 Yeah, so I'll kind of lay out a few things that are kind of our founding ethos and one of them is that there was a strong need about five, six years ago and still is today, but a strong need that we identified, which was that there is a very kind of narrow mental map that a lot of theater makers and people who work within institutions have about what actually is theater. There's that kind of a narrow frame of what theater is and who's out there. And then there's also kind of the habit and dependency that theater makers have on specific institutions for their resources. And so that kind of behavior and mental outlook combined with also what was happening in the air around 2011 with Occupy and also huge advances that the internet had made in terms of open source software, all of that kind of mashed up helped us to kind of very much stumble upon and a lot accidentally around this notion of pure produced, commons based pure production, which is something inherent in the internet and which means that the internet has created the potential for many people to participate in a way that they've never been able to participate at all. And when it comes to knowledge and we're a knowledge commons, this is a really, really hugely different model about how potentially knowledge can be created. And so we kind of created our frame as being a knowledge commons, a digital commons, which means that the resources are created collectively by a community and this common resource is available to all and anyone who wants to participate in it. And the management of this resource, of this commons is by the community itself. And what we mean by that specifically when we're talking about knowledge and information sharing and conversation, it's that it's not our small team of administrators who are in charge of making selections or being curators in a very traditional sense. Our role is to facilitate the community's contributions to the platform. And so you could say that we have a huge community of editors, a huge community of curators. And so that's a very different model from the way that our traditional institutions are set up. And so I think it's a really cool project, a really cool project that people are interacting with. So seriously, I think that I have been running blogs with popular commons and at the National Arts Center, they were interested in having a digital president and so I think seriously it's a really cool project. And I guess the guiding point in the building was, I'm not sure the real question actually, is what is the state of the team? And obviously there's no T-shirt that ever was done, but that was kind of how we started. And we've definitely been involved in other work. And so that's why now I think the director of this thing, I was emailing the people today of, you know, the contractors up for our first show that we created and how we do it. So, and we have a desire to have a festival of live digital work that can certainly be done. And then I think both of us right now are expecting to make the company a digital company. Yeah, definitely. That was very much kind of part of the evolution of it, where I would say in the first few months, maybe 2011, January, for the first few months, it was very much kind of a, in the kind of traditional mode of being more like a magazine, and then with an editorial figure. And then what started to happen in which was really interesting and how we kind of then came upon and stumbled upon this notion and then started to really commit to the notion of a commons model was that the commenting started to happen in a way that we never anticipated. And so the pieces were not just a one-way direction of an essay that's just consumed, but then it really opened up the idea of participation and participation in completely new ways and around theater conversation, which at that time was, it was in various places, but how around somehow kind of managed to kind of be a specific point for that. And then so, you know, given that and our ability to adapt and see those changes and then also with, you know, just other things that were in the air and things that we were reading, such as Lewis hides common as air and the gift. Those all kind of really kind of, you know, melded with our initial DNA. And then also at that point, we were based at arena stage, which the focus was domestically just on the U.S. And then when we moved a year later to Emerson College, the focus there was global, international. And then we were in a way kind of figuring out how do we actually do that. And it's been, you know, several year kind of journey into figuring that out, figuring out how we can, you know, be, we happen to be in Boston, but the focus is now broadening it out, broadening it out to outside the U.S. Because there's so many conversations that are happening simultaneously. And one of our things that we're very much interested in is breaking silos and silos of conversation. I think that's Harvard, right? Oh, oh, you want me to, oh, no, no, no. You want me to talk about that or no? Oh, yeah, absolutely. And that's one of the things about our institutions as their setup is that they are, they're very much set up to first and foremost propagate themselves. And how around is, you know, it's agendas to, in a way, strengthen the field overall. So it didn't make sense to be in a place where the resources and the energy and the attention have to be about self-advancement. Oh, yeah, totally. Different models, same end, I think. I'm not going to know what's going on in my bank, correct? And especially to get the context of the class, like what is going on with private performance and online technology, that it's totally included in my realm of assignments. But it's the latest thing.