I tried to respond to Andrew's post below several times, to offer an explanation before GBrowdy could show off. Alas! Sillytech thought I was spam! Even though I was logged in.
So I will offer you more auditory illusions thanks to the awesome Al Bregman AND another way cool video demonstrating the properties of sound using salt.
I will also remind Andrew- and any other readers who may or may not be named Gil- that he called me the better linguist. That's right... I'm the pettier better linguist!
I use Mozilla Firefox because it is the best. However, since yesterday I have been unable to open a browser, double-clicking or through the start menu. The little hourglass shows up on my cursor but nothing else happens. I am currently using IE, but I really don't want to be stuck with it forever.
I also have two papers due tomorrow, so I don't have time to research this myself.
Both Sillytech and Without Annette are up in a lot of the same categories, because I'm an idiot (but an idiot who cares). Still though, voting is anonymous and you can show your favourite wobsite* some love.
I've taken the liberty of entering this fine blog, and Without Annette, in a few different categories. Voting begins November 15th, so I'll remind you then.
So, say “yes.” In fact, say “yes” as often as you can. When I was starting out in Chicago, doing improvisational theatre with Second City and other places, there was really only one rule I was taught about improv. That was, “yes-and.” In this case, “yes-and” is a verb. To “yes-and.” I yes-and, you yes-and, he, she or it yes-ands. And yes-anding means that when you go onstage to improvise a scene with no script, you have no idea what’s going to happen, maybe with someone you’ve never met before. To build a scene, you have to accept. To build anything onstage, you have to accept what the other improviser initiates on stage. They say you’re doctors—you’re doctors. And then, you add to that: We’re doctors and we’re trapped in an ice cave. That’s the “-and.” And then hopefully they “yes-and” you back. You have to keep your eyes open when you do this. You have to be aware of what the other performer is offering you, so that you can agree and add to it. And through these agreements, you can improvise a scene or a one-act play. And because, by following each other’s lead, neither of you are really in control. It’s more of a mutual discovery than a solo adventure. What happens in a scene is often as much a surprise to you as it is to the audience