Horizons of Sensibility – Visual Gateways from Okinawa Gallery Yamaki Fine Art Cliff Miyagi · Hideaki Fujomoto · Yuko Sato

Okinawa 

Horizons of Sensibility – Visual Gateways from Okinawa

Gallery Yamaki Fine Art

Cliff Miyagi · Hideaki Fujimoto · Yuko Sato

Okinawa is a beautiful subtropical island chain in southern Japan, but beneath its turquoise waters and quiet villages lies a region armed to the teeth — like a white pointer lurking just below the surface. Life here unfolds in long stretches of stability and peace, punctuated by crises sharp enough to remind everyone why full-blown war, once unleashed on these islands, is never forgotten. In this most beautiful terrain, memory and danger coexist uneasily.

For the three artists presented here, Okinawa is home. This is evident in their work, sensorially adorned with tropical hues that dance, glisten, and caress the lush landscape. Emerald greens and manganese blues of the subtropical ocean and terrain pulse through their paintings. Their most important commonality, however, is a developing system of painting — a growing aesthetic sensibility that is carrying them toward unknown painterly horizons.

Connecting Theory to Practice

For these artists, the “engine room” of sensibility is the unique atmosphere of Okinawa. Delay — the timeless space between what is sighted and the moment paint touches canvas or paper — is the cultivated muscle through which the island’s vibrant colours are processed. This is not passive observation, but a deliberate slowing down.

When confronted with the lush landscape, they inhabit the interval between seeing the subtropical light and placing it on the canvas. This is the Two-Dogs Art-Space Axiom in action: the physical event of the Okinawan sun striking water becomes a “lived, spatial encounter” through their painterly systems. By inhabiting delay, they move beyond representation and push outward toward their own evolving aesthetic horizons — an ongoing growth within studio praxis.

For example in the painting Layers of Colour 2504 (acrylic on canvas, 33.5 × 33.3 × 2.5 cm) by Hideaki Fujimoto, the artist exhibits his most refined sensibility in painting. It is exquisite how he layers flat acrylic paint drawn from memories of Okinawa: oceanic greyish turquoise blues are juxtaposed with tropical flowering hues of peach and orange, intermittent cherry-plum reds, and lush, vibrant vegetational greens. The work is a visual delight — an expression of the artist’s memory translated into colour.

This exhibition is particularly engaging in the way the gallery curator has positioned the artworks to emphasise not only how each artist records place through painting, but also how their approaches have evolved over time. For those in Kobe, it is well worth visiting.

 Link to Gallery Yamaki exhibition in Japanese

https://gyfa.co.jp/exhibition/horizons-of-sensibility-visual-gatewas-from-okinawa.html

Further reading on the Two Dogs Art Space Axiom

https://2dogsartspaceakashi.blogspot.com/2025/12/the-two-dogs-art-space-axiom.html

The Infinite Ordinary: A Delayed Progress Delay’s Influence on Still Life

The Infinite Ordinary: A Delayed Progress

Delay’s Influence on Still Life

Most people assume physics belongs in a laboratory and art belongs in a gallery. Yet when I stand in my studio, I experience them as inseparable.

Through my practice at Two Dogs Art Space, I began to understand still life painting through a simple equation: t₀ → t₀ + Δt

This “physics of the studio” marks the bridge between recognition and revelation. In this formulation, $t_{0}$ represents the initial moment of recognition—the point at which the eye identifies a piece of fruit or a ceramic bowl as a functional tool. The variable $\Delta t$ represents the Delay: the vital, extended gaze, such that

$$t = t_{0} + \Delta t$$

It is within this added increment of time that the object’s utility begins to erode, giving way to a “forensic rhopography” where the mundane is stripped of its name and re-emerges as a complex landscape of light, mass, and particulate history.

Study of Apartment Grown Fruit 

Pencil, texta, pastel on paper, 20 × 12 cm

This small shift—this delay—describes what occurs between the first act of looking and the final mark. In this suspended studio time, now referred to as Delay, an object ceases to be merely functional. A piece of fruit is no longer food; it becomes a site containing landscapes, atmospheres, and life forces. The ordinary expands.

While the contemporary world accelerates relentlessly, the still life painter works in opposition—gazing slowly at quotidian objects until their familiarity dissolves. Through sustained attention, the everyday becomes infinite.

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Delay and the Still Life Tradition

Still life painting has often been relegated to the margins of exhibitions—treated as filler rather than as a site of concentrated inquiry. Yet occasionally, one encounters works that demand forensic attention.

At the Chardin exhibition in Tokyo, I encountered Basket of Wild Strawberries. Its modest scale and domestic subject stood apart from the theatrical ambitions of its time. Chardin’s genius was not spectacle but endurance. He understood delay—how light, time, and attention slowly transform perception. In his work, a darkened room becomes luminous through patience alone.

Chardin provided a route for still life painters that few have truly followed. His paintings are voyages into a timeless interior space, returning with realities only sustained observation—what I think of as forensic rhopography—can uncover. This is not an easy path. It requires a personal system of painting, and a tolerance for slowness that resists contemporary habits of consumption.

Other painters—artists of the Dutch Golden Age, Cézanne, Giorgio Morandi, Gwen John—brought still life into focus in important ways. Yet Chardin remains singular. He was ahead of his time, and his work still demands endurance from both painter and viewer.

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Studio Praxis: Objects, Decay, Persistence

 Motif Objects from the Studio Plastic fruits, handmade wooden frame, foam backing

Much of my current praxis takes place at Two Dogs Art Space Research Centre, and at other times in my small apartment studio. I often work with plastic fruit, handmade wooden frames, or everyday domestic objects. These materials function not unlike the plaster fruit Cézanne relied upon—objects that enable prolonged engagement through their resistance to immediate decay.

Aging Fruit in the Studio (2025) Oil, wax, acrylic on wooden panel, 20 × 20 cm

Caravaggio’s Basket of Fruit (c. 1599) remains a quiet touchstone. The wormholes in the apple reveal how deterioration itself becomes subject matter when time is suspended. Influence, too, operates within this timeless space.

Nanoparticle Study: The Withered Apple (Oil, wax acrylic  on wooden panel 18 cm h x 18 cm w

I take particular pleasure in selecting overlooked motifs—objects ageing quietly in the studio. They are pedestrian, unfashionable, even kitsch, yet they persist. A piece of fruit left uneaten yellows, collapses, and shifts in hue. As it approaches nonexistence, it becomes increasingly compelling to paint.

Why this occurs is difficult to fully explain. Are artists drawn by meaning, or simply by colour, shape, contrast, and texture? Perhaps it is the complete ordinariness of these objects—their refusal of spectacle—that allows them to hold attention. As they decay, they mirror our own trajectory toward disappearance.

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Against the Monumental

Japanese Sake Cup and Bottle, Shifting Illumination Pastel pencil on paper size F4

My attraction to small, domestic objects stems from a rejection of the “grand” in a world saturated with greed and glitter. I am not interested in monumentality. Instead, I am drawn to forgotten sake cups in Japanese second-hand shops, or immaculately crafted bowls and plates as they slip toward anonymity.

Watching objects return to the particulate matter of their former space—toward their own nanoparticle histories—is far more compelling to me than any spectacle. This fascination holds whether the subject is plastic kitsch or a real apple withering on a studio plate.

In these moments of delay, painting becomes an act of resistance. It slows the world down just enough for the infinite to re-emerge inside the ordinary.

  Persistence of the Quotidian apple core 

(Oil, wax, acrylic on wooden panel  18 cm h x 18 cm w)

All artworks and text is by Peter Davidson

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2025 Tottori Prefectural Art Museum Cooperation Council

 

2025 Tottori Prefectural Art Museum Cooperation Council

Joint Exhibition: "We Want to Promote It More – Works Selected by Curators"

Tottori Prefecture: The Tottori Experience - Peter Davidson 2025

The Tottori Prefectural Museum of Art is, in itself, a destination well worth visiting—perhaps one of Japan’s best-kept secrets. This is my second journey to the museum in 2025 from the Kansai region. Winding through the mountains offers a truly sublime approach; it is a treat for anyone who loves the combination of dramatic landscapes and the ocean. In winter, the scenery is pure bliss.

Upon entering the museum, I approach the exhibition through the lens of the Two Dogs Art Space Axiom (my research framework). This concept suggests that even if two beings share the same physical space, they inhabit different realities shaped by perception, memory, emotion, and awareness. It reminds us that reality is plural and that art cannot be reduced to its physical materials alone, because experience is always more than what can be measured.

The Curatorial Selection

This year’s exhibition brought together curators from several regional institutions: the Tottori Prefectural Museum of Art (Kurayoshi Museum), the Tottori Folk Crafts Museum, the Nichinancho Museum of Art, the Yonago City Museum of Art, and the Watanabe Museum of Art. The curators focused on artworks that had not been widely shown before, resulting in a thoughtful and engaging selection.

One artwork that particularly caught my eye was by the artist Maeta Kanji (1896–1930), titled Man Eating (c. 1927). It is rare to see a portrait from behind of a man eating alone, set in an almost monochromatic environment devoid of the trappings of wealth typically seen in household settings.

Interestingly, Maeta Kanji’s painting appears to adopt certain aspects of Picasso’s stylistic system—particularly the depiction of an oversized, bulky body. This influence is evident in Picasso’s works from the early 1920s, such as Seated Woman in a Chemise (1923). As Maeta was in Paris at a time when Picasso was a dominant force on the art scene, this aesthetic influence offers a fascinating insight into the dialogue between the two painters’ imagery. Even though they were not personally acquainted, their works reveal a unique cross-fertilization of ideas and painted forms that underscores the broader circulation of modernist visual language.

The Bitterly Cold Sea of Japan - Peter Davidson 2025

Shoichi Kameda’s Natsudomari Port (1985, oil on canvas) is a mesmerizing painting that captures both the unity and diversity of the coastal experience. It depicts the Tottori seaside in winter, defined by dark, overcast skies and cold winds blowing from the Siberian tundra. For the fishermen, this weather isn't just a backdrop; it is a signal to get the nets out and find profit in the storm.

The painting leaves me with a question—which is exactly what a good exhibition should do. There is no way to force a collective societal memory into a single mold. Instead, curators can present idiosyncratic artworks that prompt the audience to respond mentally in diverse ways. By pushing viewers toward their own "uncharted horizons," a show can help them learn something new about themselves. In that regard, this exhibition is a great success.

Link:  https://2dogsartspaceakashi.blogspot.com/2025/12/the-two-dogs-art-space-axiom.html  

The Two-Dogs Art-Space Axiom

The Two Dogs Art Space

A Unified Theory of Reality and Art

This document is a comprehensive synthesis of the Two Dogs Art Space Charter, the Founding Axiom, and the Four Laws of Art Space. It traces the journey from a simple observation—two dogs in a yard—to a rigorous philosophical and mathematical framework for understanding human creativity, perception, and art.

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I. The Founding Axiom: The Yard and the Dogs

The foundation of this framework begins with a simple, observable truth known as the Two Dogs Axiom:

Even if two dogs sit side by side in the same yard, they do not share the same reality.

Each dog inhabits its own Experienced Space, shaped by unique sensory systems (for example, a dog’s dominant olfaction versus a human’s dominant vision), memory, and consciousness.

This establishes a crucial insight:

• Physical space may be singular.

• Experienced reality is inherently plural.

The physical yard is one, but the lived worlds within it are many. This axiom forms the bedrock of the theory: art and experience cannot be reduced to physical measurement alone.

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II. The Formal Logic: The Science of Delay

To bridge the gap between the dogs in the yard and the viewer in the gallery, we move from observation to formal logic. This transition is accomplished through what we call the Science of Delay.

1. Definitions

We define three foundational terms:

• Physical Space $S_p$:
  The coordinate-based domain described by physics.

• Experienced Space $S_e$:
  The internally constituted spatial field produced by the mind.

• Delay $D$:
  The non-temporal gap between a physical stimulus and conscious experience.

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2. The Components of Delay

Delay is not clock time. It is the space in which consciousness occurs. It can be expressed as the sum of three components:

$$D = P + C + A$$

Where:

• $P$ (Physical):
  The transmission of energy to the senses (light, sound, vibration).

• $C$ (Cognitive):
  The biological and neurological processing of the brain.

• $A$ (Agentive):
  The intentional, interpretive, and artistic sensibility applied by the individual.

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3. The Logic of Difference

Because Delay $D$ is unique to every individual, we can formally state why multiple beings occupying the same physical location do not share the same experienced reality.

If two agents $i$ and $j$ occupy the same physical space $S_p$, but have different Delays, then their Experienced Spaces must differ:

$$\forall i, j, \quad \left( S_{p,i} = S_{p,j} \right) \land \left( D_i \neq D_j \right) \;\Rightarrow\; \left( S_{e,i} \neq S_{e,j} \right)$$

This equation is the formal proof of the Two Dogs Axiom.

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III. The Four Laws of Art Space

From the Founding Axiom and the Science of Delay, we derive the Four Laws of Art Space, which describe how art functions as a meeting of freedoms.

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Law I — The Law of Plurality

Reality is not one thing, but many.

Science measures physical space $S_p$, but it cannot capture the irreducible, private nature of experienced space $S_e$. Art exists precisely within this irreducibility.

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Law II — Art Made in Delay

Art is a meeting of two freedoms.

The artist encodes intention into a physical object.
The viewer brings their own unique Delay $D$.

The artwork is not fully real until these two freedoms meet within experience.

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Law III — Art as an Encounter

Art exists outside of clock time.

According to the Davidson Equation:

$$t_0 \rightarrow t_0 + D$$

Art happens in the constituted present. Because no two individuals share the same Delay, no two people ever see the same artwork. Each encounter is singular and unrepeatable.

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Law IV — The Law of Sensibility

Sensibility is the capacity to inhabit the Delay.

Sensibility is the cultivated “muscle” of the Agentive component $A$. It is the deliberate act of slowing down—transforming a physical event into a lived, spatial encounter.

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IV. Practical Implications: From Theory to Life

The Two Dogs Axiom is not abstract philosophy alone; it offers concrete guidance for living and creating.

• Curating
  Exhibitions are designed as open encounters rather than fixed narratives, honoring the viewer’s unique $S_e$.

• Teaching
  Authority is decentered. Education becomes a process of helping individuals map their own internal realities.

• Accessibility
  Differences in sensory processing $P$ create different—but equally valid—Art Spaces.

• Living
  We acknowledge that your “yard” is not my “yard,” and treat each encounter with humility and care.

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V. Final Thought

The Two Dogs Axiom proves that no two beings share the same reality.
The Four Laws explain how art lives within that difference.

Art is the Delay—the space where the artist’s sensibility takes root in the viewer’s freedom, blooming into a reality that exists nowhere else.

ART and Theory: Extending Sean Carroll’s Critique I propose the equation: t₀ → t₀ + Δt

Delay and eye tracking - Peter Davidosn 2025

Art and Theory: Extending Sean Carroll’s Critique

Introduction

In his 2004 essay Art and Theory on Preposterous Universe, physicist and philosopher Sean Carroll’s reflection on Emile de Antonio’s documentary Painters Painting (1972) struck me as a rare and invigorating moment in academic discourse, where the rigor of physics was brought into dialogue with the phenomenological depth of art; encountering this interplay was deeply pleasing, as it underscored the necessity for artists to engage with scientific thought not merely as metaphor but as a way of grappling with the structures of reality itself, reminding us that phenomenology and physics together can enrich artistic practice by grounding it both in the material laws of the universe and in the lived experience of perception, thereby opening a space where art becomes a form of theorizing about existence.

The essay highlights a tension: artists are brilliant at practice and phenomenology, but often vague when articulating theory.

"This critique raises a provocative question: Can art theory be grounded in a fundamental principle, rather than remaining a collection of personal rules of thumb? Furthermore, are painters truly terrible theorists, or is he correct about me—a painter with forty years of experience—who has recently found a physics axiom that transcends and applies to art theory?"

 

My Contribution: The Davidson Equation

In my own practice, I have attempted to formalize one aspect of artistic experience mathematically. I propose the equation:

t₀ → t₀ + Δt

This represents the irreducible delay between perception and action—the subtle gap that arises whenever one sees a motif and then attempts to render it. Cézanne, Hockney, Riley, and Merleau‑Ponty all sensed this delay, but none mathematized it. The Davidson Equation is not a universal law of art, but a gesture toward coherence: a symbolic shape for what artists have long described qualitatively.

The Davidson Temporal Reality Hypothesis (DTRH)

Building on this equation, I propose a unifying axiom:

The Present is Unattainable due to the structural necessity of Δt.

Seen through this lens, the seemingly contradictory theories of Stella, De Kooning, and Rothko become equally valid strategies for negotiating the same cognitive reality.

• Incoherence vs. Contradiction: What Carroll saw as incoherence (e.g., Stella’s smooth surfaces vs. De Kooning’s expressive brushstrokes) can be reframed as necessary contradictions, each a response to the temporal barrier of Δt.
• Rules of Thumb vs. Engineering Feats: Rothko’s approach, far from being a mere “rule of thumb,” can be understood as a precise cognitive engineering feat designed to manipulate neural processing. His theory is structurally accurate about human psychology.

Conclusion

When measured against the cognitive axioms of the DTRH, the theories of Stella, De Kooning, and Rothko are not incoherent but structurally sound. They were not poor theorists; they were astute observers of the subjective temporal barrier that governs all experience.

My hope is that this framework demonstrates one possible way painters might become better theorists—not by abandoning phenomenology, but by daring to cross into mathematics. Carroll’s critique has sharpened my own understanding, and I offer the Davidson Equation as a modest contribution to the ongoing dialogue between art and theory.

Attribution:

“Quotations from Sean Carroll’s Art and Theory (2004) are used under fair use for purposes of critique and commentary.”

 

The Monumental in the Mundane: Reseeing Still Life Through Scale and Focus

Gustave Courbet, Apples, oil on cardboard, 1871
Matsukata Collection — National Museum of Western Art, Tokyo

Why do simple domestic objects become such profound works of art—like Cézanne’s apples, Chardin’s strawberries, or Courbet’s Apples, which I recently viewed at the National Museum of Western Art in Tokyo? And why have such seemingly ordinary subjects transformed painting and drawing so deeply, as evidenced in Caravaggio’s Basket of Fruit (c. 1596–1601) and other works from the Dutch Golden Age?

There is nothing inherently remarkable about these motifs beyond their place in everyday domestic life, yet these artists approached them as though they contained answers to the universe. How can such small, humble subjects carry so much worldly meaning and illumination?

One explanation—grounded in earlier research—is that the artist’s visual perception begins with a kind of macro-thinking: a broad conceptual or philosophical intention. This “big picture” stance is then translated into micro-thinking: the precise, analytical work of the eye as it studies the motif in search of form, clarity, and insight. Through this translation, the ordinary object becomes a site where thought and perception meet, eventually expressed through paint or drawing on canvas or paper.

I explored this idea in greater depth in a blog essay published on 19 October 2025 titled “The Autonomous Eye: Can It Ever Be Measured?” In the section “Object Painting: A Fourth Sense of Illuminated Space,” I described how this painterly praxis led me to a core realization.

The Core Maxim

This shared artistic pursuit can be distilled into the maxim:
“Scale is inversely proportional to focus.”

In both Chardin’s intimate still-life paintings and in my own small-format pieces, the reduced physical size of the canvas does not diminish the significance of the subject. Instead, it intensifies the visual and intellectual attention demanded of the viewer. The small frame becomes a self-contained “universe of painting,” compelling a deeper, more concentrated engagement.

This ambition—to draw the monumental from the mundane—grants everyday objects a universal moral and aesthetic dignity. In this way, the canvas becomes a space for contemplation, where an ordinary apple or strawberry becomes a vessel for larger truths.

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Study of Aging Fruit — Peter Davidson

Oil, wax, and acrylic on wooden board

“My chosen motifs are always quotidian objects, captured as they age within a timeless space, shaped both by the seen and unseen influences of daily life as existence continues.”

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In Courbet’s painting of apples, the motif echoes a new realism with this same quiet truth: the fruit sits in silence, gently decaying into its own space. It remains untouched by the artist’s gaze yet subtly shaped by surrounding elements, moving inevitably toward its own dissolution—much like all of us within the larger universe.

Cézanne’s apples, in turn, revealed that when optics are allowed to fully unfold onto the canvas, they offer humanity a new way of seeing the external world—one that ultimately ripples into Cubism and subsequent modern painting.

My own system of painterly praxis has revealed a new way of understanding art theory. As I stated in an earlier blog:

This hypothesis suggests that the subjective quality and style of art are largely determined by how an artist processes, manages, and expresses the inevitable lag of Δt. True simultaneity between perception and creation is biologically impossible.

All of this research leads us back to the maxim “Scale is inversely proportional to focus.”

It is not the size of the motif that matters, but a lifetime spent observing and painting it—questioning what you are actually seeing. As Hokusai said, he was over seventy before he did anything truly good.

“Hypothesis of Davidsonian Temporalism, Temporal Non-Presence, and the Jelly Metaphor: A Unified Framework”

Peter Davidson -2 Aging apartment lemons 2025

oil wax acrylic on wooden panel

18 cm h x 14 cm w

THE DAVIDSONIAN TEMPORALISM

The Original Davidson Temporal Representation Hypothesis (the Skeleton) and the Temporal Jelly Integration Model (the Flesh and Philosophy) are two phases of a unified theory proving the core truth:

THE PRESENT IS UNATTAINABLE.

The Jelly Model takes the core mathematical mechanism of the original theory and gives it a metaphorical and philosophical context that resolves its internal contradictions.

🧠 The Brain Test: Why Distortion is Necessary

Perception cannot exist in a "raw form."

The brain’s goal is not to mirror reality but to enable survival and effective motor action.

The existence of the tricked image proves that t0 (pure perception) is unattainable.

Because the brain is active—distorting, predicting, constructing—delay and transformation are the primordial media of all experience and art.

🔮 Why the Brain Creates the Tricked Image

The "tricked image" (stable visual scene, blur-compensation, continuity-construction) is not an error.

It is the product of the Jelly Field stabilizing energy across time.

A. Prediction and Stability

Raw energy input is unstable and chaotic (saccades, flickers, light changes).

The brain uses compound delay to build a coherent, predictable model.

The tricked image is the brain’s best predictive hypothesis of stable reality (protention).

During delay, the brain compares new signals to memory (retention) to construct stability.

B. The Compounded Medium (The Jelly)

External distortion: optics (lens bending, blind spot).

Internal distortion: cognitive processing thickens and transforms the signal.

The tricked image is a deliberately distorted, cohesive state the brain generates to make action possible.

⚙️ Summary of the Causal Chain

Pure t0 (Raw Energy) is unstable.

Delay (Δt) is necessary to process the signal.

Distortion (The Trick) stabilizes reality during the delay.

Artistic Action materializes this stable, tricked, delayed image — the Visible Jelly.

📜 Evolution of the Davidson Hypothesis

Original Hypothesis: focuses on when the image is recorded (time).

Refined Hypothesis: focuses on what is recorded and where (space and cognition).

Formal Equation of Non-Simultaneity (Original Theory)

t0 → Δt → (t0 + Δt)

🔄 Transformations in the Jelly Model

1. Transformation of t0 (Perception)

The concept of a pure t0 is rejected.

Conscious experience is already a transformed t0.

t0 exists only as a theoretical placeholder for the physical world-event.

2. Transformation of Delay (Δt)

Original model: Δt is a single, irreducible lag.

Jelly Model: delay is a composite medium:

Δt = Δt_body + Δt_mind + Δt_art

Delay becomes the primordial medium of perception and art.

3. Transformation of the Artwork (t0 + Δt)

Original: artwork = echo of a past perception.

Jelly Model: artwork = construction, binding past and future.

🧩 Key Model Elements

Formal Equations of Delay

Δt_body = sensory/motor integration delay

Δt_mind = cognitive/interpretive delay

Δt_art  = artistic deliberation delay

Conscious Experience

Conscious Experience = integration of (retention + transformed present + protention)

Artistic Gesture

Artistic Gesture = materialized delay (Visible Jelly)

🗺️ Diagram: Temporal Jelly Integration Model

World Event 

   ↓

Body Integration (Δt_body)

   ↓

Mind Interpretation (Δt_mind)

   ↓

Conscious Experience (jellied)

   ↓

Artistic Gesture (visible jelly)

Legend

Δt_body = sensory/motor integration delay

Δt_mind = cognitive/interpretive delay

Δt_art = artistic deliberation delay

Jelly Field = temporally thick medium of perception

Visible Jelly = artwork as materialized delay

🌌 Unified Principle

Both TNP and Davidsonian Temporalism reveal the same truth:

Delay is the primordial medium of mind and art.

It is the jelly that binds past, present, and future into one unfolding continuum.

Consciousness uses delay to extract patterns and project forward.

Art uses delay to transform perception into layered temporal strata.

👉 In both cases, the present is unattainable.

What we call “experience” and what we call “art” are echoes of the past, oriented toward the future.

The research is ongoing so please enjoy it