You're just sitting there voting yes, no, or whatever. And I use the gestural thing because we ripped that off from Tinder about a year ago. But where you do have to put yourself out there is sending a message and actually hitting on somebody or whatever it is, chatting them up.
Now I'm going to add some har-- some delays. You kind of create a gestural language the more and more you use the system because it, obviously, has a bit of software between-- they're called Glover-- which you could also add other inputs.
Even the gestures. Yeah. It's described as a gestural language, and Ty and Daniel are saying that it was derived from people in space suits who spoke different languages not being able to talk to one another.
So this is the human brain right here. So it's what forms your mouth movements and your gestural patterns to producing language.
She also-- Jessie Rob is our other choreographer. doing physically, either gesturally with the horse head, or with my own body on this side of me.
and you have to make a train connection, it's a serious headache. to synchronize them amongst ourselves and to kind of know gesturally when the other person is, when now is, right?
able to talk to one another. So they adopted some very broad signaling, gestural signaling, with their hands so they could look at each other in space and understand it. And over time, that concept had boiled down into a very expressive hand gestures along with Belter.
So that's one color when it's reflective. This is my kind of early work where I was painting these kind of very semi gestural paintings.
And the old witch, you know, loses her temper, realizes that someone has been getting in, and that Rapunzel is having a baby. So there is puppetry, there's music, there's gestural dance.
This is for "Moby Dick," and this is Ishmeal from "Moby Dick." And originally, it was this idea that we might even just use paper backgrounds with old woodcut prints, or maps and that kind of thing-- very gestural , very simple. And then we also explored the possibility of illustrating two dimensionally with wool.
It's tightly linked up to the motor cortex, and it's single-handedly linked to the language production end of things. So it's what forms your mouth movements and your gestural patterns to producing language. In the back, right in the temporal lobe, or right by the temporal lobe and the parietal where they meet, you see Wernicke's Area,
And then Ellenore came in to flesh out the musical numbers, and-- And I feel like because so much of the development of the show was done in readings, which was done stood behind music stands, the things that were developing in terms of choreography were so gestural that I was like, that's something that we can bring in and take in.
And that was something that I had run into in my career as an artist. Trying to make things perfect, even on painting on myself, I realized that it looks creepy and uncomfortable, and that when I just paint in a looser, more gestural style, the effects are so much more.
So if you dozed off to sleep at that point, hopefully, you will awaken. Again, the shock of not just the dynamic difference, the gestural difference, this incredibly incisive rhythmic gesture. And that plays back and forth throughout this movement.