And so we creatives are doing it, and are we doing it mostly originally now? I don't know that, but we've been doing it from a long time, is documenting ancient times. Since ancient times. Since the dawn of millennia, we've been the ones expressing knowledge, right? And what I find really interesting about what's going on, I don't know if any of you have seen this, but in the documents, there's art appraisal assessments, and two Rembrandts are in that.
They're two stolen Rembrandts. And that really got me on edge, because I've had this mission to know where the Sea of Galilee has gone, and I want to know where it went, and somebody's hiding it. And it just makes me frustrated to hear that Sotheby's and Christie's have been manipulating the markets, and we've all known this as artists.
We've all known that they do this, and it's in plain ink now, and we can see it, and we can see that private collections are holding a lot of stolen work, that we have been wondering where have they gone, and it's created, this art has been creating wealth, exorbitant and compounding wealth, without anyone even realizing it's going on. And I just feel very pressured to speak on this matter. That, yeah.
Archers, please go for it. Yeah, going on that topic, and a pressure to reflect on society, it does that by me, because I wrote my dissertation on the artist as shaman, right? So there is an ancient tradition of that, and traditionally, you know, the shaman would go into via gnosis into another realm to gain information to bring back to the tribe, right? That's the kind of process of shamanism, right? To help the tribe. I think primarily we should do what we want.
