Alexander Technique Quotes

he’s straight-backed, thanks to monthly Alexander Technique sessions to counteract what he calls academic hunchback syndrome

The difficulty, of course, with standing up to women was that it appeared to make little difference. At the end of the day,a man was no match for a woman.... The only thing to do was to try to avoid situations where women might corner you. And that was difficult, because women had a way of ensuring that you were neatly boxed in, which was exactly what had happened to him. He should have been more careful. He should have been on his guard when she offered him cake. That was her technique, he now understood; just as Eve had used an apple to trap Adam, so [she] had used fruit cake. Fruit cake, apples; it made no difference really. Oh foolish, weak men!

School is different. Pupils are usually not encouraged to follow their own learning paths, question and discuss everything the teacher is teaching and move on to another topic if something does not promise to generate interesting insight. The teacher is there for the pupils to learn. But, as Wilhelm von Humboldt, founder of the Humboldt University of Berlin and brother to the great explorer Alexander von Humboldt, put it, the professor is not there for the student and the student not for the professor. Both are only there for the truth. And truth is always a public matter.

We think we know how to listen. But often our minds wander, and the next thing we know we're thinking about things not happening in the room...Really listening requires being in your body. You listen with your ears, your sense of hearing, of course, but at the highest level, you can listen with almost a sixth sense.

The mind is like a parachute, it works best when it is open. Frank Zappa

Stop doing the wrong thing and the right thing does itself.

In fact, you will play your instrument better if you listen to your body’s responses to how you are doing what you are doing.

A business model really is a system where one element influences the other; it only makes sense as a whole. Capturing that big picture without visualizing it is difficult. In fact, by visually depicting a business model, one turns its tacit assumptions into explicit information. This makes the model tangible and allows for clearer discussions and changes. Visual techniques give “life” to a business model and facilitate co-creation.

I’ve always admired stylists. I put the writers of bumphable, ready-to-wear prose, calculated to sell, guaranteed not to shock, in the same category as artists who can’t draw. There is a lack of bravery and a lot of fraud in them. I have tried never to write a book that didn’t attempt something new in the way of narrative technique. Writing is an assault on cliche. I find little to admire in writers who make no attempt at originality.

Fascinating research results point to the realization that our hearts interconnect and exchange information with others. In studies, subjects are trained to enact specific heart coherence techniques such as focusing awareness in the area surrounding the heart and generating a feeling of appreciation. Coherence reflects a higher state of balance and synchronization in the body’s cognitive, emotional, and physiological processes, leading to lowering of stress reactions and more efficient function. Positive emotions are correlated with higher degrees of coherence, thus generating appreciation in the heart alone can beneficially affect the person’s physiological functions, including the autonomic and parasympathetic nervous systems.

Artists and designers have a largely shared skill set and knowledge base but the work they create, however indistinguishable in terms of technique, subject matter and visual language, is made for entirely different reasons. Attempts to define or make clear distinctions between art and design are always contestable, but at the beginning of a diagnostic process it is useful to identify a simple delineation between the two: Art An artist's practice generally emerges from their own individual concerns explored over varying durations in the studio. The work is then usually presented to a knowing public either in galleries or in designated public spaces. Design Design is largely initiated externally from the needs or desires of a client or external body. The functionality of the designed solution is as important as its desirability, craft and aesthetics. Design is in the public domain and, as such, its messages, meanings and functions are inextricably linked to the political, social and economic concerns of its audience/ user and its context.

The same effort to conserve force was also evident in war, at the tactical level. The ideal Roman general was not a figure in the heroic style, leading his troops in a reckless charge to victory or death. He would rather advance in a slow and carefully prepared march, building supply roads behind him and fortified camps each night in order to avoid the unpredictable risks of rapid maneuver. He preferred to let the enemy retreat into fortified positions rather than accept the inevitable losses of open warfare, and he would wait to starve out the enemy in a prolonged siege rather than suffer great casualties in taking the fortifications by storm. Overcoming the spirit of a culture still infused with Greek martial ideals (that most reckless of men, Alexander the Great, was actually an object of worship in many Roman households), the great generals of Rome were noted for their extreme caution. It is precisely this aspect of Roman tactics (in addition to the heavy reliance on combat engineering) that explains the relentless quality of Roman armies on the move, as well as their peculiar resilience in adversity: the Romans won their victories slowly, but they were very hard to defeat. Just as the Romans had apparently no need of a Clausewitz to subject their military energies to the discipline of political goals, it seems that they had no need of modern analytical techniques either. Innocent of the science of systems analysis, the Romans nevertheless designed and built large and complex security systems that successfully integrated troop deployments, fixed defenses, road networks, and signaling links in a coherent whole.

The Manifestation Manifesto Meditation” "Right now, I find a quiet and comfortable space where I can easily concentrate on these words as I gently read them aloud. "With the sound of my voice I soothe my nervous system … calm my entire body and relax my thoughts. I speak slowly … with a gentle but resonant tone. And as I do, I start to relax now. "I keep my eyes open and let them blink naturally when they want to … and they might start to feel slightly heavy and droopy … as they would feel when I read a book before going to sleep. “I use my imagination so that with every word I become more relaxed and drowsier. (Imagine feeling drowsy.). I keep my eyes open just enough to take in the following words. "I turn my attention to my breathing, and use this opportunity to relax my mind and body more deeply. "As I count my exhalations backwards from five to one, I let each number represent a gradually deeper level of relaxation and heightened focus. (Draw a breath before reading each number, and count as you exhale.) "Five … I double my relaxation and increase my concentration. "Four … With every number and every breath, I relax. "Three … I count slowly as I meditate deeper … deeper still. "Two … I use my imagination to double this meditative state. "One … My body is relaxed as my mind remains focused. (Pause for five seconds and breathe normally.) "At this level of meditation, people experience different things. Some notice interesting body sensations … such as a warmth or tingling in their fingers. I might also have that experience. (Pause five seconds.) "Some people feel a floating sensation … with a dreamy quality. I may experience that. (Pause five seconds.) "Whatever sensations I experience are exactly right for me at this moment. Whether I feel something unusual now or at some other time, I let that process happen on its own as I focus on the following manifesto. “I allow my subconscious to absorb the manifesto as I read each affirmation with purpose and conviction. (Pause for five seconds.) “The power to manifest is fully mine, here and now. “I acknowledge and embrace my power to manifest. “All human beings have this power, yet I choose to use it consciously and purposefully. “From the unlimited energy of the Universe, I attract all that I need to experience joy and abundance. “I recognize and consider the consequences of all that I manifest. I take full responsibility. “With awareness and intention, I apply my power for my highest good and for the welfare of others. “All of my manifestations reflect my inner state of being. Therefore, I ever seek to grow in wisdom and to become a better person. “With relaxed confidence, I employ the powers of Thought, Emotion and Vital Energy to manifest my desires.  “I let go of beliefs and ideas that suppress or encumber me and I cultivate those which empower me. “I accept what I manifest with appreciation and satisfaction. I am thankful. “I go forth with great enthusiasm with the realization that I manifest my life and circumstances. “I am ready to take charge of my manifestations from this moment onward.” “Day by day, I grow in awareness of my power to manifest my desires with speed and accuracy.” RECOMMENDED READING * Mastering Manifestation: A Practical System for Rapidly Creating Your Dream Reality - Adam James * Banned Manifestation Secrets - Richard Dotts * Manifesting: The Secret behind the Law of Attraction - Alexander Janzer * The Secret Science Behind Miracles - Max Freedom Long * The Kybalion - Three Initiates

To add to the problem, it turns out your neural pathways cement themselves in the case of traumatic events. The result is that some people respond to reminders of stimuli, a condition known as post-traumatic stress disorder (PTSD). This trauma-induced reprogramming of the brain explains why it's impossible for many veterans to enjoy Fourth of July fireworks, for example. Their limbic system, the creamy nougat center of the human brain where our memories and emotional lives are housed, has coded “explosion” with “danger,” and so when these veterans hear fireworks, they react as they would, as any of us would, to a bomb going off nearby. From the outside, this condition may appear simple to correct. They're fireworks, not bombs, after all. But neuroimaging proves that when people are merely reminded of trauma, blood flow ramps up in the brain structures associated with extreme emotions and decreases in the areas associated with communication. The sufferer essentially becomes trapped in their own fear, at the mercy of neural patterns. The good news is that writing therapy, along with other mindfulness practices, including dialectical behavior therapy, art therapy, yoga, Qigong, tai chi, Alexander Technique, and meditation, allows you to reprogram your brain. You can literally change your mind.

And we have to remember,” she said, “Martin suffers from a handicap. We have to make allowances.” The handicap to which Mrs. Högfors referred was deafness. Martin was hearing-impaired, and had been so since puppyhood. Ulf had first discovered this when taking Martin, as a young dog, for a walk in the park near his flat. Two troublesome youths, who had been setting off firecrackers, tossed one so that it landed immediately behind Martin. The resulting explosion had no effect on Martin, who sauntered on unperturbed. Ulf had been surprised by this, given the sensitivity of most dogs to fireworks, and had arranged for Martin to be examined by the local vet. Ulf’s suspicions were confirmed: Martin was unable to hear anything, even with the temporary assistance of a special canine hearing aid that the vet inserted in his ear. “There’s not much we can do,” said the vet. “You’re going to have to watch him on the roads. He won’t hear cars, you know.” That was a danger, of course, but Ulf found it possible to avoid the more serious consequences of Martin’s deafness by remembering that for a dog, smell is more than capable of compensating for lack of hearing. So, rather than call Martin for his dinner—as most dog owners would do—he would open a can of dog food and then blow across the open top, wafting the smell off to Martin’s attentive nose. Similarly, when it was time for Martin to be taken for a walk, Ulf would wave his leash about in the air, allowing Martin to catch a whiff of the leather and to come bounding up for the outing. These techniques had worked well enough, but then a chance remark by the vet had led Ulf to adopt a whole new approach to Martin’s handicap. “It’s a pity,” said the vet, “that nobody’s ever thought of teaching dogs to lip-read.

How many doors in your life have you imagined are locked when they were not?

Men have a fight-or-flight response, they say. For women, it’s fight or flight, or freeze. Because in the face of overpowering physical strength, our overriding instinct is to survive, to not die here. I went numb, suspending my consciousness. It was a technique I had perfected as a child during beatings.

She felt a little like a student again. She even had a notebook and pen in her hands to take copious notes on Simone’s technique. She couldn’t wait to make a spreadsheet about this later.

You translate everything, whether physical or mental or spiritual, into muscular tension.

compensating mechanism for an apparent loss

I find it funny how I effortlessly combine existential fear with the wish not to be embarrassed.  I often think of poor Gregor Samsa first waking up as a bug. This

I remember, when I was a commuter in London, driving past an impressive statue of a man pressing down on a lever and moving a sphere that represented the world. Underneath it, was a quotation from Archimedes, explaining the principle of the lever: “Give me but one firm spot on which to stand, and I will move the earth.” The Alexander Technique allows us to find that one firm place on which to stand.

Philosophy and science have not always been friendly toward the idea of God, the reason being that they are dedicated to the task of accounting for things and are impatient with anything that refuses to give an account of itself. The philosopher and the scientist will admit that there is much that they do not know; but that is quite another thing from admitting that there is something which they can never know, which indeed they have no technique for discovering. To admit that there is One who lies beyond us, who exists outside of all our categories, who will not be dismissed with a name, who will not appear before the bar of our reason, nor submit to our curious inquiries: this requires a great deal of humility, more than most of us possess, so we save face by thinking God down to our level, or at least down to where we can manage Him. Yet how He eludes us! For He is everywhere while He is nowhere, for "where" has to do with matter and space, and God is independent of both. He is unaffected by time or motion, is wholly self-dependent and owes nothing to the worlds His hands have made. Timeless, spaceless, single, lonely, Yet sublimely Three, Thou art grandly, always, only God is Unity! Lone in grandeur, lone in glory, Who shall tell Thy wondrous story? Awful Trinity! FREDERICK W. FABER It is not a cheerful thought that millions of us who live in a land of Bibles, who belong to churches and labor to promote the Christian religion, may yet pass our whole life on this earth without once having thought or tried to think seriously about the being of God. Few of us have let our hearts gaze in wonder at the I AM, the self-existent Self back of which no creature can think. Such thoughts are too painful for us. We prefer to think where it will do more good - about how to build a better mousetrap, for instance, or how to make two blades of grass grow where one grew before. And for this we are now paying a too heavy price in the secularlzation of our religion and the decay of our inner lives. Perhaps some sincere but puzzled Christian may at this juncture wish to inquire about the practicality of such concepts as I am trying to set forth here. "What bearing does this have on my life?" he may ask. "What possible meaning can the self-existence of God have for me and others like me in a world such as this and in times such as these?" To this I reply that, because we are the handiwork of God, it follows that all our problems and their solutions are theological. Some knowledge of what kind of God it is that operates the universe is indispensable to a sound philosophy of life and a sane outlook on the world scene. The much-quoted advice of Alexander Pope, "Know then thyself, presume not God to scan: The proper study of mankind is man," if followed literally would destroy any possibility of man's ever knowing himself in any but the most superficial way. We can never know who or what we are till we know at least something of what God is. For this reason the self-existence of God is not a wisp of dry doctrine, academic and remote; it is in fact as near as our breath and as practical as the latest surgical technique.

I think it was Stephen LaBerge that invented the spinning technique, where you begin to spin around in a circle to prevent the dream from fading. I won’t go into the science behind it. It doesn’t matter, just spin. I don’t particularly like this technique, but maybe you will.

And it really can crunch. There is a constant danger of injuries from overwork. Close to performance time, a walk through the hallways near the pit can sometimes seem like a visit to a living catalog of alternative medicines: heat before playing, ice after playing, stretches against walls and doors, tai chi, the Feldenkrais Method, the Alexander Technique—all the major and minor bodywork systems have been used by colleagues at one time or another to make playing easier and more informed. Another way to make playing

Benfold and then-Seaman Blaine Alexander of Texas. It was

There's an apt expression: 'If you don't live in your body, where are you going to live?' But many of us don't. We tend to get locked into our heads or our imaginations . . . recognizing the importance of the body is primary. It's who we are, it's where we live, it houses and embodies your mind and imagination.

Gravity is the magnetic force holding you on to the planet and somehow you have to deal with it.

After Scotland's mounted knights had been routed by Edward I in 1296, resistance leaders worked out new methods of waging war, using foot-soldiers armed with long pikes and axes. Medieval infantry usually fled when charged by cavalry, but William Wallace and Robert Bruce (King Robert I) solved the problem by organising their men into massed formations ('schiltroms'), and fighting on the defensive on well-chosen ground; that is how Robert I's army won the battle of Bannockburn. Also, Robert ordered that castles recaptured from the English should be demolished or slighted. This denied the English any bases for garrisons, and meant that subsequent warfare consisted chiefly of cross-Border raids - in which Robert I perfected the technique of making rapid hard-hitting strikes. The English could not win this type of warfare. The actual fighting was done by ordinary Scotsmen; most of the pikemen came from the substantial peasantry, whose level of commitment to the independence cause was remarkably high. But the organisation and leadership came from the Normanised Scottish landowners. Norman military success had been based on these qualities as well as on armoured cavalry; now they were vital in countering the armies of English knights. There is a most significant contrast here with the Welsh and the Irish, who never found the way to defeat the English in warfare. It was the Normanised Scottish landowners, forming the officer corps of Scotland's armies, who achieved that crucial breakthrough.

But as the cyberpunk writer Bruce Sterling points out, connectivity is not necessarily a symbol of affluence and plenty. It is, in a sense, the poor who most prize connectivity. Not in the sense of the old classic stereotype that 'the poor love their cellphones': no powerful group would turn down the opportunities that smartphones and social media offer. The powerful simply engage differently with the machine. But any culture that values connectivity so highly must be as impoverished in its social life as a culture obsessed with happiness is bitterly depressed. What Bruce Alexander calls the state of permanent 'psychosocial dislocation' in late capitalism, with life overrun by the law of markets and competition, is the context for soaring addiction rates. It is as if the addictive relationships stands in for the social relationships that have been upended by the turbulence of capitalism. The nature of this social poverty can be recognized in a situation typical of a social industry addict. We often use our smartphones to take us away from a social situation, without actually leaving that situation. We develop ways of simulating conversational awareness while attending to our phones, a technique known as 'phubbing.' We experience this weirdly detached 'uniform distancelessness,' as Christopher Bollas calls it. We becomes nodes in the network, equivalent to 'smart' devices, mere points for relay for fragments of information; as much extensions of the tablet or smartphone as they are of us. We prefer the machine when human relationships have become disappointing.

The new girlfriend has my sympathies because your pitching technique lacked flair and you often fell short, embarrassing yourself.

Practice has shown that only a few players have mastered the technique of analysis; even highly rated players are lacking in this respect.

(35) About “One Strike” （一、一つの打と云事） “One strike”13 is the surest way to victory. It cannot be understood without a solid grounding in strategy. Training diligently in “one strike” will lead to the embodiment of the combat mind and you will win in any fight. Training is the key. (36) About “Direct Transmission” （一、直通のくらひと云事） “Direct transmission” is what I convey to he who has mastered the true Way of the School of Two Swords as One. Temper your body so that it becomes [a weapon for] strategy. Study this well. Other details will be conveyed orally. This scroll is a summary of the teachings of my school. To beat people with swords in combat, you must first study the “five external forms” in conjunction with knowing the “five stances” and master the “pathway” of the sword. This way your body will move spontaneously and nimbly. Your mind will perceive the striking rhythms of combat, and the flow of your sword and techniques will be instinctively flawless as you have learned to move unrestrainedly with your body, feet and mind in unison. The principles of strategy will be realized when you defeat one foe or two, and you will come to understand what are strengths and weaknesses in combat. Analyze the content of this scroll article by article as you train and test yourself against various opponents. You will gradually become familiar with the principles of the Way. Be relentless in your study and be patient as you learn the virtue of all phenomena utilizing every opportunity to accumulate actual experience. Engage all and sundry and know their minds. Traverse the thousand-mile road one step at a time. Haste not in your training in the knowledge that this is the warrior’s calling. Seek victory today over the self of yesterday. Tomorrow, conquer your shortcomings and then [build] your strong points. Practice all I have written here, mindful of not veering from the path. Even if you defeat the most daunting of adversaries, if your victories are not in accord with the principles contained within these scrolls, then they cannot be considered true to the Way. Embracing the principles of the Way, you can prevail over dozens of men. With the accretion of wisdom in sword work, you will master the art of combat for individual duels and large-scale strategy for battle. One thousand days of training to forge, ten thousand days of training to refine. Be mindful of this.

Rhythm is evident everywhere in the world. In the Way of Noh dance, minstrels with their wind and string instruments all have their own harmonious, regular rhythms. In the Way of martial arts, releasing an arrow, firing a gun and even riding a horse have distinctive cadences. Rhythm must never be contravened in any of the arts. Rhythm is also present in things that are invisible. For the samurai, there is rhythm in how he succeeds in service or falls from grace. There is rhythm for harmony and rhythm for discord. In the Way of commerce, there is cadence in the accumulation of great wealth and a rhythm for losing it. Each Way has its own rhythm. Judge carefully the rhythms signifying prosperity and those that spell regression. There are myriad rhythms in strategy. First, the warrior must know the cadence of harmony and then learn that of discord. He must know the striking, interval and counter cadences that manifest among big and small, fast and slow rhythms [between attacks]. In combat, it is critical for success to know how to adopt the “counter rhythm.” You must calculate the cadences of various enemies and employ a rhythm that is unexpected to them. Use your wisdom to detect and strike concealed cadences to seize victory. I devote much explanation to the question of cadence in all the scrolls. Consider what I record and train assiduously. As written above, your spirit will naturally expand through training diligently from morning to night in the Way of my school’s combat strategy. I hereby convey to the world for the first time in writing my strategy for collective and individual combat in the five scrolls of Ground, Water, Fire, Wind and Ether. For those who care to learn my principles of combat strategy, follow these rules in observing the Way: 1. Think never to veer from the Way 2. Train unremittingly in the Way 3. Acquaint yourself with all arts 4. Know the Ways of all vocations 5. Discern the truth in all things 6. See the intrinsic worth in all things 7. Perceive and know what cannot be seen with the eyes 8. Pay attention even to trifles 9. Do not engage in superfluous activities Train in the Way of combat strategy keeping these basic principles in mind. Particularly in this Way, inability to comprehensively see the most fundamental matters will make it difficult to excel. If you learn these principles successfully, however, you will not lose to twenty or even thirty foes. First, by dedicating your energies wholeheartedly to learning swordsmanship and practicing the “Direct Way,” you will defeat men through superior technique, and even beat them just by looking with your eyes. Your body will learn to move freely through the rigors of arduous training and you will also overcome your opponent physically. Furthermore, with your spirit attuned to the Way you will triumph over the enemy with your mind.

Rhythm must never be contravened in any of the arts. Rhythm is also present in things that are invisible. For the samurai, there is rhythm in how he succeeds in service or falls from grace. There is rhythm for harmony and rhythm for discord. In the Way of commerce, there is cadence in the accumulation of great wealth and a rhythm for losing it. Each Way has its own rhythm. Judge carefully the rhythms signifying prosperity and those that spell regression. There are myriad rhythms in strategy. First, the warrior must know the cadence of harmony and then learn that of discord. He must know the striking, interval and counter cadences that manifest among big and small, fast and slow rhythms [between attacks]. In combat, it is critical for success to know how to adopt the “counter rhythm.” You must calculate the cadences of various enemies and employ a rhythm that is unexpected to them. Use your wisdom to detect and strike concealed cadences to seize victory. I devote much explanation to the question of cadence in all the scrolls. Consider what I record and train assiduously. As written above, your spirit will naturally expand through training diligently from morning to night in the Way of my school’s combat strategy. I hereby convey to the world for the first time in writing my strategy for collective and individual combat in the five scrolls of Ground, Water, Fire, Wind and Ether. For those who care to learn my principles of combat strategy, follow these rules in observing the Way: 1. Think never to veer from the Way 2. Train unremittingly in the Way 3. Acquaint yourself with all arts 4. Know the Ways of all vocations 5. Discern the truth in all things 6. See the intrinsic worth in all things 7. Perceive and know what cannot be seen with the eyes 8. Pay attention even to trifles 9. Do not engage in superfluous activities Train in the Way of combat strategy keeping these basic principles in mind. Particularly in this Way, inability to comprehensively see the most fundamental matters will make it difficult to excel. If you learn these principles successfully, however, you will not lose to twenty or even thirty foes. First, by dedicating your energies wholeheartedly to learning swordsmanship and practicing the “Direct Way,” you will defeat men through superior technique, and even beat them just by looking with your eyes. Your body will learn to move freely through the rigors of arduous training and you will also overcome your opponent physically. Furthermore, with your spirit attuned to the Way you will triumph over the enemy with your mind. Having come so far, how can you be beaten by anyone? In the case of large-scale strategy [implemented by generals, victory is had in many forms]: win at having men of excellence, win at maneuvering large numbers of men [effectively], win at conducting oneself properly, win at governance, win at nourishing the people, and win at conducting the laws of the world the way they are meant to be.

Basically, when you are at an interval where your sword can strike the enemy, you should think that the enemy’s sword can also reach you.12 Forget your body when you are set to kill your opponent.13 Examine this carefully. (8) About Mindset (心持之事) One’s mind should neither dwindle nor be in an excited state. It must not be rueful nor afraid. It is straight and expansive, with one’s “heart of intent” faint and one’s “heart of perception” substantial. The mind is like water, able to respond aptly to changing situations. Water can be a sparkling hue of emerald green, it can be a single drop or a blue ocean. This should be carefully studied. (9) To Know the Upper, Middle and Lower Levels of Strategy (兵法上中下の位を知る事) Stances are adopted in combat, but a show of various sword positions in order to appear strong or fast is regarded as lower-level strategy. Further, refined-looking strategy, flaunting an array of techniques and rhythmical mastery to give the impression of beauty and magnificence, is regarded as middle level. Upper-level strategy looks neither strong nor weak, not irregular, not fast, not glorious and not bad. It looks broad, direct and serene. Examine this carefully.14

Basically, when you are at an interval where your sword can strike the enemy, you should think that the enemy’s sword can also reach you.12 Forget your body when you are set to kill your opponent.13 Examine this carefully. (8) About Mindset (心持之事) One’s mind should neither dwindle nor be in an excited state. It must not be rueful nor afraid. It is straight and expansive, with one’s “heart of intent” faint and one’s “heart of perception” substantial. The mind is like water, able to respond aptly to changing situations. Water can be a sparkling hue of emerald green, it can be a single drop or a blue ocean. This should be carefully studied. (9) To Know the Upper, Middle and Lower Levels of Strategy (兵法上中下の位を知る事) Stances are adopted in combat, but a show of various sword positions in order to appear strong or fast is regarded as lower-level strategy. Further, refined-looking strategy, flaunting an array of techniques and rhythmical mastery to give the impression of beauty and magnificence, is regarded as middle level. Upper-level strategy looks neither strong nor weak, not irregular, not fast, not glorious and not bad. It looks broad, direct and serene. Examine this carefully.14 (10) About the “Cord-Measure” (いとかねと云事) Always hold a cord-measure in your mind. By holding the cord against each opponent to size him up, you will see his strengths, weaknesses, straightness, crookedness, and tense and relaxed points. With your mind’s measure, pull the cord, making it straight so that you can quantify the enemy’s heart. With this measure, you should be able to know the round, uneven, long, short, crooked or straight features of the enemy. This must be studied.

Combat posture in everyday life; Everyday posture in combat.” Consider this carefully.6 (5) About Footwork7 (一、足ぶみの事) Use of the feet depends on the situation. There are big and small, slow and fast ways of stepping, the same as when you normally walk. Footwork to avoid includes “jumping feet,” “floating feet,” “stomping feet,” “extracting feet” and “seesaw feet.” Notwithstanding the ease or difficulty of footwork wherever you are, be sure to move with confidence. You will learn more about this in a later section.8 (6) About Gaze (一、目付之事) With regards to “fixing one’s gaze,” although many methods have been advocated in the past, these days it usually means that the eyes are directed at the [enemy’s] face. The eyes are fixed in such a way that they are slightly narrower than normal and [the enemy is] observed calmly. The eyeballs do not move, and when the enemy encroaches, no matter how close, the eyes appear to look into the distance. With such a gaze, to say nothing of the enemy’s techniques, you will also be able to see both sides as well. Observe with the dual gaze of “looking in” (kan) and “looking at” (ken)—stronger with kan and weaker with ken. Use of the eyes can also communicate intent to the enemy. Intentions are to be revealed in the eyes, but not the mind. This should be examined carefully.9

About the “Direct Path” (直通の位の事) ◎ Jikitsū-no-kurai (“direct path”) is the soul of combat.15 All the teachings I have outlined above are like parts of the human body.16 Nothing more is needed. They must never be neglected. Depending on the situation, there are times when some techniques will not be suitable, but nothing will work without them [in your repertoire]. For example, the eyes, ears, nose, tongue, hands and feet are what our bodies are comprised of. If one of these things is missing, then we are incomplete. The sword techniques that I have conveyed must all be committed to memory and used intuitively. Without the soul and spirit of the “direct path,” they amount to random madness. In all the techniques, be sure to seize the initiative and take the attack to the enemy. This will enable you to identify target areas. You must then determine what techniques or guards will be effective and what are not viable in a particular situation. Gauge how to close the distance, then commit with single-minded resolve to follow through to your mark (star) and attack without deviating. For example, even if you have to deflect the whole world, the flight of your sword must not diverge from its path. Purge yourself of fear. When you know the moment for that one [direct and decisive] strike of jikitsū, let the power surge through you to deliver the cut. It is no different when you enter the opponent’s space to arrest him. Advance rapidly, thinking of nothing other than grabbing hold of him. The further in you get, the better. Without the mind of “direct path,” your swords will be lifeless. Even this and discover what it means. Even retreat counts as a loss. When we speak of the “interior” (deepest principles), nothing is deeper than this. When we talk of the gateway (fundamental principles), nothing is more fundamental than this. The great monk Kūkai17 traveled deep into the mountain when planning to construct a monastery in the innermost reaches of Mount Kōya. Thinking it was still not far enough, he continued walking further, but eventually came across dwellings again. He said, “The further I entered, the closer I came to human habitation; I had looked too far in.”18 The interior is not the interior. The gate is not the gate. There are no special, secret interior teachings to look for if the great wisdom of combat strategy surges through your sinews and veins. Just make sure that nobody to your front or back can ever get the better of you. This cannot be conveyed with words and letters.

It is essential in war to position your troops in the most favorable site before the battle begins. It is twice as advantageous to take the initiative and attack first rather than wait for the enemy to do so. Assuming an unflinching sword stance to parry an attack is effectively the same as constructing a [protective] fence of pikes and glaives. When you strike the enemy, pull the “fence posts” out and use them as pikes and glaives. Study this carefully. (6) About “Fixing the Gaze” in Other Schools （一、他流に目付と云事） Certain schools maintain that the gaze should be fixed on the enemy’s sword. Others teach students to focus on the hands, the face, the enemy’s feet and so on. Setting your gaze on specific points will cause uncertainty and will adversely affect your strategy. To give another example, players of kemari8 do not focus intently on the ball as they kick it. They can still deflect the ball off their temple and kick it using the bansuri technique9 or keep it afloat with an oimari kick,10 or even a spin kick. As the player becomes more accomplished, he can kick the ball without needing to look at it. The same can be said of acrobats. Someone accustomed to this art can juggle several swords while simultaneously balancing a door on the tip of his nose. He has no need to fix his gaze as he can see what he is doing intuitively through lots of training. Likewise, in the Way of combat strategy, the warrior learns through engaging with different opponents to determine the weight of an enemy’s mind. With practice in the Way, you will come to see everything, from reach to the speed of the sword. Generally speaking, “fixing the gaze” in strategy is to attach it to an enemy’s mind. In large-scale strategy, also, the state and numbers of the enemy must be scrutinized. The two approaches for observing are the eyes of kan (“looking in”) and ken (“looking at”). Intensifying the kan gaze, penetrate the enemy’s mind to discern the conditions. With a widened gaze, examine how the battle is progressing and search for moments of strength and vulnerability. This is the surest way to victory. In both large- and small-scale strategy, refrain from fixing your gaze narrowly. As I have written previously, focusing on minute details will make you forget bigger issues. Your mind will become confused and certain victory will slip from your reach. You must study this principle through careful training.

(1) The Mindset of Strategy and Positioning (心持ちの事　付　座之次第) ◎ With regards to mindset as you engage in a contest, be calmer than normal and try to see into your opponent’s mind. The enemy whose voice becomes higher in pitch, eyes widen, face reddens, muscles bulge and face grimaces is basically incompetent and will [clumsily] hit through to the ground. When faced with a [second-rate] adversary such as this, maintain serenity of mind and observe his face dispassionately so as not to provoke him. Then, taking hold of your sword, smile and assume a position lower than the upper stance (jōdan). Coolly evade his blow as he tries to attack you. When the enemy appears somewhat perturbed by your unusual attitude, this is the time to strike. Also, if your opponent is quiet, eyes narrowed, body at ease, and he is holding his sword in a relaxed manner as if his fingers are floating on the hilt, assume that he is an expert. Do not saunter carelessly into his range. You must seize the initiative and assail him skillfully, driving him back and striking in quick succession. If you are nonchalant with such a competent opponent, he will force you back. It is crucial to ascertain how capable your enemy is. In terms of where you should position yourself, the same conditions apply in both spacious or cramped locations. Step in so that walls will not impede your sword swings from either side. Take an approximate stance with the long sword and nimbly close in on your foe. If your sword should collide with some barrier, the enemy will become emboldened and will hem you in. If your sword looks as if it might scrape the ceiling, determine the actual height with the tip and be mindful thereafter. You can employ either sword for this, as long as it is the one that cannot be used [in attack while you do this]. Keep the light behind you. With your usual training, be prepared to freely apply any kind of technique with a relaxed mind, but always execute with urgency. It is important to adapt according to the circumstances. (2) About Gaze (目付之事) ◎ Direct your eyes on the enemy’s face. Do not focus on anything else. Since the mind is projected in [facial] expressions, there is no place more revealing than the face to fix one’s gaze. The way of observing the enemy’s face is the same as looking through the mist at trees and rocks on an island two and a half miles [4 km] in the distance. It is the same as peering at [and identifying] birds perched atop a shanty 100 yards [91 meters] away through the falling sleet. It is also akin to beholding a decorative wooden board used to cover the ridge and purlin ends of a roof gable or the tiles on a hut. Calmly focus your gaze [to take everything in].

In large-scale strategy, the presence of numerous troops is linked with an extra-long sword. Smaller numbers are consistent with the use of a short one. Is it not viable for a small number of troops to take the fight to a larger force? The virtue of strategy is precisely that smaller numbers can triumph [if guided correctly]. From the earliest days, there are many examples of small forces crushing big armies. In our school, this kind of narrow-minded preconception is to be rejected above all else. Research this well. (2) About Schools That Use Swords with Force （一、他流におゐてつよみの太刀と云事） One should not consider a sword [stroke] in terms of being strong or weak. The cut will be coarse if the sword is brandished with too much brute force. Such an uneven technique will make victory difficult. You will not succeed in cutting through human flesh and bone if you think only of striking with brute force. It is also bad to use too much power when testing the cutting power of a blade (tameshi-giri).4 When punishing some mortal foe, nobody thinks of cutting feebly or brutishly. “Cutting to kill” it is not achieved with a mind to do it strongly, and certainly not weakly. It is achieved with just enough power to ensure death. Your own sword could break into pieces by hitting the enemy’s sword with excess strength. Consequently, it is senseless to strike with excessive force. In large-scale strategy, relying on force of numbers to rout the enemy will lead to him countering with equal force. Both sides will be the same. Winning at anything is not achievable if correct principles are ignored. Thus, the underlying principle of my school is to defeat the enemy in any situation by applying strategic wisdom, without incorporating anything that is “excessive.”5 This must be researched attentively. (3) Schools That Use Short Swords （一、他流に短き太刀を用る事） Some warriors try to win using only short swords but this is at variance with the true Way. Since antiquity, swords were called tachi and katana, proving that distinctions have long been made between short and longer lengths.6 Warriors of superior strength can brandish a long sword as if it were light and thus there is no reason for them to prefer a shorter sword. They are, in fact, capable of wielding even longer weapons, such as yari (pikes) and naginata (glaives). With shorter swords, it is ill advised to look for openings as the enemy swings his blade and closing the distance to grab him. Aiming for an opening as the opponent attacks gives the impression of relinquishing the initiative and should be avoided as your swords will become entangled.

Forging Mettle In popular depictions of Musashi’s life, he is portrayed as having played a part in the decisive Battle of Sekigahara on October 21, 1600, which preceded the establishment of the Tokugawa shogunate. A more likely hypothesis is that he was in Kyushu fighting as an ally of Tokugawa Ieyasu under Kuroda Yoshitaka Jōsui at the Battle of Ishigakibaru on September 13, 1600. Musashi was linked to the Kuroda clan through his biological birth family who were formerly in the service of the Kodera clan before Harima fell to Hideyoshi.27 In the aftermath of Sekigahara, Japan was teeming with unemployed warriors (rōnin). There are estimates that up to 500,000 masterless samurai roamed the countryside. Peace was tenuous and warlords sought out skilled instructors in the arts of war. The fifteen years between Sekigahara and the first siege of Osaka Castle in 161528 was a golden age for musha-shugyō, the samurai warrior’s ascetic walkabout, but was also a perilous time to trek the country roads. Some rōnin found employment as retainers under new masters, some hung up their swords altogether to become farmers, but many continued roving the provinces looking for opportunities to make a name for themselves, which often meant trouble. It was at this point that Musashi embarked on his “warrior pilgrimage” and made his way to Kyoto. Two years after arriving in Kyoto, Musashi challenged the very same Yoshioka family that Munisai had bettered years before. In 1604, he defeated the head of the family, Yoshioka Seijūrō. In a second encounter, he successfully overpowered Seijūrō’s younger brother, Denshichirō. His third and last duel was against Seijūrō’s son, Matashichirō, who was accompanied by followers of the Yoshioka-ryū school. Again, Musashi was victorious, and this is where his legend really starts to escalate. Such exploits against a celebrated house of martial artists did not go unnoticed. Allies of the Yoshioka clan wrote unflattering accounts of how Musashi used guile and deceit to win with dishonorable ploys. Meanwhile, Musashi declared himself Tenka Ichi (“Champion of the Realm”) and must have felt he no longer needed to dwell in the shadow of his father. On the Kokura Monument, Iori wrote that the Yoshioka disciples conspired to ambush Musashi with “several hundred men.” When confronted, Musashi dealt with them with ruthless resolve, one man against many. Although this representation is thought to be relatively accurate, the idea of hundreds of men lying in wait was obviously an exaggeration. Several men, however, would not be hard to believe. Tested and triumphant, Musashi was now confident enough to start his own school. He called it Enmei-ryū. He also wrote, as confirmed by Uozumi, his first treatise, Heidōkyō (1605), to record the techniques and rationale behind them. He included a section in Heidōkyō on fighting single-handedly against “multiple enemies,” so presumably the third duel was a multi-foe affair.

THE EXERCISES These are quite unlike conventional keep-fit exercises. They are habit breakers. They require mental rather than physical effort. They are designed to examine and remedy the tense and over-effortful way in which you have been making everyday actions, and to encourage your body to revert to its natural, tension-free state.

The first step when learning the Alexander Technique is to try to become more aware of yourself as you go about your daily activities as well as being more aware of what you are thinking as you do them.

The Alexander Technique is a very practical method which enables us to be conscious of each moment; this enhances the quality of life and enables us to live life to the full.

Alexander called this process of stopping and thinking about actions before carrying them out - INHIBITION.

Surprisingly, muscle tension can even break a hip before the person has reached the ground. It's a frightening thought, but a good example of how stressed muscles can become.

The tightness in one set of muscles will invariably affect the whole body. After releasing this muscle tension, movements become easier and we can experience a sense of lightness that may not have been present since childhood. We can begin to perform activities with greater efficiency and therefore be left with much more energy at the end of the day. Having a massage can produce similar effects but after an Alexander lesson, the feeling of lightness may last for days, and we can eventually learn how to release tension for ourselves.

If you stop doing the wrong thing the right thing will happen by itself'.

We only have this one body, so the way in which we use it is of the utmost importance. We tend to look after our houses and cars better than we look after ourselves, but both house and car can be replaced - our bodies cannot.

The Primary Control acts as the main organiser in the body. It depends on a freedom between the head, neck and back to work efficiently, and its function is to govern all the other mechanisms in the body.

Alexander then placed two extra mirrors either side of the original mirror that he had been using. He quickly noticed that, although he had been convinced that he was putting his head forward, he was in fact pulling his head back with even more tension than before. He realised that he was a victim of what he termed faulty sensory appreciation. In other words, he felt that he was doing one thing when, in fact, he was really doing the opposite.

Allow the neck to be free, in such a way that the head can go forward and upwards, in order for the back to lengthen and widen.

None of us should be prisoners of our own fear.

There's an apt expression: 'If you don't live in your body, where are you going to live?

Whoever you are at heart, whatever your point of view--it is yours.

TRENT ALEXANDER-ARNOLD’S FREE KICK TECHNIQUE STEP 1: First things first, you’ll need to win a free kick in a good shooting position. If your attacking teammates aren’t up to the job, then fly forward to win one yourself. STEP 2: As soon as the referee blows the whistle, race over and grab the ball. This one’s yours. And after you’ve scored a few beauties, no-one will argue anymore. STEP 3: Place the ball down carefully and then start your routine: three steps backwards, pause, then one step to the right. You’re in the zone now. STEP 4: While you wait for the whistle, take a deep breath and look up at the target. In your head, imagine the ball flying into the corner of the net. Right, time to make it a reality… STEP 5: Take short steps towards the ball and then swing that right leg back, ready to strike… STEP 6: BANG! Put plenty of whip on your shot to send it up over the jumping wall and then down into the bottom corner. STEP 7: GOAL! Kiss the badge on your shirt as you race over to celebrate with the fans. You’re a local legend now!

According to the notions of that time, everybody expected wonders. But there are no wonders in techniques, and the quickness and effectiveness of any decision depended upon objective and subjective reasoning. The first of those reasons were the extensive damage and the highest radiation fields inside and around Unit 4. The doses of radiation in these fields could be measured by the thousands of roentgen per hour. No one could go into the ruins of the reactor, the inner rooms, to learn the location and condition of the almost two hundred tons of nuclear fuel that had been in the reactor. High radioactivity had been kept inside the reactor of Unit 4 during the two and a half years of its working time.

the language of spiritual transformation is already written deeply within our bodies.27

The Alexander Technique is a permanent, on-going solution to the problem of pain brought about by inefficient coordination.

The Alexander Technique will teach you about a plan for managing your coordination that really works. It is a plan that harnesses your intelligence to bring about an understanding and pleasure in moving that has no equal in the world today.

You can’t tell a person what to do, because the thing you have to do is a sensation.

An AT teacher is trained to touch you in a unique way: they train for over three years so they can know how to use touch to facilitate your re-experiencing a sensation of movement that is miraculous, because Nature is miraculous.

The Alexander Technique, together with its logical side, is experiential: it is a sensation.

Alexander was a scientist in the ‘watch and wonder’ class, an empirical thinker who always insisted that his students organize their thinking in terms of practice then theory, never theory then practice.