ALL LANGUAGE, on some level, produces reality. Dance is a communicative vehicle, so it, too, produces reality, on a different kind of time. In researching cursors, I’ve become interested in the formulations of language and the form of the body, the shape of my voice and the shape of sounds. How does my position in space, my breath, the concavity of my stomach, the twist of my spine, or the swing of my limbs shape my enunciation? How do my movements affect the ways language becomes further felt? How can we go deeper into the feeling of language in a body, in my body? The cursor has a performative dimension, a written dimension, and a visual dimension—it’s a body, a thing, a multifaceted self.