WEBVTT 00:00:01.018 --> 00:00:05.322 On my desk in my office, I keep a small clay pot 00:00:05.322 --> 00:00:09.785 that I made in college. It's raku, which is a kind of pottery 00:00:09.785 --> 00:00:14.292 that began in Japan centuries ago as a way of 00:00:14.292 --> 00:00:18.339 making bowls for the Japanese tea ceremony. 00:00:18.339 --> 00:00:21.604 This one is more than 400 years old. 00:00:21.604 --> 00:00:26.068 Each one was pinched or carved out of a ball of clay, 00:00:26.068 --> 00:00:30.364 and it was the imperfections that people cherished. NOTE Paragraph 00:00:30.364 --> 00:00:38.436 Everyday pots like this cup take eight to 10 hours to fire. 00:00:38.436 --> 00:00:41.545 I just took this out of the kiln last week, and the kiln itself 00:00:41.545 --> 00:00:46.029 takes another day or two to cool down, but raku 00:00:46.029 --> 00:00:50.832 is really fast. You do it outside, and you take the kiln 00:00:50.832 --> 00:00:55.387 up to temperature. In 15 minutes, it goes to 1,500 degrees, 00:00:55.387 --> 00:00:59.045 and as soon as you see that the glaze has melted inside, 00:00:59.045 --> 00:01:01.863 you can see that faint sheen, you turn the kiln off, 00:01:01.863 --> 00:01:04.450 and you reach in with these long metal tongs, 00:01:04.450 --> 00:01:08.935 you grab the pot, and in Japan, this red-hot pot 00:01:08.935 --> 00:01:13.849 would be immediately immersed in a solution of green tea, 00:01:13.849 --> 00:01:17.081 and you can imagine what that steam would smell like. 00:01:17.081 --> 00:01:20.246 But here in the United States, we ramp up the drama 00:01:20.246 --> 00:01:23.911 a little bit, and we drop our pots into sawdust, 00:01:23.911 --> 00:01:26.935 which catches on fire, and you take a garbage pail, 00:01:26.935 --> 00:01:31.847 and you put it on top, and smoke starts pouring out. 00:01:31.847 --> 00:01:36.727 I would come home with my clothes reeking of woodsmoke. NOTE Paragraph 00:01:36.727 --> 00:01:41.825 I love raku because it allows me to play with the elements. 00:01:41.825 --> 00:01:46.321 I can shape a pot out of clay and choose a glaze, 00:01:46.321 --> 00:01:50.625 but then I have to let it go to the fire and the smoke, 00:01:50.625 --> 00:01:53.090 and what's wonderful is the surprises that happen, 00:01:53.090 --> 00:01:56.363 like this crackle pattern, because it's really stressful 00:01:56.363 --> 00:01:58.974 on these pots. They go from 1,500 degrees 00:01:58.974 --> 00:02:03.053 to room temperature in the space of just a minute. NOTE Paragraph 00:02:03.053 --> 00:02:09.004 Raku is a wonderful metaphor for the process of creativity. 00:02:09.004 --> 00:02:12.769 I find in so many things that tension between 00:02:12.769 --> 00:02:16.204 what I can control and what I have to let go 00:02:16.204 --> 00:02:19.998 happens all the time, whether I'm creating a new radio show 00:02:19.998 --> 00:02:25.083 or just at home negotiating with my teenage sons. NOTE Paragraph 00:02:25.083 --> 00:02:29.057 When I sat down to write a book about creativity, 00:02:29.057 --> 00:02:31.541 I realized that the steps were reversed. 00:02:31.541 --> 00:02:35.190 I had to let go at the very beginning, and I had to 00:02:35.190 --> 00:02:39.794 immerse myself in the stories of hundreds of artists 00:02:39.794 --> 00:02:44.269 and writers and musicians and filmmakers, and as I listened 00:02:44.269 --> 00:02:49.581 to these stories, I realized that creativity 00:02:49.581 --> 00:02:52.909 grows out of everyday experiences 00:02:52.909 --> 00:02:56.613 more often than you might think, including 00:02:56.613 --> 00:02:59.533 letting go. 00:02:59.533 --> 00:03:03.323 It was supposed to break, but that's okay. (Laughter) (Laughs) 00:03:03.323 --> 00:03:06.272 That's part of the letting go, is sometimes it happens 00:03:06.272 --> 00:03:09.677 and sometimes it doesn't, because creativity also grows 00:03:09.677 --> 00:03:12.454 from the broken places. NOTE Paragraph 00:03:12.454 --> 00:03:15.101 The best way to learn about anything 00:03:15.101 --> 00:03:19.135 is through stories, and so I want to tell you a story 00:03:19.135 --> 00:03:24.317 about work and play and about four aspects of life 00:03:24.317 --> 00:03:26.713 that we need to embrace 00:03:26.713 --> 00:03:30.781 in order for our own creativity to flourish. 00:03:30.781 --> 00:03:32.797 The first embrace is something that we think, 00:03:32.797 --> 00:03:37.003 "Oh, this is very easy," but it's actually getting harder, 00:03:37.003 --> 00:03:40.998 and that's paying attention to the world around us. 00:03:40.998 --> 00:03:45.453 So many artists speak about needing to be open, 00:03:45.453 --> 00:03:48.893 to embrace experience, and that's hard to do when 00:03:48.893 --> 00:03:52.511 you have a lighted rectangle in your pocket that 00:03:52.511 --> 00:03:56.098 takes all of your focus. NOTE Paragraph 00:03:56.098 --> 00:04:00.238 The filmmaker Mira Nair speaks about growing up 00:04:00.238 --> 00:04:04.843 in a small town in India. Its name is Bhubaneswar, 00:04:04.843 --> 00:04:08.536 and here's a picture of one of the temples in her town. NOTE Paragraph 00:04:08.536 --> 00:04:11.408 Mira Nair: In this little town, there were like 2,000 temples. 00:04:11.408 --> 00:04:14.264 We played cricket all the time. We kind of grew up 00:04:14.264 --> 00:04:17.520 in the rubble. The major thing that inspired me, 00:04:17.520 --> 00:04:21.168 that led me on this path, that made me a filmmaker eventually, 00:04:21.168 --> 00:04:24.720 was traveling folk theater that would come through the town 00:04:24.720 --> 00:04:28.032 and I would go off and see these great battles 00:04:28.032 --> 00:04:31.448 of good and evil by two people in a school field 00:04:31.448 --> 00:04:33.984 with no props but with a lot of, you know, 00:04:33.984 --> 00:04:37.679 passion, and hashish as well, and it was amazing. 00:04:37.679 --> 00:04:40.473 You know, the folk tales of Mahabharata and Ramayana, 00:04:40.473 --> 00:04:43.968 the two holy books, the epics that everything comes out of 00:04:43.968 --> 00:04:47.498 in India, they say. After seeing that Jatra, the folk theater, 00:04:47.498 --> 00:04:52.488 I knew I wanted to get on, you know, and perform. NOTE Paragraph 00:04:52.488 --> 00:04:54.395 Julie Burstein: Isn't that a wonderful story? 00:04:54.395 --> 00:04:56.815 You can see the sort of break in the everyday. 00:04:56.815 --> 00:04:59.534 There they are in the school fields, but it's good and evil, 00:04:59.534 --> 00:05:05.067 and passion and hashish. And Mira Nair was a young girl 00:05:05.067 --> 00:05:08.665 with thousands of other people watching this performance, 00:05:08.665 --> 00:05:11.615 but she was ready. She was ready to open up 00:05:11.615 --> 00:05:14.744 to what it sparked in her, and it led her, 00:05:14.744 --> 00:05:17.359 as she said, down this path to become 00:05:17.359 --> 00:05:20.162 an award-winning filmmaker. 00:05:20.162 --> 00:05:22.983 So being open for that experience that might change you 00:05:22.983 --> 00:05:25.916 is the first thing we need to embrace. NOTE Paragraph 00:05:25.916 --> 00:05:31.695 Artists also speak about how some of their most powerful work 00:05:31.695 --> 00:05:36.567 comes out of the parts of life that are most difficult. 00:05:36.567 --> 00:05:40.221 The novelist Richard Ford speaks about 00:05:40.221 --> 00:05:44.263 a childhood challenge that continues to be something 00:05:44.263 --> 00:05:49.023 he wrestles with today. He's severely dyslexic. NOTE Paragraph 00:05:49.023 --> 00:05:51.930 Richard Ford: I was slow to learn to read, went all the way 00:05:51.930 --> 00:05:55.762 through school not really reading more than the minimum, 00:05:55.762 --> 00:05:58.290 and still to this day can't read silently 00:05:58.290 --> 00:06:01.138 much faster than I can read aloud, 00:06:01.138 --> 00:06:04.914 but there were a lot of benefits to being dyslexic for me 00:06:04.914 --> 00:06:08.059 because when I finally did reconcile myself to how slow 00:06:08.059 --> 00:06:12.554 I was going to have to do it, then I think I came very slowly 00:06:12.554 --> 00:06:16.086 into an appreciation of all of those qualities of language 00:06:16.086 --> 00:06:18.898 and of sentences that are not just the cognitive 00:06:18.898 --> 00:06:22.011 aspects of language: the syncopations, the sounds of words, 00:06:22.011 --> 00:06:23.854 what words look like, where paragraphs break, 00:06:23.854 --> 00:06:26.881 where lines break. I mean, I wasn't so badly dyslexic that 00:06:26.881 --> 00:06:29.819 I was disabled from reading. I just had to do it 00:06:29.819 --> 00:06:34.362 really slowly, and as I did, lingering on those sentences 00:06:34.362 --> 00:06:38.722 as I had to linger, I fell heir to language's other qualities, 00:06:38.722 --> 00:06:41.986 which I think has helped me write sentences. NOTE Paragraph 00:06:41.986 --> 00:06:46.066 JB: It's so powerful. Richard Ford, who's won the Pulitzer Prize, 00:06:46.066 --> 00:06:51.218 says that dyslexia helped him write sentences. 00:06:51.218 --> 00:06:53.989 He had to embrace this challenge, and I use that word 00:06:53.989 --> 00:06:58.102 intentionally. He didn't have to overcome dyslexia. 00:06:58.102 --> 00:07:01.610 He had to learn from it. He had to learn to hear the music 00:07:01.610 --> 00:07:04.674 in language. NOTE Paragraph 00:07:04.674 --> 00:07:09.244 Artists also speak about how pushing up against 00:07:09.244 --> 00:07:12.638 the limits of what they can do, sometimes pushing 00:07:12.638 --> 00:07:15.986 into what they can't do, helps them focus 00:07:15.986 --> 00:07:19.225 on finding their own voice. 00:07:19.225 --> 00:07:23.370 The sculptor Richard Serra talks about how, 00:07:23.370 --> 00:07:26.290 as a young artist, he thought he was a painter, 00:07:26.290 --> 00:07:30.569 and he lived in Florence after graduate school. 00:07:30.569 --> 00:07:33.138 While he was there, he traveled to Madrid, 00:07:33.138 --> 00:07:35.852 where he went to the Prado to see this picture 00:07:35.852 --> 00:07:39.612 by the Spanish painter Diego Velázquez. 00:07:39.612 --> 00:07:44.716 It's from 1656, and it's called "Las Meninas," 00:07:44.716 --> 00:07:46.925 and it's the picture of a little princess 00:07:46.925 --> 00:07:50.612 and her ladies-in-waiting, and if you look over 00:07:50.612 --> 00:07:53.988 that little blonde princess's shoulder, you'll see a mirror, 00:07:53.988 --> 00:07:57.285 and reflected in it are her parents, the King and Queen 00:07:57.285 --> 00:08:00.690 of Spain, who would be standing where you might stand 00:08:00.690 --> 00:08:02.465 to look at the picture. 00:08:02.465 --> 00:08:07.532 As he often did, Velázquez put himself in this painting too. 00:08:07.532 --> 00:08:12.225 He's standing on the left with his paintbrush in one hand 00:08:12.225 --> 00:08:14.629 and his palette in the other. NOTE Paragraph 00:08:14.629 --> 00:08:16.657 Richard Serra: I was standing there looking at it, 00:08:16.657 --> 00:08:19.267 and I realized that Velázquez was looking at me, 00:08:19.267 --> 00:08:23.262 and I thought, "Oh. I'm the subject of the painting." 00:08:23.262 --> 00:08:25.514 And I thought, "I'm not going to be able to do that painting." 00:08:25.514 --> 00:08:28.715 I was to the point where I was using a stopwatch 00:08:28.715 --> 00:08:33.153 and painting squares out of randomness, 00:08:33.153 --> 00:08:35.171 and I wasn't getting anywhere. So I went back and dumped 00:08:35.171 --> 00:08:38.401 all my paintings in the Arno, and I thought, I'm going to just start playing around. NOTE Paragraph 00:08:38.401 --> 00:08:41.233 JB: Richard Serra says that so nonchalantly, you might 00:08:41.233 --> 00:08:44.841 have missed it. He went and saw this painting by a guy 00:08:44.841 --> 00:08:48.609 who'd been dead for 300 years, and realized, 00:08:48.609 --> 00:08:52.481 "I can't do that," and so Richard Serra went back 00:08:52.481 --> 00:08:55.312 to his studio in Florence, picked up all of his work 00:08:55.312 --> 00:08:59.115 up to that point, and threw it in a river. 00:08:59.115 --> 00:09:03.051 Richard Serra let go of painting at that moment, 00:09:03.051 --> 00:09:06.577 but he didn't let go of art. He moved to New York City, 00:09:06.577 --> 00:09:09.491 and he put together a list of verbs 00:09:09.491 --> 00:09:12.779 — to roll, to crease, to fold — 00:09:12.779 --> 00:09:15.475 more than a hundred of them, and as he said, 00:09:15.475 --> 00:09:17.512 he just started playing around. He did these things 00:09:17.512 --> 00:09:20.829 to all kinds of material. He would take a huge sheet of lead 00:09:20.829 --> 00:09:24.627 and roll it up and unroll it. He would do the same thing 00:09:24.627 --> 00:09:29.803 to rubber, and when he got to the direction "to lift," 00:09:29.803 --> 00:09:34.901 he created this, which is in the Museum of Modern Art. 00:09:34.901 --> 00:09:37.861 Richard Serra had to let go of painting 00:09:37.861 --> 00:09:41.301 in order to embark on this playful exploration 00:09:41.301 --> 00:09:44.571 that led him to the work that he's known for today: 00:09:44.571 --> 00:09:50.149 huge curves of steel that require our time and motion 00:09:50.149 --> 00:09:53.886 to experience. In sculpture, 00:09:53.886 --> 00:09:57.157 Richard Serra is able to do what he couldn't do in painting. 00:09:57.157 --> 00:10:01.653 He makes us the subject of his art. 00:10:01.653 --> 00:10:05.589 So experience and challenge 00:10:05.589 --> 00:10:09.249 and limitations are all things we need to embrace 00:10:09.249 --> 00:10:11.845 for creativity to flourish. NOTE Paragraph 00:10:11.845 --> 00:10:15.405 There's a fourth embrace, and it's the hardest. 00:10:15.405 --> 00:10:17.765 It's the embrace of loss, 00:10:17.765 --> 00:10:22.055 the oldest and most constant of human experiences. 00:10:22.055 --> 00:10:24.878 In order to create, we have to stand in that space 00:10:24.878 --> 00:10:28.678 between what we see in the world and what we hope for, 00:10:28.678 --> 00:10:33.485 looking squarely at rejection, at heartbreak, 00:10:33.485 --> 00:10:36.059 at war, at death. 00:10:36.059 --> 00:10:38.449 That's a tough space to stand in. 00:10:38.449 --> 00:10:43.838 The educator Parker Palmer calls it "the tragic gap," 00:10:43.838 --> 00:10:47.805 tragic not because it's sad but because it's inevitable, 00:10:47.805 --> 00:10:50.845 and my friend Dick Nodel likes to say, 00:10:50.845 --> 00:10:53.789 "You can hold that tension like a violin string 00:10:53.789 --> 00:10:57.225 and make something beautiful." NOTE Paragraph 00:10:57.225 --> 00:11:00.363 That tension resonates in the work of the photographer 00:11:00.363 --> 00:11:03.573 Joel Meyerowitz, who at the beginning of his career was 00:11:03.573 --> 00:11:06.813 known for his street photography, for capturing a moment 00:11:06.813 --> 00:11:10.495 on the street, and also for his beautiful photographs 00:11:10.495 --> 00:11:14.179 of landscapes -- of Tuscany, of Cape Cod, 00:11:14.179 --> 00:11:16.861 of light. 00:11:16.861 --> 00:11:20.130 Joel is a New Yorker, and his studio for many years 00:11:20.130 --> 00:11:24.128 was in Chelsea, with a straight view downtown 00:11:24.128 --> 00:11:27.043 to the World Trade Center, and he photographed 00:11:27.043 --> 00:11:31.376 those buildings in every sort of light. 00:11:31.376 --> 00:11:35.026 You know where this story goes. 00:11:35.026 --> 00:11:37.514 On 9/11, Joel wasn't in New York. He was out of town, 00:11:37.514 --> 00:11:42.113 but he raced back to the city, and raced down to the site 00:11:42.113 --> 00:11:44.238 of the destruction. NOTE Paragraph 00:11:44.238 --> 00:11:46.417 Joel Meyerowitz: And like all the other passersby, 00:11:46.417 --> 00:11:49.317 I stood outside the chain link fence on Chambers 00:11:49.317 --> 00:11:51.515 and Greenwich, and all I could see was the smoke 00:11:51.515 --> 00:11:55.185 and a little bit of rubble, and I raised my camera 00:11:55.185 --> 00:11:58.185 to take a peek, just to see if there was something to see, 00:11:58.185 --> 00:12:02.529 and some cop, a lady cop, hit me on my shoulder, 00:12:02.529 --> 00:12:04.969 and said, "Hey, no pictures!" 00:12:04.969 --> 00:12:08.193 And it was such a blow that it woke me up, 00:12:08.193 --> 00:12:12.249 in the way that it was meant to be, I guess. 00:12:12.249 --> 00:12:14.292 And when I asked her why no pictures, she said, 00:12:14.292 --> 00:12:17.383 "It's a crime scene. No photographs allowed." 00:12:17.383 --> 00:12:18.852 And I asked her, "What would happen if I was a member 00:12:18.852 --> 00:12:21.056 of the press?" And she told me, 00:12:21.056 --> 00:12:25.150 "Oh, look back there," and back a block was the press corps 00:12:25.150 --> 00:12:28.960 tied up in a little penned-in area, 00:12:28.960 --> 00:12:30.481 and I said, "Well, when do they go in?" 00:12:30.481 --> 00:12:32.963 and she said, "Probably never." 00:12:32.963 --> 00:12:37.454 And as I walked away from that, I had this crystallization, 00:12:37.454 --> 00:12:40.248 probably from the blow, because it was an insult in a way. 00:12:40.248 --> 00:12:42.423 I thought, "Oh, if there's no pictures, 00:12:42.423 --> 00:12:45.929 then there'll be no record. We need a record." 00:12:45.929 --> 00:12:47.799 And I thought, "I'm gonna make that record. 00:12:47.799 --> 00:12:50.086 I'll find a way to get in, because I don't want to 00:12:50.086 --> 00:12:51.954 see this history disappear." NOTE Paragraph 00:12:51.954 --> 00:12:56.197 JB: He did. He pulled in every favor he could, 00:12:56.197 --> 00:12:58.710 and got a pass into the World Trade Center site, 00:12:58.710 --> 00:13:02.942 where he photographed for nine months almost every day. 00:13:02.942 --> 00:13:05.886 Looking at these photographs today brings back 00:13:05.886 --> 00:13:08.791 the smell of smoke that lingered on my clothes 00:13:08.791 --> 00:13:10.788 when I went home to my family at night. 00:13:10.788 --> 00:13:14.206 My office was just a few blocks away. 00:13:14.206 --> 00:13:17.822 But some of these photographs are beautiful, 00:13:17.822 --> 00:13:20.937 and we wondered, was it difficult for Joel Meyerowitz 00:13:20.937 --> 00:13:25.279 to make such beauty out of such devastation? NOTE Paragraph 00:13:25.279 --> 00:13:28.645 JM: Well, you know, ugly, I mean, powerful 00:13:28.645 --> 00:13:32.016 and tragic and horrific and everything, but 00:13:32.016 --> 00:13:36.312 it was also as, in nature, an enormous event 00:13:36.312 --> 00:13:41.478 that was transformed after the fact into this residue, 00:13:41.478 --> 00:13:43.294 and like many other ruins 00:13:43.294 --> 00:13:47.143 — you go to the ruins of the Colosseum or the ruins of a cathedral someplace — 00:13:47.143 --> 00:13:51.780 and they take on a new meaning when you watch the weather. 00:13:51.780 --> 00:13:53.653 I mean, there were afternoons I was down there, 00:13:53.653 --> 00:13:57.303 and the light goes pink and there's a mist in the air 00:13:57.303 --> 00:14:01.334 and you're standing in the rubble, and I found myself 00:14:01.334 --> 00:14:05.218 recognizing both the inherent beauty of nature 00:14:05.218 --> 00:14:07.972 and the fact that nature, as time, 00:14:07.972 --> 00:14:11.367 is erasing this wound. 00:14:11.367 --> 00:14:15.201 Time is unstoppable, and it transforms the event. 00:14:15.201 --> 00:14:17.530 It gets further and further away from the day, 00:14:17.530 --> 00:14:21.885 and light and seasons temper it in some way, 00:14:21.885 --> 00:14:26.029 and it's not that I'm a romantic. I'm really a realist. 00:14:26.029 --> 00:14:29.513 The reality is, there's the Woolworth Building 00:14:29.513 --> 00:14:35.341 in a veil of smoke from the site, but it's now like a scrim 00:14:35.341 --> 00:14:39.285 across a theater, and it's turning pink, 00:14:39.285 --> 00:14:42.388 you know, and down below there are hoses spraying, 00:14:42.388 --> 00:14:45.397 and the lights have come on for the evening, and the water 00:14:45.397 --> 00:14:49.425 is turning acid green because the sodium lamps are on, 00:14:49.425 --> 00:14:51.602 and I'm thinking, "My God, who could dream this up?" 00:14:51.602 --> 00:14:55.803 But the fact is, I'm there, it looks like that, 00:14:55.803 --> 00:14:57.697 you have to take a picture. NOTE Paragraph 00:14:57.697 --> 00:15:00.890 JB: You have to take a picture. That sense of urgency, 00:15:00.890 --> 00:15:06.690 of the need to get to work, is so powerful in Joel's story. 00:15:06.690 --> 00:15:10.043 When I saw Joel Meyerowitz recently, I told him how much 00:15:10.043 --> 00:15:13.828 I admired his passionate obstinacy, his determination 00:15:13.828 --> 00:15:18.411 to push through all the bureaucratic red tape to get to work, 00:15:18.411 --> 00:15:20.587 and he laughed, and he said, "I'm stubborn, 00:15:20.587 --> 00:15:22.991 but I think what's more important 00:15:22.991 --> 00:15:26.452 is my passionate optimism." NOTE Paragraph 00:15:26.452 --> 00:15:29.255 The first time I told these stories, a man in the audience 00:15:29.255 --> 00:15:32.745 raised his hand and said, "All these artists talk about 00:15:32.745 --> 00:15:37.483 their work, not their art, which has got me thinking about 00:15:37.483 --> 00:15:40.151 my work and where the creativity is there, 00:15:40.151 --> 00:15:44.779 and I'm not an artist." He's right. We all wrestle 00:15:44.779 --> 00:15:49.395 with experience and challenge, limits and loss. 00:15:49.395 --> 00:15:51.646 Creativity is essential to all of us, 00:15:51.646 --> 00:15:54.299 whether we're scientists or teachers, 00:15:54.299 --> 00:15:58.658 parents or entrepreneurs. NOTE Paragraph 00:15:58.658 --> 00:16:00.835 I want to leave you with another 00:16:00.835 --> 00:16:03.929 image of a Japanese tea bowl. This one 00:16:03.929 --> 00:16:06.899 is at the Freer Gallery in Washington, D.C. 00:16:06.899 --> 00:16:09.435 It's more than a hundred years old and you can still see 00:16:09.435 --> 00:16:13.078 the fingermarks where the potter pinched it. 00:16:13.078 --> 00:16:15.995 But as you can also see, this one did break 00:16:15.995 --> 00:16:18.715 at some point in its hundred years. 00:16:18.715 --> 00:16:21.475 But the person who put it back together, 00:16:21.475 --> 00:16:24.039 instead of hiding the cracks, 00:16:24.039 --> 00:16:29.755 decided to emphasize them, using gold lacquer to repair it. 00:16:29.755 --> 00:16:34.199 This bowl is more beautiful now, having been broken, 00:16:34.199 --> 00:16:37.211 than it was when it was first made, 00:16:37.211 --> 00:16:39.441 and we can look at those cracks, because 00:16:39.441 --> 00:16:41.806 they tell the story that we all live, 00:16:41.806 --> 00:16:45.483 of the cycle of creation and destruction, 00:16:45.483 --> 00:16:50.410 of control and letting go, of picking up the pieces 00:16:50.410 --> 00:16:52.409 and making something new. 00:16:52.409 --> 00:16:56.963 Thank you. (Applause)