One, two, three, just give me patience. Yeah. Cool. Okay, so what are we talking about today, by the way?

Remind me. I don't know. It seemed like last time we had a lot of fun

going through the phenomenology of the threads and kind of in depth, but talking maybe some

more about our personal experiences with that and what it was like,

just to give people a sense of at least two different stories or two different ways

of kind of experiencing the threads individually.

But we sort of followed the threads individually down to the end of each one.

But that's kind of an artificial way of separating things out.

You know, this model does that.

The model separates things out in that way in order to bring certain things to light.

But it's a little bit like, you know, if you were used to listening to music

thinking in terms of, you know, there's the verse and then another verse and then the chorus and then a

verse and then a chorus and then a chorus, and then a chorus, right? You're used to listening to it like

that. So the multi-darmine model comes around and says,

well, how about we just like separate out the baseline and listen to that all the way through?

Then let's talk about the guitar line all the way through.

Then let's talk about the, I don't know, whatever, the piano line all the way through, right?

We separate out the tracks and we discuss the tracks separately as separate kind of trajectories or entities. But then I feel like we also need to put

them back together. But the model doesn't do that in terms of steps and stages, right? It talks about

braiding and integration. So, yeah, so if we were to continue a conversation, I think it would be

about really sort of focusing on how these threads intertwine and integrate with one another and how the

integration sort of progresses. And then, you know, if you want to talk more about releasing the

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