 a documentary, an experimented documentary on the fourth floor. I say that I've been interested in a lot of ideas about cartography or math. And the tension between the ways in which we map ourselves for ourselves within the Caribbean and the ways in which other people map us. And so there's a distinct tension between this work and the other work. Thinking about ideas about hold and belonging. And I try to create this, I guess, kind of affiliation where this very sort of perfectly manicured rendition of what the Caribbean is and this attempt of rendering it as this one part of my space that's understood and seen as one space. The other piece kind of relates to that in a way, and it's looking at how Caribbean migrants are moving within the Southern Caribbean and the ways in which they're trying to locate themselves and the kinds of tensions that are coming out of that current movement. So it's tracking inter-regional movement of Caribbean nationals within the context of this attempt for 14 of these items to come together as an economic unit. I think it's referred back to, I'm so congested. The title of the piece is a parody on a logo taken or a slogan taken from the Barbados Board of Tourism's advertising kind of phrase that says just beyond your imagination. The title of the play on that is a call to just beyond my imagination, the way in which a lot of the space is becoming very inaccessible to both the people in the region, unaffordable, physically inaccessible. And also what happens when there's such an immense foreign presence all the time, everything you eat, you read, you wear, and you see on television and a lot of what you listen to is imported from other spaces. And just questioning how that impacts on the ways in which we understand ourselves when we're constantly reflected in the eyes of someone else doing the rendering. The other work is completely, I guess, an opposition to that. And the tension is that there are people within the Caribbean who are using their own voice to speak about the migrant experience. And it's interesting to me to see that these are Caribbean people moving within the region. They're not, like, within the EU. There's a sort of tension maybe between Turkish Muslims moving into Germany. Whereas in the Caribbean it's very different because we all have a history of a migrant experience and, you know, there's a similar kind of colonial history. So I find it interesting that there's some xenophobia, fears being expressed about the current movement of people within the region. And so I felt, in a lot of the work I've done before where there's pieces thinking about constant migration and constant back and forth of Caribbean people moving. In this case, I wanted to have the Caribbean people speaking themselves about their movement. I actually think that's all I can say for the moment. I'm not speaking very well. I can't hear myself. I don't know if there's any questions about anything. Which is your other piece? The other piece is on the Torah floor. It's in a black box and it's called On the Map. I call it an experimental documentary because it's combining sort of talking heads with more lyrical kinds of interjections. And then there are other people, aside from the migrants who are speaking, who are trying to offer a different perspective on the integrated movement within the Caribbean. So there's a philosopher. There's a playwright and a musician and a mass man who are trying to speak about ideas of difference instead of speaking about these relationships and binary terms which we really inherited from a colonial understanding of ourselves. And to sort of speak about how can we think about this, you know, sort of debunking the myth of a unified Caribbean space and then how can we begin to think about experiencing this integrated movement that's happening right now which is quite significant in the region's history. And the way in which it's being told to us at the state level is that it's, you know, we're just this one integrated space and it's really functioning for professionals in the business class to be able to move personnel very easily throughout the region and the social kinds of issues are not being addressed adequately. So the original sort of integrations in the Caribbean would have been like the popsters and the market people and the people at the Lawrence and the socioeconomic matter who were moving freely within the region. But when there were colonies we were able to do that and interestingly enough when we became independent the walls went up between the terraces and it became much more difficult to move. And now we're sort of trying to do this integrated movement but it's only working for some people. And so I'm questioning how is it that some of the people that are already with the original integrationists and the people at the Lawrence and the socioeconomic matter are not able to access this supposedly integrated space. And so it seems to me that a lot of spaces in the region are becoming inaccessible. I guess in the way we think about ourselves and in the way that we don't have the power to access the space and it's partly in connection, I think, to this kind of space that we're creating for tourists and the way in which we map ourselves to people that are from somewhere else versus thinking about what we need to do within the region for ourselves. And so I think that there's a tension between the works that's trying to address some of those issues. I've actually just finished it and this is the first place that it's been shown. And I'm just currently talking to some spaces about the possibility of showing it somewhere else. I'm particularly interested in showing it in the region, even though it's in comparison to the market or the numbers of people you can get in the US and the UK. I'm particularly interested in showing it in the region to use it as a platform to discuss some of these issues. And I suppose one of the obvious spaces for it is one of the more academic kind of space because there's now these human diasporic populations and they're speaking about migration studies and diasporic studies and Caribbean studies. So I'm, I guess, interested in interfacing with that space as well. Do you find yourself in these places talking or putting a part of the conversation literally? Yes. Yes. So screening the film and speaking about it. I did that as a work in Pearl Grass. I've been working on it for the last two years. And that was a work in Pearl Grass about a year ago, which was a very worthwhile kind of exercise. Fragment at the same time because it was a work in Pearl Grass or exposing yourself before you think you're ready. But, yeah, so it's just really been finished and shown here. And I suppose the obvious thing in film festivals and that kind of thing is where it will go. So can you say something about time, Diva, about the golf thing? Because you're saying the barge is the golf. Yeah, there's, I mean, yeah, there are, parties is interested in sort of promoting itself as like one of the golfing centers of the world. So we currently have about seven golf courses. I mean, you have to imagine this is an item that's 14 by 21 miles. This is not exactly geographically correct. There are about 20 countries I'm representing here. 90 golf courses on this point are counting. And the largest country, Cuba, has two. And, you know, what's happening in Barbados is there are these spaces that are being developed obviously the entire south and west is completely inaccessible. You can't see the sea when you drive by on the coast because there's just concrete hotels and, you know, developments. And they're selling it to me. There are these condominiums that are now selling it, 16 million US dollars. And they're selling, you know, very quickly without any trouble at all. And so when I, you know, I tried some of the, I went into a golf course to get, you know, a pinch, which is what they call flat hole. And it's a very bizarre space because there's no sign of life. There are these huge mansions, you know, with beautiful gardens. There's no sign of, you know, anything there, people that are working, maids and gardeners. And, you know, one of the things that Chris mentioned last night is, you know, does this space serve our interest or are we just supposed to work there, you know, and just to serve there in a particular way? There are very sterile kinds of spaces that are being created. And of course there's, you know, economic wellbeing that's connected to it. But I guess the concern is it's not being balanced. And this is a way in which we're seeing ourselves as becoming more devout and involved. And so it's, the serenity of this is quite frightening. I mean, I guess it's, you know, consciously a very adaptive, sterile kind of frightening space, you know, like the Truman Show, you know, that film, the Truman Show. Yeah, so I guess I was using that as something to piggyback on, something that we're already trying to push in our developmental sort of model. Those kinds of spaces are being created here in the US and Florida. Yes. And maybe in California. And I know for sure in Florida, the same idea of the Native community on a golf course and nobody gets in or out. Exactly. Purchase and expense at home. Right. And I suppose it's a way of people that use it feel that they're close to nature. But what we have now are spaces that are being, like, there's four seasons being built and they've just taken down thousands of trees and their argument is that they, they're planned in 20,000 to replant, but they're completely altering the natural landscape to create a space that they want to inhabit and they want to sell. You know, and these places are rented at 7,000 US dollars a day. These are very inaccessible spaces. And so I think that there's clearly attention that's developing between the local community and the expatriate community about control of those spaces and, you know, how... You know, I mean, I'm inheriting a very different... My children are inheriting a very different space than one in which I grew up here. And it's one that's increasingly limited access to. And I find this very disturbing. I mean... Oh, sorry. Yeah. I just can't see how this is going to work. Because I think it's quite stuff. It's tiny. Yeah. Well, I think there was something in the newspaper about me here about saying you were getting 500 new cars on the road monthly. And so, you know, you've got, you know, huge congestion and, you know, lots of traffic. But there's a model that we're aspiring to of, you know, everybody has to have a car. It doesn't work. But I think that that we're questioning then, you know, these, I suppose, close independent national agendas are not working. I mean, I seem to be working for some people, but it doesn't seem to me that it's working across the board. So I think that, you know, those are some of the things that I'm thinking about. Which, I don't know, those Barbados... I know it's not exact. It's the one... The first one. The first one. Yeah. I think that the film in combination with this is asking the question, when will we stop running? Because we have enormous migration happening. 89% of people in Guyana with tertiary level education have left 73 inch in a bag, 60 something in Barbados. You know, why aren't we running? What is the relationship between, you know, those that are leaving and 36 million tourists arriving to this region on an animal basis? You know, there's a tension between those two things that I find very interesting. You know, this myth that we imperative of a unified space is paradise and it's exotic. Then the reality of living there and our own Caribbean nation was a movement we're not wanting to be accepted by the Caribbean nation. This is a fear of how that will impact on the general well-being or not wanting to have Indo-Gaians coming into a black country because they don't want to have that dynamic or, you know, all of these kinds of things. And I feel that there's not a lag which hasn't been developed within our society to maybe speak about it in a constructive way. And so one of the reasons then for doing the film is to allow people who are moving to speak themselves so that we can listen and hopefully have a little more of an established tolerance and sensitivity to black issues. And I think combining it with something like this is interesting because to me it's all about land and artography and mapping and how we map ourselves and if we don't map ourselves or ourselves are we even a real country if we continue to be mapped by other people you know, over centuries. How does that impact on the world as an Indo-Gaians?