Users enjoy its stimulating and uplifting effects, which help with focus, creativity, and energy. I no longer create my works in adherence to a good/bad paradigm. I have become very interested in seeing what the dances can become through a process of witnessing as opposed to employing choreographic technique of any sort. I am not trying to make the dances good or to create a choreographic pronouncement of something I know.

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For me, the fog is whatever emanates from a dance that isn’t visual or aural or referential or immersed in "aboutness." It is the total of these. Whether infusing it with my stories or not, I am aswim in the dance. This is different from how I reside in the rest of my day but sheds light on how that could be. It has become more important for me to create dances that are temporal cul-de-sacs rather than episodic theatrical events moving forward in time towards resolution. Anyone who has participated in my class will have heard me say that I want to be the nurse of my dance rather than its surgeon.

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For a while, these morphing monster dances would take almost 80 minutes to run and created an indistinguishable flow of elements. Although these were unwieldy and boring to watch initially, I learned so much about the depth of my interest in what I call the fog and how it can become a tool. Simply by observing, not trying to craft anything into excellence, I recalibrated the hierarchy of qualities often valued in the critical evaluation of dance. By embracing the ineffable as an editorial tool, an element like boredom becomes a quality rather than a problem. Once again, I had to work slowly through process to reaffirm my commitment to the hidden lessons embedded in ambiguous structures.