“Alright, 2:45 a.m. See you there.” The weather has been warm, creating an isothermal snowpack by late afternoon. Instead of exhibiting a temperature gradient forming cohesion, the snow becomes a sludgy soup. Unpleasant for skiing, and increasing the risk of wet loose avalanches. Spring skiing is all about chasing good timing.

The Eastern Sierra has an abundance of classic winter alpine traverses. One particular route stands out, as it connects my hometown of June Lake to the nearest town featuring a well-stocked grocery store—Mammoth. Ask any Southern Californian about Mammoth, and they will likely describe it as a premier winter sports destination. Being gratefully spoiled in June Lake with prime lift access to arguably the finest slack-country in America, my thoughts often gravitate toward avocados and kale.

Driving south on the 395 toward the town, the horizon begins to radiate a warm glow. A brilliant orange orb gradually ascends, and though only half-illuminated during its third quarter, it casts striking shadows from the Jeffrey Pine trees.

Our designated drop-off location is Mammoth Main Lodge. In a matter of hours, it will be inundated with visitors from the south; however, for the time being, it is solely occupied by us. We swiftly attach the skins to the skis, double-check all the essential gear, and skillfully dodge a snowcat grooming the flat terrain. Only then do we embark on our journey into the darkness at 4 a.m., precisely as planned.

The route traces Minaret Vista Road, leading to a well-visited summertime overlook of the Ansel Adams Wilderness. Our group settles into a steady rhythm, with one foot consistently gliding past the other, reminiscent of socks on a kitchen floor, as toes pivot around ultralight pin bindings. Deep breath. Slide. Turning off the headlamp, we watch the moon rise above the summit of Mammoth Peak.

Scarcely any time elapses before we pass the gate leading to Devils Postpile, a striking geological curiosity characterized by columnar-jointed basalt formations. These mostly hexagonal pillars were shaped approximately 100,000 years ago, when lava cooled and fractured—a relatively recent occurrence on a grander scale. Rather than descending to Postpile, the route takes a right turn and begins its ascent along the San Joaquin Ridge.

Reside in the Eastern Sierra for an extended period, and the vista of Mount Ritter and Banner Peak becomes a constant, yet it continues to evoke a sense of awe. The unusual abundance of snow this late in the season causes the moonlight to disperse in every direction, magnifying the spectacle. Our group momentarily pauses to absorb the view and settle in to the ridge.

The ridge is infamous for its windy conditions, and due to the Venturi effect, which compresses the air and lowers temperatures, a cold night can become bitterly frigid. This frequently results in the ridge transforming into a sleek ice rink—sufficient reason to carry ski crampons. Fortunately for us, the wind remains tranquil for the time being, as the incline gradually becomes steeper with crampons securely stored.

Approximately two miles into the journey, we find ourselves fully immersed in the experience. However, our focus is momentarily disrupted by something reflecting the moonlight in our peripheral vision, only for it to vanish abruptly. We feel as though we are being watched, and then a pair of eyes materializes. A coyote dashes past us and lingers up ahead, seemingly curious about one aspect or another. It must be hungry, as this winter has been particularly challenging.

As the ridge grows increasingly exposed, the wind intensifies. The cold sets in, prompting us to grab the mitts. Glancing upward, we notice a faint dot gradually brightening as it steadily moves across the sky, its azimuth passing directly overhead before continuing toward the horizon. “Look, a satellite!” In just a few moments, another one appears, followed by yet another, and then another. An entire procession of Starlink satellites travel at a consistent speed in a perfectly straight line. Observing human intervention on such a planetary scale in this setting creates a truly hyper-real experience.

To the east, above the White Mountains, a faint glow starts to spread across the horizon. This sight is undoubtedly welcome. The silhouette of the coyote appears, maintaining pace with us, most likely eager for a morsel from a Snickers bar.

Up ahead, the ridge dips no more than a few hundred feet to a corniced saddle. Removing skins would be an inconvenience, as there are no turns to be had here. Instead, our group begins side-skinning downhill. After a couple minutes, Nick pivots and straight-lines it down the remaining half! I have never seen anyone move downhill fast on skins! The flat dawn light conceals the wind-sculpted sastrugi at the base of the saddle, causing Nick to go flying, toes locked and all. With broken glasses, blood, and a grin on his face, we are all slightly stunned and laughing.

Speed record? Likely!

The day’s first direct sunlight illuminates Ritter and Banner in the distance, then the ridge ahead as it continues its ascent. The temperature rises a few degrees, prompting the group to pause and take in the view, warmth, a few sips of water, and a snack. Nick seizes the opportunity to insert the remnants of his glasses into his goggles to keep everything intact. Meanwhile, Agnew Pass, situated to the east, gradually fills with sunlight.

When attempting to describe these moments, I find myself reaching for phrases like “unreal” or “another planet.” It’s ironic, considering they are often the most real and entirely unique to our home planet.

This ridge was once slated to become part of a mega-resort, connecting the Mammoth and June ski areas with a series of nearly 20 lifts. These plans were discussed for decades, until Congress designated the area as the Owens River Headwaters Wilderness under the Omnibus Public Land Management Act of 2009—a decision I’m grateful of. It’s a reminder of the interconnectedness of things. This drainage system, feeding the same Owens water supply that has long provided Los Angeles with water.

As we reach the top of the climb, our first view of “Two Teats” comes into focus. It’s easy to guess the general area referred to here. Yeah—we intend to navigate right between them. When looking back at the distance covered, it’s evident we’ve made good progress. We’re now more than halfway there.

Over the past week, there has been significant solar activity, as springtime tries breaking through. Bald patches of ground appear on the climb ahead, and surprisingly, for a moment, an actual dirt trail becomes visible—the first of the season. But for now, it’s very much still winter. As the incline steepens and the snow hardens, the ski crampons come on, just incase.

It ends up being mild, and before long the planks come off and the group starts booting up gravel. This provides a pleasant change of pace after months of sliding around.

Upon reaching the saddle between The Teats, our first view of San Joaquin Peak comes into sight. The sunlight, now noticeably stronger, gently invites us to take a break in this sheltered alcove, and we are eager to oblige.

With feet propped up, the group discusses various exit strategies. Numerous routes lie ahead, and given the cold temperatures and stable snow, we decide to pursue a more ambitious option.

As you drive into June Lake along the 158, your gaze is immediately drawn to Carson Peak and settles directly on its north face, featuring a perfectly carved bowl—the very bowl we decide to ski. Having been a primary objective since moving to June, I am incredibly eager to drop in.

As we descend from The Teats, looking back reveals an impressive headwall. There are countless potential routes, and everyone agrees to return at a future date for further exploration. The final ascent to the summit begins, with some members of the group choosing to hike, while I decide to practice my kick-turns.

In no time, the summit is reached. This is my third visit within the past few weeks, and the view never loses its charm. We take it all in. With no real rush, we slowly remove our skins, transitioning between relaxation and preparation for a brief downhill traverse to Carson.

As the group traverses a bowl beneath San Joaquin, we ascend and cross a cornice to follow its lip toward a plateau leading to Carson. During the summer, I jogged along this same route towards Spooky Meadow after a big climb to the summit via Fern drainage. I remember thinking “whoa nelly” and imagining how incredible it would be to glide through here on skis. What took me 30 minutes to jog now takes only minutes to slide across. Winter travel has its perks.

Sufficient uphill terrain between our current location and the drop for Carson’s north bowl warrants skinning up. A large white hare darts across the alpine tundra—an incredible sight! This ascent feels more like a leisurely cruise, with the mind drifting on the gentle breeze.

Upon reaching the top of the bowl, a perfectly symmetrical view of the June Lake Loop emerges, with Carson dividing the two halves. “Wow… Wow…” From this vantage point, it’s impossible to see beyond the rollover and fully observe a route down the bowl. The snow is surprisingly firm, probably due to the strong wind from the previous evening and the subsequent low temperatures. Consequently, the group boots around, examining the area.

We agree to drop towards the right side of the bowl. After chatting with a friend who skied the line last week, we know that the exit is through some trees on the right. The bottom of the bowl cliffs out, and the firm snow means that falling is risky. Our plan is to link up with Devil’s Slide—a feature so filled in during this record snow year that it’s like a halfpipe with a 2000 foot descent.

After waiting for the better part of half an hour, it becomes apparent that the snow is not softening beyond its present condition. Nevertheless, it is edge-able, and we decide to drop.

Despite the firm conditions, skiing down the bowl is too good to pass up. Being here, skiing a line I’ve stared at so many times, fills me with immense joy and pride, even though it may not be the biggest or most exceptional by any metrics. “Here I am!”

After reaching the bottom of the bowl and above the cliff exposure, we begin our traverse through the trees towards Fern Lake. We make a few corrections along the way since the group is initially higher than necessary, but before long we pick our way through the trees and rocks to arrive at the top of Devil’s Slide.

Skiing down the slide has become almost routine for me, as this is my third time here in the past few weeks. Still, the descent never gets old. The heat of the past few days has deposited debris from several loose wet slides throughout the descent that have now firmed up and made for somewhat technical skiing. Nevertheless, we ski with all smiles the entire way down.

Reaching the runout, the group ducks into a notch in the trees and zips the flats towards my car, having staged it there several hours earlier. A series of creeks run through this zone, and the snow bridges that existed only days earlier have now collapsed. We carefully pick our way up and over a berm for a brief walk back to the car.

It was a personally monumental day, and completing the long standing objective was satisfying. I have a sierra-sized amount of gratitude to Nick and Kim for letting me link up for the tour.

In the eastern Sierra, the places are second only to the people.

This entry was written in 2020, at the start of the pandemic, and reposted here for archival purposes. Anyway, I’m not here to make a point. Just meandering after going down a TikTok hole.

This is a quick ramble about Parametric TikTok — a pattern shaped by the recommendation algorithm where creators make viral formats and bombard them w/ variation, not unlike processes seen w/ GANs and style transfer.

My favorite instance of this is Little Durag, who created a viral dance and proceeded to feed it input sourced from comments. There are plenty of other instances, including imjoeyreed. Durag stands out for how the comments are literally weighted.

“Dance at 10% with 100% emotion.” “0% dance, 0% emotion, 100% far away.” “100% dance and 100% sadness.” “10% emotion, 100% dance.” “100% right arm, 10% left arm.”

What’s interesting is the feedback loop between how parametric the creation of these videos are and the TikTok algorithm—itself a weighted system.

The killer feature on TikTok is the algorithm. The sauce determining what appears in For You, the primary surface. It’s noticeably better than anything similar, like Instagram Discover. Apps are mediums of their own. What is appropriate for one platform may feel out of place on another. The context shapes the content.

Parametric TikTok is truly native to the platform.


Parametric TikTok is a symptom of its parent platform, similar to early Mr Beast on Youtube. Let’s call it Analytic Youtube. My absolute favorite is the 2017 durational work (lol) “Saying Logan Paul 100,000 Times” in which he says Logan Paul 100,000 times over 17 hours.

https://youtu.be/_FX6rml2Yjs

Youtube is a platform aggressively shaped by numbers. Big numbers. No surprise this performed well. Today the work has 16,492,195 views. Hear me out; this shit is profound. He takes the aggregate behavior of 100,000 Youtubers and performs it in one go. Call it “The User is Present” or whatever.


We live in an increasingly parametric world. One easily consumed and shaped by models. It’s funny to think about how these TikTokers are normalizing “parametric design” in a sense.

For instance, within architecture, a site condition is established and permutations in form are generated. The design processes becomes curatorial. Many practices today are centered around these principles of parametricism in response to advances in fabrication; the tools and materials at hand.

We can say this is nothing new or novel. It’s just more evenly distributed now. In other words, fuck your process, I’m just making TikToks.


In the near future I expect to see way more ML video processing beyond face filters. The emergent behavior of TikTokers feels like a warm up for this super automated future. A convergence between inevitable functionality and what creators are making today.

https://youtu.be/PCBTZh41Ris

Snap has shipped filters which map your face on to animations that make you dance… this is not what I’m trying to point out here. It has more to do w/ creative process and how the platforms shape the work created and shared within them.

I wonder how much of Parametric TikTok’s novelty is thanks to interpretation. If we had trained a model on Little Durag’s dance and curated the best 10 out of 100,000 permutations would it hit the same? Even assuming they were indistinguishable from the originals?

By the time it’s possible I assume the novelty will have worn off. Similar to how anyone who has grown up with the artificiality of facetune can see right through it. I am curious to see the unexpected ways these future applications of ML on platforms will continue to shape what users create and share.

I contributed drums to Nick Malkin’s A Typical Night in the Pit, released on SODA GONG in January 2020. A set of blue-lit, nocturnal compositions tracing the density and chaos of the city. Moving from skewed MIDI-jazz to skulking menace across nine pieces, with a revolving cast of LA experimentalists.

Mexico to Canada on foot. Roughly 2,650 miles, five months walking north: out of the desert, up over the high Sierra, down through Oregon and on into the Cascades. Wake, walk, eat, sleep, repeat. The trail narrows the whole day down to a single task, then a single step, and you keep taking it until there’s no more north left to walk.

Peer-to-Peer Web

Workshops on decentralized publishing

Categories
Projects

Peer-to-Peer Web was a series of relaxed afternoons of talks and workshops centered on decentralized publishing, creative practice, and digital archival.

Three instances were held between Los Angeles, New York, and Berlin.

Peer to Peer Web / Los Angeles
Peer to Peer Web / Los Angeles
Poster (11 × 17 in) printed on a Risograph by Folder Studio
Poster (11 × 17 in) printed on a Risograph by Folder Studio
Callil Capuozzo
Callil Capuozzo

Contributors, sponsors, friends

Jon-Kyle Mohr, Louis Center, Callil Capuozzo, Tara Vancil, Jon Gacnik, Paul Frazee, Grace Kredell, Sam Hart, Hugh Isaacs, Laurel Schwulst, Lai Yi Ohlsen, Alejandro Matamala, Seth Thompson, Kei Kreutler, Jay Springett, Yoshua Wuyts, Cory Levinson, Georgia Hansford, Arthur Röing Baer, Calum Bowden, Mathias Buus Madsen, Cade Diehm, Harry Lachenmayer, Joe Hand, Olly Bromham, Lily Clark, Danielle Robinson, Exonemo, NYC Mesh, Bail Bloc, Los Angeles Contemporary Archive, School for Poetic Computation, Trust, Folder Studio, Are.na, unMonastery, Mazi Project, FOAM, Resonate, Liberate Science, Code for Science and Society.

Skip the Process, Draw the Pixels

Yale School of Architecture/Art

Source
Yale School of Architecture/Art
Categories
Features

This conversation with Seth Thompson and Willis Kingery was originally published in Paprika!, the broadsheet of the Yale School of Architecture and Art, in November 2018. Reposted here for archival purposes.

Jon-Kyle Mohr is a designer, programmer, and musician from Los Angeles. His work is methodical, technically rigorous, and at turns provocative or philosophical. In the past year, he has developed a tool to archive Soundcloud music on the distributed web, a bookmarking site, a blogging platform, and an interactive map of thoughts, images, and geospatial data generated from a walk through the Los Angeles Arroyo. Each project embodies an approach to radical transparency that includes open-sourcing code, hosting sites peer-to-peer, and broadcasting live question-and-answer sessions to share context and background.

Seth Thompson: We’ve been talking about the idea of producing a rendering by individually selecting the color of each pixel one by one in Microsoft Paint. This is a provocative idea as a piece of performance art … or at least process art. Why is this idea so compelling and what are the implications for all of the ways we otherwise produce digital images? Why is Microsoft Paint always a piece of software that gets referenced in relation to this kind of idea?

Jon-Kyle Mohr: I think about this from a place of consumption and creation. I grew up looking at images on screens, and have spent much of my adult life doing the same. At a certain point the image breaks down for me and I see it as abstract individual pixels. I find it difficult to design something, or take a photograph (forms of image making) without feeling those individual pixels on a screen. Same with audio. It’s difficult to record and process audio without seeing the audio as an image: a waveform. This affects my process in a certain way. This has more to do with biology and how the eye processes the environment, and less about a distinction between analog and digital methods or something of another epoch that existed maybe fifty years or five minutes ago. Microsoft Paint is jurassic in position relative to the sequence of consumer electronics and the graphical user interface. It’s a rock.

ST: I think, if I can make a generalization, that when you say you see abstract individual pixels, you’re also talking about a certain facility with signal processing? Like the ability to see a low pass filter on an audio waveform and envision what it will sound like, or the ability to see a photograph and recognize a certain desaturation in the highlights that you can intuit how to recreate with a set of curves or tone mapping. Or is there something else at play?

JKM: It’s less granular than that. Just raw perception. I know I’m looking at a grid of pixels and most of the time my brain couldn’t care less as it just sees an image, but every once in a while an awareness floats to the surface, usually when making something. It’s hard to bridge the gap between the nothingness of initiating a project and knowing its ultimate place on the screen. Why not skip the process and draw in the individual pixels, or just draw the waveform? This is of course a ridiculous idea, but a personal hangup nonetheless, and it overlaps with a semantic tripping point between “process” and “processing.”

ST: [Responding] as someone who makes websites, what is the substrate for a website? The site is not (usually) expressed in terms of pixels. Is there another unit of “raw perception” that comes into play? Is the HTML tag an equivalent? Or to put it differently, if you had to “draw” a website without any process (no wireframes or moodboards) and were forced to just output it to the screen what would that look like?

JKM: That’s sort of what I do. I don’t consider myself a designer, but I do design a lot of things, including websites. When I do, I’m always in the browser working with the native material at hand. In this case, the Document Object Model. There are never wireframes, or project-specific moodboards. So in that sense, my process is very direct from brain activity to final form. This is not particularly efficient; there are a lot of redundant motions, but it feels like imposing methodology on individual gesture is artificial. Working like this is closer to hand building, whereas wireframes/moodboards are more like creating a mold and casting the form.

ST: You’ve built a number of tools for others (I’m thinking about Cargo, Enoki, and some of the internal authoring tools you’ve built for institutions). Do you think about designing interfaces that encourage the same directness of intent from impulse to execution? To go back to Microsoft Paint, is there anything to be mined from its primitive simplicity? Or to put it differently, to what extent do you believe that your process (or we could even say nonprocess) is a personal artifact vs. a pedagogical tool.

Enoki.
Enoki.

JKM: In order to create a useful tool conducive to a range of possible forms it is necessary for the design process to center around defining brokenness. Consider the visual flow of a deep neural network and try to design a “user experience” around that. Untraceable chaos. My work on Cargo was never directed by any imposing methodology. It was extremely lucid. This is because I was not creating something for a specific user but creating a flexible authoring environment for a multitude of possible applications that we could never know from the onset. This is a symptom of working in the future. Creating interface for a specific client is a more focused challenge based on the experience that client brings to the table, or the context of that particular institution. I personally find that far more of a challenge than following my nose.

ST: When people talk about image consumption they are quick to jump on the idea of the “feed” as a kind of universal interface (sometimes Pinterest is mentioned, but the reference is usually used as a stand-in for every online image stream). It strikes me that Pinterest, Instagram, Tumblr, and of course Are.na are very different kinds of image repositories. How does the interface itself, the technology underlying the interface, and the community around the interface affect the experience of browsing images on any given site?

JKM: It is interesting that all of the platforms you mention share the feed in common, yet have distinctly different patterns of use and communities. There is of course no clear answer, as these are organic and emergent qualities that seem clear in retrospect but are often unknown in the moment. I guess it’s always possible to point to style. Pinterest looks lame, and that makes me uncomfortable, so I’m not going to use it. Are.na looks “lame” in a very specific way (default sans-serif typography, desaturated UI, etc.) that aligns with my sensibilities, so I will use it, and that will connect me with certain other people, and now there is a community. These things don’t just happen (a lot of work goes into it) but I question how much one can know in the moment exactly what something is. At least I don’t.

Willis Kingery: Your point makes me ask a basic question: what would healthy image consumption online even look like? The platforms you mentioned occupy incommensurate worlds in terms of content and organization, but the mode of consumption they offer is largely the same. People lament the “feed” and feel that supposedly better alternatives exist, yet every platform offers essentially the same model for looking at images.

JKM: Right now we wake up in the morning and take a hit of fresh content. Something healthier is less like getting a fix and more like something ambient. “Oh, that’s nice. Goodbye now!” The screen is a difficult interface to work with.

WK: In the life of the image-based platforms mentioned above, each seems to start as a somewhat peripheral community, but as its user base grows, they inevitably reach a kind of saturation point, where eventually the repository goes from being a rich site of discovery to a more mainstream mood-boarding tool. Can image-based platforms scale without propagating a certain sameness of content? In relation to fringe platforms I’m thinking of some comments you made to my classmate, Steven Rodriguez, about the ongoing suburbanization of the internet as a reaction to the centralization of the Valley’s platforms, how people have been seeking online “property” outside of the center of activity, and I wonder if you still see this as a trend?

Has that movement possibly opened pockets of possibility within the “urban core” of the image economy/ecology?

JKM: And just look at how well suburbia played out! Imagine the commute to your Facebook feed every morning. Yeah, I think this is also where metaphor breaks down and it’s important to abandon the analog as its core meaning fades away. The decentralization thing is really simple: you are your data, you do not own your data, you should own your data, you should not have to be constantly aware of this. To your point about community scalability, it is important to be skeptical of the growth chart. Capitalism loves a good growth chart. It’s hard to do things within capitalism without them. Looking towards urbanisation to understand this is useful but should not be taken literally.

ST: In the past year, you’ve broadcast a number of “hangs,” or livestream updates, to a community of programmers, designers, and distributed web enthusiasts who are interested in your work. In one of them, you constructed an Enzo Mari Autoprogettazione table in your backyard. What is the significance of sharing the artifacts of your working process with such an audience? Does Enzo Mari’s notion of sincerity in individual creation have relevance in an era when code, ideas, images, and even websites can be so easily copied, modified, altered, and combined?

An Enzo Mari Autoprogettazione table, built in the backyard during a livestreamed hang.
An Enzo Mari Autoprogettazione table, built in the backyard during a livestreamed hang.

JKM: Yeah, these are awkward for me but the feedback is good, so I keep doing them. I see Autoprogettazione as less about the sincerity of an individual and more about a critique of production. Enzo is not saying, “everyone should build their own furniture to truly know it.” He’s saying, “Look, build this table. Now when you look at tables you know when one is shit and why.” Not only this, he uses plain language to communicate the ideas. A similar critique on the production of the internet would be challenging considering the difference in materiality. I have difficulty imagining what this would be if not reductionistic.

ST: It’s been said that prediction is a low form of journalism, but do you have any guesses or aspirational ideas about what images we will be viewing in the future and how we will be making or viewing them?

JKM: Prediction is the ability to know the future, but exists squarely within the past. The work being done with GANs are producing entirely new forms, but the output is a hallucination of those that exist. The future of image making will probably be variations on Deepfakes, content substitution ad infinitum. The audience and the author will continue to become one and the same.

WK: In relation to future modes of viewing and the earlier conversation about pixels and having an atomized view of every image, I wonder how we’ll navigate these shifting image worlds offered by digital platforms. Is there a direct visual parallel to this condition in some of your Are.na channels, [‘Array’, ‘Aesthetics’] and Deep Field, for example? We’ll certainly be engulfed by an ever-expanding constellation of images, but perhaps its ubiquity and banality should be embraced as a generative force. It’s overwhelming, but is there value in becoming adept at searching for anomalies in an infinite field?

JKM: For me, a lot of this comes down to who owns the data? If it all continues to centralize and we’re just using Instagram, there is very little room for speculation about possible form because it will all be dictated by them. They own the land as it were. In this era of data ubiquity you mention there is room for the truly personal “artificial intelligence” or a formalized mode of augmented cognition. We already all do this “offload your brain to the cloud” kind of thing but it’s not articulated as such. Perhaps this will manifest less as decentralization vis-a-vis localization … a continuation of today’s antiglobalist sentiment as it makes its way online. As I type I begin to care less and less about this and more about finding a good snack to eat.

Cargo (Collective)

Personal publishing platform

Categories
Professionally

I was the founding design engineer at Cargo Collective, now known simply as Cargo.

Cargo is a personal publishing tool for creative practice. As the first full-time hire, I contributed to everything — conceptualization, interface design, front-end programming — and wore many other hats, as you might imagine.

I joined at age 19 and moved to Los Angeles. Memories of getting kicked out of bars when trying to grab a post-work drink come to mind. We worked out of a room in a craftsman house in Angelino Heights, and later a studio along the Los Angeles river in Frogtown.

For a number of years, joining Cargo required an invitation or an application: a single open-ended textarea prompting a description of your practice. Some people wrote a sentence, others wrote paragraphs. Each one I personally reviewed, and most I responded to. I would generate an invitation, copy a template in the macOS Mail app, paste the link in, and occasionally write something personal about the work. I sent tens of thousands of invites by hand over several years.

These years were personally foundational in many ways, greatly informing how I see the world, and where I find motivation and meaning within it.