 So, as she said in the opening statement, a lot of my work is about individual and communal survival. So I worked at the Richmond Art Center, teaching in the schools for 36 years as an artist in residence, among other things. And I finally got to do this fish, which is a Kern County golden trout. And it's a symbol of, it was about the amount of drinkable water in the world. And it was interactive and that children would do... Oh, sorry. I am so sorry. What? Is that better? Yeah? Okay. So I worked with children in the community and we did interactive art. And there was an exhibition inside the gallery with artists that I invited to make art about water. And also in the courtyard, it was a large installation and children would draw. So it was an interactive installation with the art classes at the Art Center. So that's one. And during that time, I was working at different places like a camp in upper state New York for inner city kids and also in the public schools. And I developed a program called Monsters, Demons, and Imaginary Beings that helped children feel good about themselves. So a lot of these were kids at risk that had personal issues. Some were immigrants that had been boat people. So a lot of their artwork was a way of working out their own traumas. And in all of them, we made masks and then we developed characters that would be our allies to help us survive in the world. Hi. I started a class. I taught at Laney College and in other places, mostly ceramics and installation work and sculpture. And then I got more and more interested in the environment because I was always doing drawings of endangered species since my kids were little. And so I started a class that we did not, I founded it and developed this course called EcoArt Matters where we teach about environmental and social justice issues. And after teaching it for five years, I realized I can't teach about the environment without teaching social justice. So I invited a social justice artist, Sharon Siskin, to teach with me and now we team teach the class. And that's why I'm eating and can't stop teaching because this class is about the most important issue of our time. And I believe we have to pass on to the next generations, for the next seven generations if we're going to be alive, resilience survival. And I think that's what the work needs to be about. Teach them what's wrong with what's going on in the world right now, but also give them hope. And I hope my work does that. So my own work is also very much about clay and all of its different surfaces because it's language. And so I did a lot of work about the Holocaust since my family, my father's family mostly perished. And if you grew up with that and your bones, it's always there. So I had a very large exhibition called Survivors at the Juna Magnus Museum. And I had a lot of pieces that exemplified all of the different kinds of firing mechanisms that gave different results. Which for me were kind of symbolic of resilience survival, people that have suffered but still maintain love and compassion afterwards. That's the miracle for me of surviving trauma, being able to survive, learn from it, and embrace it in a way that you can continue giving it back to the world. So that was one of the chimney sculptures from that exhibition. And it always included water and growth as a form of life, so there's always hope. The same time I was doing performances by covering people with clay, because we're constantly in the state of becoming. And with each passage, we have to say be able to grieve that which is passing, so that we can receive that which is being born with an open heart. So when you cover something or someone in clay, it starts to dry and it peels and then it changes. So you have to pay attention to those changes all the time. So this was a friend of mine who is a violinist and she was going through, she plays in the symphony orchestra, I mean the opera orchestra. And we were very close friends and she was having trouble with her arm, didn't know if she was going to be able to play. So she was going through these changes. So I did a performance with her where she came out on the stage and played in her black outfit and her violin. And then I came out, we switched violins of course and then covered her with clay. And then people stood around as she dried. And then she eventually got up and discarded her skins. So it's called skins. It was a whole series of those. So that's my work. Minouche? Okay. Hello everybody, thanks for having me and thanks for coming. Sure. Is it working now? Okay, better. So I started with one slide from my work but I'm going to present more and talk about environmental art back in Iran that I started working actually with a group of people from 2004 as a group. But a little bit about my work, I've started as a photography and I'm very interested in nature and I do a lot of environmental kind of like art. And at the time that I was working with this group, I was also doing a lot of photography documenting of other people's work. And also my work was mostly, I was performing but very performative but the documentation was the only thing you could see as a piece. But then I was also very interested in ritual and I, when I was at SFAI and San Francisco Art Institute, I started actually developing my idea of the inspiration from nature. And then bringing to my work and then just to these performances that kind of related to my interests. And this piece that I'm showing you is about water. And so the video, I made a video of the marsh. There was this one of the actually weed exhibition at Hayward. So the shape of tree was on the marsh and I videotaped that and then later I used that in this space. I make a lot of spaces and I'm very interested in the space. I think part of us is how you actually connect to the environment and that's actually the space that you create for yourself. And so I wanted to have this kind of like sacred space in this performance and I was actually asked also another artist that he made audio for me. And then I was also reciting a surah from Koran. I'm Muslim and we believe there's a surah in Koran that if you read it, it's going to protect you. So I was just reading that while I reciting that while I was doing the performance and projection of the video on me, which was the water. And it was a loop of the video and but the audio also was kind of related to water and it was creating that space for you. So that's about my piece that I'm showing. And in 2016 I did this in Bunker Project in I think Pittsburgh, if I don't make it this way. And now I'm talking about the area of my work because I want to actually talk about environmental art in Iran. And as I said before I moved to the United States it was in 2009 and from 2004 I was going to a class. It was an art history class in Tahran that I learned about Ahmad Nodalyan who is one of the pioneers of land artists and environmental art in Iran right now. He has this space called Paradise Arts Center which is in Poulour north of Tahran and there is one in South Hormuz Island. Most of the environmental art festivals was during that area and that neighborhood. He mostly organized all the festivals from 2004 and 2009 that I was back in Iran. We traveled to many locations and cities and creating art in nature and most of the documentation exists. And I was with this group of people that I met in the art history class which was related to land art. We started traveling so you can see that's how we started. That's the name of our group. It's Open Five. Five of us. We started Five of Women that we started actually together and that's what I actually refer to that. It means that Open Five means like the five which is open so we were hoping people can join and go wherever. And that's how we decided. And as you can see there is materials that we use. We have leaves and natural elements and do a lot of performances and recycle materials in our work. One of the artists that I'm showing is Tara Gudarzi which I'm collaborating with her later about public art in Stanford University. There's a program that's been three years and we had actually I had a talk last summer. And we're going to do this collaboration that she's going to work with her students and I have both of her work because I wanted you guys to see her work as an individual artist that she does her and use a lot of natural materials in her work. But also she's collaborating with her students in the class and use this recycle material and make art about the environment. Usually they have this celebration of Earth Day which is like I think April 22nd or something in Iran. And we're going to do something in fall together in from Stanford University. And these are not actually I was not supposed to talk about this but these are the recent work that there are women artists from Iran that they did all this public art that were funded by Iran government. Thank you. It's such an honor to be on this panel with Mnush and Andre Andre is one of the most important inspirations I've ever had in my entire life matter by joining the weed board and made sure to become a great friend of hers. I want to say very quickly I am an interventionist artist and I put in activism in that bio but actually direct action is also a lot of fun for me. To bet it's not more prevalent. And so I am working a lot of media depending on the different situations. So in 1998 I learned about Monsanto Corporate 97 Monsanto corporations seed sterilizing technology and a practice that had been much more about immigrants and poverty turned into a practice that since then is on critiquing technology. I have a very intersectional approach so that big word that's treated as a noun when it should be a verb. So I'm always seeing environmental issues in the context of poverty predatory capitalism of where you are in relation to those and racialization and these kinds of ways that folks are oppressed and how does that intersect with environmental issues. And so a lot of my critique of the technology sector is informed by that and being a Colombian woman that knows tech as a producer so can program and pure data. Often men act like I'm a a technological you know like completely incompetent and you know it's fun to put them in their place. Silicon Valley's got a lot of problems with diversity. I'm just going to be quick. So this is from like the techno sphere work I do and I'm behind all that stuff because I can never be outside my own critique right. We're all living in the techno sphere right now and I have a cell phone even though I know more than anyone here how much damage the mining of that does. But here we are. And so how do we move back from that. This was a fun project. It's called either the cyborg soap opera or it can be called the nano sutra of math turbation. And it's making fun of certain technologists who I get to interview in person because I have a doctorate. And so there I was kind of looking at the cyborg stuff right. This was a really interesting project bot I so I was looking at bots which are becoming more and more prevalent. And there are things in computers like on the web that they're autonomous little robots called bots and they can be malicious or beneficial. So I was experiencing myself in a performance as a bot. Would I be malicious or beneficial. So my illumination in this performance is only by the things I critique. So the room goes to dark then a slide of something I'm critiquing like a robot inside a mosquito for the military. That illuminates me and on the side is my lips. And so there's always the embodied resistance to the cyborg narrative of salvation which I don't believe in. This is another iteration of that same performance. Never the I might do a project for eight years. I've never performed it the same way twice which is kind of a fun way their multi year projects. And this one I had worked with someone who happens to be in the audience Freya Olivesen who's visiting from Winnipeg a brilliant artist that said counterpulse on a video of the monologue of bot I. And so I decided to in Toronto to present it that video but me on the floor and see who would people watch me or the video because media dominates right and who cares about people anymore. This is another line in my work which I'm not talking about today. I also am looking at decolonizing as a South American. And this piece it's kind of touching on Martha Rosler's semiotics of the kitchen. And so I did a piece semiotics of the exotic where what is the violence required to transport exotic fruits around the world. And so I'm basically smashing all the fruits of Columbia that are transported. I ended up with a lot of bruises from that performance. Thank you. Thank you all it's so wonderful to have such a diverse grouping here and the whole show I think feels like that and I have to say that I am humbly the lucky one in this because they asked me to become involved in it. And what it has done for me is expand my understanding of what we is and does. And I think it's so gratifying to me to see this combination of eco and social justice in an international level with women. And I really applaud what they do. And I want to turn to Andre because she has the history to be able to tell us. I hope I'm like you at 80. But you you can tell us a little bit about the history and the mission of we right. So I was going to just first of all I want to say that I am here as a substitute for Susan Steinman who should be here. Susan is recovering from an operation. And so I was asked by her she's one of my closest friends so I couldn't say no to sit in for her. Susan and Joe were both very articulate so a few excuse me for reading. I was going to just read to you this one paragraph about the history that Susan wrote. But I see it's already in the gallery. So first I want to thank everyone who had anything to do with that show because it is gorgeous. It is really stunning. Thank you for curating and thank Joan for helping to install it. And Carol and Hague it's stunning stunning. It's one of our best shows. And I hope we get good coverage so people come to see it and see what weed does. So in 1996 Joe Hansen and Susan Lieberlitz Steinman and Estelle Blackamini created weed because they as important people in the art world were getting all these requests for referrals and for designing eco art exhibits. And it was mostly word of mouth at the time. So they developed a tool where people could tell them what to do and help them develop programs. And word of mouth networking started and at the regional North women's caucus. So they worked together with the women's caucus to help organize ideas about eco art which was at the time was mostly eco art and then it involved other social justice issues as well. So then by during that time there were only about a hundred listings but then more and more came and then 200 and they started to be labor intensive when they put together we put together. And I think some of us remember cutting and pasting and making these journals and I was going to suggest we have one of these somehow up at the exhibit. So people could see the work that we did. This is the oldest one and then this was the next one and then there were you know then we made supplementals on it to add as people joined and pretty soon we got to be a pretty big organization. You're going to tell me when I have five minutes. Yeah. In 1998 Estelle decided to leave the board because we were becoming too much work. And at that time they invited about 10 of us. And I think about three or four of us are here Sharon and Mary. Okay. All right. Two minutes left. Okay. Anyway, I wanted to read what she does say about so anyway we became a group of 10. We switched in 2000 after 2010. We launched the program online because these were becoming obsolete and everybody was going online anyway. So since then we and then in 2006 we changed in 2012 we changed our name to women eco artists dialogue because it was no longer a directory. But it still acts as a networking source and has an incredible magazine that was still edited by Susan who was originally a journalist. Okay. We does not subscribe to a single definition for eco feminism, nor one set of cultural political or social beliefs. Instead we celebrate a spectrum of differences under the collective colorful collective umbrella called eco feminist. Do I still have one minute? Okay. So together we work toward a just scene and healthy world for all. But with all the writings in these books I found three little paragraphs that Joe Hansen wrote. Joe is no longer with us unfortunately but she was a visionary and one of my mentors. But I wanted to read something that as I read it thought oh my God this was written in 2004 and is completely relevant right now. So I'm going to read it. We live in a tangled web of existence the web of all that is and oh what evil tangles come with deception lies and violence of our time. What challenges to the soul positive and negative thoughts and actions both travel through the tangles of the web of all that is and they affected according to their strength. In current times earth and existence are challenged as never before and the greatest threat is political. The political embrace of global corporate pillage. The political sponsorship of a world consciousness of violence and domination. The political milieu of corruption and moral decline sound familiar. The prevailing conventions of managing earth resources have only multiplied error. By contrast the artists ability to imagine to see give and take relationships and multiple dimensions has proved ingeniously effective when applied to social and ecological problems. We engage ecological discourse in action with imaginations creativity and comprehensive thinking. The ability of art and artists to inspire vision and caring is a crucial resource. It is the motive power of the heart that empowers knowledge and motivates change. Thank you. I have to say I was so struck by the change from directory to dialogue because what the arts do is to put a lens on important issues and keep the conversation on the table. And this organization does it so beautifully so I applaud them and their long history. And now I want to turn a question to you. I just want to add that if you haven't seen the weed online the best part right now in spite in addition to doing shows with members. So if you're a woman artist please join us. And one of the best things is our international magazine online. Wonderful. How many artists are in weed? Do you know? It fluctuates almost daily. Oh my goodness. It's between 150 and 200 now from around the world. That's wonderful. Thank you. Manush, you offer a special opportunity for us because we're not really as aware of the role of echo art in Iran. And I was wondering if you can speak a little bit to the environmental art movement there and the kind of support. Do you have a question that the government supported one of the projects that you talked to? Do you get good support there? I think I can say broadly that it's what it is. If Iran government they support environmental art a lot. Right. Yes. And that's actually, it doesn't mean that they have a big funding. No, that doesn't mean that they're going to give you money. No. But you know, most of the environmental art festivals that we have, it's all written paid by artists. So they come by themselves and they just spend on their expenses. All they get is food and the accommodation that they get. But you know, there are so many right now, especially, I haven't been back like to Iran, like I've left Iran in 2009 and I see a growth like you can see everywhere. So many art, public art, that they are all kind of trying to talk about these issues like pollution, water, global warming, everything. And they support those art. And the two slides that I didn't, I didn't want to talk about the art. I just wanted to show you that these are the work that in different cities. One is in Tehran and the other one is in Shiraz. They were funded by government and they were paid to just do this public art. And the other one was about the cheetahs, the Persian cheetah endangered animal. And the other one was about water if I don't make a mistake. Yeah. And using these natural elements to use that. Right. And there's a lot of encouragement for women artists. I don't think I can have a really straight answer for that because I see a lot of artists and you might, if you follow the artists art movement in Iran, there are so many Iranian women artists right now that you can find them. And I think about environmental art, I think I find mostly women because they find, I think, a lot of connection with nature and a lot of works are also art in nature, which there is another organization in South Korea, Yatoo Eye. I don't know how many people know about it, but I think some of women artists, the member from weed also are a member and they actually sponsor. They're amazing. If you want to look them up, they have residency. You can go in summer. But anyway, so I'm saying that through that, Yatoo Eye, so many women artists, I know that they travel to just do this art and they are actually getting fame because of their work that they have done through environment. Yeah. Great. Did I answer your question? That was very good. Thank you very much. Bravo. I think it's so timely to discuss the relationship between the arts and technology. And I wanted you to speak particularly about the relationship between your work and technology. And so I've published quite a bit on that and so I will speak briefly. Otherwise I'd bore you to death. I doubt it. I was born, my father, when I was born in 1963 worked for IBM selling mainframes in Bogota, Colombia. When he moved into data processing machines, data entry, they were at our house. So I used to draw on them and stick them in the machines and ruin them. My fate was set. You started early. Yeah. So I've been around computing since my birth in 1963 and have seen the whole change, right? And I was around, like I started coding, hand coding websites in 95. It's very easy for me to do these things. And the promise of the technological fix was incredible in 94, 93, 95. And I realized, no, that's more language. It's actually going to be an intensification of predatory capitalism leading to an intensification of ecocide. And so since then, I've been trying to show in the limited way that an artist can. I mean, you do your shows, you interact with people, you talk about them, you travel, whatever you can do. Different aspects of the mining core of the tech project and what kind of damages it results in, especially with like when recycling electronics came in, it was such a nice word. Oh, my God, we're going to recycle our electronics so that their ship somewhere else, this hazardous material, poison other areas. People have brominated flame retardants in their breath smells. I mean, it's not working. It's a bunch of lies, you know, discourse, discursive. So that's my relationship to technology. I know a lot about it. I know how to program. I know how to code. I know how to do this and how to that. But I'm always very critical of it. And I'm always working to co-create at this point in my practice. My practice is shifting again. And I'm much more interested in co-creating with my audiences a different imaginary. An imaginary that's not driven by consumerism and materialism, but recuperating an imaginary based on other kinds of desire. Because my desire is so profound and it cannot be touched by capitalist techno culture. I don't want a phone. I want connection. I don't want Facebook. I want connection. I don't want to write on Twitter. I want connection. And sure, maybe you can use those interfaces, but are you really getting connection? So I'm trying to co-create. And I would say the two methods I developed that I'm experimenting with for, I would say the last five years, is infectious refusal. And so it's like, it's the refusal that Angela Davis and other philosophers from the Frankfurt School were talking about, like the great refusal of the capitalist project. So I'm trying to infect others with a refusal of that desire. And then the other thing I try to work through as a framing device is disruptive poeses. So how do you disrupt all these systems that we're in, including me, with the poetics, so the art? Like, not with the just, I'm going to stand here and tell you how horrible the world is. Which I can do and I don't like doing that. So more like how to be poetic about disrupting. And I'm not going to point the finger as much at my audience, but say, right, you have a damaged imaginary, one that makes you think you are super terrestrial to planetary life. How about if we have an imaginary where we actually have a relation to planetary life? I like that. I like that very much. One question that came up for me with you, if I can just ask one more question, is as a performance artist, how do you find the venues? How do you get the gigs? You know? So I don't really care about anything that has to do with the art world, even though I'm deeply in it and most of my, almost all my friends are artists. So I will do whatever I want. So for instance, I did a performance in the St. Francis Hotel. In a conference room that Monsanto was presenting on BT Cotton. So we copied their passes for their conference in Photoshop, made our own, got wigs, so we looked like business people, went to Goodwill and bought the costumes called the business suit, and went in and disrupted it so badly, I can't even tell you how bad it was, and we called it Fabrage. Fabulous resistance against genetic engineering. I also perform in the streets because no better audience than the one that doesn't know you're performing. Okay, and then other people contact me and ask me to do things, which is so amazing because I'm wandering around in my reckless, unintelligent way about my career, right? That's me. And then suddenly I get a call from Gothenburg, Sweden in 2009, and they're like, we want you to present computers or girls' best friend at the Museum of World Culture in Gothenburg. And I'm like, how would you know anything about me? I don't even update my own website. I'm a web designer that does not update her own website. And they're like, yeah, we know about you. Come here and do your performance, and please. So it just happens by accident. It helps a lot by having these kind of organizations that unify and tell each other about each other as well. So I think that points again to the mission that Weed has here. But what I keep thinking here is about that focus on keeping those conversations on the table. So I have to say that it's really important right now that we support the National Endowment for the Arts. And I hope everyone will do everything to do that. And I wanted to put out to people, does anybody have any questions for any of the panelists? Come on. Go. I'm just curious to know how many people submitted to the exhibition. How many submissions did we have? I think that's a question for Haggit and Karen. I should remember that. Yeah. The question was about how many people submitted to the exhibition and the answer was about 150. Something like that may be even more. Some people submitted quite a few as well. Anybody else? Your current work, each of you, all four of you, where you're going? What's the focus of your work? What's the focus of their work currently? And where you see that going? Andre? I do some of my own work still. I still work in the clay studio sometimes. And I enter shows like this when I can find time to do it. But I have to say that my focus is on the class, the EcoArt Matters class. Because I just think it's really, really important to reach the younger generations and to give them some hope for resilient survival. But first you have to tell them how terrible it is because they don't really know. They really don't know. There's a lot of young people that don't even read the newspapers or know what the news is. And nowadays, who wants to? Right, right. Menish, would you tell us what you're working on now? I'm working on many things right now. I have a lot of projects that are coming up. But I think I have my own studio, so I'm working on a studio on upcoming shows. One is in May 5th in pro-art. It's Carl Drief. Everyone is hypnotized if you're interested. Come to Artmermer. There is another work that I'm doing with another artist through... Anyway, I'm not going to talk about that. But then there are some, but I do a lot of collaborations. So right now I'm doing two or three projects. That is a collaboration with artists. One is a walk. One is a video that I'll be working on with two other artists that I met in Jurassic Residency. So we just get together and start working. It's going to be a video. And then I have another performance that I'm going to do a collaboration in YBCA in September. It's the year of Uruguayna? Yeah, Uruguayna Center for the art. But that's later in summer. But I also met that person in Jurassic Residency. So she asked us to collaborate. And I think I mostly do, like, apply for all these things. And I do a lot of sub-meet as all other artists had to do. And my interest is, you know, I care about environment. And at this time of the year, I'm afraid of being called as a political artist. I don't want that for my reputation because I'm going to be in danger and I don't want that. I want a safe place, which that's what I use natural environment in my work. And I think that's a safe platform for me to talk about what I struggle, what I think about in my art. Thank you. Thank you, Prabha. I'm working on three different channels right now. So one is Enigma Symbiotica. And that's kind of trying to understand or work on the enigma of our symbiosis with technology, framing it through the enigma machine used by the Nazis in World War II. So it's kind of complicated. Oh, wow. The enigma, the code. Yeah, the enigma. So how do you break the code? And how did they do it at Blasie Park? And how did the Polish mathematicians do it? And so I'm trying to break the codes every single day so we see what ideology is doing to us. So that's that project. That's well said. And then another project I'm working on that I'll be performing in June here at the African American Complex at a Queer Evening of Performances. Well, hopefully it's a Queer Evening, but an Evening of Queer Performers. That one is the no bot. No bot. Like, there's robots? Well, I'm making a no bot. Yeah. And it's a project where I'm building an exoskeleton that goes under your clothes, but it's a soft exoskeleton. At this point they're called exosuits. And I'm working with some people to put some things in there that we could find useful as activists, artists, no refusals. So that's all I'll say about that one. But I'll be presenting that in June here. And then the third one is I am in a collaboration with this amazing, brilliant artist named Anuj Vidya. And we founded a group years ago called Larval Rockstars. Neither one of us is a musician. So the whole point of Larval Rockstars is to try to frame through these ridiculous things called performances. Like, this, Sarah, as Larval. Like, we are Larval. We are pupating another phase. And our project is to take people from necrotic egocentrism into biotic ecocentrism. I like that. And we're performing a lot. And we're performing, I think, like next week at an eco festival. I just moved back after living in Canada four years, like a couple of months ago. And I'm still landing. So we're performing next week. Then we're performing at an eco festival in Santa Cruz, the eco sexual festival. And then we're also performing, I don't remember. Anyway, we're doing like three things a month on that. Larval Rockstars. And it's kind of a fun, again, not being accusatory, but saying welcome to the Larval scene. Don't you want to be a larva of a new possibility based on a different operative logic? And we'll see what happens. We do use edible larvae, by the way, quite a bit. They're cooked. And they're silkworm larvae. We're very fond of them. That sounds wonderful. For me, I just want to say I've been a gallerist. I've been in the gallery business since 1978. And when I opened my own gallery, I used to say, it's like I had a little pin light. No one knew me at that time. And I could shine a light on something and say, this is interesting. This is vital to me. And as your reputation grows, you get to do things like this. And your beam widens. And that you have some small effect on your community and the culture by what you show. And you support artists. And I'm very, very active in the art of the book. We are having our 12th annual art of the book show in Mill Valley in May. And I'm a big promoter and supporter. I'd like to see book artists get the same kind of name recognition that other artists get. And so that's been a passion of mine. So I'm just looking to widen the beam and show more people more ideas about what art can be. Great. Anybody else? Yes. Back there, we have a question. Hello. This is addressed to the performance artists. I noticed that there's a lot of anger and rage that is being eluded, emitted from your projects. Do you call yourself a feminist too? Is some of this rage feminism? I can say that I'm as happy and joyful as I am full of rage. I see that. And I do have rage, but my rage is actually not feminist rage. My rage is 500 years old. And it is being from a country that's been at war for 60 years, Colombia, that I can't live in, five military bases that are U.S. military personnel in my country. And then my country has two military bases here in the United States that are Colombian military personnel. I would love to live in the tropics where I'm from, but I can't. And it's a rage about colonization. It's very old. I feel like my rage predates my birth by 450 years. And I'm not being sarcastic. I literally do live in a rage about colonization and what it's done to the Americas and how it is made believe its history when it's present day and how that works and how that kills, maims, murders, and destroys people. And my family members in particular. But at the same time being Colombian, we are weird because we're so full of joy, even though we're full of rage. We're very full of joy because here we are and there's the unfolding of creation every moment. And so how do you meet that, too, that while there's all this negative political systems of exploitation and colonization, there's the unfolding of creation, too. So you got to meet that, too. So it's always that. Right, right. I'm afraid we're out of time now, but we have a lovely reception with some nice Mediterranean food out. You can follow us out to enjoy that. I want to thank the women of weed for inviting me to be a part of this. And I want to thank all of you for coming and I want to thank these wonderful women for being such a wonderful family.