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From YouTube: TEC Psychology Research #11
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A
It's
okay.
I
think
it
was
super
earlier
time.
I
think
we
need
to
make
a
like
a
way
to
figure
it
out
like
a
good
time
that
more
people
can
enjoy.
A
They
call
and
like
the
conversation,
but
it
was
very
interesting.
We
shared
about
our
feelings
and
things
that
we
are
going
through
right
now
and
difficulties
intelligence
that
we
are
going
through.
A
So
it
was
nice
to
share
and
it
felt
really
like
relief
like
a
kind
of
like
relief
feeling
to
be
sharing
and
all
that
and
was.
A
I
think
we
we
got
like
we
achieved
what
we
were
waiting
for,
that
call.
B
Okay,
so
today's
call
will
be
about
something
I
consider
it
important
but
unrelated
directly
to
our
research.
D
B
Okay,
so
specific
emotions,
like
a
general
approach
regarding
emotion,
is
art,
proposes
of
five
assumption
assumptions.
A
emotions
have
a
motivational
role
b.
Emotions
organizes
perception,
cognition
and
behavior
c.
The
emotion
behavior
relationship
develops
early
and
remains
so
relatively
stable
over
time
d.
Emotional
development
contributes
to
development
of
personality
and
e
personality,
for
example,
traits
and
beliefs
influences
the
way
we
experience
certain
emotions.
B
B
Biological
anger
is
associated
with
aggressive
drive.
Psychological
anger
is
related
to
correcting
a
perceived
mistake.
Social,
social,
cultural
anger
is
linked
to
socially
accepted
standards
of
conduct,
so
anger
allows
us
to
be
aware
of
situation
in
which
we
are
not
satisfied
and
want
to
change.
So
anger
makes
us
aware
of
the
need
for
change.
Accepting
one's
own
anger,
induces
acceptance
of
frustration,
giving
up
the
thought
that
we
are
omnipotent,
so
anger
is
one
of
the
most
one
of
the
first
emotions
developed
in
childhood
and
is
associated
with
frustration.
B
Later
it
may
be
related
to
the
correction
of
a
perceived
mistake
has
strongly
socially
standardized
can
be
one
of
the
causes
of
aggressive
behavior
and
has
a
regular
regulatory
role
in
the
space
of
interpersonal
relationships.
B
B
B
B
B
As
opposed
to
anger,
doesn't
have
an
anticipatory
character,
unlike
fear,
and
it's
not
perceived
as
negative
in
some
societies,
so
sadness
expresses
the
need
to
be
comfort
for
the
loss
suffered.
It's
one
of
the
stages
that
allow
us
to
stay
to
say
goodbye
to
accept
a
loss
in
order
to
leave
the
new
situation,
the
new
reality,
accepting
one's
own
sadness
means
accepting
one's
own
vulnerability.
B
The
forum,
the
fourth
emotion,
is
discussed,
although
discussed,
appear
to
be
universal,
it
doesn't
seem
to
be
innate
studies
by
eggman
and
jones,
show
that
it's
related
to
the
rejection
of
what
may
contaminate
you
physically
or
psychological,
has
the
highest
degree
of
automatic
response.
B
The
two
overlap,
semantically
jealousy
being
the
reaction
to
the
truth
of
losing
the
condition,
a
significant
person
and
directing
it
to
someone
else,
an
envy
having
the
reaction
to
the
desire
to
have
what
one
has
someone
else
so
jealousy
is
this
suspicion,
rejection,
hostility,
fear
and
envy
inferiority
dissatisfaction.
B
Self-Criticism
jealousy
is
a
complex
emotion
that
includes
feelings
of
fear,
abundant
anger
and
humiliation.
It
occurs
when
a
person
perceives
a
treat
to
a
valuable
relationship
from
a
third
party.
The
truth
can
be
real
or
imagined.
Jealousy
consists
of
one
or
more
emotions
such
as
anger,
reset
resentment,
inadequacy
helplessness
or
disgust
in
its
original
sense.
Jealousy
is
different
from
envy,
with
distinct
psychological
content,
but
is
often
used
as
a
synonym.
B
B
A
B
Of
course,
one
seven
one,
eight
nine
zero.
B
B
B
C
B
A
C
B
B
C
A
C
So
can
we
maybe
relate
to
like
this?
I
think
when
we
talk
about
emotions
in
token
engineering
commons,
I
think
most
often
we're
talking
about
it
in
context
of
non-violent
communication.
So
like
there's
needs
and
then,
if
those
needs
are
met
or
not
met,
then
you
have
positive
or
negative
kinds
of
things.
You
know,
and
so
that's
a
bit
of
a
vernacular
that
we've
been
able
to
establish
over
a
year
and
a
half
or
so
that
I've
been
involved.
C
So
I
do
wonder
if
you
guys
have
any
thoughts
or
connections
to
that
or
if
it's
just
down
to
your,
is
it
just
like
research
about
individual
emotions.
D
B
Idea,
my
idea
was
in
this
way
to
any
present
any
call
to
talk
about
emotions,
and
I
am
aware
that
I
can
talk
about
them
at
one
call,
so
I'm
gonna
take
five
or
six
of
them
and
in
some
time
I'm
gonna
finish
them,
and
I
don't
know
I
wanna
be.
I
wanna
be
clear
for
everyone.
C
So
yeah,
I
just
thought
you
know,
since
we've
had
discussions
about
emotions
related
to
nbc
in
the
past,
it
might
be
a
useful
way
to
like
you
know,.
B
C
B
C
C
C
Okay,
so
can
I
share
my
screen
with
you
for
a
second,
then,
of
course
so
so
this
is
the
kind
of
the
way
that
the
oftener
process
works,
so
observations.
So
we're
saying
you
know
we
just
make
factual
observations
as
opposed
to
well
you're,
always
late
to
meetings.
You
know
or
something
right
so.
A
C
A
C
There's
kind
of
a
good
way
to
do
that
and
a
bad
way
to
do
that
right.
So
then,
then,
there's
sort
of
feelings
you
know,
but
feelings
exist.
You
know
again
in
this
positive
or
negative
thing,
because
you
know
your
needs
when
they're
met,
you
have.
You
know
positive
feelings
right
and
so
so
there's
there's
a
bunch
of
things
like
the
feelings
and
needs
wheels,
and
things
like
that.
So
I
think
I've
I
normally
just
do
a
google
search
for
those
because
they're
just.
C
But
yeah
I
mean
it's,
it's
true
that
yeah
I
mean
there
are
a
bunch
of
you
know
good
ones
about
this.
You
know
like.
I
know
what.
B
C
And
so
these
are
all.
This
is
all
good,
because
a
lot
of
people
don't
sort
of
get
how
they're
connected
right,
because
we're
not
really
taught
like
a
vernacular
feelings.
You
know,
and
then
there's
also.
So
what
I
was
always
trying
to
do
is
to
say
I'd
like
you
know,
people
to
be
able
to
you
know
understand
like
so
there's
the
needs
right
and
then
there's
these
sort
of
underlying.
You
know.
A
C
You
know
so
there's
I
kind
of
you
know,
use
these.
You
know
interchangeably
to
try
to
get
people
to
understand
that
relationship.
So
so
I
think
you
know,
because
we
are
talking
about
sort
of
relationships
and
rene
relational
stuff.
I
often
sort
of
talking
about
feelings
and
needs
in
context
right
so
like.
If
somebody
came
to
me
and
said
well,
you're
always
late
to
meetings
and
I'm
my
my
need
for
do
you
know
what
I'm
saying
like
harmony
would
not
be
mad.
You
know
what
I
mean
so
like.
C
C
Yeah,
the
the
and
then
also
just
there's,
there's
the
a
lot
of
times
what
we
get
into
this
negative
stuff
about
is
when
we're
judging
them,
you
know
or
we're
judging
ourselves
or
we're,
you
know,
you
know,
have
habits
about
this
stuff,
so.
C
Yeah,
so
I
just
it,
it
might
be
helpful
to
if
you
want
to
drill
down
on
a
feeling
right
to
have
like
an
overall
framework
in
which
to
contextualize
it
in
a
way
that
some
of
the
people
in
the
token
engineering
commons
might
have
already
heard
of
you
know,
that's
that's
basically
what
I
was
trying
to
kind
of
express
like
we,
we
kind
of
have
talked
about
the
oftener
thing
and
I'm
presenting
again
tomorrow,
and
I
think
it
was
in
the
first
and
second
graviton
trainings
that
I
was
really
bringing
in
nominal
communication
and
I
think
liberating
structures
are
a
little
bit
coming
in
now
with.
C
Coming
in
a
little
bit
now
as
ways
to
sort
of
handle
people's
feelings
and
needs
using
the
these
different
30
different,
you
know
structures.
So
there's
that
plus
I
often
when
I'm
talking,
I
have
a
whole
60-page
powerpoint
on
decolonization
and
where
I
break
down
the
nature
of
you
know
the
mind
and
how
it
works
and
how
all
yeah.
C
Stuff,
you
know,
but
but
one
of
the
things
I
kind
of
get
into,
which
is
you
know
it's
very
long.
It
talks
about.
You,
know,
abuse
and
narcissism
and
how
you
know
cults,
work
and,
and
so
I've
I've
you
know,
and
what
do
you
do
to
actually
get
sort
of
free
of
that?
And
but
there
is
for
me
there
is
a
really
basic
sort
of
structure
of
how
does
one,
I
think-
and
this
uses
the
the
hindu
approach
to
psychology
which
is
easily
identifiable
in
modern
terms.
C
So
it's
you
know,
but
the
thing
is
what
you
can
do
in
in
my
basic
premise:
is
that
there's
sort
of
left
and
right
brain
stuff
right?
So
if
you
turn
the
this
entire
thing
on
the
right
side,
so
that's
the
revealing
power
of
the
mind
and
and
then
you
can
have
the
ego
which
is
made
up
of
the
tossing
of
the
mind
between
likes
and
dislikes.
You
know,
and
this.
C
So
yeah
craving
an
aversion
is
a
buddhist
way
of
putting
it
right
and
you
can
see
that
same
set
of
things
inside
of
the
inside
of
the
feelings
and
needs
right.
Sorry,
the
offner
thing
I
was
showing
before
so
you
know
you
can
see
craving
a
version
you
know
is
is
stuck
in
here
too,
so
you
know
so
so,
anna
so
from
an
anatomical
standpoint
like
I
call
this
the
anatomy
of
a
mistake-
and
this
is
in
indian
psychology.
This
is
how
we
sort
of
talk
about
that.
C
But
if
you
can,
if
you
can
actually
put
in
dispassion,
which
is
getting
some
distance
from
your
thoughts
or
whatever
you
know,
or
you
can
create
contentment,
you
can,
what
happens?
Is
the
amplitude
of
the
likes
and
dislikes
and
the
and
the
denial
and
the
projections
kind
of
lessens,
as
you
go
up
towards
sort
of
seeing
a
more
complete
version
of
the
of
the
thing?
And
so
I
break
this
down
how
this
shows
up
in
science
and
religion-
and
you
know-
and
then
I
talk
about
you
know
how
do
you
get
to?
C
You
know
freedom
and-
and
I
this
is
not
done
because
basically,
what
I
was
going
to
do
is
put
like
a
little
chapter
for
wake
up,
grow
up,
clean
up,
open
up
and
show
up
so,
but
at
a
certain
point
I
was
like
well,
I
just
need
to
write
a
book
and
so,
like
I
kind
of
stopped
like
making
this,
and
so
that
I
could
like,
like
just
start,
writing
a
book
about
how
to
sort
of
decolonize
yourself
and
as
an
explanation
of
rather
than
just
being
like
white
people
and
genocide.
C
You
know
with
you
know,
just
this
constant
sort
of
validation
of
of
this
left
brain
sort
of
thinking,
and
so
you
know
I've
got.
You
know
some
things
that
go
into
that.
So
I've
got
a
huge
sort
of
thing
about
this.
C
You
know
that
goes
into
the
very,
very
detailed
about
you
know.
We
have
a
right
to
be
more
conscious
than
we
are
instead
of
just
being
blind
and
led
by
our
emotions,
and
I
give
you
know
a
lot
of
context,
different
mental
models,
how
this
can
show
up-
and
some
of
you
might
have
seen
me-
use
these
things
in
the
past.
I
use
that
oftener
model,
you
know
and
talk
about.
You
know
certain
complex,
you
know
things
about
equal
and
for
all
dynamics,
and
so
I've
got
a
big.
You
know
a
big.
B
B
C
This
is
ashtanga
yoga,
so
basically,
so
you
know
how
in
omega
group,
we
have
the
the
ethical
principles
right
we're
talking
about.
Well,
those
are
the
first
two
limbs
of
patanjali's
ashitanga
yoga
system
right,
so
there's
the
things
that
you
don't
do
right
and
then
there's.
A
C
You
do
and
then
then
there's
the
movements
and
breathing
and
sense
withdrawal
all
the
way
out
to
you,
know,
self-realization
and
so
so
yeah.
So
then
you
know
we
also
have
you
know
the
four
paths
of
yoga,
and
so
I
actually
kind
of
used
yoga
as
a
as
a
way
of
sort
of
talking
about
how
all
of
this
works,
and
all
of
this
is
rooted
in
psychology
right
100
of
it
is
rooted
in
this
sort
of.
C
Graphic
that
I
showed
you
right
so
from
the
combination
of
rajas
and
tomas.
You
get
all
of
these
sort
of
negative
emotions,
identity.
You
know
fallacies.
Just
all
this
different
stuff
comes
from
that
right
and
so
yeah.
So
like
I've
got
a
million
things
like
this.
I've
got
I'm
teaching.
I
teach
a
master's
course
on
autism
and
I've
got.
You
know,
images
that
I've
created
for
you.
A
C
How
many
people
are
in
a
relationship?
You
know,
so
I
say
that
there's
three
people
inside
of
every
individual
there's
this
inherent
self
that
they
inherited
like
my
autism,
that
type
of
thing
then
there's
your
inner
child
and
there's
your
mature
self
and
and
then
how
do
you
negotiate
the
relationship
in
between?
So
I
got
a
whole
bunch
of
different
things.
C
Yeah
and
and
it
actually,
you
know
what
I
don't
say
when
I
say
the
inherent
self
is:
there's
this
concept
of
the
the
accumulated
karmic.
You
know
stuff
that
you
have
going
on.
C
So
so
you
know
I
I
try
to
keep
this
to
a
little
bit
more
of
a
western
audience,
but
all
of
this
is
rooted
in
all
kinds
of
sort
of
hindu
and
non-dual
invite
to
vedanta
principles
and
things
so
yeah
I've
gone
down
this
rabbit
hole
quite
quite
a
long
ways
so
yeah.
C
So
I
try
to
take
all
of
those
things
that
I'm
doing
and
and
include
them,
and
basically
there's
this
idea
that
you
have
agency
in
autonomy,
but
the
culture
that
you've
grown
up
in
is
and
very
invested
in
in
sort
of
extracting
that
from
you,
you
know,
and
so
how
do
you
actually
get
agency
and
autonomy
when
you're
surrounded
by
a
group
of
people
that
are
constantly
trying
to
take
it
from
you?
And
so
you
know,
and
so
you
know,
ethical
ethics
and
morals.
C
So
you
know
you
don't
have
any
way
of
sort
of
knowing
the
mind
of
another
person,
but
you
know
my
point
really
is
to
sort
of
comprehensively
disprove
that
in
in
a.
C
C
C
Well,
yeah:
it's
the
way
that
I
explain
it
is
because
I
can't
filter
anything
if
I
can
stop
myself
from
being
overwhelmed
by
the
fact
that
I
can't
filter
anything.
It
also
means
that
I
have
a
lot
more
available
data.
A
C
C
Yeah
see
I
I
don't
really
fall
into
the
false
duality
camp
too
easily.
Do
you
know
what
I
mean
so
for
me?
That's
kind
of
a
false
duality
right.
A
C
B
Yeah
but
but
I
didn't,
I
didn't
want
to
to
know
your
your.
I
don't
know
your
point
of
reality
or
something
like
that,
just
how
you
I
don't
know,
perceive
the
world
or
feel
the
word
or.
C
B
C
C
C
So
there
are
these
kind
of
sheaths
of
of
the,
so
the
physical
body
is,
you,
know,
kind
of
the
outer
layer
right
and
then
they're,
the
subtle
body,
which
is
the
the
second
third
and
fourth
layers,
and
then
there's
this
sort
of
karmic
body
and
inside
right.
So
and
then
then,
the
cell,
for
the
self,
that's
shared
among
all
you
know,
is
kind
of
internally
there.
C
So
my
awareness
grew
quite
a
lot
when
I
gave
up
everything
I
owned
and
went
and
lived
in
a
hindu
monastery
for
five
years
and
I
sort
of
experienced
the
world
sort
of
all
five
of
these
things
simultaneously,
and
so
you
know
each
of
the
physical
energy,
mental
wisdom
bliss.
You
know
all
these
kind
of
together,
so
it's
a
very
integrated
way
of
experiencing
things,
and
when
I
talk
about
things
it's
it
doesn't
seem
like
that.
C
That's
true,
but
my
you
know
it
because
you
can't
really
talk
about
so
some
of
the
inner
things
right,
because
you
can
just
experience
them,
but
you
can't
say
anything
about
that
really.
So
I
spent
a
long
time
trying
to
say
something
about
that.
But
let's
show
you
some
graphics
about
that,
but
really
you
know
the
way
that
I
experience
thing
is
like
this
nesting
doll.
You
know.
D
C
C
Yeah-
and
I
just
think
what
I'm
trying
to
do
with
people
with
autism
is
be
able
to
give
them
constructs
with
which
they
can
go.
Oh
yeah,
okay.
I
can
understand
that
and
then
then
it
is
more
closely
corresponded
with
their
reality,
so
you
give
them
things
initially
to
be
like
I
gotta
deal
with
my
overwhelm,
but
then
once
they
deal
with
the
overwhelm
that
that
bandwidth
still
exists,
and
then
it
becomes
usable
at
that
point
as
opposed
to
just
being
crushingly.
C
You
know
like
bad,
you
know,
and
so
so
what
I'm
saying
is
is
that
at
the
outer
edge
of
that
when
you've
spent
20
years
developing
it
like
I
have,
this
is
kind
of
what
you
end
up
with
right.
So
so
this
is
my
kind
of
my
perspective,
and
that's
it's
from
that
that
I
can
produce
just
a
giant
amount
of
graphics
and
complicated
things
that
you
know
you
might
see
me.
You
know
producing
all
the
time
and
and
there's
just
there's
an
encyclopedia
of
of
the
stuff
just
living.
A
B
C
C
A
D
C
So
I
spent
the
last
10
years
building
this
so
to
some
degree
you
know
when
you
build
a
building,
it's
it's
about,
translating
the
complexity
of
your
inner
life
into
this
sort
of
physical
manifestation.
C
That
has
art-
and
I
mean
like
if
you
look
at
this-
this
has
got.
The
entire
building
is
actually
built
around
the
center
point
of
this
upside
down
triangle,
and
this
upside
down
triangle
represents
the
number
three,
the
number
nine
and
the
number
108,
which
is
the
symbol
of
my
ishta
devanta,
which
is
durga.
Das
means
servant.
So
that's
my
username,
so
this
is
the
goddess
durga,
and
this
is
because
it's
an
upside
down
triangle
represents
the
female
energy,
but
there's
just
a
million
things
like
hey
siri
turn
off
the
shrine
lights.
C
So
I
I've
used
this
traditional
way
of
building
things,
but
I'll
just
turn
it
off
with
my
phone.
I
guess
so
I
don't
know.
Can
you
see
the.
C
Can
you
see
the
the
shadows
they
line
up
symmetrically?
So
the
reason
why
I'm
saying
that
is
because
I
wanted
to
have
these
lotus
petals
right
and
I
wanted
this
sort
of
design.
But
what
I
didn't
realize
was
going
to
happen
was
that
I
was
going
to
have
this
perfectly
symmetrical
shadow
lines
that
would
connect
exactly
with
you
know.
C
A
C
I
built
the
entire
building
around
this
one
center
point
here
and
if
you
back
up,
you
can
actually
see
that
there
are,
I
mean,
how
do
you
take
a
big
square
box
and
turn
it
into
a
circle?
Well,
look
that's
what
we
did
right
and
so,
but
more
than
that
right
we
use
fibonacci
numbers
to
go
to
the
outer
edges.
So
that's
13
feet.
This
is
eight
feet.
This
is
five
feet.
C
So
if
you
know
what
a
fibonacci
number
is,
it's
one
one,
two
three
five,
eight
thirteen
and
so
on
right,
and
even
so,
we
took
everything
that
was
square
and
we
tried
to
round
it
off
somewhat
you
know,
and
so,
and
so
we
so
even
on
the
floor,
you
see
I've
got
a
big
square
floor.
So
what
I
did
was
I
made
a
curve.
You
know,
and
I
also
used
fibonacci
numbers
to
determine
how
many
feet
this
was
going.
This
was
13
feet.
C
This
is
eight
feet,
and
so
we
did
all
these
different
things
like
and
if
you
look
at
this,
the
arjuna
chakra,
which
is
the
third
eye
that
third
eye.
I
think
this
is
two
things
back
into
the
graphic.
I
was
showing
you
about
saatva
the
ability,
the
revealing
power
of
the
mind.
Has
these
two
petals.
Then,
if
you
look,
you
can
see
that
they
kind
of
resemble
wings.
C
So
I
had
the
the
speaker
shelves
built
like
their
little
wings
too,
and
all
the
corners,
and
so
the
point
I'm
trying
to
make
is
that
there's
all
of
this
is
very
complex
and
has
complex
interrelationships
and
harmony.
So,
for
example,
this
half
round
that
we
built
is
the
exact
distance
of
the
half
round
that
we
made
here,
and
I
mean
it.
This
is
seven
years
of
work.
I
mean
look,
look
at
the
look
at
how
this
this
is.
I
mean
look,
look
at
the
look
at
how
they
connect.
You
see.
C
Right
and
even
see
how
we've
got
like
I
wanted
them
to
be
like
the
inside
of
a
cave
right.
So
when
you're
in
the
in
the
place,
it's
a
little
bit
like
plato's
cave
so
I
I
have
all
the
these
different
layers
of
coloring
that
would
be
like
you
were
on
the
inside
of
a
cave
where
it
has
all
the
sediment
and
and
everything
all
layered
up
that
you
can
see
you
know
and
so
like.
So
we
put
an
awful
lot
of
thought
into
how
it
works.
I
mean
we
have
a
hobbit
door.
C
I
have
this,
and
so
what
I'm
saying,
though,
is
I'm
really
used
to
taking
the
thing
that's
inside
my
head
and
putting
it
into
things,
because
I
had
seven
years
or
ten
year
over
ten
year
period
of
time
of
practice
of
how
to
you
know,
get
that
done,
and
so
so
it
made
it
so
that
then
it
gave
me
some
permission.
You
know
to
do
that
in
other
parts
of
my
life
and
to
be
creative
and
work,
his
graphic
design.
So
this
is
actually
my
office.
C
You
know
this
is
where
I
work
and
so
yeah
and
a
lot
of
it
was
inspired
by
this.
This
painting
that
you
see
behind
me
all
the
time,
which
is
this
guy
and
I
learned
all
about
sacred
geometry
and
about
hindu
mythology
and
how
to
take
sacred
numbers
and
things
and
put
them
all
into
so
so
my
process
has
been
one
of
you
know,
trying
to
make
it
so
that
I'm
translating
these
things.
C
So
when
people
come
into
a
a
house-
and
they
see
you
know,
like
look
look
how
cool
this
is
you
put
the
light
on
in
here?
You
know,
cobb
houses
are
very
famous
for
having
you
know,
bottles
and
things
in
them.
So
you
know
and
look
at
that
see.
We've
got
we
on
purpose,
put
a
put
a
thing
there,
so
we
can
put
flowers
and
we
have
a
tea
station
and
we
have
I
had
to
think
of
this
like
10
years
ago.
C
Just
doing
that,
you
know
where
I
made
this
graphic
for
my
autistic
class
or
whatever
I'm
I've
also
spent.
You
know
a
long
time
translating
these
things
into
into
other.
You
know
areas
and
I'm
trying
to
be
consistent
so
that
whenever
I'm
talking
I'm
sort
of
having
you
know,
if
I'm
talking
at
one
level,
I
can
go
all
the
way
to
you
know
human
organizational
develop
a
moment,
that's
so
that
I'm
being
congruent
and
consistent
and
clear
so
anyway.
D
A
A
C
C
C
C
So
we
actually
used
some
pictures
from
angkor
wat.
You
know
like
a
bandit
tree
like
this,
that
has
grown
over
the
top
of
an
ancient
wow
right,
so
you
can
see
like
see
how
that
grows.
So
we
actually
had.
I
have
we.
We
basically
made
a
sculpture
that
looks
like
the
banyan
tree
and
we
were
quite
intentional
about
like
looking
at
how
the
tree
would
interact
with
the
things
that
it
encountered.
C
You
know
so
in
some
cases
you'll
see,
you
know
how
it
would
work
its
way
around
a
big
rock
or
something
and
we
included
rocks
in
there,
and
this
were
molded
around.
C
Around
that,
because
the
banyan
tree
is
actually
the
traditional
teaching
place
of
yoga,
you
know.
C
Yeah
well
yeah,
because
it's
you
know,
yeah,
it's
a
very
tropical
plant.
You
know
yeah.
A
C
But
yeah
there's
so
my
point
about
that
is,
is
that
this
also
in
some
sense
represents
a
tree
of
knowledge
right
so
in
in
the
west.
You
know
when
people
talk
about
the
tree
of
knowledge,
it's
always
one
tree
with
different
branches
right,
but
really.
A
A
C
Of
metaphorical,
you
know
beauty
to
this
and
and
the
whole
everything
in
this
building
is
set
up
to
evoke.
Some
kind
of
you
know
connection
to
something
in
the
past
or
traditional
knowledge
or
a
decolonized
approach
to
two
different
things.
A
C
Yeah,
the
first
one
that
I,
the
first
one
that
I
found
was
it
was
in
my
hometown
at
the
ringling
museum
in
sarasota
florida.
So
I'm
from
there
and
the
you
know:
ringling
brothers
and
barnum
bailey
circus,
well,
john
ringling,
who
was
the
oldest
brother.