^M00:00:10 >> David Plylar: Nice to see all of you here tonight for this very special presentation that's kind of experimental thing. We've never done this before. So we're excited to have you here. My name is David Plylar, I'm with the Music Division of the Library of Congress, and we put together this video game music mini-fest that started last night, continued with a copyright talk today at noon. That was great. And then we had a pre-concert talk that was a history of, a brief history of video game music. And then tonight, we have a newly commissioned work that we're going to be hearing and also playing around with ourselves. So we'll see what happens. There's a lot that's going to happen, and I hope that you enjoy it. I also wanted to mention to you that tomorrow, we will have two more speaking events. At 11am, we'll have a talk about preservation, formatting, video games for posterity, to keep them around so that future generations can see what was going on at this time, and how the Library processes these things. And that will be with some members of our staff, the Library staff. And then at two o'clock in the afternoon, composer Winifred Phillips will be speaking about her work as a composer. And that will be a fun thing as well. I'm going to turn it over to my colleague Solomon who's going to tell us about another exciting thing that's going on tomorrow. >> Solomon: So tomorrow, starting at 10 o'clock in the morning, the Library will be opening up #LOCArcade. We will be having experiences with arcade games, video games, and video game music and sound starting with 1972's Pong and working our way all the way up to 2016's HTC Vive for virtual reality experiences with some of our participants. Providing free virtual reality experiences for our audience. We hope you're able to come and play some Sega Genesis or some Super Nintendo, or some Atari. If you know how to play Pitfall and are terrible at it like I am. We hope that you're able to come and join us. It starts at 10 o'clock in the morning, and it closes forever at four o'clock in the afternoon. It should be a lot of fun, and we hope you have some wonderful and diverse experiences with the sound. There is one thing that I'm going to ask you to do for tonight. And it's something I've never asked anybody in this room to do ever before. Please take out your phones. Let's go ahead and take out our phones. For tonight. The library has given us some extra bandwidth on the WiFi. You're going to need it. So I'm going to ask everyone to take out their phones and get on the Library's WiFi, the network is LOC Guest. There is no password but you do have to agree to be spied on. So go ahead and do that. If you have any questions about it, please ask your neighbor. You are free to Tweet and Instagram and Facebook. The hashtag is #LOCArcade and @LibraryOfCongress. >> David Plylar: And so before we start the program proper here, I wanted to introduce you to our four speakers who are going to be kind of leading a discussion in addition to the performances that we'll hear. And so I'd like to invite those speakers to come out so I can just introduce you to them and you'll see their names, if they want to come on out. Now-ish. I'll tell you what their names are. There we go. So, first, we have members of Pixelated Audio, who you might have heard in the pre-concert talk. They're going to be helping to lead a discussion about what's happening today. That's Bryan Mosley and Gene Dreyband. And then we have composed. Yeah. ^M00:04:08 [ Applause ] ^M00:04:13 >> David Plylar: We have composer Austin Wintory, if you want to wave. ^M00:04:19 [ Applause ] ^M00:04:22 >> David Plylar: Austin was commi... This is a new work for violin and piano. So as a commission from the Library that you'll be hearing the world premiere of momentarily. And then Rami Ismail, who is here in the game designer, who will be, who is the person behind part of the experience that you'll see tonight. So please welcome him as well. ^M00:04:40 [ Applause ] ^M00:04:46 >> David Plylar: And so now we'll go ahead and exit the stage and let you, hope you enjoy the show. Thank you. ^M00:04:51 [ Applause ] ^M00:04:56 [ Silence ] ^M00:05:09 [ Applause ] ^M00:05:17 [ Silence ] ^M00:05:25 [ Music ] ^M00:17:37 [ Applause ] ^M00:17:52 [ Silence ] ^M00:17:58 [ Applause ] ^M00:18:07 >> Austin Wintory: We would do well to try to not move their chairs. Well, thanks for coming. This is a very atypical format for a concert. It's over. So thank you. I'm Austin, I wrote the piece of music that you heard before this last bit with the Quartet. And we're just going to have a kind of a candid conversation. And I'll kick things off by explaining, or perhaps showing the obvious, that what we just heard, and what the piece before it, the one that I wrote that you were the first ever ears to hear, and soon will give a bad review of, as is befitting most world premieres, what those two pieces had in common is perhaps obviously that they were linear. They had a beginning, middle and end. And often the end can't come quite soon enough. Again, I'm just assuming, just breeding projecting onto you. So help prove me wrong, if you care for my vulnerable soul. And the reason we talk about that, and the reason's coming up here is because one of the great joys of working in games, as was tapped into by these two guys here, and which is very well known by this guy here, is that games are not necessarily linear. It's one of the few art forms that humanity engages in that doesn't necessarily have a clear cut, beginning, middle and end. And the reason that's exciting for me as a composer, is because if you look at the history of music, and I don't just mean classical music or folk traditions or anything like that, but literally music itself, which a lot of anthropologists think probably predated actual language. So this is, this is as old as essentially humanity itself. It has always been in linear experience, and so against however many tens of thousands of years of development, with only a few little caveats and exceptions, in the last couple of decades, we've been toying with the fundamental DNA of what makes music music. And it's terrifying. And it's really hard. And it goes wrong a lot of the time, because we're kind of taking the most salient characteristic, and being the passage of time, the linearity of the passage of time, and saying, let's put that on the table as a variable alongside all the others like tempo, rhythm, melody, harmony, color, range, etc., etc. So it's pretty crazy. What you have to say about that? Did I cover it all? ^M00:20:56 >> Bryan Mosley: One thing about film that was easier for composers, it was a linear thing, they knew when someone was going to get punched, they knew how to react to that. They could plan everything out for how they wanted to score the music. And for game composers, it's the opposite. You don't know when a player is going to take that left turn, you don't know when players are going to interact with things, objects around them. So it has to be this creative process of delivering what the player is going to do, and bring them into that experience as they kind of continue through the game. >> Rami Ismail: That's not always been the case, like when games originally started as a medium, a lot of the experiences were not necessarily linear. But really the only diversions from paths is where you lose, right? So you'd have these games like Space Invaders or Batman, and sort of like the direct descendants of those games. And they were very much linear experiences set to linear games music, and that's sort of like the start of games music was very much a traditional start, middle, end. ^M00:22:01 >> Austin Wintory: Yeah, the, the nonlinearity expressed itself as if you were playing the piece, your measure one, measure two, measure three, I played a wrong note, go back to measure one, measure one measure, two measure three. If you get to measure four, you earn an extra measure, so you keep going. And then you only have to go back as far as measure three, it's like that's, but it's still, like you said, it's a great point. It's very much on a rail. But things have come a long way since then. ^M00:22:25 >> Bryan Mosley: And a lot of that was to drive the player to keep moving in that direction. It was work music, so it was meant to keep everything moving forward. Only one pattern. >> Gene Dreyband: Yeah, I mean, of course, the one exception is that it was looping, that was one of the early challenges that game composers had to deal with. It was still this linear music, but they didn't necessarily know how long a person was going to spend in a given area. >> Austin Wintory: Yeah, and of course, the earliest loops tended to be really horrible, because it was just start the track over again, you know, so it's the equivalent of, you know, your Spotify library, or open your favorite playlist and set it to infinite repeat, and there's just was one track. And so it's like, the amazing phenomenon happened. As a composer, I've found that there's a really high engagement amongst gamers with game music, meaning the average gamer, just a random player off the street, has a greater awareness of the music in their games than their sort of corollary film buff fan. That if you'd go talk to 1000 players of Mario or Zelda, and then compare that to 1000 viewers of like the Avengers, and there'll be like 10 to 1 of people that know about the music in the thing they just saw/played. And I think part of that reason is because you're leaning into the experience as a game and you're feeling it kind of reacts to you, even if it is the primitiveness of just looping. And the funny thing is, it quickly divides the players into two basic categories of hearing it that much hearing something loop over and over, when you play a game 100 hours in the same three piece, three minutes of music over and over and over, is hearing that will make you sort of be brainwashed into this is the best piece of music I have ever heard. Or you would kill the composer if you had the chance. It's one of the two. I find that game music tends to not have a lot of neutral kind of mehs. It's love it or hate it. ^M00:24:20 >> Rami Ismail: It also touches on another point. A lot of games series, but also games on their own in the past have traditionally been longer experiences, like where a movie is an hour and a half or you know, a theater performances an hour and a half or an hour, an opera performance is, you know, some sort of in a similar sort of time vein, games, often especially the larger games, the Zeldas, the music we just heard in the Quartet. Those are games that people spend like 10, 20, 30, 40 hours really exploring the world. And game music is very often very thematic. It uses themes to sort of like grab back at certain like moments, emotions, feelings, locations, characters. Because those are very usable elements from a game to attach music to. So I think players of games tend to really connect with certain pieces of music that just evoke certain like memories and feelings that they had. Right? That's one of the beauties of games is, these are my memories, not the memories of, you know, a movie. >> Bryan Mosley: Kind of like silent film, in that sense, where the music, there was no audio, no voices, no, maybe no sound effects are immediate. But the music is kind of what shaped your emotions and led the story. So you were developing these emotions based on the music and your own experiences while playing it. So those are very much tied together, I take it? >> Rami Ismail: Yeah, I like to think so. I don't know, like, working in games, one of the things that I was, was taught there really early was that audio is one of the fastest ways to the human like brain. The visual processing we have is pretty good, but our eyes in sort of like the hierarchy of creatures are not that great. While our ears are apparently phenomenal. >> Austin Wintory: Okay, you can, you can demonstrate that very simply. Most of you probably have heard relatively, in a sort of cursory way, that films, especially in the days of actual print film, tend to move at around 24 frames per second. So you're looking at a film, and it's, you know, perfect, stunning visuals of Avengers, I'm just going to keep harkening to the Avengers. Apparently way more of a fanboy than I care to admit. Twenty-four frames per second is enough to convince your eye like that, that is happening, those visual effects those actors, but it's literally just within each one second, timespan 24 individual images going by and your brain will stitch that together. In contrast, game audio, we frequently render at what's called 48k, which means 48,000 samples per second, which is the audio equivalent of a frame. It's a single little slice of audio data. And 48,000 of those crammed in every second of sort of digital audio is somewhat of a standard. And if one of those is missing, you'll hear a pop, you'll think like you're, you know, like in the old days, your CD player skipped or something, that that sounded kind of just going by, is a dropped sample. One out of 48,000 your ears will detect, but if there's a dropped frame in a movie, you don't usually see it. That's only 24. So yeah, our ears are have a way higher resolution than our eyes. ^M00:27:33 >> Gene Dreyband: Something that's always been really interesting. And I studied this in a film class many years ago is that really, it's not exact, but they say that audio is about 50% of any experience, whether it's film or, or games, and I think one of the reasons why we all come to love game music is because it does contribute so much to it. And honestly, if you play one of your favorite games, or watch one of your favorite movies without the music, it really doesn't register or carry any of that emotional impact. ^M00:28:01 >> Austin Wintory: Speaking as a composer, never do that. It's not a recommended way to play games. >> Gene Dreyband: It's a fun experiment, though. ^M00:28:11 >> Austin Wintory: No. >> Gene Dreyband: But it's okay. >> Rami Ismail: It's also interesting -- >> Gene Dreyband: Austin has spoken. >> Rami Ismail: Because for, for most media, but especially for games, right? Like, to watch a movie, you have to watch the movie, right? And part of that is your suspension of disbelief. You agree for now that this movie is real, that the stakes are real. And in games, that's very much, that's very much true as well. The main difference being that in a movie, if you do nothing, the movie keeps playing, right? In a game, if you do nothing, nothing happens. ^M00:28:39 And that's kind of like, that you kind of get it, like the core conceit of where a game is unique. And where it is different is that a game does not operate without a player. It's a simulation that's missing a piece and the pieces you unless you press a button, or interact with this. Nothing happens, right? >> Austin Wintory: That seems like an amazing call for our audience to press a button. >> Rami Ismail: It does. Maybe they should try pressing a button. >> Austin Wintory: Let's try an experiment. This might go horribly. >> Rami Ismail: It might. >> Austin Wintory: Enjoy the madness of this. The piece that you heard. It's called Arrows. As was mentioned before, you are needing your phones. So if you would, I'm sure you have them. You're like reading Twitter right now. So Rami here has designed a simple interface for you all. So if everyone will go to Arrows-live, live, like as in the word you know, live TV or something, arrows-live.com. You will find, rather innovatively, arrows waiting for you there. >> Rami Ismail: We would basically like to ask you to press some of those arrows at certain points in the nearby future. >> Austin Wintory: Yeah, we're going to we're going to leave this a little deliberately vague. But the piece that you heard, Arrows, is not static. It is in fact malleable. And we are inviting you into the experience of copiloting it. The, the art that you saw before is very much part of this experience. It was created by [inaudible], who is here with us as well. And we will give her proper love in a bit. But I think with that, we should dive into a second interpretation of the piece. And feel free to just poke and see what happens. And then we'll be back. Thank you. ^M00:31:02 [ Applause ] ^M00:31:22 [ Silence ] ^M00:31:29 [ Music ] ^M00:42:19 [ Applause ] ^M00:42:43 >> Austin Wintory: That unfolded slightly differently. I know that when you're hearing a new piece, it's going to be a challenge to kind of know where the distinctions lie. But before we get into any kind of discussion like that, we thought we would give some kind of a basic rundown of just sort of what interactivity in games means. Specifically, there's a word that comes up a lot in the industry called "agency" that is of prime importance. As our relative, resident expert on game design, I feel like you're our best shot at-- >> Rami Ismail: Yeah, so, as we concluded before, this, this second performance of Arrows. An important part of video game is that it does not function without a player. Now for this performance, specifically, we had a very interesting challenge, which for me as a creator was a tough one, which is it both needs to act without input from the player for the first performance, as well as with activity from the player for the second performance. But in general, the trick of a game is that it's all obviously smoke and mirrors, right? Like your high score in you know, any game, Clash of Clans or Candy Crush, it doesn't actually matter. That number is not actually important. The characters in games you meet are pixels and polygons and you know, they're created. >> Austin Wintory: What? ^M00:44:14 >> Rami Ismail: But- >> Austin Wintory: It's devastating news. >>Bryan Mosley: Ruining my childhood. >> Rami Ismail: Just all of everything you loved was fake. It's tough. >> Austin Wintory: But I took the other pill, though. I feel like it is real. >> Rami Ismail: But the good news is that that doesn't matter either. Right? That things are fake doesn't matter, because that suspension of disbelief that we were talking about means that as long as it's real to you, it's real. And in games, we tend to use hundreds of tricks to keep that illusion going. If you have ever played Mario or a similar game in which you can jump over holes, very often what we do is if you're actually a little bit late, we'll still pretend like you hit the button. Right? Right. We're basically cheating for you in video games very frequently, because we want you to feel, we want you to feel a specific way. And in a platform game, a jumping game, we want you to feel like you're good at jumping. Because if you're not, you're just going to shut it down ^M00:45:14 >> Austin Wintory: You're going to hate the game. It actually raises a really interesting point, one of the very actually, the very first game I worked on was a game called Flow that explored this concept that you're kind of dancing around called flow theory by this Hungarian, I think Hungarian, named Csikszentmihalyi, which was about this kind of back and forth between when something's really easy, it very quickly becomes boring and uninteresting. And when something's super hard, it becomes frustrating, and also uninteresting and hateful. And so there's this interesting challenge for game designers to figure out how to thread this needle and kind of create a vacillating back and forth between challenge and that's why some of those tricks, because some gamers would be appalled, right, they, to them, mastering their skills is the joy of the game, right? Some other games are not like that at all. But that giving the player that power, that agency to impact the world and to kind of participate in it is everything. >> Rami Ismail: So, so the idea of agency is that as a player in the simulation in this game, you have the ability to affect the outcome of the simulation. And in the case of the performance, now, clearly, the outcome this time was very different. I was actually quite excited to see how this one panned out. Because it's not like, this was not an outcome that I designed, right? I designed individual pieces that interact with each other, depending on how you influence the flow of time. And that made for a completely different outcome. And I think in games very frequently, what we're trying to build is, we're trying to build something in which you have a meaningful way of interacting. That obviously creates a lot of interesting problems for you as a composer, because one of the things that I as a player can do is if you have this beautiful epic jump in, in a movie, right, like across a chasm or something, you can build up exactly to the point of the jump, and then you know, the leap happens and they almost make it and you can like drop the music as they fall under the cliff and then you know, they climb over as they always do. It would be good if somebody just made a movie where somebody doesn't make that jump. >> Rami Ismail: That movie was called Thelma and Louise, but-- >> Bryan Mosley: I thought you were going to say Avengers again. >> Austin Wintory: But no, they always make the jump in The Avengers. But yeah, you're right. No one ever watched Thelma and Louise where the music didn't time correctly with the jump? Yeah, I didn't, that that doesn't exist. ^M00:47:42 >> Rami Ismail: No, in games player can decide to do that jump backwards, right? I've always been curious. Like, personally, I've always been curious, like, how, how do you make music around players being contrarian? >> Austin Wintory: Yeah, well, I make it stressfully. My, I think my hair just gets thinner and thinner with each game. But it's, it's a huge challenge. That's part of the joy of it. I score films, and it always feels every time I kind of go back and forth between a film and a game. And it's like life is so innocent and simple. When scoring a film, it's like this horror movie. And there's violence and all that. I'm like, this is so quaint. But because yes, what you're saying, the indeterminacy of what the player is going to do, that is the joy of it. And there's a whole bunch we could get into there. But I think the, part of what was fun about this project is it's kind of flipping the script. It's actually saying, Let's, let's build, let's build it backwards. Let's build the musical experience to kind of guide the rest and see what kind of psychology emerges out of that. I'm still trying to be a little intentionally vague, because I really want to tell you all about what we're doing. But I think we can reserve that for a future little chat after hearing some more from our beloved Triforce Quartet. And we're also going to try to speak briskly. And assuming they're not going to kick us out of the building, we'll actually have a chance to do some q&a and conversation about all this stuff with you guys, because this event is nothing if not celebrating interactivity. So I think, why don't we leave it there? And to leave space for more of that also. Does that sounds reasonable? >> Gene Dreyband: Sounds good to me. >> Bryan Mosley: Yeah. Cool. >> Austin Wintory: Assuming your endorsement of that, so let's hear the Quartet some more. ^M00:49:34 [ Applause ] ^M00:49:52 >> Austin Wintory: That was pretty much exactly how it works. >> Rami Ismail: A 14 point comeback. >> Austin Wintory: Yeah, that was something. >> Rami Ismail: I would like a live commentary for that. >> Austin Wintory: He literally, backstage says I think I need to run in the bathroom really fast. And I said, it's only two points away. I don't think you're going to have time, and then flash forward to 15 minutes later as the-- >> Rami Ismail: I still have to [inaudible]-- >> Austin Wintory: Yeah, so we're going to keep this brief for mercy here to Rami. But that was a demonstration of, of, notice that you couldn't help but kind of feel invested. You were you were kind of proxy players and that that is essentially what, and what they were doing is essentially the off the cuff on the fly version of what of what I do. So why don't we explain the basics of the mechanics. Mechanics is another one of our little industry buzz terms like agency. Explain the mechanics, briefly-- >> Rami Ismail: Of how arrows work. ^M00:50:49 >> Austin Wintory: Of how arrows work, so that you can conscientiously know what you're doing, instead of what I assume was random. You all did terribly, is what I'm trying to say. >> Rami Ismail: I thought it was a cute outcome. I was pretty happy with that. >> Austin Wintory: No, it was it was great. There's an emergent sort of genre of games, particularly in the last decade or so, of more experiential games that are less like that and more like Arrows. So why don't you walk us through it. >> Rami Ismail: So in Arrows you control with the arrows the flow of time. And as time changes, the things that happen to people and the things they want to do change as well. Now in a game, agency becomes more meaningful when there's a goal. Just as now you were watching Pong, it was more interesting when you knew there was a specific goal. In Arrows, there's, there's quite a number of very odd outcomes that are possible. And I want to, shall we, shall we give a goal to the audience or-- ^M00:51:49 >> Austin Wintory: Well, we can be slightly coy, but less than we have been up 'til now. >> Rami Ismail: So you will notice in the top right over the light house is a hot air balloon. That hot air balloon is basically an indicator of how time is flowing. If you make the hot air balloon go to the left with the left arrow time will start flowing backwards. If you make it go to the right, it will start going forward again. Now, the outcome you had before was a relatively sort of like centered one. But obviously there is the possibility of going quite extreme with what could happen in the game. ^M00:52:29 >> Austin Wintory: So you always have to look for the hedge cases, you know, there's that 1% of players are going to do something weird. Let's build in rewards for that behavior. So there are kind of strange secrets and unfortunate endings to some of the characters in this living painting. >> Rami Ismail: So we basically challenge you to think of the oddest thing you can do, whether it is to keep something going for very long, or to balance something or to go very extreme. And then play Arrows with the goal of maybe trying to break it. >> Austin Wintory: Oh, yes, exactly. And knowing that the music is actually designed to sustain that challenge. The music is, our poor musicians, actually, let's invite our musicians back out on stage. Phillipe and Peter, one more time. And another applause for their wonderful musicianship. ^M00:53:26 [ Applause ] ^M00:53:31 >> Austin Wintory: It's worth explaining. What's happening is that Rami built the system to be calculating sort of the real time average of what you guys are doing. And we have these screens that are essentially telling these musicians, you know, at any moment, instead of doing this, do that and do this and do that. And it's, it kind of gets more fractal as it goes and paths diverge, like, like roads on a highway where you take one turn, and on one day you end up in New Mexico and another day you end up in North Dakota, and that's very much-- >> Rami Ismail: What road is that? ^M00:54:05 >> Austin Wintory: It's a very special road. Okay. Don't challenge my American geography. Yeah. >> Rami Ismail: I am. Yeah, I must admit, like programming something like this, you know, making a computer play music like this is, feels challenging, but seeing the live performers do that on the fly is quite incredible. I was-- >> Austin Wintory: Yeah, before we, yeah, please. ^M00:54:27 [ Applause ] ^M00:54:33 >> Austin Wintory: One of the things that's worth mentioning is that because of the nature of it, there's a lot of, the piece is say 10 minutes long. there's more than 10 minutes of music they had to learn, knowing that there's a good chance there's large swaths of it you're never going to hear, depending on how you do it. But is there anything you guys want to say about the rehearsal process, about the performance process? Are you going to return my calls after this, that kind of thing? >> Philippe Quint: We haven't thought that far. But you know, it's been an interesting experience. You know, preparing this piece and working on this piece. And you and I have collaborated before on your wonderful Assassin's Creed piece for violin. And after that, we started talking about interactive piece where the audience can be involved. And I think this is a wonderful beginning to what we talked about. And, you know, in terms of preparation, yes, we had to learn, you know, a bunch of different paths, a bunch of different possibilities. And of course, you know, today, we've had to figure out how we're going to interact with the arrows and how it's going to work, you know, from the technical point. So you know, it's been, you know, exciting, in a way of challenging, the way of adrenaline going, and, you know, trying to, you know, play the part, look at what's happening on the boards, the second time around, and the third time around, so, so there's a little bit of course, for us, you know, it's unexpected. You know, I'm actually curious from the point of view of the audience, how much they were able to notice of the different passes that we were doing, if you know, what, what was the impact over there? So that's, that's just my impression. So anyway. >> ^M00:56:02 >> Peter Dugan: Yeah, I was just going to add what a crazy feeling it is, for a musician, to walk on stage, sit down and start to play a piece and not know how it's going to end. That is, it's, it's wild. I mean, our whole training is to have a plan and have that knowledge at the start, where the piece is going to go. So it's kind of fun for us to totally flip that, and have this feeling of well, let's see where the audience points us and takes us. So yeah, that's it. ^M00:56:44 >> Austin Wintory: Yeah, it's a bit like Dr. Strangelove, you know, writing just embracing your destiny. >> Offscreen Speaker: I wanted to ask one quick question. Are there any particular things the audience should be watching out for either in the music or in the video? Any particularly interesting outcomes they might be expecting? >> Rami Ismail: I mean, as a software creator, I'm always a little wary of saying try to push it because there's obviously the chance of it breaking. It is a computer program, it was built for certain levels of stress. I saw on the previous playthrough, this just the, the forward backward was just flipping around all the time. >> Austin Wintory: They were a very indecisive group. >> Rami Ismail: So maybe, maybe it's worth coordinating as a crowd as to what you want to do. And try to figure out where you want to go with this. I'm excited to see it hopefully not break. >> Austin Wintory: Yeah. Yeah, do something different from what you did. How about we just leave it at that, just to see where it takes it? Shall we do it? All right, do it. Fingers crossed. There's time for questions after it. We will see we're all, we're close. So enjoy. And thank you gentlemen. ^M00:57:53 [ Applause ] ^M00:57:58 ^M00:58:06 [ Music ] ^M01:07:38 [ Applause ] ^M01:08:28 >> Rami Ismail: I am, I was given the opportunity to point out that you were on a very good path to seeing the boat be swallowed by a kraken and then sadly switched to the path in which the lighthouse was going to take off into space. You managed to sit right in the middle between the two. So neither happened, but thank you so much for playing. ^M01:08:49 [ Applause ] ^M01:08:54 >> Rami Ismail: And also a huge thank you to the performers who played the music to the piece and to Anhila Baruna [phonetic approximation] who did the art for this painting, did want to make sure we did a shout out to her. ^M01:09:07 [ Applause ] ^M01:09:16 Thank you.