 And you are fine. All right. OK, so now we're working. And in order to be consistent, I'm actually using properly screenless. OK, so this is a, I realize this is a weird idea. It's not, and I guess as a way of explaining it, I'm not calling this a proper software project, because then I think people would start to judge it in a way that I find to be more of a problem. The idea is that this is actually, I'm calling it, and I know for some people maybe this sounds a little pretentious, but I'm calling it an artistic operating system. So it's a sort of experiment, an artistic experiment towards creating a different way of dealing with media in everyday life that doesn't involve a screen. And when I say screen, what I mean by that is a raster-based display, usually light emitting. So if there's any sort of dispute, that's my pedantic definition. So this is just a sort of, I don't know, I like this image. It's a woman who's, I believe, calculating the United States Census from 1940. And she's using a card punch to enter data, which would then be this is sort of proto-digital or pre-digital. It's actually digital, but it wouldn't be fed into a computer. It was just some kind of adding machine, which would then calculate, I don't know, how many people live in Shaboykin or something like that. So that's basically, you can see this as a set of experiments that I'm working on as a sort of hybrid. It's not purely paper, but it's also, it's got some digital components, but there's no screen. OK. So maybe I should explain the rationale here. So sort of what's wrong with screens. I mean, there's nothing really wrong with screens. The screens are great. And the more experiments I do, the more I find that there's a few very specific functions that are almost impossible to do without a screen. But I'm going to try anyway. So screens, I think most people would agree that they're starting to dominate space. And there's also a problem with screens in that the way they work is they define a frame. You have a sort of window-like view of the world in that there's the thing inside the frame of the screen. And then there's everything else that's outside. And they're separated by this pane of glass. And so you could see this as something that's useful because it's a sort of a different world. It's a separation. But it's also problematic in that if you're looking at this thing eight, 10, 12 hours a day, that means that you're essentially shutting out the rest of your existence in a way. And it's this sort of, I think it's a little bit problematic. And I think this screen also has a tendency, it's very seductive. I mean, when you think of if we use this window metaphor, we can look here and there's this thing here that's a reference to a stained glass window in a church. And the whole, the stained glass window, at least maybe now, it's not quite as exciting to people. But in the Middle Ages, this was very exciting because it was essentially something, a form of media that was meant to be a portal to the heavens, to God, to the astral plane. And the way this light coming through this glass, and it's sort of mind-blowing. OK, I'm speeding up here. OK, this quickly then, why new media sucks in 14. This is just a screenshot of YouTube. So there's a video here. We've got some advertising we have to watch first before we can see the thing. Now we've got some sort of high scores and gamified stats and competitive stuff to encourage people to contribute more content. Now you have 200 pages of trolls and clowns and rambling. And you've got here some clickbait to encourage you. You haven't even watched the video yet. And you're supposed to be looking at the next thing that you're going to watch after that. And in the end, this is an interface that has been informed by money. And you can see because the thing you really wanted to look at, the one little image was here. And if you're like me, I've got a small laptop. So now we've got 15% of the whole screen is what I'm actually interested in. And I have to work really hard to not think about all of this other crap that's around it. So in a way, I'm trying to push towards maybe the idea that as designers and programmers, we could make interfaces that are less crappy, in a way. And this is very like, I'm still sounding like a grumpy old man. But bear with me. I'll get to the point that's a little bit more optimistic. All right. So here's another example. This is a tracing I made of the, this is an ARM dual core M3 CPU. And this is what the chip looks like inside. And if you see these, we think about, oh, it's dual core. So that must be where the real exciting horsepower stuff is. Those two cores are just these two little blocks here. And then down here, we have USB. Almost everything else is related to graphics. And it's just funny, it makes me realize that so much of our effort, if you're writing software these days, a huge amount of the effort you're putting into writing software, even if your software is something that's not graphical, it's about managing graphics. So it's about UI. It's about video decoding. It's about all of this sort of stuff. And it's, for me, sort of an interesting thought experiment to think, what if we went back to, say, the late 90s? And instead of making fancier and fancier UIs, we just made stuff that was screenless or more screenless. OK. So I think as an artist and as a programmer, this is where I'm trying to tone down the grumpy old man thing and actually turn it into something positive. So I think it's a possibility to take this sort of negative complaint thing and realize that behind every angry curmudgeon there's actually a sort of starry-eyed utopian. And that I think that's where you can start to then take this negative complaint and turn it into something that's maybe interesting. So and this is where we can make something that's maybe a critical alternative to the status quo. OK. So really quickly, some architecture stuff for those who are interested. We have this sort of office manager, which gets these events. And since I'm at this point mostly still working with paper, these are usually barcodes. Those then generate messages and then send them to the different bureaus I'm calling them. And those then will print something out using LaTeX or it'll play some music or spit out some jokes on Twitter. Here's some quick examples. Here we go. This is my news, my sort of daily newspaper thing. That one's coming along, more or less works in a way that I kind of like. Here's some, I bought an old receipt printer and I can print out tweets when I'm desperate for some sort of novelty, some funny, asinine comments that somebody just made. Those are some tweets. And then so I guess now I need to wrap it up. So here's an image that I really like. This is Grace Hopper. If you know, she's sort of like, if you don't know who she is, she kind of invented the first programming languages or at least was very involved with that. And this image is kind of interesting to me because at least usually when I think of computing culture, I tend to think of, and no offense to any of the other white guys in this room, I tend to think of privileged white males and I think that that's maybe what I'm going towards is this idea of technologies of difference. So instead of having one interface which is meant to be the one and true universal interface, which is seamless and perfect, we could work on pushing an idea that's about difference and recognizing that everyone has a right to sort of determine how they want to deal with technology and they shouldn't be forced to use the one true apple or whatever. OK.