About this page

Find transcripts, organized alphabetically, for all video works featured in the MCA galleries as part of I Was Raised on the Internet.

Jeremy Bailey
The Future of Television, 2012

Hi! Hi, I, of course, am Famous New Media Artist Jeremy Bailey. Very excited to be here today to present on the future of television. To talk to you about the future television, the topic of the day. I'm coming here to you live from—well, Maryland! Silver Spring, Maryland, where I just got married. I'm supposed to be on honeymoon, but of course Omar, the curator who was in attendance at the wedding asked me, "Hey, Jeremy you're a famous new media artist. Surely you could ignore your nuptials and your recent, your honeymoon and make a new work of art for me."

So, of course I can! And here I am doing it from my new wife's bedroom at her mother's house. I'm wearing what I'm calling "The Future of Television," which is really all about sharing. It's about fashion, it’s about wearing what you like. As you can see, the trends are all around us.

Watching television shouldn't really be about watching, it should be about showing and sharing—demonstrating what you like to other people. So, I've come up with this concept here which is to literally wear television on your face, and to control it with your face as well.

So, I'm using facial recognition software. Right now, I'm wearing three channels on my face and I can control them using my emotion, my expression.

So let me just walk you through how that works. Of course, this is all about sharing—it's really all about yourself. It's about admiring one's self and being able to watch television at the same time. It's also about showing other people what you like. In the future, as you're walking down the street in augmented reality, someone could immediately tell what you like and maybe get to know you a little bit better.

Hey, I like America as I just married an American. I like bunnies, maybe kittens, checkers—there you can see that I’m changing the channels. And how do you change the channels? I'm changing them, like I said, with my emotions. To change my eyes, for instance, which are showing the American flag channel, I just need to smile or grimace. Just go like that and you can see.

Very quickly I can scan through several channels at once. There's the Friends channel, there's the protest channel, there's my wife's mouth channel. We're just trying to get that going. Producers are—there's TV channel, a pizza channel, a Shake Weight channel, a squares channel, a strobe channel, why not? Hey, I like epilepsy.

Anyway, also, you can control the top here—the forehead and cheeks by looking surprised. I can just raise my eyebrows. There's a balloon-blowing channel. Of course, the ladies of The View, we all love The View, Brad Pitt in a perfume commercial. There are still commercials, we still need to pay for this.

Then, of course, on the bottom we thought two channels wasn't enough. We found a little bit more space to squeeze in a few channels there at the bottom. Now look at that — I just have to—the expression of shock [gasps] changes my chin channel. There you go. What a wonderful way to express oneself with the content that you love!

So we're signing on new channels all the time. Of course, looking at the kitten channel and the anti—well, the epileptic seizure channel. Let's just change that.

Through all sort of expressions, I can change—I can look at—you just need to—okay. It's not always easy to communicate this way, of course, and watch and control. [laughs]

But, I think it's really exciting. I know I don't have very much time with you, but I just want to thank you. I'm Famous New Media artist Jeremy Bailey and this is the future of television.

Love you guys! Bye!

Jeremy Bailey
Nail Art Museum, 2014

Hi! Hi, I'm Famous New Media Artist, um, well I'm not gonna share my name. Don't get me wrong, I'm really excited to be here today. I just—I've been doing some soul searching. You know, I'm a famous artist and I've been thinking a lot about how I got famous. It was really the internet. I've been thinking a lot about art after the internet, how things change. And then, thinking about myself, the artist. How has the artist changed after the internet? For me, the internet has always been this place where I went to get famous; it was this way to get famous. For me, that was all about my face and getting my face in front of as many eyeballs as possible, I always said.

You know, then this iconic face, this beautiful face—my face really was, or is, the artwork, typically. Because it's just so bold, it's so powerful, it's so inspirational. But, recently it's come to my attention that I shouldn't be sharing it everywhere. That my face—having my face on the internet could put my privacy at risk. That there are certain agents, actors, that are willing to harm me—simply by sharing my face I could be putting my future at risk, my privacy. And I didn't like that. So I asked myself, "How could I remain famous without showing my face? While remaining anonymous?" The answer was right in front of me. I mean, the answer is right in front of you right now. It's the hand, my hand, your hand! We can all be famous.

You know, you think about the history of art, people always talk about “the artist's hand.” But, you know, where is it? It's not in the artwork, it should be the artwork. You know, the artist's hand has been invisible. Let's make it visible, let's make it iconic. You're saying to yourself, "Oh, well the artist's hand is in the artwork."

No, no. Artists don't make things with their hands anymore. And certainly on the internet, artists don't make things, they aggregate the work of others. They're like curators. They're like little mini institutions. They bring all the best stuff other people have worked hard to make together in one place and then take credit for it. It's really about the juxtapositions and it's brilliant. It's a great system that helps people get famous a lot quicker, you know?

And the artists can remain sort of anonymous. They can be an avatar of sorts. But why not make their hand—here's the idea. I decided—I'm a famous new media artist; I make software. What if I took that idea of the artist as an institution, you know, more powerful than the Whitney, more powerful than the ICA, or the New Museum, or the Tate, and I made the artist's hand the institution.

That's what you're seeing here, actually. It's augmented reality software that I've written. This looks quite modest, but what you see here are nails—yes fingernails—that are actually plinths. They attach themselves to my fingers. Plinths—the plinth is the most powerful object in a museum; it allows you to host anything, any artwork. So that's what I've become. My hand has become a little institution, a little "handstitution" if you will.

These are the plinths and guess what, they host artworks. They host artworks from every era and every time period. We've got Venus de Milo, we've got an Ai Weiwei here on my middle finger here on my middle finger, how fun is that? On my ring finger I've got a Jeff Koons and it's all in 3-D. It's like I'm at the institution. It's right on my hand. The institution is now me.

I can show videos. I can show—here's a Ryan Trecartin video, here's a Petra Cortright, here's a [Albrecht] Dürer. I can show paintings from any historical period. I can show important portraits by famous artists. Who did that, I don't know. I can show anything. Here's a Donald Judd sculpture and it's all rendered in 3-D on my hand. And, of course, GIFs! And what else? We’ve got palm trees! Palm trees are just there. You gotta live with it. You're on the internet; there's gonna be a palm tree.

Of course, there's a video artist—a famous artist. What else have we got? We've got websites. There's a Rafaël Rozendaal. Anything is possible. Really, that's what I wanted to give the impression of here. There's a Cindy Sherman photo. That you could curate any exhibition.

Hey, even brands! This is an interesting juxtaposition, you might think it's controversial, sure. But what if a brand, an Ai Weiwei, a Venus de Milo, a Cindy Sherman photo—all that together on my hand? That's incredible Jer—That's incredible famous new media artist whose name shall remain anonymous.

If you're going to host an opening, or you're going to host an exposition, you have to have an opening. No opening is complete without a little music. These plinths are also level meters. You can host a party on your hand and dance to it. I'm just going to play a little music clip here, check that out.

[Beyonce's "Single Ladies" playing]

And now my plinths are level and dancing, we're having a great time. Look at this. I'm expressing myself as an institution. I'm expressing myself as an institution. I'm having a fantastic opening. Everyone's excited. It's better than real life. It's me, I'm famous. My hand is famous. We're all famous. We can all do this. This is it. This is the future. Thank you so much for letting me share this with you. I'm going to continue curating hit exhibitions, remixing new ideas on my fingertips with just a flick of the wrist, a flick of the finger, maybe the middle finger, I don't know, I don't want to say.

Anyway I'm just going to say goodbye. You know, this is just an exciting idea that you're going to see a lot more of. So, alright, see you later, bye!

Jeremy Bailey
The Web I Want, 2015

Hello, hi there, cutie! Just kidding. I'm Famous New Media Artist Jeremy Bailey. So excited to be here at the Southbank Centre to present new ideas to you, really. You know, the Web We Want Festival is on, that's why I'm here. I was invited to solve some of the internet's greatest problems. That's what I do. I'm a famous new media artist. So, I go around the world—I walk around the world—I travel the world bringing creativity and technology that solves some of our biggest problems.

Now, when I thought about the Internet We Want, I thought, well, "What do I want? What do I need?" I really need more people to pay attention to me, I decided. You know I looked around, everyone's on their devices, they're on their laptops, their phones, their tablets, they're on the internet. That's fantastic. The internet's very successful. I'm very happy for you, internet, great job. But now, what about me? How do I get people to pay more attention to me? I thought, of course, of course, I need to bring the internet to me.

What if people could have a conversation with me, interact with me, and get the information they need? Listen to me speak while they consume the internet, while they get the data they need to run their businesses, to do the serious work that they're always doing.

So that's what you have here. You have this interface. It appears just below my eyes. You know, yes, people look—I find they look a little bit below my eyes, but it's better than if they're looking over my shoulder or looking at their phone. So that's what it is. It's an interface that exists in augmented reality. This is really the future. You know, we're heading towards a screenless society. Why not put the screen on our bodies? All over our bodies. So, right below the face is the best spot I think, because I can have a conversation with you, we can connect. That's what the internet is about, connecting. We can have a conversation, and you can get the information you need.

So, here you're getting—here you can see you're getting—there I am—you're getting world clocks so now you can see what time it is in England or in Toronto, Canada, where I am right now. And, look at that, real time. I'm getting the time in two cities at once and having a fabulous conversation with Jeremy. Wonderful!

Look there's a very simple way for us to interact with this interface. It's physical gestures, of course it is. It's a physical interface, it's on my body. I just swipe up, swipe up, there we go. Now I have stocks. I'm paying attention to the stock market. Ooh-la-la, Apple is up, Google is down, we can have a conversation about that. Aren't we fabulous? Yes, yes we are.

So there's all kinds of information here. There's sports scores, of course. Here's Arsenal versus Manchester United. Arsenal's winning! What an amazing—that's fabulous—what a miracle! This is the future. Anything's possible.

We have the weather, of course. I always need to know what the weather is. This is the long-range forecast—the two-day forecast. Everything is sort of in twos; it's more symmetrical, fits the body better. But look at this, it's so natural. It feels so intuitive. It just feels right. It's instantly familiar, this interface. You're paying attention to me and you're getting the weather! What could be better than that?

You know, all of these different—oh, video, of course! Here, I made a little advertisement. I'm advertising for myself right now. But maybe I need a little extra revenue in my life. Maybe I'm not doing so well at work. Maybe while we're having a conversation I'm advertising new denim to you, or a new iPhone! Hey, get that device, whatever! But you're paying attention to me and it's fabulous.

But, maybe you just wanna attract more attention, so we have dogs. Just a playful—dogs with sunglasses! That's gonna get everyone gathering around.

What's—you need a crowd around you. You're saying something important about the world, you're philosophizing? Get some dogs with sunglasses up underneath your face and suddenly people are paying attention, they're all gathering around; it's wonderful!

Of course, if you are really trying to get some real new ideas, to get people to pay attention, take you really seriously, you need some important men. So, two busts—busts of important men at my—[laughs] Yes, absolutely it's a great idea. So we have Stalin and . . . I can't remember this . . . this American guy here. Anyway, it makes me look smart to have them on my chest. [laughs] Look it's fabulous!

Oh, yes, denim. Denim! These shorts? Oh, yes. Spring 2015, it's all about short shorts and denim. Oh, yes, you must get them. And now everyone is thinking, "Oh, Jeremy, he's so smart. He knows about all the trends and we're going to—yes, we must listen to him more often. He's just such a wonderful human being. Oh, there's something magnetic about him."

And normally I would wear a turtleneck but it's just too hot today. And really, I find people—when I'm not wearing a shirt—the interface really shines. It's more of a foc— it's really like fashion. It's . . . the data . . . the internet's fashion.

You know, I love to dance. What could be more fashionable than that? So we also, of course, have streaming music. Now, I have it set to Beyoncé all the time because that's just what I'm in to. But, you could dance to anything. So, to start your music playlist, you swipe up and here we go.

[Beyoncé's "Drunk in Love" playing]

Now we're listening to music and it's a visualizer. Now, you and I, we could be talking, chatting, and listening to our favorite songs. And we’re getting to know one another, we're connecting, just like the internet intended. I just love it, it feels natural. I’m touching myself, maybe you’re touching me. Maybe we're getting to know one another a little better and just dancing to our favorite music. It's wonderful. Look at this it's so natural. I just find it gets everyone paying attention to me and I feel so important, I feel so special. Let's just dance for a little bit, look at that.

[Beyoncé's "Drunk in Love" continues playing]

Well anyway, you get the idea. It's just fabulous! Here we are back at the world clock. We've lost track of time, haven't we? We've had a fabulous few minutes together. This is the future; it's coming soon. The screenless world—we're connecting with one another. We're just getting the data we need to prosper, to buy more stocks, to track more time, to enjoy the weather. Anyway, it's all coming.

Thanks so much for your time. Love you guys, bye!

Simon Denny
What Is Blockchain?, 2016

Imagine a world where trust is guaranteed: a world without borders, a world in which each and every one of us takes part in the whole. This world is already here, embedded in the blockchain, waiting for its emergence. It consists of a network of decentralized, distributed, connected nodes that together keep our information safe and accurate.

The blockchain was created as the collective database behind the cryptocurrency Bitcoin, but it can do much more than facilitate the exchange of digital money. Information stored in the blockchain is indestructible and incorruptible. Each node in its network automatically and continuously agrees with all other nodes about every record on the blockchain ledger to ensure that they are valid. Because each blockchain entry is programmable, any kind of activity can be stored and verified—not just money or exchange records. It could be a birth certificate, a contract, or even a vote. Information stored in the blockchain is public, transparent—meaning anyone can access it.

Now, let’s take that one step further. For centuries, we have relied on trusted third parties to guarantee trade, a dependency that was born out of necessity. Every transaction on this planet is vouched for by overseeing actors like banks, states, or trade agreements. They provide a framework within which we can securely trade and share information. The blockchain, however, needs no overseeing third parties. Verification is automated in its code—a true reflection of all transactions is guaranteed in its very structure. There is real beauty in the liberal dream of a perfect market. A perfect information system, reflecting the true data on exchanges between individuals, drawing a global map of the complexity of human relations. Top-down planning, even if it's well-intended, can only misrepresent a system composed of so many individual interactions. Because centralized planning can never grasp the full and complex reality, it inescapably distorts and corrupts the truth. But the blockchain is the truth. It is a system enabling each and every one of us to take part in the real, vast, marvelous, ever-changing pattern of human interaction, governed only by ourselves, enabled by a code belonging to all, reflecting all.

A Good Crises, 2018

[Music playing]

Capitalism crashed in 2008.

Predatory loans wiped out 50 years of wealth gains of the middle class.

If not an outright conspiracy, they simply conspired to take advantage. Now Wall Street wants to be your landlord.

The housing collapse presented a rare opportunity: global private equity firms like the Blackstone Group are devising a new "rentership society."

High rents and weak millennial incomes make it all but impossible to raise a down payment. The convenient claim that millennials have evolved out of home ownership has taken hold.

Welcome to the Airbnb future.

Feeling left out? You wasted a good crisis.

2007, 2008 came and went, and for what? You squandered the perfect opportunity.

Small-time property ownership is dying, widening inequality is defining our time. Forget the gilded age, this is Medieval.

But it wasn't always like this.

US tax law of the 1910s and twenties was progressive: resisting the patrimonial European model, the rich paid more.

We had the Great War, then the Great Depression, saved by the New Deal, followed by the Second World War and a massive boom. Top earners paid more than 90 percent tax.

It was the golden age of American capitalism and of American home ownership for the middle class.

But don't forget, the US was built on violent racial capitalism, from sharecropping, to redlining, to the present, homeownership has been systematically denied to black Americans.

The market crash in 1973–74 brought postwar growth to halt.

The seventies, Reagan, deregulation, decline of unions, rise of globalization and new technologies, income inequality blossomed.

And maybe you assume income inequality drives wealth inequality. It doesn't.

Wealth is about assets.

Rich and poor households hold different assets. Poor households have little wealth, mostly in cash or bank accounts. Middle-class households have almost all of their wealth in their houses. Rich households own stocks and business equity.

For 40 years, the middle class enjoyed a favorable housing market; their wages were stagnant, but their home values rose and so did their wealth.

Enter 2007.

The crash was a long-time coming. The middle class wasn't meant to recover; real estate companies did, though.

Number one largest owner of real estate in the world, Blackstone, uncoincidentally grew fourfold since 2007. At the root of the crisis was subprime mortgages and predatory lending. Taxpayers bailed out the banks. The banks took the money, turned around, and bought the homes they foreclosed on right out from under the taxpayers.

The new landlord, by divine right, the billionaire, will remain safe from insurrection in their luxury survivalist condo built in a former missile silo protected by armed guards.

How feudal.

The CEO of Blackstone, the company that bought up all those foreclosed homes, Stephen A. Schwarzman, is the first executive to pull in a $1 billion annual salary. That's taxed at rates barely more than the annual salary of the average millennial, who's making 20 percent less than a Boomer at the same age, in real dollars.

We're beyond the age of debt and on to the age of full-on predation.

Schwarzman wants Americans to live in serfdom.

The new 2018 tax reform pushed through this year punishes people for owning homes, the one form of wealth middle-class people have.

There has been a redistribution of wealth—to the wealthy.

Maybe you're thinking this is all just some baseless fearmongering. This isn't a projection, prognostication or model.

This is just accounting.

You wanted an economic revolution? We're in one.

[snare drum rolls]

[“Glamorous” by Fergie playing]

Hey, Upper East Siders. Gossip Girl, here—your one and only source into the scandals of financial capitalism. If you wanna be part of this world, you need to decide if all this is really worth it.

[Music playing]

AfterMicrosoft, 2007

The most distributed image ever is being phased out. What remains is a hill in Sonoma Valley, California.

Charles O’Rear used to pass that hill almost daily between his home in Napa and his wife, Daphne, who lived in Marin County. He always carried his medium-format camera.

It was hard even to slow down on highway 12/121. But one day, it must have been in January, he pulled over. After about a month of rain the sun comes up, and there is beautiful green grass. The weather during the winter can change dramatically. A break in the storm. Intense blue sky with cumulus clouds. Maybe later that day it rained.

Blue was an important brand color already in ninety-five. Clouds and sky being a common theme in many aspects of the product’s identity and collateral. Illustrating potential and opportunity.

Continuing the cloud theme, but with added grounding. The horizon gives a sense of scale to the image. Makes it possible to imagine being there.

Because of the danger of that road and where he was standing, he didn’t take a tripod. His camera, when handheld, needed to be shot at least at a five-hundredth of a second. Whatever that translates into on a sunny day. Probably 500 at 5.6.

With property prices in Sonoma reaching $75,000 per acre for bare land, most hills were being developed into vineyards or homes. On this hill, grapevines had been planted. But in the early nineties a Phylloxera bug infested the grapes and made them unusable. The entire vineyard had to be pulled out. For a few years the hill was covered with grass. Green at the time of the photograph.

Green was the second main color in the branding scheme and in the User Interface. Running late in the product development cycle. Looking for a nature shot. “The reality of real life.” The image matched the brand colors. It fell completely into place, in terms of sky, clouds, blue, plus the green field.

By the time the image was purchased, grapes had been planted again on the hill in Sonoma Valley.

Rachel Maclean
It’s What’s Inside That Counts, 2016

We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data. We want data.

Drained, tired disconnected? Not feeling like yourself? Be fast, be strong, be you.

Get five-times faster data with BU Unlimited, now with 2000 megabytes of data fiber and one million likes of route-diverse networking, Be offers unparalleled connectivity for a faster you.

Fast is clicking over crashing. Fast is syncing without stress. Fast is pushing yourself to the limit, then realizing you have no limit because when you’re fast on the inside, you can do anything.

Data! We love you data. Data, you’re the best data. We love you. Whoo. I love you. I love you, data. Data, look at me, I love you. Data, data, data, data, data, we love you. Data, we love you. Data, data, we love you. Data, we love you.

Ah-ha-haa. Ah, I hack things from you.

Ahh, stop it, let go.

Push malware three, beauty will trash.


Sub network error.

I was like, I was like …

Vanity is broken!

Life hack yourself to hell!


Troll the, spam thee, dispose of thee like I dispose of me.

Stop. Let go of me!

Like like. Like for like. You’ll reach your end. Ugh.







How do we make the world a better place? At BU, we believe it’s what on the inside that counts, making cuts in the right places so that we can turn sustainable resources into data—data that can be recycled again, again, and again. So take a deep breath. We’ve combated issues of health and wellness through a high-end policy of facial modification and aftertreatment, allowing that extra one percent to enjoy a safe and a happy future. Through our network communication strategy, we’ve connected together over three billion people from all around the globe, forging friendships today in order to build the world of tomorrow. At BU, we value what’s on the inside, where it counts. BU: Just be yourself.

[Music, sound effects]

[Chanting] We want data!

Achh, would you listen to that? They’re hungry for you, my lady.

Ouch. Ugh. Ugh.

[Music, cheerful sound effects]

You’ll reach your end.

You’ll reach your end. What do you think it meant by that?

What who meant, my lady?

The creature, earlier, the one who touched me?

Ach, they’re touchy beasts, my lady. You shouldn’t pay them any mind.

We want data. We want data. We want ….

[Sound effects, music]

Data? Ha, ahh, data, data. 


Oh yes, bite, bite, fast, bite.

[Sound effects, music]

Ahhh, too slow!

Oh, deary me, that’s crap.

This connection’s woeful.

Only because you hogged it!

What? Me?

Yeah, you dirty band hog.

Hog? Dirty? I’ll band your width, virus.

Ha-ha, go ahead, plug me, see if I care.

Oh, I’ll plug you, all right. I’ll plug you to hell, you sneaky little …

Quiet! Power down trolls, for I give thee . . . data.

Wow. Wow.

Wow, it’s core axis multimode fiber!

Ooh, this is the highest refractive index I’ve ever seen.

Straight ray diverse networking and unlimited parallel connectivity.

So new.

So fast.

So strong.

But hang on, where’s your source?

Ahh, plug her in and you will stream.

[Music, sound effects]

It’s she.

What? Oh, what ports! What curves!

241 million hits.

Whoa, I’d copy that.

And I’d paste.

Ha-ha-ha-ha and again and again.

And again and again and again.


Ah-ah-ah, don’t overload. We can buy it in fine time but for now she is mine.

[Sound effects, music]

They’ve stopped.


The plague, they’ve stopped chanting.

Hmm . . . [yawns] maybe they eventually got bored and went back to where they came from.

You wanna die? This is way you fucking pull on bodies.

Sit down, bitch.


Do you wanna die? No fucking way. Lose weight for these cows, chubby idiot, you and you cow.

[Whimpering, rapid breathing]

A cow? You idiot. Wake up.


Trolls! Ahh, gross, gross, gross, ahh, fix it, fix it, quick. Huh.

Oh, God, yes, ma’am, I’m going.

[Indecipherable phrases chanted]

[Music, sound effects, indecipherable chanting, heavy breathing, whimpering, vomiting sounds]

[Low chanting, sound effects]

[Chanting in the manner of Catholic monks] We want data, we want data, we want data, again, again, again.

[Beats and music added]

We want data, we want data, we want data again, again, again.

[Indecipherable chanting added]

We want data, we want data, we want data

Next generation Netflix system again, again and again, fiber optic, light process, revolutionary algorithm, speed ‘em ups again and again and again and again.

Again, again, again.

Next generation Netflix system again, again and again, fiber optic, light pulses, revolutionary algorithms, longer wavelength, speed of light, again and again and again and again, again and again and again, again and again, again and again and again, again and again, again and again and again.

[Singing, mostly indecipherable lyrics]

Again, again, again.

Data sent at multi frequency, wave division multiplexing. Gigabit gigabit gigabit, again and again and again. Data sent at multi frequency, wave division multiplexing. Gigabit gigabit gigabit, again and again and again. Single-mode optical fiber, data moving at the speed of light. Gigabit gigabit gigabit, again and again and again.

[Music speeding up]


Perhaps you found that your thoughts can build up and out, perhaps so much that this continuous habit of thinking can become worrying, stressful, constant mind chatter. Sometimes in might feel like you’re locked into a cycle of repetition, making the same mistakes again and again and again. Become aware of what you are saying. Become aware of the movement of the breath as it flows in and out of your body, two, four, one, two, four, one, simply remain aware of the air flowing in and flowing out, not manipulating your breathing in any way, simply being, being, being, being, being. Let the feeling spread, share it with the people around you, be, be, be, be, be, be, be, be, be, be, be, be, be, be.

Virus, spam!

Whoop, hey there, little guy. Ha-hah, ehh, how you all doing, huh?

Waste data when you want, but don’t ask “we” for help again.

Whoa. [Laughs]

Again, again.

Oh, ha-ha-ha-ha.

Again, again, again.

Ahh, you guys.

Again, again, again.

Really. [Laughs]

Again, again, again.

Whoo, howdy, ma’am, I sure am glad I found you all here and, hell, what a day, mm? I could kill for a good cuppa coffee. Not any of that, you know, brown-water stuff, now. I’m talking about the good stuff. [Laughs] Ha-ha-ha-ha, oh [laughs] ha-ha-ha-ha, ahh, ha-ha-ha-ha-ha, whoo, baby, what a choice, what a choice, what to choose? Huh, how about you? Can you fix me up one of your best, you know grande caramel latte to take out and you know what? Hell, gimme an extra shot with that, too, why dontcha, okay? [Laughs] Heh-heh-heh, I appreciate it.


What was that? No caramel left, huh? Well, you know what? Hell, no problem, no problem at all. I’ll just take a regular latte and just don’t skimp out on that caffeine, you know? I can’t stay awake on good will alone, now, can I? Heh-heh-heh-heh, hee, I’m dying over here, [laughs] okay? I’m really dying. Can you help me out, ma’am? You okay there, ma’am? Do you speak English? Heh-heh, kind of a long day, I’m sure, heh-ha. Hell, I know the feeling. By 5 pm, you just wanna tell ‘em to go take a fucking hike, am I right? Ha-ha-ha, uh, ma’am? Ma’am, you need a doctor? I mean, I’d contact someone but my data’s been all kinds of dried up. I haven’t had a lick of connectivity in days. I mean, you got some cable up in here? And you know maybe I could hook myself into that but I . . . Ma’am? Excuse me, ma’am?

Ow, ow . . .


Haaa! Data spam heathen!

Oh, hey, thre you are, heh-heh. Whoo, I was getting a little worried that you were, you know, all dead inside or … Oh.


Okay, well, okay, now, let’s just … Oh, why don’t we just back up now, okay? Let’s just back up. Uh, could you fix me that, uh, uhh, caramel latte and get that extra little shot that we talked about.

Worm, I’ll hack thee to hell, vile spam.

Ha-ha, ooo, okay, now, you know, I gotta say if you weren’t the only coffee joint in the whole damn desert I might do well to take my ass elsewhere but, you know, I guess ain’t really got much of a choice now, do I? Heh-heh, heh-heh and so you know if you all ain’t gonna serve me, uhh, then I guess I’ll just have to serve myself. Heh-heh, okay, and right over here.


[glass shatters]

Oh, hot damn. Sorry. Well, okay, well, you know, it doesn’t really look like I’m gonna be getting my coffee anytime soon, so I guess I’m just gonna go ahead and you know find somewhere to plug this in before I head on out the fuck of here so does that sound okay for you guys?


Oh, whoa, ahhh!

Be, be, be, be, be.

Be, be, be, be.

Be you.
Be you.

Be yourself.

Be yourself.

Love yourself.

Love yourself.

Bring yourself into the present, the here and now in two . . . four . . . one.

Two . . . four . . . one.


Two-for-one, two for the price of one, two-for-one deals and offers.



Control yourself.

Okay, okay, ha, control, control, control.


Self, self.

Now remember, what is the secret to success?


Focus. Clear your mind. Think of nothing.

Nothing, doing nothing.

Now reach inside yourself.

[Sound effect]

Deep inside and find that strong, confident woman. Now free her.


“F” is for freedom, the freedom to be beautiful.

Beautiful, beauty.

Be, be.

Be, be, be.

Beauty is something that comes from the inside where it counts.

Inside, inside.

Two . . . four . . . one.
 Nothing, doing nothing, thinking nothing, nothingness.

Pay attention!

Nothing, nothingness, na . . . Nah . . .

I said pay attention!


Fuck nothing.


You just sit there all day on your fat little ass doing nothing.

Nothing, nothing because when you’re fast on the inside, you can do anything!


Ahhh! Nothing!



Why the fuck should I care about you?

I earned it, you bastard. Ohh-waa!

Again, again, again. Ahhh, again, again, again, again, again, again, again.

Two-four …





Again, again, again.


You fat, do-nothing little cunt.

Again, again, again, again.

Ugh, ughh-ughh, freebies, handouts, fucking scrounger.


Again, again, again.

Spoonfeed yourself to hell, do-nothing bitch!


Nothing! Fuck nothing, cunt! Scrounger, do-nothing, disgusting, lazy, good, good, good for nothing cunt!


Oh, please don’t be scared. Often we are so distracted we forget to value the beauty on the inside, where it counts. What do you do when things go wrong?

Hey, again, again, again,

[Laughs] Hmm-hmm-hmm, oh, you get up and do it again.

Yay, again, again, again.

[Woman sings] Take a look within underneath the skin, beyond what others see. It’s what you’ll find, loving, kind, and free. Give a little smile and spend a little while on nurturing your soul. Inner beauty is the thing that makes us all feel whole.

Underneath the surface, an electronic pulse is submitting information, bite, chew right through cables, robot flesh, next-generation technology.

No matter what you wear, your makeup or your hair, what’s underneath needs care, you find your true and lasting beauty there.



Unparalleled scalability.

La-la-la-laaa, la-la-la-la-laaaa-la-laaaa.

Touch you, use you.

No matter what you wear, your makeup or your hair, what’s underneath needs care, you find your true and lasting beauty there.

[Sound of birds chirping]

We all love each other very much.

Big hug! Big hug!


Yaaay! Again! Again! Again!


Yaaay! Again! Again! Again!


Yaaay! Again! Again! Again!


Yaaay! Again! Again! Again!


Yaaay! Again! Again! Again!

Yaaay! Again! Again! Again!



When your world falls apart, pick yourself up and do it again and again and again and again and again and aga … Ugh ... Ughhh… Uggghh

Because wa-haaaa … Because when you’re fast on the inside, you can do anything – ing – ing –ing …


Do it again. Do it again. Do it again. Do it again. Whoo!

[Electronic music, heartbeat]

Tabita Rezaire
Premium Connect, 2016

[text on screen]

Computerized male voice: This is not a world that belongs to you. If you want a world, which you can improve, then you can go and create one for yourself.

[SMS exchange in English]

In this world, you will take your place as the insignificant speck that you are. And you must conform to the rules laid down by our forefathers. You must not try to improve on anything that they found good enough.

You seem to have forgotten that it was the love for inventing new things that caused the destruction of the first people.

[Male speaking French; subtitled in English within video]

Computerized male voice: Divination is the art of accessing unknown information—the future, the unknown and the past. A divination system is a science-based on an expansive body of knowledge, allowing to interpret cryptic messages. Divination methods differ but all follow precise procedures to retrieve otherwise inaccessible information.

Ifá divination.

Woman's voice: Ifá is not a religion but contains religion. Ifá is not history but contains history. Ifá is not philosophy but contains philosophy. Ifá is not science but it contains science, and a very profound kind of science. What is a profound kind of science?

Computerized male voice: Surely, not one relying on exploitation, oppression, and disconnection.

[Female speaking French; subtitled in English within video]

Morpheus (Laurence Fishburne): What is real? How do you define real? If you're talking about what you can feel, what you can smell, what you can taste and see, then real is simply electrical signals interpreted by your brain.

[Female speaking French; subtitled in English within video]

[text on screen]

Computerized female voice: Ifá is the traditional spiritual system of Yoruba people. It is the repository of you Yoruba knowledge. Ifá divination is a technology to access this information. It uses shells and a complex binary protocol to obtain an odu—an octogram holding divine guidance. There are 256 primary odus, which form the oral body of knowledge containing all Yoruba science, cosmology, metaphysics, medicine, and wisdom, in poetic form.

Female: In the West, materialism is the most popular theory. It is very simple. Everything in the world is material. And if it is material, then I know it through my five senses—touching, tasting, and so on. But they know that there is something that is not material, they call it the idea of the spiritual. They say it does not exist.


Male voice: We are praising our ancestors because also, what they provide for us is a divine record of consciousness. They are the divine internet. If we are trying to draw on our own personal files, within the memory of our own computer, then our access to information is limited. If we take that same computer and connect to the internet, a whole different thing happens. It's the same computer, but now it's connected to the internet.

The analogy is that we are the computer. That if we try to rely on our own brain to come up with all the answers that we are dealing with on a daily basis—especially in a world of oppression like this, in a world of unfairness like this, in a world of injustice like this, in a world where we see things being destroyed that we care about, then we are indeed lost, because all we have is our one lifetime. When we draw upon the lifetimes of our ancestors, it's like our computer is now connected to divine internet.

Female: In Ifá, the unit of counting must be binary. They must always be two. Now, for your information that is the newly discovered in western mathematics, binary. Ifá is the one that says that everything must have two sides. They are inseparable. Think of a mountain. Does it make sense if you don't have the idea of a valley? A mountain is the place higher than. . . . So, separate the idea of mountain, it doesn’t have any meaning unless you have the valley there. Up and down.

[text on screen]

Computerized female voice: The binary code theory, which is based off the modern computing system, has its origin in binary system of Ifá divination. From Africa it spread to the rest of the world. This knowledge migration started in the 12th century when the Almoravids invaded the Ghana empire. The Moors assimilated the method of divination and spread the practice through their empire. When the Spanish alchemist Hugo of Santalla translated divination treatise from Arabic to Latin, divination science was taken up by the occultist elites.

In the 13th century, the study of divination inspired the philosopher Ramon Llull to develop his complex logic machine. In the 17th century, from Llull’s research the mathematician Gottfried Leibniz developed the modern binary codes, which would become the foundation of computing science.

[Female speaking French]

Computerized female voice: Through the dissemination of Ifá divinatory binary system, the binary code essential to every digital circuits was born.

Male: Digital systems are—which are present everywhere—they are in computers, mobile phones, household appliances, space and medical systems. You can see them pretty much everywhere around you.

[text on screen]

Morpheus (Laurence Fishburne): The matrix is a computer-generated dream world built to keep us under control in order to change a human being into this.

Neo (Keanu Reeves): No, I don't believe it. It's not possible.

Morpheus (Laurence Fishburne): I didn't say it would be easy, Neo. I just said it would be the truth.

Neo (Keanu Reeves): Stop. Let me out. Let me out. I want out!

Female: So, you know the problem we have—Ifá is a storage. Put in together everything you know. It was not separated. But, because you see it as a religion, you think it doesn't have anything. That's the lie.

[Female speaking French]

Female: Today, the latest development in science is particle physics.

Ifá is a description of binary mathematics, and particle physics.

Sylvester James Gates Jr.: Science is not about finding the truth. What science is about is making our beliefs of nature less false. I'm not sure truth actually exists in science. We've been able to turn sets of equations into sorts of pictures that contain all the information of a set of equations that are related to string theory. I call these pictures Adinkra.

Adinkra is a very interesting word. It comes from West Africa, and it basically means "pictures that have hidden meaning."

When you then try to understand these pictures, you find out that buried in them are computer codes just like the type that you find in a browser when you go surf the web. And so, I'm left with the puzzle of trying to figure out whether I live in the matrix or not.

Neil deGrasse Tyson: Are you saying your attempt to understand the fundamental operations of nature leads you to a set of equations that are indistinguishable from the equations that drive search engines and browsers on our computers?

Sylvester James Gates Jr.: Yeah. That is correct.

Neil DeGrasse Tyson: So, you're saying, as you dig deeper, you find computer code within the fabric of the cosmos?

Sylvester James Gates Jr.: Into the equations that we want to use to describe the cosmos. Yes.

Neil DeGrasse Tyson: Computer code.

Sylvester James Gates Jr.: Computer code. Strings of bits of ones and zeroes.

[Female speaking French; subtitled in English within video]

Morpheus (Laurence Fishburne): You've been living in a dream world, Neo.

Bogosi Sekhukhuni
Consciousness Engine 2: absentblackfatherbot, 2014

Son: How's it?

Father: I am okay. You? The last time I saw you, you couldn't even write your name let alone say hello. I will look for your photo and send to you.

Son: Yeah. So, what's new?

Father: I am okay. Not complaining much these days. I've learned it doesn't help. Hey, I like the video posting. A great rendition of a beautiful classic by greatly talented musicians. For some reason, I have this nagging feeling that you probably like the Roots more than John Legend. Am I right? I've been meaning to email your photo when you were still young, before you could know the different between your chin and nose. I will send it sometime soon.

As you have noticed, I do not use Facebook daily like some people. For me, it is a bit like an email portal. I do not utilize its full potential. So, you will get the photo one of these days.

Are you well?

Son: Actually, it's not even the song. Although the lyrics are really good, I'm just impressed that he followed up two albums about creeping with a Marvin Gaye state-of-the-world song; one that isn't even commercially viable.

Father: I checked a transcript of our chat just now and I realized that you didn't say much. You talk in monosyllables. Next time, you should tell me a bit about yourself.

Son: You too. Call me, 0-8-4-200-39-11-41

Father: I have your digits now. I will call you sometime. Or, you can Skype me using my email address,

Topic of conversation: music appreciation. A few weeks ago, I bought Meshell Ndegeocello's Devil's Halo. I have played the CD several times, but I am still disappointed. To make matters worse, the tracks are too short, which makes it feel like it’s a demo; do you know it? I liked his previous albums, but this one I can't get into. Maybe my taste in music is conventional, or maybe I am just old. Let me know what you think of it; if it's in the bracket of stuff you listen to. Sometime earlier this year I saw (inaudible) performance at Cape Town Jazz Fest and I enjoyed his performance, although he is somewhat not mainstream—well, according to my definition.

Son: I like short songs. Have some Meshell records, only really listen to the punkish stuff, which is very good. She has this song with (inaudible). I listen to pretty much everything.

Hey, I'm going back to school next. Just got accepted at UJ. Trying to raise funds for fees. Could you help out, seeing as you're my father and all?

Thomson & Craighead
A Short Film About War

Male voice: I’m writing from the airport in Atlanta to vent some of my sadness and grief. I’m going through all the same feelings I did when I left Iraq in January, but I have some new light to shed on my hatred for the army and for my situation. I believe it’s a result of my inability to express my love for my wife, Holly, because of our separation. I’ve been buying her lots of things but I know they’re scant in comparison to what I should be doing. My ineptitude is caused by my deployment and, unable to love, I express my passion for her through hatred for the army.

[Female speaking French; English subtitles on screen]

Female voice: Today, the girls and I compared some of the better excuses we have heard for not receiving that eagerly awaited phone call or visit from our men: “Sorry but my mud hut was flooded and the satellite phone died.” “I can’t get there today, babe. The UN planes have run out of fuel.” “I can’t drive to El-Fashir today. There are rebels attacking our town” And, finally, my favorite, “I’ll come see you next week, honey; I’ve just got to pass out food to 50,000 people first.”

[Male and female speaking Arabic; English subtitles on screen]

[Radio news segment montage] Male voice: There are machines in outer space that take photos of the Earth’s surface. These pictures are organized on a database on Earth, an atlas universalis. Our decent and ascent are an illusion and makes us believe we are traveling backwards-and-forwards from outer space, back down to ground zero.

Male voice: This place really sucks. People keep killing other people. I can’t even imagine how many Iraqis live within a mile of me who would prefer me dead. It must be in the hundreds.

[Female speaking Arabic; English subtitles on screen]

Male voice: When I’m in a crowd I find myself stressed out and begin the almost automatic scanning procedures, locating avenues of possible attack. Within a minute or so I would have realized what I am doing. I will begin to ramp down my stress level and response by thinking logically about the situation. These people are not potential attackers and I am okay.

Male voice: For the past 10 days I’ve been out processing. The doctor asked me about my health, mental and physical. Did I see any dead bodies, UK, coalition, or civilian? You put down “Yes” in all three columns. The dentist advised me to get my teeth cleaned when I got home. It feels like I just blink my eyes and I was leaving, but when I think about it, it was a long 365 days in Kandahar. I’m trying to remember how many ramp ceremonies I went to, way too many.

Female voice: We stopped about halfway back to talk to some soldiers. About half of them had to be 15 or younger. They asked for money, my bracelets, a telephone, my hand in marriage, et cetera. They sleep like goats, in grass huts, spaced a couple of feet apart, ascending up a hill. Their green uniforms sag on them like a little boy playing work in his dad’s white shirt. Their guns are slung across their shoulders. Some hold it with pride. Some hold it as if it is a burdensome, heavy backpack. After we dropped off the commanders who were on the drive home, I looked past him and over the grassy cliff to the sun jumping across the blue, soft waves. The volcano’s in the distance, with a white, spherical cloud looming over the top. The UN peacekeeping camp is set up right next to the lake.

Male voice: I’m writing from the airport in Atlanta to vent some of my sadness and grief. I’m going through all the same feelings I did when I left Iraq in January, but I have some new light to shed on my hatred for the army and for my situation. I believe it’s a result of my inability to express my love for my wife, Holly, because of our separation. I’ve been buying her lots of things, but I know they’re scant in comparison to what I should be doing.

Andrew Norman Wilson
Workers Leaving the Googleplex, 2011

In September 2007, I was hired jointly by Transvideo Studios and Google, both headquartered in Mountain View, California. Transvideo had a contract with Google and took care of 100% of their video production in Mountain View, and sometimes elsewhere. My labor was sold to Google in the form of a 9-5 job. I had access to a personally unprecedented amount of privileges, but was not entitled to the ski trips, Disneyland adventures, stock options, and holiday cash bonuses from their team of temporary Santa Clauses.

Thousands of people with red badges (such as me, my team, and most other contractors) worked amongst thousands of people with white badges (as full-time Googlers). Interns are given green badges. However, a fourth class exists at Google that involves strictly data-entry labor, or more appropriately, the labor of digitizing. These workers are identifiable by their yellow badges, and they go by the team name ScanOps. They scan books, page by page, for Google Book Search.

The workers wearing yellow badges are not allowed any of the privileges that I was allowed—ride the Google bikes, take the Google luxury limo shuttles home, eat free gourmet Google meals, attend Authors@Google talks and receive free, signed copies of the author’s books, or set foot anywhere else on campus except for the building they work in. They also are not given backpacks, mobile devices, thumb drives, or any chance for social interaction with any other Google employees. Most Google employees don’t know about the yellow-badge class. Their building, 3.1459, was next to mine, and I used to see them leave everyday at precisely 2:15 pm, like a bell just rang, telling the workers to leave the factory. Their shift starts at 4 am.

I found this social arrangement interesting, and at a certain point I decided to investigate the rationale behind Google’s decision to exclude the yellow-badge class from most privileges the company has to offer, despite the fact that their labor takes place in a Google building with a Google sign out front, and are being contracted to Google by another company just like my team, and just like other informational laborers: the kitchen staff, the shuttle drivers, the custodians, and more.

Eventually I asked a superior on my team if I could borrow a camera to go out in the parking lot and videotape the yellow-badged workers leaving the 3.1459 factory. That footage didn’t turn out very well so I did it again a week later. I decided if I were to represent these workers leaving the factory, it would be important to develop a relationship with the filmed subjects and welcome their perspective into the video.

A week later, I approached a few of them to see if they would be willing to have a conversation in the near future about their jobs. The first girl mostly ignored me and started talking to someone on her cell phone. Two other young men said they’d be happy to talk about their work and accepted business cards with my email address. Another young man I approached was also willing to discuss his work.

About the job, he briefly said that it’s "not what I want to be doing but it pays the bills.” Before I could give him my card, a very agitated chubby white male with a red badge wedged himself between us and demanded that I show him my badge and tell him who my manager was. He told me the yellow-badged workers were “extremely confidential people” doing “extremely confidential work,” and I was standing in an “extremely confidential area.” He then reprimanded the yellow-badge worker for talking to me. I then found out the chubby white man knew what I was doing because the first girl I had spoken to had followed the instructions on the back of her yellow badge, which is to call a certain manager if anyone asks about the work of the yellow-badge class. The chubby white man brought me into the lobby of the 3.1459 building and told me to wait while he grabbed a security guard, a security guard with a red badge and therefore more privileges than the yellow-badged ScanOps employees working in the same building as him. He returned with a very sedate black guard and explained the situation. The guard wasn’t aware of how confidential the work within the building actually was, but agreed to report this to his superiors in Google’s campus meatspace security. I walked 40 feet out of the extremely confidential area and into my building to continue working.

The next morning, I received a call from one of my managers who I’ll refer to as Marco. Google Security had told him about what happened the day before and wanted to “finalize the issue,” which apparently means coming to a conclusion on the reason and outcome of the security breach so that the issue can be filtered and separated neatly into their bracketed accounts. I told Marco my reasons, which you’ll hear in just a moment and he passed along my statements to Google Security. Shortly thereafter, Marco called me back and asked if I’d get on a conference call with Ralph, the millionaire who owns Transvideo. I had met the man once and he didn’t know who I was, so this conference call made me quite anxious. Ralph got on the phone and said, “So Marco tells me you’re writing an exposé piece on Google.” He told me the issue was very serious because it could jeopardize Transvideo's contract with Google and potentially lead to 60 people losing their jobs. I explained my actual intents to Ralph, and Marco chimed in to say he never told Ralph it was to be an exposé. Ralph asked me to issue a letter to Google Security explaining my intent.

Here is that letter:
"To Whom It May Concern,
Yesterday I was outside the Google Book Search building, which is adjacent to the building I work in, and had the chance to talk to a few employees while they were leaving work. Most of them are people of color and are supposedly involved in the labor of digitizing information. I’m interested in issues of class, race, and labor, and so out of general curiosity I wanted to ask these workers about their jobs. I am aware of internal mechanisms for discussing labor issues with Google, and had no intention of defaming the company. I was not aware of how secretive the Book Search project is, but now understand how seriously my curiosity could jeopardize not only my own job and Transvideo's relationship with Google, but also my legal situation because of the non-disclosure agreement I signed.

I apologize for bothering you with this innocent mistake and can assure you that in the future I will be more cautious about respecting confidentiality at Google.

Andrew Wilson"

Immediately after I sent the letter to Ralph and Marco for review, Ralph wrote back to me:
"Thanks Andrew. I think this will help clear up any misunderstandings.

Also, Marco said that you had mentioned that this was a “personal project” relating to the request you had made for an interview with one of the staff. Can you elaborate what this personal project is?

Thanks again,


I responded:
"Hello Ralph,
The personal project at this point is nothing beyond a general curiosity towards the ScanOps workers. I don’t know enough about the situation to pursue any further understanding and now that I know it’s so super-secret, I probably never will have the chance to. I think Google does a lot of great things socially and politically but found it interesting that these workers, who perform labor similar to that of many red-badge contractors, such as software engineers, custodians, security guards, etc., are mostly people of color and cannot eat Google meals, take the Google shuttle, ride a Google bike, or step foot anywhere else on campus. With backgrounds in sociology and political philosophy, I wasn’t approaching this as an act of muckraking, but rather as an analysis of the transition from industrial labor to informational labor and what this could mean in terms of race and class.

Also, I saw this as a nice way to meet people who work right next to me.



More than an hour passed so I figured Google Security was satisfied with my explanation and had finalized the issue. But Marco called back in a frenzy, saying that Google Security had proof of me outside, filming yellow-badged workers leaving the 3.1459 building on two separate occasions. I told him this was true and he said that Google Legal was now involved, and they needed the videotapes immediately. I found one of the tapes in my bag and brought it to Marco but confessed that I couldn’t find the other tape. He relayed this information to Google Security and Google Legal, and they reiterated that they needed the tape immediately. The only place I could imagine it would be was back in my room in San Francisco, and Marco relayed the command of “go get it right now” back to me. I borrowed a coworker's car and drove 40 minutes to San Francisco, searched my room for a half hour, and came up with nothing. On my way back I called Marco to tell him I found nothing, and said I must have used the same tape for both shoots and taped over the first day’s footage with that of the second day. This isn’t what happened, but I really could not (and still cannot) find the tape, and I knew Marco needed a conclusive answer for Google Security and Google Legal. He got back in touch with them and then called me back, telling me to return to the Transvideo office instead of my office at Google. When I arrived, Marco told me to wait in the Sunset Conference Room. This is the room where I signed on with the Transvideo team at Google and had my quarter-year reviews. Marco entered the room with Burt, the general manager of Transvideo who hired me and executed my reviews. Burt had a questionnaire to which my answers were:

  • I was given permission to use the camera by Carl, a superior.

  • The tape I used was mine.

  • I do not have possession of the footage I shot anymore and it does not exist in any other form.

Burt then presented me with a document that would terminate my employment on the basis of me using Google’s video equipment during working hours (although it was during my lunch break) without the approval of Transvideo’s executive management. Marco then interjected into Burt’s official explanation to say that Google was actually putting pressure on Transvideo to fire me because of my investigations of the 3.1459 building and the people who work there. Burt followed me back to Google and gave me a cardboard box to pack my non-Google-issued belongings up. I told him I could take the shuttle home, as I’ve gotten on without my badge numerous times, but he insisted on driving me to the CalTrain station. On the drive over, I told him that losing my job right now isn’t all that bad, as I was planning to quit in two months to prepare for grad school. He said that everything happens for a reason, and that he was glad I was being “philosophical” about it. I told him that that’s not really philosophy and he didn’t have much to say after that.

I boarded the CalTrain with my cardboard box and made it home around 8 pm.