 It was a very quiet period. Unusually quiet for that part of the world. So my fear is that only one aspect emerged through the project because of that. And what defines that place is its capacity to sudden change from one state to the other, from that state of relative, maybe an easy piece to complete chaos. So it's that moment where all the cell phone starts going and all hell breaks loose. The process of making a book, of editing a book is the process by which I tend to understand what's at stake. All I can say is, and it's my instinct, it's that I'm playing with time and space, 10 years ago, now. But 10 years ago is now, and now is 10 years ago. And the space is that road that goes up from Hebron through to Jerusalem and so on. It's Route 60 is the road of the patriarch. At this point, now, Silhuane is really the center to everything. It's the last Palestinian village in East Jerusalem that has access to the Al-Aqsa Mosque. So it's really the most intense place in East Jerusalem, a lot more than Sheikh Jarrah or any of the other places. It's a battleground, a battleground for space, for houses, for real estate. It's hard to describe how claustrophobic that world is. Especially Palestinian men have to wait an inordinate amount of time to be able to work. So it's a very, you know, that waiting. That's actually one of the very brutal things that happened. If I want to crush you, I will just waste your time. Everything I do in a museum environment is always conceived as a piece. So there is, if you want, there is no curatorial space when it comes to me. I make the piece, I make it into the studio and everything is planned. So why did I want the piece to be like that? First thing I wanted to avoid any form of preciousness in terms of the white frame, the white mat and so on, the sereneness. So I was trying to be as close as possible to the photographic in many ways. Then, you know, I'm also, a lot of things I do are actually musical. There's always a music that plays in my head, strangely enough. So I wanted something that was slow and fast and syncopated and simultaneous. Things that happen within one frame, at the edge of the other frame and so on. So I wanted to give a sense of a disjointed life, if you want. As explained this morning, I really function on strategies of open text and multiplicity of authors. So I'm one author, the camera is an author, reality is a very forceful author and so is the viewer. So my saying that, you know, I want this or that experience for the viewer would be completely counterproductive, directive and democratic. So I always leave space for the reader to do their work, take the time and eventually surrender to the image and, you know, in that process begin to explore ideas that are not word related. I know it's painful for you, as a point, to hear that. But, you know, that notion of open text, it's a strategy. It doesn't mean that I'm completely innocent or that I don't know what I'm doing and know very well what I'm doing. But I'm going towards a more progressive text than the one that would, where I would kind of tell you or tell the viewers what they should think or feel.