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What begins as a "gentle" introduction is built upon, little by little, with each progressing scene.
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As the song progresses, scenes of globes and constellations turn up; laser lights and a small blue arrow, imprinted with the song's title, trace a path along the globe.
"Speaking in Tongues" opens with a tableau of townspeople frozen in mid-movement — they're at a dance, Peanuts style — yet as the wordless back story progresses, the scene is hardly joyous.
It springs from Bresson's style: the brisk, elliptical progress from scene to scene, which makes other methods look fat and slack; the monastic sobriety of the monochrome images; and the sounds (a squeaking gate, a gunshot) that pepper the rural stillness.
These simple, though often arduous steps, allow Fried's drawings to bloom about their frames; landscapes transform into portraits, and portraits into still lifes in the blink of an eye, overlapping and eclipsing one another to progress from scene to scene.
As the play progresses, its scenes grow longer and more engrossing.
As the track progresses, the scenes of cymatic demonstration increase until Stanford's shocking, Tesla Coil-induced finale.
One moment I'm very aware that I'm orchestrating scenes, progressing the story, writing.
As the scene progresses, we find that Marlene, though she is, in a sense, the women's modern incarnation, is of little interest to her guests.
As the scene progresses, an elegant crane shot takes in the full chaos of the stages, where several films are being shot back-to-back.
As the scene progresses, Mr. Téchiné cuts closer to the two characters, angling his camera so that it looks as if the couple is in the same space, flesh to flesh rather than monitor to monitor.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com