You have this amazing definition of art that's maybe the best definition I've ever heard. Well, I used to be my definition of culture. I used to say culture is everything you don't have to do. But culture is a very confusing word because there's the anthropological meaning of culture, meaning, you know, kinship and religion and language and all that sort of thing. And then there's the capital C version of culture, which means the stuff we call art. But what I mean is something actually in between those two. I call art everything that is the sort of stylistic overlay to the things you do. So, for example, you have to wear clothes, but you don't have to wear Levi's or you've sent her along or Coco Chanel. So there are a lot of elaborations that we make on top of the things we have to do. And in fact, most of our time is spent thinking about those elaborations. We spend a lot of our thinking time in the world of style. And I call all of that artistic activity. Some of it is very obviously artistic activity, you know, like there's no reason for making a painting other than for it to be a painting. But it's a little bit different if you get to things like cake decoration or cardigan knitting or something like that, where there's also a sort of functional layer. So the only difference as far as I'm concerned between fine art and let's say craft is the amount of stylistic interest there is in the piece, the quota, the quotient of it that's stylistic. As I say, a painting doesn't exist for any other reason than to be a painting, unless you're using it to cover a hole in the wall, of course, which you could do. But that would be a rare example of a functional painting. Or you could encode a treasure map in it or something like that or an insult to somebody. But generally speaking, paintings don't have a job other than to be pictures, to be purely stylistic experiences. Once you expand the definition from painting and ballet all the way to cake decoration and hairstyles, you realize that there's a massive amount of just focus and energy and emotional investment in that layer. It's the biggest business. It's the big business. If you think of all of the things that come under that now enlarged umbrella, think of not only the music business and the art business and the film business and the record, all the media, but think also of things like cosmetics, for example, a vast huge business, which is all to do with stylistic activity of some kind. So there's, yes, it's a very big area. And of course, the question I am always wondering and always have been wondering about is, why do we do it? Why do we have so much such an interest in this and spend so much time doing it? Because first of all, it's universal. We don't know of a human group that as soon as they can, as soon as they can just keep body and soul together, they start becoming stylistic in their behavior. And this goes right back to 50,000 years ago, you know, when people start cave painting and making little sculptures and so on, you think, why were they doing it? And why was anybody else interested in the fact that they were doing it? Because it seems that always, as far as we know, in every society, people who can do that are valued. And they're sometimes treasured, actually, you know, in our society, they're paid a lot of money, which is the only way we express value of anything. Music has never been figurative. It's the only art form, if you think about it, that has never had a figurative history, you know, painting, even back to cave painting. It's paintings of things. Sculpture the same, obviously. Literature has always been about things, stories about things. But music seems to come out of nowhere and is about nothing in particular, even though if you get classical albums, they always try to say the sound of the babbling. Beethoven captures the sound of the babbling book, which is all complete bollocks and everyone knows it. It's only because records were 12 inches square and they had to fill the back up with something. They needed some words. Yeah.