Yes, much of what we are doing is a guided practice. So we will be leading people through, firstly as a settling, a grounding practice, so that once we have arrived together in front of the artwork and found our space together, we will work through some very classic exercises in groundings. So that would be really coming into our bodies. If you are seated, feeling your feet on the ground, coming to a settled aligned position. So we work with this sort of body, very simple body works, so that you are relaxing the body, whilst maintaining an alert, upright position. And as we are relaxed, I could see you doing, everyone around the room is like yes, I was slumping. And as we do that, as we come to that relaxed, yet upright position, we find also that, you know, often our breathing will also come into a more relaxed rhythm, and there's this feedback loop that then just helps us to feel more comfortable and alert and aware. So we will start with very classic posture work in that way, then we very often will work with the breath, so using that awareness of the breath to anchor our attention. So we are becoming more aware of our body in space, our relationship with the dimensions, the proportions of the room in which we find ourselves, and our relationship with the artwork. We may then alternate with closed eye meditation practices and open eye mindfulness practices when we turn our attention to the artwork itself and lead people through a series of guidance around the form and colour and experience of the painting or the sculpture. And as we become aware of the breath, we may find ourselves relaxing, and just following our breath, for a few in-breaths and out-breaths. And when we come to open our eyes, or to turn our attention to the, let's say, the painting in front of us, what we often find is that as we let in the light and we let in the painting, we allow the painting to release its colours and its shapes to us. We can get a greater sense that we are almost seeing it for the first time, to seeing it freshly. We might then guide people through their looking, people, you know, feedback to us is that there is something wonderfully relaxing and reassuring about being guided through one's looking. Anybody who's been working in museum and gallery learning regularly will be familiar with this, that just the experience of being part of a group and being led and guided in your looking can be a very seductive and enjoyable thing. We might start with a very particular part of the painting, we might tentatively move around the edges of the picture, we might look at that edge, that spot where the painting meets the frame, and trace that line around the four sides of the painting, if it has four sides. From there, we might bring our attention to light and dark, perhaps just for ourselves finding where for us, the brightest part of the painting appears to be, and really tuning into the light and dark, perhaps finding one colour resonates with us and spending time counting the colours or moving from one colour to the next. It's guiding the looking through these different layers that allows us to separate out the experience of looking. So we're not - that all the paintings rush towards us in one moment, but we're taking our time, we're taking it in steps. People often report that it's that sort of unpeeling and separating out of the looking, they find it very helpful and that it often relates for them to the separating out of thought.