WEBVTT 00:00:03.005 --> 00:00:06.227 I thought if I skipped it might help my nerves, 00:00:06.227 --> 00:00:09.413 but I'm actually having a paradoxical reaction to that, 00:00:09.413 --> 00:00:11.235 so that was a bad idea. (Laughter) NOTE Paragraph 00:00:11.235 --> 00:00:14.656 Anyway, I was really delighted to receive the invitation 00:00:14.656 --> 00:00:18.593 to present to you some of my music and some of my work 00:00:18.593 --> 00:00:21.687 as a composer, presumably because it appeals 00:00:21.687 --> 00:00:25.670 to my well-known and abundant narcissism. (Laughter) 00:00:25.670 --> 00:00:28.278 And I'm not kidding, I just think we should just 00:00:28.278 --> 00:00:31.734 say that and move forward. (Laughter) NOTE Paragraph 00:00:31.734 --> 00:00:34.614 So, but the thing is, a dilemma quickly arose, 00:00:34.614 --> 00:00:36.819 and that is that I'm really bored with music, 00:00:36.819 --> 00:00:39.885 and I'm really bored with the role of the composer, 00:00:39.885 --> 00:00:43.093 and so I decided to put that idea, boredom, 00:00:43.093 --> 00:00:46.067 as the focus of my presentation to you today. 00:00:46.067 --> 00:00:48.355 And I'm going to share my music with you, but I hope 00:00:48.355 --> 00:00:50.590 that I'm going to do so in a way that tells a story, 00:00:50.590 --> 00:00:53.999 tells a story about how I used boredom as a catalyst 00:00:53.999 --> 00:00:56.553 for creativity and invention, and how boredom 00:00:56.553 --> 00:00:59.714 actually forced me to change the fundamental question 00:00:59.714 --> 00:01:01.795 that I was asking in my discipline, 00:01:01.795 --> 00:01:03.854 and how boredom also, in a sense, 00:01:03.854 --> 00:01:08.298 pushed me towards taking on roles beyond the sort of 00:01:08.298 --> 00:01:10.908 most traditional, narrow definition of a composer. NOTE Paragraph 00:01:10.908 --> 00:01:13.379 What I'd like to do today is to start with an excerpt 00:01:13.379 --> 00:01:16.207 of a piece of music at the piano. 00:01:16.207 --> 00:01:25.522 (Music) 00:01:25.522 --> 00:01:28.836 Okay, I wrote that. (Laughter) 00:01:28.836 --> 00:01:30.743 No, it's not — (Applause) Oh, why thank you. 00:01:30.743 --> 00:01:32.374 No, no, I didn't write that. 00:01:32.374 --> 00:01:34.646 In fact, that was a piece by Beethoven, 00:01:34.646 --> 00:01:37.201 and so I was not functioning as a composer. 00:01:37.201 --> 00:01:40.252 Just now I was functioning in the role of the interpreter, 00:01:40.252 --> 00:01:42.313 and there I am, interpreter. 00:01:42.313 --> 00:01:45.022 So, an interpreter of what? Of a piece of music, right? 00:01:45.022 --> 00:01:49.229 But we can ask the question, "But is it music?" 00:01:49.229 --> 00:01:51.009 And I say this rhetorically, because of course 00:01:51.009 --> 00:01:53.830 by just about any standard we would have to concede 00:01:53.830 --> 00:01:55.778 that this is, of course, a piece of music, 00:01:55.778 --> 00:01:58.104 but I put this here now because, 00:01:58.104 --> 00:02:00.387 just to set it in your brains for the moment, 00:02:00.387 --> 00:02:02.228 because we're going to return to this question. 00:02:02.228 --> 00:02:04.010 It's going to be a kind of a refrain 00:02:04.010 --> 00:02:05.821 as we go through the presentation. NOTE Paragraph 00:02:05.821 --> 00:02:08.049 So here we have this piece of music by Beethoven, 00:02:08.049 --> 00:02:11.255 and my problem with it is, it's boring. 00:02:11.255 --> 00:02:18.075 I mean, you — I'm just like, a hush, huh -- It's like -- (Laughter) 00:02:18.075 --> 00:02:19.793 It's Beethoven, how can you say that? 00:02:19.793 --> 00:02:21.528 No, well, I don't know, it's very familiar to me. 00:02:21.528 --> 00:02:24.559 I had to practice it as a kid, and I'm really sick of it. So -- (Laughter) 00:02:24.559 --> 00:02:27.282 I would, so what I might like to try to do is to change it, 00:02:27.282 --> 00:02:29.926 to transform it in some ways, to personalize it, 00:02:29.926 --> 00:02:32.353 so I might take the opening, like this idea -- 00:02:32.353 --> 00:02:34.561 (Music) 00:02:34.561 --> 00:02:39.458 and then I might substitute -- (Music) 00:02:39.458 --> 00:02:41.097 and then I might improvise on that melody 00:02:41.097 --> 00:02:44.732 that goes forward from there -- (Music) 00:02:44.732 --> 00:03:10.754 (Music) NOTE Paragraph 00:03:10.754 --> 00:03:13.866 So that might be the kind of thing -- Why thank you. 00:03:13.866 --> 00:03:17.461 (Applause) 00:03:17.461 --> 00:03:19.579 That would be the kind of thing that I would do, 00:03:19.579 --> 00:03:21.676 and it's not necessarily better than the Beethoven. 00:03:21.676 --> 00:03:25.408 In fact, I think it's not better than it. The thing is -- (Laughter) -- 00:03:25.408 --> 00:03:30.707 it's more interesting to me. It's less boring for me. 00:03:30.707 --> 00:03:33.877 I'm really leaning into me, because I, because I have 00:03:33.877 --> 00:03:37.449 to think about what decisions I'm going to make on the fly 00:03:37.449 --> 00:03:40.651 as that Beethoven text is running in time through my head 00:03:40.651 --> 00:03:42.856 and I'm trying to figure out what kinds of transformations 00:03:42.856 --> 00:03:44.454 I'm going to make to it. 00:03:44.454 --> 00:03:47.029 So this is an engaging enterprise for me, and 00:03:47.029 --> 00:03:51.687 I've really leaned into that first person pronoun thing there, 00:03:51.687 --> 00:03:54.008 and now my face appears twice, so I think we can agree 00:03:54.008 --> 00:03:57.699 that this is a fundamentally solipsistic enterprise. (Laughter) 00:03:57.699 --> 00:04:00.113 But it's an engaging one, and it's interesting to me 00:04:00.113 --> 00:04:02.533 for a while, but then I get bored with it, and by it, 00:04:02.533 --> 00:04:05.184 I actually mean, the piano, because it becomes, 00:04:05.184 --> 00:04:08.402 it's this familiar instrument, it's timbral range is actually 00:04:08.402 --> 00:04:10.923 pretty compressed, at least when you play on the keyboard, 00:04:10.923 --> 00:04:13.533 and if you're not doing things like listening to it 00:04:13.533 --> 00:04:16.256 after you've lit it on fire or something like that, you know. 00:04:16.256 --> 00:04:18.225 It gets a little bit boring, and so pretty soon 00:04:18.225 --> 00:04:20.385 I go through other instruments, they become familiar, 00:04:20.385 --> 00:04:23.062 and eventually I find myself designing and constructing 00:04:23.062 --> 00:04:27.225 my own instrument, and I brought one with me today, 00:04:27.225 --> 00:04:30.161 and I thought I would play a little bit on it for you 00:04:30.161 --> 00:04:32.367 so you can hear what it sounds like. NOTE Paragraph 00:04:32.367 --> 00:04:43.780 (Music) NOTE Paragraph 00:04:43.780 --> 00:04:49.543 You gotta have doorstops, that's important. (Laughter) 00:04:49.543 --> 00:04:52.651 I've got combs. They're the only combs that I own. (Music) 00:04:52.651 --> 00:04:55.807 They're all mounted on my instruments. (Laughter) NOTE Paragraph 00:04:55.807 --> 00:05:04.866 (Music) NOTE Paragraph 00:05:04.866 --> 00:05:07.451 I can actually do all sorts of things. I can play 00:05:07.451 --> 00:05:09.949 with a violin bow. I don't have to use the chopsticks. 00:05:09.949 --> 00:05:17.802 So we have this sound. (Music) 00:05:17.802 --> 00:05:19.846 And with a bank of live electronics, 00:05:19.846 --> 00:05:23.967 I can change the sounds radically. (Music) 00:05:23.967 --> 00:05:33.041 (Music) 00:05:33.041 --> 00:05:39.292 Like that, and like this. (Music) 00:05:39.292 --> 00:05:41.410 And so forth. NOTE Paragraph 00:05:41.410 --> 00:05:43.549 So this gives you a little bit of an idea of the sound world 00:05:43.549 --> 00:05:46.226 of this instrument, which I think is quite interesting 00:05:46.226 --> 00:05:50.000 and it puts me in the role of the inventor, and the nice thing about — 00:05:50.000 --> 00:05:53.119 This instrument is called the Mouseketeer ... (Laughter) 00:05:53.119 --> 00:05:55.383 and the cool thing about it is 00:05:55.383 --> 00:05:58.951 I'm the world's greatest Mouseketeer player. (Laughter) 00:05:58.951 --> 00:06:00.570 Okay? (Applause) 00:06:00.570 --> 00:06:03.746 So in that regard, this is one of the things, 00:06:03.746 --> 00:06:05.606 this is one of the privileges of being, 00:06:05.606 --> 00:06:08.612 and here's another role, the inventor, and by the way, 00:06:08.612 --> 00:06:10.790 when I told you that I'm the world's greatest, 00:06:10.790 --> 00:06:14.794 if you're keeping score, we've had narcissism and solipsism 00:06:14.794 --> 00:06:16.798 and now a healthy dose of egocentricism. 00:06:16.798 --> 00:06:20.398 I know some of you are just, you know, bingo! Or, I don't know. (Laughter) NOTE Paragraph 00:06:20.398 --> 00:06:25.945 Anyway, so this is also a really enjoyable role. 00:06:25.945 --> 00:06:28.677 I should concede also that I'm the world's worst Mouseketeer player, 00:06:28.677 --> 00:06:30.927 and it was this distinction that I was most worried about 00:06:30.927 --> 00:06:33.864 when I was on that prior side of the tenure divide. 00:06:33.864 --> 00:06:36.350 I'm glad I'm past that. We're not going to go into that. 00:06:36.350 --> 00:06:39.307 I'm crying on the inside. There are still scars. NOTE Paragraph 00:06:39.307 --> 00:06:43.123 Anyway, but I guess my point is that all of these enterprises 00:06:43.123 --> 00:06:46.858 are engaging to me in their multiplicity, but as I've presented them 00:06:46.858 --> 00:06:50.210 to you today, they're actually solitary enterprises, 00:06:50.210 --> 00:06:53.237 and so pretty soon I want to commune with other people, and so 00:06:53.237 --> 00:06:55.755 I'm delighted that in fact I get to compose works for them. 00:06:55.755 --> 00:06:58.841 I get to write, sometimes for soloists and I get to work with one person, 00:06:58.841 --> 00:07:02.150 sometimes full orchestras, and I work with a lot of people, 00:07:02.150 --> 00:07:05.829 and this is probably the capacity, the role creatively 00:07:05.829 --> 00:07:08.991 for which I'm probably best known professionally. 00:07:08.991 --> 00:07:11.966 Now, some of my scores as a composer look like this, 00:07:11.966 --> 00:07:14.039 and others look like this, 00:07:14.039 --> 00:07:16.123 and some look like this, 00:07:16.123 --> 00:07:19.169 and I make all of these by hand, and it's really tedious. 00:07:19.169 --> 00:07:21.502 It takes a long, long time to make these scores, 00:07:21.502 --> 00:07:23.675 and right now I'm working on a piece 00:07:23.675 --> 00:07:25.698 that's 180 pages in length, 00:07:25.698 --> 00:07:29.894 and it's just a big chunk of my life, and I'm just pulling out hair. 00:07:29.894 --> 00:07:32.403 I have a lot of it, and that's a good thing I suppose. (Laughter) NOTE Paragraph 00:07:32.403 --> 00:07:35.967 So this gets really boring and really tiresome for me, 00:07:35.967 --> 00:07:38.940 so after a while the process of notating is not only boring, 00:07:38.940 --> 00:07:42.072 but I actually want the notation to be more interesting, 00:07:42.072 --> 00:07:44.791 and so that's pushed me to do other projects like this one. NOTE Paragraph 00:07:44.791 --> 00:07:47.021 This is an excerpt from a score called 00:07:47.021 --> 00:07:49.212 "The Metaphysics of Notation." 00:07:49.212 --> 00:07:51.756 The full score is 72 feet wide. 00:07:51.756 --> 00:07:54.454 It's a bunch of crazy pictographic notation. 00:07:54.454 --> 00:07:57.340 Let's zoom in on one section of it right here. You can see 00:07:57.340 --> 00:08:01.157 it's rather detailed. I do all of this with drafting templates, 00:08:01.157 --> 00:08:04.774 with straight edges, with French curves, and by freehand, 00:08:04.774 --> 00:08:07.428 and the 72 feet was actually split 00:08:07.428 --> 00:08:10.463 into 12 six-foot-wide panels that were installed 00:08:10.463 --> 00:08:15.347 around the Cantor Arts Center Museum lobby balcony, 00:08:15.347 --> 00:08:19.155 and it appeared for one year in the museum, 00:08:19.155 --> 00:08:22.013 and during that year, it was experienced as visual art 00:08:22.013 --> 00:08:23.914 most of the week, except, as you can see in these pictures, 00:08:23.914 --> 00:08:26.952 on Fridays, from noon til one, and only during that time, 00:08:26.952 --> 00:08:30.332 various performers came and interpreted these strange 00:08:30.332 --> 00:08:33.611 and undefined pictographic glyphs. (Laughter) NOTE Paragraph 00:08:33.611 --> 00:08:37.295 Now this was a really exciting experience for me. 00:08:37.295 --> 00:08:38.898 It was gratifying musically, but I think 00:08:38.898 --> 00:08:41.594 the more important thing is it was exciting because I got to take on 00:08:41.594 --> 00:08:44.490 another role, especially given that it appeared in a museum, 00:08:44.490 --> 00:08:47.766 and that is as visual artist. (Laughter) 00:08:47.766 --> 00:08:50.266 We're going to fill up the whole thing, don't worry. (Laughter) 00:08:50.266 --> 00:08:52.269 I am multitudes. (Laughter) NOTE Paragraph 00:08:52.269 --> 00:08:55.173 So one of the things is that, I mean, some people 00:08:55.173 --> 00:08:56.960 would say, like, "Oh, you're being a dilettante," 00:08:56.960 --> 00:08:59.537 and maybe that's true. I can understand how, I mean, 00:08:59.537 --> 00:09:01.696 because I don't have a pedigree in visual art 00:09:01.696 --> 00:09:03.732 and I don't have any training, but it's just something 00:09:03.732 --> 00:09:06.199 that I wanted to do as an extension of my composition, 00:09:06.199 --> 00:09:09.099 as an extension of a kind of creative impulse. NOTE Paragraph 00:09:09.099 --> 00:09:12.195 I can understand the question, though. "But is it music?" 00:09:12.195 --> 00:09:14.454 I mean, there's not any traditional notation. 00:09:14.454 --> 00:09:16.707 I can also understand that sort of implicit criticism 00:09:16.707 --> 00:09:20.079 in this piece, "S-tog," which I made when I was living in Copenhagen. 00:09:20.079 --> 00:09:22.066 I took the Copenhagen subway map and 00:09:22.066 --> 00:09:25.198 I renamed all the stations to abstract musical provocations, 00:09:25.198 --> 00:09:27.969 and the players, who are synchronized with stopwatches, 00:09:27.969 --> 00:09:30.830 follow the timetables, which are listed in minutes past the hour. NOTE Paragraph 00:09:30.830 --> 00:09:33.891 So this is a case of actually adapting something, 00:09:33.891 --> 00:09:35.774 or maybe stealing something, 00:09:35.774 --> 00:09:38.115 and then turning it into a musical notation. NOTE Paragraph 00:09:38.115 --> 00:09:40.270 Another adaptation would be this piece. 00:09:40.270 --> 00:09:43.616 I took the idea of the wristwatch, and I turned it into a musical score. 00:09:43.616 --> 00:09:46.854 I made my own faces, and had a company fabricate them, 00:09:46.854 --> 00:09:49.092 and the players follow these scores. 00:09:49.092 --> 00:09:51.113 They follow the second hands, and as they pass over 00:09:51.113 --> 00:09:54.099 the various symbols, the players respond musically. 00:09:54.099 --> 00:09:56.322 Here's another example from another piece, 00:09:56.322 --> 00:09:58.376 and then its realization. NOTE Paragraph 00:09:58.376 --> 00:10:00.855 So in these two capacities, I've been scavenger, 00:10:00.855 --> 00:10:03.242 in the sense of taking, like, the subway map, right, 00:10:03.242 --> 00:10:05.760 or thief maybe, and I've also been designer, 00:10:05.760 --> 00:10:08.075 in the case of making the wristwatches. 00:10:08.075 --> 00:10:11.655 And once again, this is, for me, interesting. NOTE Paragraph 00:10:11.655 --> 00:10:14.974 Another role that I like to take on is that of the performance artist. 00:10:14.974 --> 00:10:17.661 Some of my pieces have these kind of weird theatric elements, 00:10:17.661 --> 00:10:19.815 and I often perform them. I want to show you a clip 00:10:19.815 --> 00:10:21.579 from a piece called "Echolalia." 00:10:21.579 --> 00:10:24.650 This is actually being performed by Brian McWhorter, 00:10:24.650 --> 00:10:25.955 who is an extraordinary performer. 00:10:25.955 --> 00:10:29.387 Let's watch a little bit of this, and please notice the instrumentation. NOTE Paragraph 00:10:29.387 --> 00:10:58.275 (Music) NOTE Paragraph 00:10:58.275 --> 00:10:59.959 Okay, I hear you were laughing nervously because 00:10:59.959 --> 00:11:02.253 you too could hear that the drill was a little bit sharp, 00:11:02.253 --> 00:11:04.381 the intonation was a little questionable. (Laughter) 00:11:04.381 --> 00:11:06.393 Let's watch just another clip. NOTE Paragraph 00:11:06.393 --> 00:11:16.969 (Music) NOTE Paragraph 00:11:16.969 --> 00:11:19.665 You can see the mayhem continues, and there's, you know, 00:11:19.665 --> 00:11:21.543 there were no clarinets and trumpets 00:11:21.543 --> 00:11:23.447 and flutes and violins. Here's a piece that has 00:11:23.447 --> 00:11:26.002 an even more unusual, more peculiar instrumentation. NOTE Paragraph 00:11:26.002 --> 00:11:29.579 This is "Tlön," for three conductors and no players. (Laughter) NOTE Paragraph 00:11:42.327 --> 00:11:44.267 This was based on the experience of actually watching 00:11:44.267 --> 00:11:46.783 two people having a virulent argument in sign language, 00:11:46.783 --> 00:11:48.642 which produced no decibels to speak of, 00:11:48.642 --> 00:11:52.053 but affectively, psychologically, was a very loud experience. NOTE Paragraph 00:11:52.053 --> 00:11:55.721 So, yeah, I get it, with, like, the weird appliances 00:11:55.721 --> 00:11:59.823 and then the total absence of conventional instruments 00:11:59.823 --> 00:12:02.696 and this glut of conductors, people might, you know, 00:12:02.696 --> 00:12:05.599 wonder, yeah, "Is this music?" NOTE Paragraph 00:12:05.599 --> 00:12:09.446 But let's move on to a piece where clearly I'm behaving myself, 00:12:09.446 --> 00:12:11.933 and that is my "Concerto for Orchestra." 00:12:11.933 --> 00:12:13.931 You're going to notice a lot of conventional instruments 00:12:13.931 --> 00:12:17.631 in this clip. (Music) 00:12:17.631 --> 00:12:30.478 (Music) NOTE Paragraph 00:12:30.478 --> 00:12:32.518 This, in fact, is not the title of this piece. 00:12:32.518 --> 00:12:35.073 I was a bit mischievous. In fact, to make it more interesting, 00:12:35.073 --> 00:12:39.358 I put a space right in here, and this is the actual title of the piece. 00:12:39.358 --> 00:12:41.384 Let's continue with that same excerpt. 00:12:41.384 --> 00:12:51.677 (Music) NOTE Paragraph 00:12:51.677 --> 00:12:59.767 It's better with a florist, right? (Laughter) (Music) 00:12:59.767 --> 00:13:02.003 Or at least it's less boring. Let's watch a couple more clips. 00:13:02.003 --> 00:13:15.979 (Music) NOTE Paragraph 00:13:15.979 --> 00:13:19.027 So with all these theatric elements, this pushes me in another role, 00:13:19.027 --> 00:13:21.850 and that would be, possibly, the dramaturge. 00:13:21.850 --> 00:13:26.337 I was playing nice. I had to write the orchestra bits, right? 00:13:26.337 --> 00:13:28.800 Okay? But then there was this other stuff, right? 00:13:28.800 --> 00:13:30.733 There was the florist, and I can understand that, 00:13:30.733 --> 00:13:33.873 once again, we're putting pressure on the ontology of music 00:13:33.873 --> 00:13:36.586 as we know it conventionally, 00:13:36.586 --> 00:13:41.009 but let's look at one last piece today I'm going to share with you. NOTE Paragraph 00:13:41.009 --> 00:13:43.674 This is going to be a piece called "Aphasia," 00:13:43.674 --> 00:13:47.109 and it's for hand gestures synchronized to sound, 00:13:47.109 --> 00:13:49.848 and this invites yet another role, and final one 00:13:49.848 --> 00:13:52.421 I'll share with you, which is that of the choreographer. 00:13:52.421 --> 00:13:54.899 And the score for the piece looks like this, 00:13:54.899 --> 00:13:59.309 and it instructs me, the performer, to make 00:13:59.309 --> 00:14:02.039 various hand gestures at very specific times 00:14:02.039 --> 00:14:04.293 synchronized with an audio tape, and that audio tape 00:14:04.293 --> 00:14:07.170 is made up exclusively of vocal samples. 00:14:07.170 --> 00:14:09.592 I recorded an awesome singer, 00:14:09.592 --> 00:14:11.937 and I took the sound of his voice in my computer, 00:14:11.937 --> 00:14:14.536 and I warped it in countless ways to come up with 00:14:14.536 --> 00:14:16.804 the soundtrack that you're about to hear. 00:14:16.804 --> 00:14:21.769 And I'll perform just an excerpt of "Aphasia" for you here. Okay? 00:14:21.769 --> 00:15:00.105 (Music) 00:15:00.108 --> 00:15:06.731 So that gives you a little taste of that piece. (Applause) NOTE Paragraph 00:15:06.731 --> 00:15:09.015 Yeah, okay, that's kind of weird stuff. 00:15:09.015 --> 00:15:11.254 Is it music? Here's how I want to conclude. 00:15:11.254 --> 00:15:13.830 I've decided, ultimately, that this is the wrong question, 00:15:13.830 --> 00:15:15.788 that this is not the important question. 00:15:15.788 --> 00:15:18.521 The important question is, "Is it interesting?" 00:15:18.521 --> 00:15:21.413 And I follow this question, not worrying about "Is it music?" -- 00:15:21.413 --> 00:15:23.899 not worrying about the definition of the thing that I'm making. 00:15:23.899 --> 00:15:26.352 I allow my creativity to push me 00:15:26.352 --> 00:15:28.512 in directions that are simply interesting to me, 00:15:28.512 --> 00:15:31.561 and I don't worry about the likeness of the result 00:15:31.561 --> 00:15:33.617 to some notion, some paradigm, 00:15:33.617 --> 00:15:36.606 of what music composition is supposed to be, 00:15:36.606 --> 00:15:39.049 and that has actually urged me, in a sense, 00:15:39.049 --> 00:15:40.784 to take on a whole bunch of different roles, 00:15:40.784 --> 00:15:42.919 and so what I want you to think about is, 00:15:42.919 --> 00:15:46.137 to what extent might you change the fundamental question 00:15:46.137 --> 00:15:48.860 in your discipline, and, okay, 00:15:48.860 --> 00:15:51.240 I'm going to put one extra little footnote in here, 00:15:51.240 --> 00:15:52.854 because, like, I realized I mentioned 00:15:52.854 --> 00:15:55.789 some psychological defects earlier, and we also, 00:15:55.789 --> 00:15:59.532 along the way, had a fair amount of obsessive behavior, 00:15:59.532 --> 00:16:01.693 and there was some delusional behavior and things like that, 00:16:01.693 --> 00:16:04.674 and here I think we could say that this is an argument 00:16:04.674 --> 00:16:06.653 for self-loathing and a kind of schizophrenia, 00:16:06.653 --> 00:16:08.589 at least in the popular use of the term, 00:16:08.589 --> 00:16:10.823 and I really mean dissociative identity disorder, okay. (Laughter) 00:16:10.823 --> 00:16:13.886 Anyway, despite those perils, I would urge you 00:16:13.886 --> 00:16:16.461 to think about the possibility that you might take on roles 00:16:16.461 --> 00:16:18.552 in your own work, whether they are neighboring 00:16:18.552 --> 00:16:21.050 or far-flung from your professional definition. NOTE Paragraph 00:16:21.050 --> 00:16:22.827 And with that, I thank you very much. (Applause) NOTE Paragraph 00:16:22.827 --> 00:16:29.026 (Applause)