I'm here to talk about something that I think we all experience in a space we all live in, which is the gray area between creativity and commerce. It's the topic of a book I wrote that came out in July and the teaching I do at NYU. So on the one hand, you have art and on the other hand, business. And when you think about art, there's a kind of stereotype of it, which is a little bit like watching Marina Abramavik when she was on the stage at the TED conference in 2015. She represents this stereotypical idea of the artist as other, as a brilliant outsider who comes in and asks you to put on a blindfold and look meaningfully into the eyes of the person sitting next to you. There's also a stereotypical idea of business, men and suits or guys and hoodies, Silicon Valley, this kind of world of money and power and economics and the mortgage crisis. Thank you. Congratulations on your all-male panel. And there's also in the midst of that, this fantasy overlap of how the two worlds connect. That is embodied in Daniel Pink's 2004 idea that the MFA was a new MBA. So this is actually a little bit personal to me because in 2004, I was finishing an MFA after already having an MBA. And I was very deeply aware that I could change identity by changing clothes. So you can say that there is a little bit of narrative coherence involved that stuck around for about 10 years. And I resolved it in the short term because I started teaching business to my classmates. There's never any extra wall space, so I taped the financial times to my paintings. But there's something else that is going on because I felt pretty weird for a long time that I had an MFA and an MBA. But what I think is actually weird is that we don't have a better language to describe the space in the middle that we all inhabit and how to articulate the space of living and a vast market economy from the point of view of creativity is the essence of our humanity, the kind of opposable thumbs of being a person. So the first thing you need is a little bit more of a Swiss army knife definition of art. Something that's not about paintings or even Kickstarter projects, but about showing up to a kind of unknown space in any area of your life, navigating without a template. And for me, that's defined as a process, not of going from point A to point B, but inventing point B in any area of life. And that involves leading from questions as opposed to solutions and taking the risk of asking the questions that actually matter. So not, can I design a better airplane, but is flight even possible? In any area of life, large or small, grand or not grand. So I think there are a couple of things that come up here on the MBA side that are really difficult. Yancey mentioned them earlier, which is that the market is based on an equation of price equaling value, and it never equals value when you're doing early stage work. You have no idea if it'll succeed or fail. You have no idea if you'll do it efficiently. And business is also standardizing. Business expects you to be like a big box store. It doesn't account for your inner artist, or what I believe is the idea that if there's a modern Leonardo, that exists across all of us. So there are three observations I want to make about business and art and politics. And the first is that we live in an age of the democratization of creativity, but not yet of ownership. Technology and the blockchain are uniquely poised to change the way that we design our working lives and to pixelate business models, which means that business models are the design medium of our time, that we all have a responsibility to understand business well enough to design the containers around the creative work that we do. And lastly, I think that art is actually the political medium of our time. The independent thinking is the greatest lever of power in any democracy, and that that is the essence of thinking artistically, especially at a time of small talk and the Trump era. So let me tell one story about art thinking, which is about a man named Roger Bannister, who's number 41 in the middle, and a project of inventing point B. In May of 1954, Bannister is the first person ever to run a mile and under four minutes. So a few things. He didn't do it by himself. He did it with his friends who were excellent runners in their own right. One of them was a world record holder, and he wasn't a professional athlete. He was training to be a neurologist, and he did these workouts on his lunch break. He also started the process from a point of failure and gave himself two years to do it, and he upset a world record that it stood for nine years and only held the record for 45 days, because it's so much easier to see someone do something in best and effort than to do it yourself. So my answer to the middle space between creativity and commerce is that it's full of humanity and going all in before you actually know that something is possible. And so I hold that forward in the midst of the Big Box Monoculture or the political age, and I hope that you'll come talk to me after about the language of how you talk about creativity in the workplace or in your life and how you talk about business, especially in your creative life, and any inventing point B projects that you're working on.