Building an alternative art school with Nato Thompson

[laughs]

No, no.

[laughs]

No.

Yeah.

But you do see less of that.

It's too bad.

And every time I do an event or something, uh, the print fairs that I run, we always talk about printing something, a flyer or a map for the, you know, of the floor, and then we never do it 'cause we're like, "Well, people just look at their phones."

There's a practical function of it that makes some sense.

Right.

But, you know, just real quick about that, which has blown my mind.

So I was watching this show, um, it's hist- I had this epiphany, I'm just gonna share briefly, if it's okay.

It's, I digress slightly.

But, um, it was a, it was a, by Rick Burns.

It's about the history of New York.

And I was mesmerized how you will see the city literally reflect the technological, capitalist, military, like, it- innovations and events of the era are literally imprinted on the way the city looks, right? So you watch the Brooklyn Bridge be made.

You watch steel produce these skyscrapers.

You know, you see these things happen.

But the most profound invention of the last 20 years in the United States, which is this thing we're doing, the computer era, the digital era, does not show itself on the city.

Hmm.

And in fact, most of the profound innovations are happening in this matrix that we can't see.

So it's like we're so used to our eyes telling us what's happening in the world by our, the world we inhabit, at least our generation.

But it's weird because you just see less flyers.

Yeah.

You just see a little less, but it's not some dramatic change.