The It's not really mathematical, but there is a kind of visual algorithm that suggests itself, that the work implies.

And then we respond to instinctively you know because you move these around

and all of a sudden you're into another place and that's enough to keep me going, gets me out of bed in the morning just to see what it's going to do.

It's called attack. It's attack. It's attack. It's like when I play guitar. It has attack.

So I want to generate the concept of attack in the digital space.

And so by thinking about it, possibly I will.

Yes.

But I am coming up with something, you know.

The 135, I was telling Cherry that the 135 is on a rangefinder is kind of difficult to use

because nobody's going to, in their right mind, is going to put a 135 on a rangefinder.

But I can do it.

I'm finding the, I'm finding that there's a world out there.

There's a distance to the world out there

that I had never previously considered as harboring

visual potential content so. Where is that in California? Yeah, yeah in

the pop spring.

This is New York. Yep, very, New York, I have a brief photo.

And the smoke the clouds was not.

That's just a block from here.

That's a hotel, yeah, So I was friends with Kauti Bissant, and so we're talking

about color. I was working on burgundy.

He says,

...