 years pitching Phineas and Ferb to several networks. Most rejected it as unfeasible for the complexity of its plots, but Povenmire persevered, later observing "It was really the show we wanted to see: if this was on the air, I'd watch it, and I don't always feel that about every show I work on." Even the Walt Disney Company initially rejected Povenmire's pitch, but asked to keep the proposal packet: "Usually that means they throw it in the trash later," Povenmire recalled. Eventually Disney called Povenmire back with an acceptance, on the condition that he would produce an 11-minute pilot. He called Marsh, who was living in England, to ask him if he would like to work on the pilot; Marsh accepted immediately and moved back to the United States. Instead of a conventional script, the pair pitched the pilot by recording reels of its storyboard, which Povenmire then mixed and dubbed to produce action and vocals. The network approved the show for a 26-episode season. Povenmire left Family Guy to create the series. Povenmire and Marsh wanted to incorporate into Phineas and Ferb the kind of humor they had developed in their work on Rocko's Modern Life. They included action sequences and, with Disney's encouragement, featured musical numbers in every episode subsequent to "Flop Starz". Povenmire described the songs as his and Marsh's "jab at immortality", but the pair have earned two Emmy nominations for Phineas and Ferb songs to-date. A third Emmy nomination, for the episode "The Monster of Phineas-n-Ferbenstein" (2008), pitted the show against SpongeBob SquarePants, although neither nominee received the award due to a technicality. In 2010, Povenmire was nominated amongst several other Phineas and Ferb crew members for the Daytime Emmy Award for both "Outstanding Writing in Animation" and "Outstanding Original Song - Children's and Animation" for their work on the show, winning for "Outstanding Writing in Animation". The distinctive style of the animation legend Tex Avery influenced the show's artistic look. Like Avery, Povermire employed geometric shapes to build both the characters and the background. The style developed almost accidentally, with Povenmire's first sketch of title character, Phineas Flynn, which he produced while eating dinner with his family in a restaurant in South Pasadena, California. He doodled a triangle-shaped child on the butcher paper covering the table. He was so taken with sketch he tore it out, kept it, and used it as the prototype for Phineas and as the stylistic blueprint for the entire show.

Answer this question "What did he do in Phineas and Ferb?"
output:
In 1993, Povenmire and Marsh conceived the series Phineas and Ferb, based on their similar experiences of childhood summers spent outdoors.