 So you just want me to talk? Talk about this works especially, but then perhaps a word for your general practice. The piece that I've made for the Moudin Grand Hall, it consists of this huge tower, sort of 15 meters high, in which we've housed the nervous systems inverted, which is a machine I made last year, which is the latest of my rope machines. This one is the first one that's suspended above people's heads which operates almost like a mobile where you have everything very balanced, but it sort of rotates very, very slowly and through it then pulls down this vertical cone of strings. There's 162 strings that come down and form this focal point here, which then gets pulled along the ground and goes around this winch that's very turning very, very slowly. And it's time to make basically just enough rope during the show, so the spools will run out at the end of the show, so they'll all fall down and will remain on the floor and then the machine will be empty at the end of the show. And you'll have the inside and the interior of the tower will be filled with rope that you can sort of lie in and sit around in. I mean originally I've made a few rope machines over the years, but then I guess the early inspiration or the early preoccupations with the machines was they were very interested in the perception of time and that as a process-led machine I was interested in this machine that made rope because rope seemed like a perfect metaphor for time and that it's something that we, it's both linear and cyclical and so it sort of has this property of both being a rotational and a linear structure. So they're sort of which is both, which seems to be very appropriate to the way we sort of conceive of as time as a sort of spiral or as a line. So I wanted to sort of, it's almost like an actualized metaphor and they're so above us is that the spools are almost like planets, very, very slowly rotating out of which is pulled, extruded out these timelines which then gather together to form a collective history, like a ticket tape or they form a timeline which then you can trace any moment in a stroke to a certain period in the show. So every moment is a sort of, represents the present at some part, at some moment in the past. And you have certain mutations and you have certain sort of irregularities in the rope which represent some irregularity or some fault or some technical or some inconsistency in the machine above or some remote part of one particular spool where something occurred. And so everything can be traced back in a sort of archeological way to a certain moment during the past. And so it's sort of I guess, and there's sort of a, when that rope coalesces and forms here, it was beginning to form days or weeks before further above. So you have this lag or this delay in where the present is but also in terms of what goes in, the inputs of what we do now are only felt later. So there's a sort of interesting relationship to weather and climate or just generally what when we, when you do something, repercussions are only shown later and really the, how you can really predict what the repercussions are of one's actions is kind of very difficult. And whether we say with the climate, whether 100 years ago we're only really feeling the effects of things 100 years ago, whether it's a thousand years ago, and what we do now, where those things really kind of become sort of materialized is really questionable. But I guess this is quite a nice, this lag is really present in this piece so it really sort of exemplifies that sort of model, the sort of model of weather or those sort of chaotic patterns. The tower itself was very much conceived with me in my structural engineer called Structure Workshop and we sort of conceived it together as this sort of structure that would house the tower and it has this viewing platform above and one spiral staircase for ascending and one for descending the tower. It was quite inspired by gasometers I guess in England. We have these things for storing gas that rise and fall and it was, there's quite a lot of them in London and I guess that was one of the sort of points of inspiration. But it was really also a response to this, to the grand hall itself to create a sort of piece that would fit in here and that would house this machine and really the only parameter we had was to try and keep this focal point around the floor and so that was sort of defining the height of the machine and the rest then sort of came quite naturally from trying to make a device that would house this machine but also allow you to see it from a kind of high level. So before when we'd shown it in New York you could only see it from below so it was sort of slanted against the sky and it was quite difficult to see all the details and all the complexity of the structure so this really allows you to get close to the machine. Okay so this piece is called Slow Arc Inside a Cube and it's the fourth in a series of pieces that are very different from the Rope series which explore sort of light and geometry and philosophy. It was inspired, basically the title is very self descriptive it's basically a light that moves very slowly from one corner of the cage to the other and it creates, the cage acts as a lens in the room so any room that you put it in it basically creates a sort of, the room becomes in flux so it sort of distorts the geometry of the room so it's quite an architectural piece in that sense. The piece was actually inspired by a quotation from a scientist called Dorothy Hodgkin who was very active in the 1950s in England and she discovered the structure of pig insulin by a process called crystal radiography which is a very long winded process in which you extract from very abstract data you build up this protein cloud of this three dimensional cloud of insulin and she built this beautiful three dimensional model from this very abstract information but she described the process as like trying to work out the structure of a tree but by only seeing its shadow so it was a sort of beautiful Plato's cave kind of analogy in which she kind of, sort of the idea that these sort of shadows are the real but it implied also that we would never, by seeing the shadow of a tree you would never really ever be able to see that complexity and all the bark and all the twigs and all the leaves and to see that foot, the true sort of brilliant radiance of that reality would never be something that we would ever achieve so it was kind of quite a, it's quite a sad kind of analogy in a way but I guess with this piece I was trying to putting a platonic object in a room, this cube this third of the platonic objects and then basically if we could only see the walls of the room whether you'd be able to get back to the original shape from just the shadows and it's, I mean with such a simple thing you probably could but it's just I guess it sort of has a relationship to cosmology and the whole way we have inferred the universe really through just our sort of cleverness really and all, and mathematics but the whole way we see the universe is not through sights and through light but through other information that we've inferred, this sort of the shape and the tapestry of the universe and the number of planets and stars and the fact that it's expanding it's all done blindly.