The next 4 ribs anatomically referred to as the.
false ribs. or the let's say the 2 ribs below that, which we all know as the floating ribs. So is something happening.
The movement of your head, don't try to make it bigger. You're just repeating it.
Slowly, and we're… Changing.
What you're attending to. Now I'm asking you to notice the lower part of the chest. That would mean.
Your solar plexus below the breastbone. The dome, the arch of your ribs around that area.
that those ribs in the back. It's the ribs below.
More or less, the ribs below your shoulder blades and the vertebrae to which they attach.
Is there movement there? Not just is there movement, but in which direction does it occur? So when your chain goes forward.
As let's say that part of your spine, which, if you're observing from the outside, you can get a sense of right from that angle.
Does it move forward as a stick as one piece?
Is it articulated? From the outside, we could say articulate it or distribute it.
from the inside, you could say differentiated, because there you're talking about sensation.
which the observer can't tell. But we can. We can see from the outside where you move. Is it moving? Is it peace, or is it articulating? And if it's articulating in which direction?
So just staying in this arching and rounding sagittal plane.
Are you arching that part of your back? Are you rounding it, or are you moving it as a piece stiffly through space?
Good, and please stop for a moment if you're moving rest.
You can stop before I tell you to. Sorry, forgot to say that. I hope you know it.
and act accordingly. So now in the real life situation, when you're doing this with your partner, you ask these questions.
as if you're having a conversation. In other words, they're not rhetorical.
It is not an ATM. We are following that structure.
But you ask someone a question. making certain distinctions.
And then you let them respond.
Right? You wait for an answer. You ask him if it makes sense and what they notice.
In this way, following kind of the outline of an Apm.
It's like structuring the… course of the questions, right? You're following a certain logic.
Our idea. So usually people can answer these questions. They're not open-ended questions right on an exam.
They are short answer. And if somebody doesn't know how to answer that, you can give them.
um… I question with several possible answers, so they have to choose.
Right? That way people. It makes it easier than asking, what do you feel? Or what do you notice?
It's much kinder to the student. It is totally possible, and often probable.
That they will tell you something else entirely. which is really valuable, because then they tell you what they're noticing.
Or they'll tell you what they think you are asking about.
which will also tell you about. their self-image.
But now we're in the playing ground of. their subjectivity, how they live in their skin, and that's where we want to be.
I come back to if you're the student, come back to this position.
Still doing the same darn movement. It won't take this long right when you're.
doing it with a student. especially if you're touching them.
That's good to take the time. So one more time you take your chin forward a few times. Don't try to make it bigger or better, but now… Just from doing this.
process of asking. My asking these questions, and you, if you're a student, asking them of yourself.
Did that change how you sense this pecking movement?
What you feel about what you're doing. I don't mean, did you get better at it, but did your noticing?
of what's happening. shift somehow. And if you improve, well, that's a side effect, and that's okay. It's a good one.
as you continue to do this, can you feel that different places at the same time? That means what happens in your neck?
What happens in your upper chest? And what happens in the middle of your trunk and your lower chest and upper abdomen.
Not as sequential experiences, but kind of more inclusive. Can you gather those sensations?
And, um, you know, like, hit all those notes.
And, you know, what is the cord that struck? What do you sense about the… nature, the the sense of.
In which places you move and how you move when you're doing this movement, because it's a movement of your head, but not in your head.
Right? It's happening below that.
Alright.
Okay. Now, could you… stop stop for a moment. You know, this is kind of a it's a funny question. I'm going to ask it in a funny way, which is totally inappropriate to do in class. But you know the next step you're going to notice.
what you do with your butt. There's no other way to say it right? So would you do this a few times? Take? Well, actually, before you do it, notice how your weight is down below.
What parts of your feet are resting on the floor? Are you on the your toes or your forefoot?
Have you looked it up your feet and you're on your heels?
If you're a whole flick, are your feet dangling, not even touching?
is your whole fat, both feet on the floor.
And then how does your bottom touch?
do the tops of your thighs as their weight on the tops of your thighs, which the part.
the close part of the back of your legs.
which is probably on the chair. Is that touching without weight, or is it weighted?
How's the pressure on the bottom of your butt?
Now, as I'm talking to the student, the person who is the teacher.
The idea is to observe these things. Can you tell?
From the tilt of the pelvis and the shape of the spine, where the head and the shoulders are in space.
Where's the center of pressure underneath the student's legs? In other words.
is the student sitting? Are you sitting? With pressure in front of your sitting moon.
on your sitting bones are behind your sitting bones, like closer to your back pockets, or where they would be.
If you have them. Is it the same on the right side and the left side?
at the beginning is the lower back rounded or flat or arched? There's only 3 possibilities. Well, you could be twisted.
or side bend. But right now we're just. making distinctions, or just examining, observing.
what's happening in this building in our chain direction.
And then once again, take your picture. Sorry. Take your chin, your head forward.
In this non-tilting, not looking up, not looking down manner.
Take your chin forward. Where are you looking? Where's your gaze directed?
It helps if you look straight ahead. Great. If you look right in front of you, not up or down.
It helps stay on the make the movement one of translation.
There you go. So you can feel what happens between your shoulders.
In your neck, below your shoulders, and then what happens?
in the bottom section, maybe including the floating ribs?
Maybe including more of your ribcage? There's a movement somewhere there?
When your head goes forward. Or is it below at the very bottom?
joins of your slide. And one thing that will happen… I think for most people, is it the pressure underneath you?
underneath your pelvis, maybe at your feet. The distribution of the pressure will change. The total amount of weight does not change, but how you allot, or how you apportion that.
as your head, which is a pretty heavy weight, moves forward in space.
Is your pelvis moving? forward or backward or not at all.
It's the direction that counts, and even through the the lens of however good or not good the camera.
is that your partner is using. It is amazing how much of this you can see. And if you're having a hard time seeing it.
defocus. Look past them. and observe the movement of their silhouette.
out of the corner of your eye, in your peripheral vision, which means not looking directly at it.
If you haven't done this before, it can be challenging, but it's… I think it came with the package. It's not something you had to buy extra.
with this model. So it's built in.
Are you rounding your back or arching it? And now let's see if we can.
put all these things together. How's the pelvis moving and the lower back arching, rounding, stay in the same shape.
what happens in the spine above that? the lower ribs, the upper belly.
because it's still that section of the trunk. And then what happens in the upper section of the trunk? The upper part of the ribcage.
the shoulder girdle or shoulder half girdle side. And then what happens in the neck?
You don't have to notice all of these things at once. But the idea is by repeating a movement.
You're not just noticing more details. You're noticing the relationships between them.
At the same time. So you're not noticing the ingredients in the recipe, but you're noticing how the flavors marry.
You still notice everything individually. There's somehow that they come together.
If you're the observer, if you're on the outside.
You can notice the places where change doesn't happen.
Where the sheep stays the same, meaning there's no movement there.
Which means that person is probably less aware of that place, right? Because how are you aware of movement? Well, through the sense of movement, which is kinesthesia if someone's not moving, they're not noticing.
Right? Undiffer on undistributed. Unarticulated movement equals undifferentiated sensation.
Call that Moshe's Law. All right, good.
Please stop. Rest a moment if you're the student, you can turn your.
stuff in the chair the other way.
I'm gonna ask you to come back in a moment. We're going to do a little bit more. And then we'll put you in your groups, and you can talk about what you noticed.
All right. So come back if you're the student, sit.
backwards on the chair.
And let's come back to that first action. Just bringing your chin forward.
When you do this on your own. I think you'll have time to do the opposite.
which I don't know if it has. a name like pecking. I always think of it as kind of astonishment.
or WTF like what? Right? Taking your head straight back. I mean, it does have.
a social context, well, depending on the culture you come from, in which that.
Right? Taking your head back and going astonishment, maybe?
It could have that meaning. It could have other meanings, but.
you know, do we call it anti-pecking negative pecking? I don't know. But you could also look at that movement, which is what happens when you slide the head directly backward.
without tilting the chin. And you could, and I encourage you to to ask.
Well, and what happens in each of those sections?
the neck, the upper chest, the lower back. I'm sorry, the neck, the upper chest, the midsection of the chest.
And the lower back. In the in the trunk.
It's the three sections that Moshe talks about. In some lessons, ATM lessons, that you need to track in breathing.
Sometimes he makes it two sections like in Seesaw, but this is a little more refined.
And it's valuable to notice. Where someone moves in reverse.
Reverse pecking, let's call it that. Anti-pecking? I don't know. I haven't decided yet.
Did they move in the same places? that they moved when they were going forward.
Usually, no. And that's fascinating, too. It's diagnostic. But that's what you're going to do. But again, do this movement.
a few more times. What changed?
I asked you to notice in the beginning how you were doing it. Your partner noticed.
If you're observing, if you're the teacher in this dyad, what do you see?
Especially… Especially about the beginning.
What changed about where the movement starts?
Maybe you have a sense of that. And again, it's about the whole silhouette.
Movement has to begin somewhere. It could be everywhere, but it rarely is.
And you know the discovery of ethmothionus Alexander. about his habit wasn't took me a long time to figure out how to say this, but was it just about the.
shortening of the back of the neck and primary control, it was about this fundamental insight.
Movement starts somewhere, and that that somewhere is a part of.
our movement signature. for each of us.
Anyway, so you you've noticed that you could stop and rest.
You get to go back in your groups and discuss what you observed for this workshop.
I insist as much as I can, or I impose as much as you will let me.
The following rule or constraint. the student… Speaks.
First. You ask the person what they notice. If they don't remember anything, you can have them actually return to the position.
do the movement and talk about what they're noticing in.
Irl in real life, not as a memory task, but as a discussion.
and then prompt them about what they notice and don't notice. Ask them, do you notice this?
the idea is that we are taking what is internal.
You know, really private, intimate. You're someone's experience of how they're moving while they're doing it.
And we're making that public. Right? So it's not about… getting out your coinometer and measuring the angles of movement at specific joints.
But it's about… Assessing.
Through the conversation. what the person notices about how they're moving, and it… the assumption.
is that they will be inaccurate. Right? The assumption is that we.
By which I mean you and me don't know what we're doing most of the time.
right? Because we have an unconscious. We have an autopilot. We're counting on it. It's doing its job.
Actually, we don't even know we have it until it stops doing its job, but that's another.
Conversation. Do not correct them.
Ask them for more detail about how they're experiencing or what they're noticing instead, or the image that they have.
Because. Ultimately, the lesson is not about changing how someone moves. It's about help changing, helping them change.
how they notice themselves so that they can move differently.
In the coarsest way, but most descriptive way possible, I say, a lesson's about changing the self-image.
not the action.
Okay. So. Teacher moves for I mean, student moves first or answers first.
The reason that's important is it doesn't matter. How much you tell someone.
The Feldman Christ method is about awareness. about listening to yourself and understanding yourself better.
Doesn't matter if you say that and you don't act congruently with it.
So if you start by pardon me for saying it this way, spewing your knowledge.
Great. If you're really good at observing movement. You have created a dilemma.
That's a so that's a self goal. You have you have scored for the other team. You have lost a chance, right? Because.
you… you are… You're not demonstrating listening. The only way.
to be congruent with this idea, I think. I'm seeing this… I know, I'm stating this in.
in their strongest way possible. And I'm going to continue to do that.
Unless you are congruent, unless you demonstrate listing in your behavior.
Ralph Waldo Emerson said, what you do. speak so loudly.
I cannot hear what you say.
Right? It doesn't matter how well you explain the work. It matters how you walk the walk.
Okay, so listen first. When somebody says something and you… have to guess what it means.
Then you need to ask a question so you don't have to guess.
So when you say. Your back is… Let's say arching, what do you mean by that?
Because the difference in definition is often the case, or.
Just really has to do with how far off their self-image is from what they're actually doing.
Right? Don't correct them. The purpose is to understand. Is that clear?
If you're the student and you feel like that teacher isn't listening.
Tell them really kindly. Well, that's not what I meant. I think maybe you missed the point. Okay, that probably doesn't happen in the actual situation. Is it the power dynamic? You know, you ask people. I ask people, what do you notice? And they go.
I don't know, what should I notice, or what do you think, doc? Or whatever?
That's pretty far from what we want. Okay, you have your assignment.
Let's take… Well, I'll tell you what I'm going to say 15 min. But when you're done.
Come back to the main group and if more than half of the group is back.
before 15 minutes, I'll call everyone back. Right? Which is what would happen in the room.
because I would be listening to the buzz of the groups, and the minute it dropped down.
People are looking around and not working with each other, or… Yeah, that dynamic doesn't happen anymore.
I know it's time to bring you back. I can't hear the buzz, so I'm going to count on you.
How do we…
to help me time it. Okay, otherwise I will let you know one min before it's over.
How do we come back without being invited back?
Oh, I I can somebody, because I haven't done this in a while. Can somebody say?
There is a little button where it says leave room.
Don't leave the meeting, but you can leave the room. You'll see it in the same neighborhood that says leave meeting.
Pretty sure.
Banks.
Yeah.
big difference.
Yeah, and you know, if you leave the meeting by accident.
It's okay. If luckily all of us are co-hosts. So even if one of us does it, it won't end the meeting. And you can always come back.
So it's just a mistake. You don't have to worry about it. I think everyone who's been on meetings has done that at least once.
Any questions? Hey, Scott, nice to see you.
Do you have a beard? Dude, haven't seen you in a while.
I have one. Hey, Larry, it's Scott. Two, um, so we just…
And less hair, but so it goes. So we just went through the process. We're supposed to go through the questions or we do the process again.
No, I would like you, before you. go through the process again. I would like you to.
Have the missing element of the exercise, which is to have a discussion about this.
First, okay.
Yeah, 1st, because, like, there is, um…
Okay. What we're. pedagogically speaking, right? Thinking about the learning.
process. What we're doing is, um… giving the student… giving, including the students.
perspective. in the conversation, orienting the conversation around what they notice.
But since you couldn't do it in real time because I was leading.
It's not technologically possible here. I want you to have a chance to.
talk about the process and what it was like for each other.
and it's you can say what didn't work. It is.
for the purpose of this. really useful to talk about which.
things worked for you as an observer, as someone who was observing the other person.
or the person who's observing themselves. Right? So, that way, if you have questions about the process when we come back.
before you switch. I can give you some refinements.
Because I don't think it's worth repeating an exercise again.
Without taking it to the next step. Um, hey… How are you?
Do you want to ask a question? You have your hand lifted.
Can you hear me?
Yeah, yeah, you have your hand lifted. Go for it.
And… Right, Rosa.
I had my hand in my, but… It's Rosa.
Rosa. Yeah.
I have no idea how to move. My thing just says, leave, and it gives me no options.
I do not know how to get back to the group.
Pardon? Well, you're not in the meeting, so that… that option isn't offered to you.
What do you mean? I'm not in the meeting?
You're not. I'm sorry. You're not in the small group in the breakout group.
I was.
You didn't see it when you were there?
No, you are unpinned. Morna, right? You you put the me on a pin.
I did, but you're not pinned now. I unpinned you.
Okay.
Right. So the same way that you unpinned her in that same menu. You would see leave the the breakout group as an option. But that options only presented when you're in there.
Right now you're not in that group. We have the whole group.
You work in breakout meeting when we just went through that last thing.
Rosa, if you can't find it. If you can't find it, your partner can help you find it.
Right.
Okay? And I'll I'll go into a breakout. group. I will… I will find the button. I will take a picture of it, and I'll email it to you.
Okay? Well, I can't do anything about them.
Probably won't be able to find the email. No.
Don't worry, we will admit it, we will manage.
But I don't know how I don't. I can't even.
Right.
Not right now, later, later. So let's get into the preguard groups.
Petra, that was.
Thank you. Who was that? Who said that? Pietra. Okay. I thought I was going to guess it was you, but my breakout room thing was covering you.
Okay.
Okay. So let's do this. 15 min. Come back sooner.
If you need to. All right. See you soon.
Okay. Join.
Just say yes to the question on your screen, and you will automatically be transported magically.
to the same. virtual space your partner's in.
Um, I don't have a request to join a room.
It's hiding.
Yep, I see you hiding here. Hold on a second. Do you want to take care of that, June?
Um…
You're right. But where…
she should be at the top. Says Heidi not joined and then we could.
Heidi, were you in a room before?
I was. I was in the room 14 with Melissa.
Oh, Melissa!
14 with Melissa, so you could just you could just move her there.
Okay. I don't know if I know how to do… let's see, hold on, let me… Heidi.
Assigned to room 4, is it?
you. 14.
14.
14. Thank you. Gotcha.
See you, Heidi.
And Leno…
I have to put the gesture thing off on my watch. Every time I put it in front of my face, it.
Hi, June, or Larry, or…
talks to me.
Uh, I don't know if you got my chat. My partner…
was ill, so she couldn't do… she texted… she chatted you, but I don't think you got it. So she couldn't do this. She was in bed, so we just introduced ourselves.
Right, right. Matcha. I saw that.
You saw that. Yeah, so, um, I did, like, pin somebody and observe them while you were discussing it, but…
Well, how about you and Sherry? We could put you in the room.
And then you could at least discuss. How's that?
That's fine.
Okay, great.
Room 18. I I made an extra room, June. It's at the bottom, but just put them both in room 18.
Okay, thank you.
Um…
Thank you.
Okay, uh, hold on, let me… I have to go to your person.
Okay, Lenore…
Thank you, June. Thank you, Larry.
Yeah, um…
Where… yeah, where are you?
I don't know.
Oh, Lenore, we don't see you.
It was room 9, so I'm going to move… put Lenore in room 18, and Sherry, if you're agreeable, I'm gonna put you in room 18.
There we go.
Perfect.
Yep.
And Macha will be with us. I hope you're feeling better.
But she's listening. So we can't talk about her.
But I could gossip about being in Slovenia. I won't, though.
I know I shut this gesture thing off. How are we doing, June? Oh, let's look at the time.
Okay. Yeah, it's 10 of, um, 10 of the hour, which is… we're going to our third hour.
So I know you talked about doing lunch before they…
Yeah.
switch, or…
Yeah, I think we will, huh? No, it's good. Unhurried is fine.
you know, this is why, at the end of the day, I am seriously engaged.
facing this reality. the end of the day, I end up every day dissatisfied, because I have an incredibly optimistic and unrealistic view of what you can do in any period of time.
Except in an ATM or an FI when I'm teaching it.
That's kind of the only moment I have reality.
Just professionally good.
It's amazing how hard that is, Larry.
Uh, thanks for… thanks for saying that, Jade. It is.
Oh, wow, yeah.
It's such a relief to feel like I'm not the only one who experiences that.
Yeah.
No, it just feels so natural to lean with your chin.
Oh, that. Oh, yeah. Sorry, I mistook what the that was that you're referring to. Yes, it is. But you know.
That was a Feldenkaisian? uh, tactic, right?
Also, an Ericksonian one, when in doubt, prescribe the symptom.
or in in in our setting when someone. can't help but do something.
Then just tell them to do… I call that the little prince strategy. So you remember when the little prince lands on the planet with the king?
And the king says, I command you to come here.
And the little prince doesn't move, so the king says, I command you to stay there.
It's okay. We now know you have a dog.
Uh, sorry.
June, should we go and, um… visit the breakout rooms, and just ask people if they have questions.
You can start at the top, and I'll start at the bottom.
Okay, so you actually… just the etiquette of this.
Hey.
So, they're just having a discussion, so you're asking if they have any questions. Okay.
Mm-hmm. I would. I'll pop in, and I'll say, Look, I'm I'm here to.
Checking how things are going to find out if you have any questions about what you're doing.
Okay.
If they ask a question about something else, you could say, well, I don't know if we're going to get to that today or in this workshop. Or you could say.
that's coming up. That's coming back, or and if it doesn't ask about it.
Okay.
But just to keep them on task, you know, people.
They lose the plot.
Yeah, the… the teacher's job is to ask the sensory questions of the
I'll let them open.
Well, it's so in this exercise, the student is to report what they experience.
Mm-hmm.
And what they noticed about their experiencing, right? I guess it could have been clearer, you know, what sex what where they noticed movement and where they don't.
what they feel about the shape of themselves as it's moving.
I was at Old People's Exercise the other day. I had the startling realization. I was standing in class.
cracking up, because I realized that the music that we were listening to.
was that same music I listened to 50 years ago in a discothe.
I I mean, I really almost fell out of the floor laughing.
Anyway, welcome back. Do you have any questions or comments?
you know, I am required by the California State Educational Regulations to ask the following question at least once.
During every class. Is there anything you'd like to?
Share about your experience? Yeah, that's what I'm asking.
This is Betty, and I would just…
Okay, so I would just say that, um…
Hi, Betty, I see you.
I…
I oriented myself in the chair in the most…
uncomfortable way I probably could have, which is head down on my arms.
And so it struck me that
with this…
format, there was no way for my partner.
Initially, to give me some guidance, and of course, you…
weren't seeing everybody doing everything.
Yeah, I didn't see you. I'm sorry.
So, it took a while for… it took… no problem, it took a while. We sorted, it was good… it was a good discussion to sort out.
Um…
to sort out that issue, but it was also the format made it a little more difficult to…
To clarify some things.
Yeah, very difficult. I'm a partner with Betty and it was like so difficult that we couldn't communicate.
Yeah, well, um… Well, you… you could. You could have… the only way you can do that is by sending her direct message.
Yeah, but I didn't have my glasses on, and I was doing the lesson, so I wouldn't have looked up to see that.
Right? You can send a private chat message, but that would make… Uh, okay, well, there you go.
Right? But look. Some people… would call that a miscommunication.
Right? But it wasn't. It was a mist.
Communication. And what was missed is this. Recursive approximations of approximations.
of understanding, right? It's this back and forth of talking about the action.
So the student can now. you know, can find what what you're asking for.
And and so. But I think, you know, I'm sorry I I didn't see you.
and certainly in a class. you know, in an ATM class. I I I I would choose with almost everyone.
to make sure that they're starting in the right place because otherwise they're not doing the lesson.
right? They can't. They don't have a snowballs chance in hell.
So I think, you know, I'm glad you guys figured it out afterwards.
But I do think in the kindest way possible, and I would probably start that.
By not talking. to you, Betty, directly.
And, you know, one thing I could do. has asked everyone in the class to do what you were doing.
to put your head down and rest for a moment like in between.
And then to lift your head up, and at that moment, hope that you got the idea that that wasn't the position.
Right? Because… Our interventions, let's say, our directions with students.
progress… This is a guideline, right? Not a law that came on a stone tablet.
progressed from the most indirect possible. Meaning not talking to the person, not pointing them out in front of the class.
to the most direct. in stages. Now, some people.
you know, um… Some people it it takes a lot to get their attention. And with some people.
might not want to put them in front of the class.
to point that out to them. I might wait till the end of the lesson.
Right? Depending on the person and my relationship with them, and… Now, it can be very confrontative. On the other hand, when I started my education, I started by learning.
Group therapy and calling someone out in front of the group.
was a, you know. modus operandi.
So I think Moshe's style really fit that era incredibly well.
I was in a workshop with. Yeah, that's a digression. Maybe later.
and Grah.
Is that your name? I'm correct? Oh, it.
You have to unmute. Oh, there you go.
Yes, yes, yes, yes, yes. If, um, if you like. Um, yes, it was just not
really clear, uh, the, the…
The question. So, uh, what we did was, um,
to express
what I felt through…
the, uh, movement.
Um, this… it was okay. So, and this was a very new experience.
Okay.
to, uh, talk about something that I'm doing and somebody else is looking at me and not…
Correcting, not giving anything.
And, uh, super interesting experience, because you, uh, need to find words, and this was, uh, new. So, thank you for the opportunity.
The word articulate. right? Has multiple meanings.
One is to move at joints. The other is to put into words.
So you could say in this exercise, you were articulating, you were talking about your articulating. You're putting into words.
where you were moving. The the reason that's important.
It's not the linguistic part, you know, like it's not like an algebra question where you're going from words to a formula.
I mean, it's similar in a way, but the thing is that you are putting into words.
What is internal and private? And and like you said, in a non-judgmental.
place. And I think, you know, that.
Part of. Part of the process of ATM.
is learning about how to have these. useful.
Should we say mindful or body full conversations with yourself about yourself.
Right? It's not just… Following the directions and noticing yourself, but over the course of doing ATM.
you're… developing this ability to have non-judgmental conversations with yourself.
about what you're noticing about yourself, and that's really valuable.
And we do that not by instructing someone. But by modeling that.
All right. Someone else? and and by the way, what you did. It was not okay.
It was fantastic. Right? You, you, you, you enacted it.
Um, and you did what you couldn't do in real time. So bravo.
Anyone else? Did anyone fail utterly and miserably?
Oh, because that's always a useful learning experience. Yes, we are going to do that now, Lucien.
Thanks for the reminder. All right. So before we switch.
The other person does it. We are going to take a break.
Okay. We're going to take the longer break now.
So if you're not hungry right now, we're going to take it.
I hope maybe, I think another short break before this is all over.
So you can always make your food and ingest it then, or you can make it later while and make it now and ingest it later when you get hungry during the meeting.
With your camera off, maybe, because you don't want.
We'll all we'll pretend we're all from Switzerland. We'll come back at 5 of.
Oh. You know what? Jane, it is possible. And if you like, I can show you how to get rid of that.