Regarding the strain on relationships you mentioned, specifically the potential for ruined relationships with communities, can you elaborate on a specific instance where that tension manifested, and how you navigated the ethical considerations involved in balancing cultural revitalization with community expectations or criticisms?
I think early in my career I was I would say brash you know I'll admit you know it did get a little bit into my head and that's you know because I've never experienced that maybe maybe in a different light you know in the Philippines when I was modeling but that is more for your physical attributes and Yes, you know, you get limelight and things like that, but deep down inside I didn't like it. You know, I wanted people to like me for my thoughts, my creativity. And so when I first started doing this work, yeah, I was really brash. And so I'm sure I remember specific instance where, you know, I was doing this A, B, multivariate testing of some copier words on Instagram and some folks got offended and I told them straight up that, oh yeah, I was just testing out some some words I was testing out marketing and they got mad that you know how dare I you know play with their emotions and things like that you know I didn't mean you know some of the things that I said in the copy but I just did it as a test to get emotions because I always had this concept of What is this? Artwork. Oh, good artwork is something that, you know, elicits emotion, whether it's anger, whether it's sadness, you know, whether it's happiness. It's really the emotions on the opposite sides of the spectrum. If they're in the middle and they're just kind of it's OK, then it's not good art. And I looked at that concept as like my content strategy.