I can describe it very simply. I can describe it in my arms, right? So all I did was take my hand and then I move my hand. I can describe it, whoa, in my head, you know? Whoa. Okay. I can do also my shoulder, yeah? It gives me something to do, something to work towards. If I were to take that letter "T" and flatten it down on the floor, here, maybe just off the floor, all of a sudden I could do maybe something with my knee, yeah? Whoa. So if I put the knee and the arms together, I've got something physical, yeah? I can start to build something. So what I'm going to do just for one and a half minutes or so is I'm going to take that concept. I'm going to make something. The dancers behind me are going to interpret it. They're going to snapshot it. They're going to take aspects of it. It's almost like I'm offloading memory and they're holding onto memory. Yeah? We'll see what we come up with. So just have a little watch about how they're accessing this and what they're doing. I'm just going to take this letter "T," the letter "E," and the letter "D," to make something. Okay. Here goes. I have to get myself in the zone. Right. It's a bit of a cross of my arm. All I'm doing is exploring this space of "T" and flashing through it with some action. I'm not remembering what I'm doing. I'm just working on my task. My task is this "T." I'm going to watch it from the side. Whoa. Strike moment. That's it. We're starting to build a phrase. What they're doing, let's see, something like that. What they're doing is grasping aspects of that movement and they're generating it into a phrase. You can see the speed is extremely quick, yeah? I'm not asking them to copy exactly. They're using the information that they receive to generate the beginnings of a phrase. I can watch that and that can tell me something about how it is that they're moving. Yeah, they're super quick, right? I've taken this aspect of TED and translated it into something that's physical. Some dancers, when they're watching action, take the overall shape, the arc of the movement, the kinetic sense of the movement, and use that for memory. Some work very much in specific detail. They start with small little units and build it up. Okay, you've got something? One more thing. So they're solving this problem for me, having a little. They're constructing that phrase. They have something and they're going to hold on to it, yeah? One way of making. That's going to be my beginning in this world premiere. Okay. From there I'm going to do a very different thing. Basically, I'm going to make a duet. I want you to think about them as architectural objects. What they are are just pure lines. They're no longer people. Just pure lines. I'm going to work with them almost as objects to think with, yeah? What I'm thinking about is taking a few physical extensions from the body as I move, and I move them. I do that by suggesting things to them: If, then; if, then. Okay, so here we go. Just grab this arm. Can you place that down into the floor? Yeah, down to the floor. Can you go underneath? Yeah. Cat, can you put leg over that side? Yeah. Can you rotate? Whoom. Just go back to the beginning. Here we go. Ready? And bam, bake. Great. Okay. From there, you're both getting up. You're both getting up. Here we go. Good. Now? Them. So from there, from there, we're both getting up. We're both getting up. Going in this direction. Going underneath. Whoa, whoa, underneath. Whoa, underneath, whoo-um. Yeah? Underneath. Jump. Underneath. Jump. Paolo, kick. Don't care where. Kick. Kick, replace, change a leg. Kick, replace, change the leg. Yeah? Okay? Cat, almost get his head. Almost get his head. Whoaa. Just after it, maybe. Whoaa, whaaay, ooh. Grab her waist. Come up back into her first. Whoom. Spin. Turn her. Whoo-aa. Great. Okay, let's have a little go from the beginning of that. Just, let me slow down here. Fancy having eight. Fancy having eight hours with me in a day. So maybe too much. So here we go. Ready. Nice, good job. Yeah? Okay. Okay, not bad. A little bit more? Yeah. Just a little bit more. Here we go from that place. Separate. Face the front. Separate. Face the front. Imagine that there's a circle in front of you, yeah? Avoid it. Avoid it. Whoom. Kick it out of the way. Kick it out of the way. Throw it into the audience. Whoom. Throw it into the audience again. We've got mental architecture. We're sharing it. Therefore solving a problem.