WEBVTT

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A thing is happening.

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Beauty's at work through 
pure and selfless acceptance,

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through everyday transcendence
that remedies the chaos,

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an antidote to the sorrow 
on this earth for eternity.

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Music heard so deeply 
that it is not heard at all.

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You are the music while the music lasts.

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Insist on beauty in spite of everything.

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Decorum.

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As I'm walking, I see 
you on your motorbike.

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I can see your blue eyes 
and nose peering underneath

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the crash helmet.

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And it's not you.

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It's just a man that looks like you.

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I'm disappointed every time.

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Every time I see a man on a motorbike,
I think it's my dad.

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I'm not sure why this is.

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Sometimes I forget 
what your bike looks like.

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Everyone's eyes and faces 
look the same underneath

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black crash helmets.

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From a distance, everyone looks like you.

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Although soon I realize it's not.

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I remember you used 
to paint pictures of naked women

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in crash helmets.

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Their identities were hidden too.

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I always wondered who these women were,

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their shiny black round heads 
like lollipops.

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Props.

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Who were they, dad?

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(inhales softly)

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(exhales softly)

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(silence)

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Breath.

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(approaching footsteps)

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A laughing heart...

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Your life is your life.

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Don't let it be clubbed into submission.

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Be on the watch.
There are ways out.

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There's light somewhere.

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It may not be much light, 
but it beats the darkness.

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Be on the watch.

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The gods will offer you chances.

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Know them. Take them.

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You can't beat death, 
but you can beat death in life sometimes.

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And the more often you learn to do it,

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the more light there will be.

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Your life is your life.

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Know it while you have it.

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You are marvelous.

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The gods wait to delight in you.

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Rascal was a wildcat 
when it was four degrees outside.

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When I moved in she'd stand 
with me in winter and rain,

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sleep with me, mostly outside.

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Hunter, I never tried to break her spirit.

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Hit by a car in front of me.

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I was shocked.

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I buried her by cat litter and wild food,

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her sunshine place 
could only dig the stones

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because of city sewage pipes 
about three or four feet.

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I wish it was deeper, next to keep 
other animals from digging her up.

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When I find stones, I'll cover up

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[inaudible] begin to swell.

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If so, I'll put more soil on top.

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First, cat and friend.

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Hi. Yeah.

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I saw you last night. Hmm.

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I was in the club. Yup.

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I saw who you were with too.

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She was holding you so tight.

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Because she knows you want me.

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Oh, naw. She can't love you.

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She can't love you like I do.

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I said to myself that 
you must be out of your mind.

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You were there with somebody else.

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You know you're wasting your time.

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Oh, no.

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But she can't love you.

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She can't love you like I do.

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You're missing my beat
and I'm needing your moves.

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Let's give it one more try.
Let's get back in the groove.

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Because she can't love you.

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She can't love you like I do.

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When I was younger, 
my father was the producer

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of a transvestite troupe
and it seemed a dream for me

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to be able to observe 
what was behind the curtain.

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I think this is when it all started,
while growing up.

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I kept on searching 
for this feeling of wonder,

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this taste for metamorphosis.

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I direct speak of cabarets,
shows, or even strange.

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From video to another, 
off the same protagonist progresses

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in this mysterious 
and phantasmagorical universe.

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I consider my videos as living paintings.

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I use the camera 
as a painter with his brushes.

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What could my world be made of?

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Red. Green. Blue.

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Red. Green. Blue.

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Red. Green. Blue.

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If you want to turn yourself 
into a proud samurai warrior,

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you need the katana samurai sword.

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This high-quality plastic weapon 
is a Japanese long sword

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which will look just perfect 
with your traditional Japanese hakama

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and the traditional Japanese geta.

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And add the finishing touch 
to your Asian outfit:

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the black and gold katana samurai sword

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comes with a matching black scabbard

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so it can be stored safely.

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The Japanese sword 
will protect you in fights

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and is sure to make you 
an eye-catcher in any party.

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Size length, 105 centimeters.

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Blade length, 70 centimeters.

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Material, plastic.

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Yeah, so... a couple years ago

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a bunch of us went down to the beach

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and we got there and coast guards running

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all up and down the sand like,
"You can't get in the water."

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You know?
Screaming at us.

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So we waited a bit and they went 
further down the beach

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and then we decided we would go.

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Like, what the fuck?
Why did we come here?

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So my buddy went down there and he's like,

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"All good, come down here, man."

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So I walked over and we looked down.

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And we couldn't see it 
from where we were parked,

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but when we looked down, 
we were really close,

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you looked down and there 
just all these fucking jellyfish.

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Like, one every... like all over the place.

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One every two or three feet.

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And from where we were standing,
you couldn't really tell

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if they were living or dead, you know?

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'Cause some of them were still moving,

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but then others were just totally limp.

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So... tell me what it's like 
growing up in Singapore.

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Well, we had... I had 
these really magnificent memories

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of my childhood.

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We had these magnificent playgrounds.

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There was, like, these big watermelons.

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I remember I used to climb 
to the top of the watermelon

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and I'd rub myself on the ridges

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to give myself pleasure.

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You think we could fall 
in love on the internet?

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No.

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'Cause it wouldn't be love.
It'd just be porn.

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I don't think so.

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Seen from a distance,
almost everything looks beautiful.

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As the distance increases, 
the more you romanticize.

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All the small details from 
the everyday reminisces the past.

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Because things we want to forget 
are the things we can never forget.

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DO IT!

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JUST DO IT!

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Don't let your dreams be dreams.

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Yesterday you said tomorrow.

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So just DO IT!

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Make your dreams come true!

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Just DO IT!

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Some people dream of success
while you're gonna wake up

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and work hard at it!

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Nothing is impossible.

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You should get to the point
where anyone else would quit

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and you're not gonna stop there.

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No, what are you waiting for?

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DO IT!

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Just... DO IT!

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Yes, you can!

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Just do it.

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If you're tired of starting over,
stop giving up.

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Emerging gaming technologies 
operate within a nexus

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of social relationships that 
characterize the modern world.

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These technologies enable 
a constant commentary

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which has become 
the quintessential quality of power,

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often operating as mechanisms 
that dictate our action

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and pre-ordain our expectations.

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The work interrogates 
the cultural logic of feedback

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as a metaphor and material condition.

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It is live, cybernetic, reactive.

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Sensory data translated 
through visual and tactile apparatus.

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Disillusion of the virtual 
and corporeal boundary,

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reorienting perspective of the existing
and the alternative space and time.

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An avatar in symbiosis with the subject,

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taking the lead in a continuous loop 
of action and reaction.

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We're surrounded by forms.

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Yet it's still so elusive, right?

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You know, sometimes it feels 
like we fill that void between us

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with something that grows slowly,

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like it's overtaking us or something.

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Through the way we speak,
or what we do,

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where we put stuff around us,

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even the stances we inhabit
or the faces we make

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or even the body parts, you know?

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The food we eat. Whatever.

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Sometimes it gets heavier, you know?

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Or more light, but 
it's like all the distinctions

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are starting to melt away.

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The forms, the resemblances,
the symmetries,

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the repetitions, the patterns.

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Patterns that we know we have always had,

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that have always been there
and we're not sure why.

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And now... the outside looks 
more and more like the images

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that were contained in us 
since the beginning.

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Hi. Thank you for waiting.

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We've been running 
a little bit behind today.

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Right.

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As you know, we've taken a few readings

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and these get sent away.

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We have a look at them.
We meet, a group of us.

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Many years of experience.

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We have a look and we see what we can see.

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Does that make sense?

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If I ju--

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If you just have a look here, really...

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The system's really slow, 
so it's a case of monitoring.

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And you monitoring 
and you just letting us know

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if you notice anything unusual.

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Would you be able to do this?

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Hmm?

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You have any questions?

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Double.

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Double-sided.

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Minds. Different paths.

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One runs after sunlight,
one follows the rising moon.

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They either congregate, 
connect, intersect, touch,

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unite at sunset for eclipses...

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play and then separate 
for long interstices.

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Later, re-enacting past meetings 
forever lost in repetition.

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Ebb and flow, edging closer.

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Expanding warmth.

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That point just before the pressure bursts.

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Capillary rush.

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Tension. Resisting.

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Each muscle, each limb, 
each breath under control for now.

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Questions of limitations 
dissolve into the blur.

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Eyes open, but horizons fall away.

00:13:56.392 --> 00:13:58.261
The burn increases now.

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(Shia grunts)

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The pain sensors...

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one of you escapes, but I pull you back.

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Heh. Duality.

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Existing only as a whole.

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Weakened by quivering joints.

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Lungs push for release,
a struggle to hold on.

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Control surrendered, suspended in dullness.

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Eyes close.

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Now numb.

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Running, reaching, falling, 
skipping, turning, sliding, walking.

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These are all words 
that describe ways of moving.

00:14:42.690 --> 00:14:45.939
Each action is packed 
with many micro-movements.

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It's hard for us to recognize 
these small movements individually.

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When describing how to walk, 
we use the simplest terms possible

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and struggle to explain all 
the mechanics of a simple movement.

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Understanding body movement 
in the terms of everyday language

00:14:58.320 --> 00:15:01.384
should be simple, however 
our muscle memory takes over

00:15:01.384 --> 00:15:03.493
for our brain and our body 
becomes a strange system

00:15:03.493 --> 00:15:07.186
of levers and pulleys 
that maneuver by our command.

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She sits.

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I squirt toothpaste in my mouth.

00:15:16.796 --> 00:15:18.051
I start to brush.

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She's looking at me.
I look at her.

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I keep brushing whilst looking.

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Whilst I look at her,
she looks at me

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and I continue to brush, 
getting faster, getting harder.

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I start to gag.

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My eyes leak and I still look at her.

00:15:34.833 --> 00:15:37.804
She looks at me and I keep brushing, gagging.

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I feel like I'm gonna be sick.

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Am I gonna be sick?

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Gagging! Paste down my face, 
my hair, on my shirt.

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Dripping, and I still look at her
and she looks at me.

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Enough.

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The sculpture, the painter,
the video maker,

00:16:08.952 --> 00:16:11.985
the figure of the artist has been 
as fetishized in Western culture

00:16:11.985 --> 00:16:15.818
as the Hollywood actor,
the town drunk or the Messiah himself.

00:16:16.498 --> 00:16:19.008
Michael Peter's TateShots
attempts to reconfigure

00:16:19.008 --> 00:16:23.125
the concept of creator or creatrix
by placing himself in the position

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of artist as meme.

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Watch, enjoy, and be one.

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We are all children of the universe.

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Yeah, absolutely.

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I feel my absence 
in the absence of all things.

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Belief in living has been 
contorted into this shortened life

00:17:05.564 --> 00:17:08.166
of contempt and pre-determined imprisonment.

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And I...

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(sighs)

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I feel it all collapsing.

00:17:17.876 --> 00:17:20.628
I CAN'T FUCKING EMBRACE IT!

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(sighs)

00:17:29.485 --> 00:17:30.518
(sighs)

00:17:40.045 --> 00:17:44.161
It's near and here I stand...

00:17:48.101 --> 00:17:51.863
wasting my last moments, 
cursing thee who impress me this

00:17:51.863 --> 00:17:52.863
your fate.

00:17:55.917 --> 00:17:57.429
You give nothing.

00:17:57.643 --> 00:18:00.279
No mercy, no empathy.

00:18:01.489 --> 00:18:03.098
Only self-hate.

00:18:03.098 --> 00:18:05.317
To you, I'm just a fucking plaything.

00:18:05.317 --> 00:18:07.641
An amusement replicating the cries of man.

00:18:07.641 --> 00:18:11.294
You replay the last moments 
of my life over and over and over!

00:18:11.294 --> 00:18:15.904
I'm just a fucking charade 
suspended at the core of ridicule

00:18:15.904 --> 00:18:19.539
and I pity for those whose end mirrors mine

00:18:19.539 --> 00:18:21.221
and I pity myself.

00:18:23.481 --> 00:18:24.976
(sniffles)

00:18:26.269 --> 00:18:27.668
I'm helpless.

00:18:28.925 --> 00:18:30.039
Thank you.

00:18:37.213 --> 00:18:41.633
I'm tormented by the inescapable

00:18:41.633 --> 00:18:44.636
rewinding collapse.

00:18:48.401 --> 00:18:50.258
Don't let them see me like this.

00:18:52.873 --> 00:18:54.605
Man is under surveillance.

00:18:55.555 --> 00:18:56.601
Where is he going?

00:18:57.668 --> 00:19:00.793
Almost into a state of euphoria, of relief,

00:19:00.793 --> 00:19:03.489
as though he's happy about it.

00:19:03.489 --> 00:19:05.711
He has to act as a looking glass
rather than a mirror

00:19:05.711 --> 00:19:07.975
of social conventions.

00:19:07.975 --> 00:19:12.101
He disintegrated perfectly,
but never reappeared.

00:19:12.871 --> 00:19:15.495
He became translucent to reveal his reality.

00:19:16.265 --> 00:19:20.018
It's impossible unless he is, 
or was, insane.

00:19:22.118 --> 00:19:25.340
He changed his mind.
You know how men are.

00:19:26.440 --> 00:19:29.282
Perhaps it symbolizes something deep 
in the subconscious.

00:19:30.051 --> 00:19:37.567
(silence)

00:19:43.186 --> 00:19:45.049
Feeling genuinely upset.

00:19:49.384 --> 00:19:51.853
Tears level. Hmm.

00:19:56.815 --> 00:19:58.041
Shame on me.

00:20:00.262 --> 00:20:02.827
My face is receptacle on surface,

00:20:03.747 --> 00:20:06.195
a surface that's throwing up 
what's already there.

00:20:07.286 --> 00:20:09.268
Wet wear and hard [inaudible] stuff.

00:20:11.458 --> 00:20:14.486
Confrontation is post. Preferably.

00:20:15.316 --> 00:20:18.165
Living in lilts like over and under.

00:20:18.165 --> 00:20:20.998
With grapple here 
is approaching confrontation.

00:20:20.998 --> 00:20:23.212
Or surface lump rolled out.

00:20:25.542 --> 00:20:29.623
You go through the dump 
to form a projectile semi-bound

00:20:29.623 --> 00:20:31.727
like protest song collapsed.

00:20:32.677 --> 00:20:34.979
Needs filled for no other.

00:20:35.928 --> 00:20:38.775
Forced partly forever as long 
as I leave you together.

00:20:41.435 --> 00:20:42.687
Art hits.

00:20:44.787 --> 00:20:46.383
Whatever I point at is big.

00:20:51.885 --> 00:21:33.281
Snapped leg. Snapped leg.

00:21:36.296 --> 00:21:37.746
Chalk circle.

00:21:38.296 --> 00:21:41.792
Another one of those days where you think,
"Shit, I've done nothing today."

00:21:41.792 --> 00:21:43.276
This London Underground journey

00:21:43.276 --> 00:21:45.711
needs no excessive 
mental activity to perform.

00:21:45.711 --> 00:21:48.625
I'm stuck in a strange 
modern day meditation.

00:21:48.625 --> 00:21:50.603
This space asks for an interruption.

00:21:50.603 --> 00:21:53.533
When it happens, it's a moment 
of pure panic and confusion.

00:21:53.533 --> 00:21:56.088
All previous expectations are obliterated.

00:21:56.088 --> 00:21:57.952
There's a second of elation.

00:21:57.952 --> 00:21:59.672
The rules are being broken here.

00:22:01.042 --> 00:22:02.432
Quickly, it passes.

00:22:04.352 --> 00:22:06.481
I'm back in the routine.

00:22:06.481 --> 00:22:08.794
There's an expansion 
of discovery and limitation,

00:22:08.794 --> 00:22:11.808
even if I'm thinking, 
"Fuck. This is boring"

00:22:11.808 --> 00:22:14.138
as I scribble repetitively onto the floor.

00:22:18.458 --> 00:22:22.281
Between the visible and invisible lies 
a glistening rectangular pane,

00:22:22.893 --> 00:22:24.668
a transparent veil.

00:22:25.224 --> 00:22:28.241
This thin glossy sheet of glass, 
so innocent looking,

00:22:28.241 --> 00:22:31.101
is the frontier between 
the physicality of toil

00:22:31.101 --> 00:22:33.941
and the ignorance of immateriality.

00:22:33.941 --> 00:22:38.783
Liquid crystals oscillating between 
a seamless fluid and solid state

00:22:38.783 --> 00:22:41.375
produce a viscous reality 
that's almost palpable,

00:22:41.375 --> 00:22:45.769
almost attainable but succeeds 
only in abstracting.

00:22:45.769 --> 00:22:48.752
The heightened artifice 
perpetuates anonymity,

00:22:48.752 --> 00:22:51.205
outsourced and far away.

00:22:51.205 --> 00:22:55.776
Dead labor turns to capital
and power relations dissolve.

00:22:55.776 --> 00:22:58.155
All that is solid melts into the air.

00:23:03.325 --> 00:23:06.488
These light installations do
not provide an original experience.

00:23:07.231 --> 00:23:09.278
Instead, the audience 
will witness occurrences

00:23:09.278 --> 00:23:12.155
they have previously encountered 
in their everyday lives

00:23:12.155 --> 00:23:15.486
on bedroom walls, floors, 
and through bus windows

00:23:15.486 --> 00:23:17.051
but may have never noticed.

00:23:17.600 --> 00:23:20.609
Observing, recording, 
and recreating studies of light,

00:23:21.025 --> 00:23:23.699
this series of events are light occurrences 
that have captured

00:23:23.699 --> 00:23:26.443
and digitally recreated using projectors

00:23:26.443 --> 00:23:29.386
as the technology to stage
them in this space.

00:23:29.386 --> 00:23:32.249
Do you either go noticed or unnoticed?

00:23:37.229 --> 00:23:41.099
What you're about to witness 
is quite definitely harrowing.

00:23:41.915 --> 00:23:45.594
British artist Jack Evans, 
when he was raised in Mansfield,

00:23:45.594 --> 00:23:47.658
part of the Midlands, is now at

00:23:47.658 --> 00:23:51.780
one of the most southern parts 
of the UK, Brighton Beach

00:23:51.780 --> 00:23:55.801
in the hellish winter cold 
laid out in nothing but Raybans,

00:23:55.801 --> 00:24:00.670
his favorite pair of speedos 
and a fucking tacky shit gold watch,

00:24:00.670 --> 00:24:04.431
eating what I believe 
those Brits call a 99 Flake.

00:24:04.431 --> 00:24:07.707
His body looks glorious 
as it shivers in the wind.

00:24:07.707 --> 00:24:11.754
I do have to remind you, 
especially the ladies,

00:24:11.754 --> 00:24:13.755
it was fucking cold.

00:24:14.665 --> 00:24:15.760
Enjoy.

00:24:19.605 --> 00:24:22.773
Hold your breath.
Count to two.

00:24:23.625 --> 00:24:26.316
Come with us in a world of pure imagination.

00:24:27.156 --> 00:24:30.163
Take a look and you'll see 
into our imagination.

00:24:30.923 --> 00:24:34.218
We'll begin travelling 
in the world of our creation.

00:24:34.877 --> 00:24:37.830
What you'll see will have no explanation.

00:24:38.597 --> 00:24:39.925
Look around.

00:24:40.283 --> 00:24:43.585
There's no life to compare 
with living with no pixelation.

00:24:56.841 --> 00:25:01.148
Joe Moss was Shia LaBeouf 
before Shia LaBeouf was Joe Moss.

00:25:05.842 --> 00:25:08.028
We only got 30 seconds, 
so I mean, I'll try his voice

00:25:08.028 --> 00:25:11.078
but... I don't know.

00:25:11.081 --> 00:25:13.730
Who makes that choice?
Who's pretending to be who?

00:25:14.740 --> 00:25:17.119
We're pretending to talk 
to a you that doesn't exist yet,

00:25:17.119 --> 00:25:18.654
but what's really going on here?

00:25:18.654 --> 00:25:22.033
I... fuck, I don't think 
any of us understand.

00:25:22.033 --> 00:25:23.311
Maybe you do.

00:25:24.713 --> 00:25:26.435
There's always reflections 
of you in the screen,

00:25:26.435 --> 00:25:28.214
but I can't speak.
I'm dumb.

00:25:28.214 --> 00:25:30.966
I'm the dumbest, but Shia talks.

00:25:30.966 --> 00:25:33.113
Fuck, 30 seconds.
All right.

00:25:33.113 --> 00:25:34.385
Pressure, whatever.

00:25:34.385 --> 00:25:35.938
Hey, mom, it's really Joe.

00:25:35.938 --> 00:25:38.076
I bet you never thought
this would fucking happen, huh?

00:25:38.076 --> 00:25:39.307
(chuckles)

00:25:43.317 --> 00:25:45.657
Work number 24 oscillates somewhere between

00:25:45.657 --> 00:25:48.377
a durational performance in live sculpture.

00:25:48.377 --> 00:25:51.556
The work seeks to act both 
as a social and institutional critique

00:25:51.556 --> 00:25:55.052
of "What is an art school?"
presented then in the form

00:25:55.052 --> 00:25:57.281
of a bookshop, as opposed to a library,

00:25:57.281 --> 00:25:59.371
arguably a democratic equivalent.

00:25:59.371 --> 00:26:02.004
The work seeks to explore 
the currency of ideas,

00:26:02.004 --> 00:26:04.738
how trade and exchange 
is not only commoditized,

00:26:04.738 --> 00:26:07.668
but perhaps how conversation 
is perhaps a vital component

00:26:07.668 --> 00:26:10.626
in the flow and disruption 
of how culture manifests.

00:26:14.816 --> 00:26:17.890
A practice revolves around 
questions of fact and fiction

00:26:17.890 --> 00:26:19.840
and the blurred line that lies between.

00:26:20.420 --> 00:26:22.297
I'm interested in how surveillance images

00:26:22.297 --> 00:26:24.773
can be manipulated 
and orchestrated in order to create

00:26:24.773 --> 00:26:28.179
a particular narrative, 
creating an unreliable narrator.

00:26:28.919 --> 00:26:31.018
There are three parts to the work:

00:26:31.018 --> 00:26:33.721
Footage of a factual space,
whereby a sequence of events

00:26:33.721 --> 00:26:37.191
has occured, the digital 
drawing of the space,

00:26:37.191 --> 00:26:40.925
and a stripped-back stage 
to its crude simplest skeletal form,

00:26:40.925 --> 00:26:43.491
where the sequence 
of events is re-enacted.

00:26:43.491 --> 00:26:46.945
The stage is a factual representation 
of a real life space

00:26:46.945 --> 00:26:49.847
whereby every property 
is identical in dimensions.

00:26:53.787 --> 00:26:56.506
57,910,000.

00:26:56.878 --> 00:26:59.581
108,200,000.

00:26:59.811 --> 00:27:02.640
149,600,000.

00:27:02.940 --> 00:27:06.471
227,940,000.

00:27:06.471 --> 00:27:10.201
778,330,000.

00:27:10.201 --> 00:27:13.856
1,429,400,000.

00:27:14.110 --> 00:27:18.007
2,970,990,000.

00:27:18.136 --> 00:27:19.639
4,000,000,500.

00:27:19.639 --> 00:27:21.496
4 million, 5 billion...

00:27:21.496 --> 00:27:24.546
913,520,000.

00:27:29.376 --> 00:27:31.935
I can't stop looking at my phone and computer.

00:27:32.756 --> 00:27:37.013
Separate connected entity making 
me lose time/space awareness.

00:27:37.013 --> 00:27:38.310
Where's my phone?

00:27:38.310 --> 00:27:40.845
I need to make this sunset digital.

00:27:40.845 --> 00:27:42.782
A stone preserved in binary code

00:27:42.782 --> 00:27:44.503
until the server breaks 
and the national grid

00:27:44.503 --> 00:27:46.095
runs out of gas.

00:27:46.095 --> 00:27:47.735
I can't find my money.

00:27:47.735 --> 00:27:50.179
Dad left the physical sphere long ago.

00:27:50.179 --> 00:27:53.712
All I see remind me of things online
or in a video game.

00:27:53.712 --> 00:27:55.955
They are so real in the moment.

00:27:55.955 --> 00:27:58.740
I climbed that mountain 
with my mind and fingers.

00:27:58.740 --> 00:28:01.498
My body didn't even get close.

00:28:01.498 --> 00:28:04.688
All my experiences turn 
into light and pixels.

00:28:08.958 --> 00:28:11.927
Errrrrrmmmm.

00:28:12.258 --> 00:28:15.157
Ummmmmmmmm.

00:28:15.485 --> 00:28:18.906
Oohhhhhhhmmmm.

00:28:20.136 --> 00:28:23.755
Ooohmmmmmmm.

00:28:25.035 --> 00:28:29.060
Errrrrmmmmmmmm.

00:28:29.060 --> 00:28:32.410
Ummmmmmmmmm.

00:28:32.750 --> 00:28:35.299
Ooohhmmmmmm.

00:28:36.617 --> 00:28:39.866
Ohhmmmmmmm.

00:28:40.846 --> 00:28:45.919
Errrrmmmmmmmm.

00:28:46.259 --> 00:28:49.945
Ummmmmmmmmm.

00:28:50.275 --> 00:28:53.425
Ohhmmmmmmmm.

00:28:55.635 --> 00:28:59.275
Ohhmmmmmmm.

00:29:00.225 --> 00:29:03.688
Errmmmmmmmm.

00:29:03.911 --> 00:29:07.088
Ummmmmmmmmm.

00:29:07.741 --> 00:29:10.722
Ohhmmmmmmm.

00:29:11.585 --> 00:29:15.259
Ohhmmmmmmmmm.

00:29:15.991 --> 00:29:20.375
Errmmmmmmmmm.

00:29:20.850 --> 00:29:23.378
Ummmmmmmm.