almost always when I'm overwhelmed, it's because I'm in a between state. I don't like being

between things. I don't like the liminal plane. In the last episode, Adam talked about how an artist participates in the culture, but culture is a two-way street.

I mean, at least a two-way street. Maybe more like a semi-cautic town square. And being in it changes your direction it re-orientes you

in unexpected ways how is the architect of the town square affected by living in that town square

how does the culture in turn influence the artist? And one more question.

What happens when a restless inventor like Adam turns his POV on himself?

Thomas Edison once said,

I can never pick up a thing without wishing to improve it.

And when asked to provide us with his biography, the first thing Adam does is to interrogate

and then reinvent the very idea of biography.

I don't like the way in which we narrow, in which we linearize each other's lives.

Because if you look at me across this broad, across this broad time scale, I wanted to work on Star Wars as soon as I found out that people worked on movies like that when Sinifantestique told me that in

1977 and then I got to work on Star Wars in 2000 in 1998, 1999 and that looks like a linear

story but in the middle is all triage. It was all running out of money and family problems

and divorce and kids and all sorts of

crazy shit.

And I count my blessings constantly.

I came across a piece of writing that said whenever you're mad about nearly anything,

you should check your privilege.

And it's because you're mad that something's not

going the way you want it, and that's right there, there's a, there's privilege going on there.

John Cabot-Zinn, who's the man that I think really brought secular Buddhist philosophy to the

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