 we talk about convergent and divergent thinking. So the convergent thinking is very easy for humans because we are pattern making creatures, right? We see A and B and we then see C. Original thinking comes out of divergent thinking, which is how do I break up the pattern? And yes, Anne requires you not to operate by rote because you have now you've got to yes this thing and then you got to add to it. And it can't just be like, oh, well, I'm just going to top top it with the other idea of it. No, no, no, I need to stay on where where they are at. And that requires you to practice this this level of divergent thinking. One of the exercises that we utilize to teach people this is called point and until. And what we do is we we hold up a bunch of images of different things like the earth, a red wheel barrel, a chair. And we have and we have one job for everyone to do, which is you need to point at that object and say what it isn't. It's not easy. It's not easy. It's really hard because we desperately want to say red ball. We just we see the red ball and we want to say and it's very hard to say, yellow car, you know, and so but you practice that enough and you start to loosen up that idea of pattern making that we normally set in on and allows you to sort of be in this discovery mindset. As you know, in Zen, they call that sort of a beginner's mind, the idea of like, this could be anything. How do we get to place where this could be anything? And that that relies the sort of like emptying of all those preconceived notions of all those things I'm walking in this room with. And by the way, you know, that that idea of being fiercely present with someone in the moment, it feels really, really good. You know, we know that with someone we love, we know that in a great session of therapy, you know, but it doesn't need to be restricted to those moments of intimacy. It can be in your day to day conversations with colleagues. And you know, it's unusual. And I get that. But it's unusual for bad reasons. It's unusual because we fear that kind of intimacy. And we, you know, we want to look smart. And we think we need to be prepared in a kind of certain way for that. It's like, no, you got it. You have it all. You have the stories. You have the ideas. Do not worry about it. Be fiercely present in the moment with this person and see what happens. That next piece is the listening. Right. So in order to yes and something, you have to be fully engaged in listening. And there's multiple levels to the listening that we're talking about here. So you bring up pattern recognition. And many of us are just listening at that first level of the voice in our head. Like, I got to say this next thing, because Kelly just brought up Chicago and I've been to Chicago. So I have to talk about Chicago. Then there's, okay, well, what are the facts and information being shared? Okay, Chicago, second city comedy. Then there's the emotion. And really good improvisers can pick up on the emotion that's being communicated and mirror it back or react in an outlandish way to that emotion and play with the emotion that's being shared. Then there's the unsaid. And when you actually dig that level deep of like, okay, you're painting the whole story for the audience and you're bringing them into a new dynamic that they haven't seen yet because all they have to go on is what you and the ensemble are doing on stage. And when you get to that unsaid level as a listener and get to that level of communication, you allow for so much more creativity. So for many of our analytical clients, that's an unlock. It's like not only getting outside of your head and the fear and getting beyond the facts. It's once you get to the emotion and the unsaid levels of listening, we're really this creativity and magic that we're talking about the humor, the fun. That's where it lives.