 Mr. Gurlianar, thank you so much for joining us in Doha and for our Connected Speakers event. And first, we'd like to know more about you and the books you've written just for those from the Middle East who don't know about you. Okay. Yeah, so I work as a futurist. I focus on media, technology, content, communications branding, you know, that sort of area. And telecom, of course. I have a company called the Futures Agency. And what we do is we help our clients to understand, if that's possible, the future the next three to five years. And basically reinvent themselves or solve large problems that they may have. So in many ways we do what clients should be doing themselves but they don't really have the time for or enough of the space to actually analyze the future and bring it in and think about it. So we're interested to know about the think tanks you do, what kind of activities do you do and what are the outcomes you've come across until now? Well, for the think tanks what we do is we try to completely disrupt the current thought process and the current assumptions. Because the problem is that most of, we work with about 100 companies including the likes of Nokia and advertising agencies and so on, technology companies. And of course operators like MTN in South Africa and so on. A lot of companies have a problem is that they're assuming that things are a certain way. And that was probably true, you know, 10 years ago, whenever. But today they have to rethink. So we question their assumptions. We have a method called the disruption experience where we try to disrupt what they think. And then to bring in new things. So we have interventions and provocations by speakers. And then we do scenarios. We do role plays of what if. And basically after two or three days of that, sometimes it's one day or two or three, you come out the other end saying, OK, now I understand that things are different. I understand what may be coming. And because of that I'm going to take this action. So we don't start with sort of, it's not just an intellectual process. Understanding isn't about data. It's about feeling intuition. It's about understanding is not the same than data. So that's what we're trying to do with our clients. So you find resistance to some of these disruptive ideas. And how do you manage that? How do you manage the resistance that you find? Well, our clients are always starting at the point where they're ready to be disrupted. Because they see the benefit of it. I mean, if you're so comfortable that you don't feel like you have to do anything, you wouldn't do this workshop. You wouldn't do this think tank. But basically the need to feel sort of, to go outside of the current place of comfort is crucial. Otherwise you don't have innovation. Because you're always going to turn around in circles and only put band-aids. So what's the definition of a futurist? What's that concept for those who don't really know what it means? Well, there's lots of different kinds of futurists, right? But basically my definition is it's about foresight. It's not about prediction. It's not about nostradamus, you know, looking in the bowl, seeing this. It's about basically listening to what's going on and compiling it and drawing a conclusion where you can say clearly in 10 years people are going to stop printing newspapers. If that's the prediction or the foresight. It's about foresight and about reasonable scenarios that can explain what sort of a preferred, I call it preferred future would look like. So it's not about predictions, it's really about understanding, listening and creating scenarios. So part of your writings are focused on the music industry. So how do you see the future of the music industry from now? Well, there really isn't much of a music industry anymore. It's completely merged with media, games, publishing and, of course, television, right? So the music industry as a recorded music industry, CDs, downloads, is over. We're now in an industry that's about music on a much larger scale. Clicks, downloads, streams, subscriptions, branding, money being made from 20 different ways. So music is now part of the overall media landscape, converging, of course, with the internet. So I have great hopes for the new, as I call it, music 2.0. Because I think there's more artists, there's more great music, there's more interest. I think we just need to let go of this idea of selling copies. Okay. How do you see privacy now and later on? Do you think it will, do we really, maybe in the presence of social networking, will privacy coincide with it, or will we be no longer discussing something called privacy when everything could be public? I think it's a bit of an old style term for something that we're seeing on the web now, is if you're going to open up to new conversations, to new people and to discovery, you can't be closed at the same time. So if you want to be completely private, then you're also lonely. And on the web, we can be really spectacularly public. And then we can't go back and say, we want to keep the good part, but not the bad part. So the reality is that our default is now public. And that's harsh. I choose to be private and you have to do something. So I think that we need to live with this whole new kind of responsibility. When we're open and connected, what does it do? We can't take the benefit without the risk. But clearly, the risk of being completely private is much bigger than being the risk of being completely open. That's my view. Having said that, however, I think there need to be provisions for everybody to do as they want to do. So the providers have to provide us with the power to reset and to erase. That's not an easy question to ask for, but it has to be there. So where do you think the advertising money is going in the future? And how is the expenditure changing from maybe the past and now? The big trend in advertising is really quite simple, is that advertising used to be based on disruption, making as much noise as possible so you can notice me. Now, advertising is based on meaning, relevance, context, and wanting to see it, on interest. And digital media can provide clearly a point of saying it's a perfect match with this profile. There's an opt-in, there's a location. Looks like a dream come true for advertisers. I think the trillion dollars that are currently being spent on half for stuff that you don't know what it does and half for use for meaningful stuff, right? A third of that money will shift towards digital, social, interactive, video advertising, completely targeted. So a huge amount of money shifting away from television, radio, print towards interactive, but of course then they're converging, so it's not quite as bad. So my last question, they say piracy is unmet demand and others maybe call it a business model, so what's your take on that? Well, I mean clearly the question of what you can do with digital connectivity, the more you connect, the more stuff you're going to do with it, right? And the internet is an open platform at this time, at least. So what that means is we can't really do anything about the distribution of copies. We need to find new ways to monetize that process, right? So what's happening with the web is that about 99.9% of these activities of kids, or of anyone really, they're not evil or they're not intended to cause damage. They're because I can't get it any other way that I want to get it. So if I want to listen to music on a streaming network, I probably have to do it illegally now, because I can't log in here. I don't have iTunes in Qatar, so I'm going to listen to that. So if I don't satisfy demand, people will find other ways. Or if I satisfy demand at a very high cost that really people don't like, I create demand for piracy. DVD region coding created piracy as a result. So that's why piracy is largely unmet demand, except of course for the commercial pirates. Okay, thanks a lot for this insightful interview, and we wish to see you again in Doha soon. Thank you.