Fluid Movement Quotes

He has eyes like vast pools and a jaw made from shipwrecks and broken coral. Every movement he makes is as quick and fluid as a tidal wave. He belongs to the ocean. He is made from it, as much as I am.

His movements were so graceful that I wondered if he had been a dancer, but his words betrayed to me that his fluid gestures were those of a trained killer.

Maybe I owe you something too, human," she said, drawing her pistol. Butler almost reacted, but decided to give Holly the benefit of the doubt. Captain Short plucked a gold coin from her belt, flicking it fifty feet into the moonlit sky. With one fluid movement, she brought her weapon up and loosed a single blast. The coin rose another fifty feet, then spun earthward. Artemis somehow managed to snatch it from the air. The first cool movement of his young life. "Nice shot," he said. The previously solid disk now had a tiny hole in the center. Holly held out her hand, revealing the still raw scar on her finger. "If it wasn't for you, I would have missed altogether. No mech-digit can replicate that kind of accuracy. So, thank you too, I suppose." Artemis held out the coin. "No," said Holly. "You keep it, to remind you." "To remind me?" Holly stared at him frankly. "To remind you that deep beneath the layers of deviousness, you have a spark of decency. Perhaps you could blow on that spark occasionally." Artemis closed his fingers around the coin. It was warm against his palm. "Yes, perhaps.

I watch her as she leaves. Everything about her is fluid as a river. Her messy hair, her xylophone voice, the strokes of her paintbrush. Even her camouflage army jacket hangs loose, flowing like ribbons.

With its mysterious, fluid movement, the snail was the quintessential tai chi master.

One becomes vulnerable when one stops to think about winning, losing, taking advantage, impressing or disregarding the opponent. When the mind stops, even for a single instant, the body freezes, and free, fluid movement is lost.

Out of absolutely nowhere I felt a sudden, sweet shot of joy, piercing and distilled as the jolt I imagine heroin users get when the fix hits the vein. It was my partner bracing herself on her hands as she slid fluidly off the desk, it was the neat practiced movement of flipping my notebook shut one-handed, it was my superintendent wriggling into his suit jacket and covertly checking his shoulders for dandruff, it was the garishly lit office with a stack of marker-labeled case files sagging in the corner and evening rubbing up against the window. It was the realization, all over again, that this was real and it was my life. Maybe Katy Devlin, if she had made it that far, would have felt this way about blisters on her toes, the pungent smell of sweat and floor wax in the dance studios, the early-morning breakfast bells raced down echoing corridors. Maybe she, like me, would have loved the tiny details and the inconveniences even more dearly than the wonders, because they are the things that prove you belong.

In a single, fluid movement, I sank down, burying him inside me.

I know you,” he continued. “Wantin’ everything, gettin’ none of it. I get that. Hell, I feel that too. You don’t know shit about me, but I know you. Fuck, I know you better than you know yourself.” He released me and all at once began backing away. Stopping in the center of his room, he gripped the hem of his black T-shirt, pulled the threadbare material up over his head, and tossed it aside. Then he kicked off his boots, sending them flying across the room where they hit the wall with a loud thud. Then in one fluid movement, Hawk had removed both his leathers and boxers. “What are you doing?” I whispered, suddenly breathless. “Givin’ you somethin’,” he said.

In its rational form [dialectic] is a scandal and abomination to bourgeoisdom and its doctrinaire professors, because it includes in its comprehension and affirmative recognition of the existing state of things, at the same time also, the recognition of the negation of that state, of its inevitable breaking up; because it regards every historically developed social form as in fluid movement, and therefore takes into account its transient nature not less than its momentary existence because it lets nothing impose upon it, and is in its essence critical and revolutionary.

The belt slid down her thin hips, and she nervously gripped at it, pulling it up. Short sleeves showed her very thin arms and big delicate elbow joints. Her body was all concave and jerkily fluid lines; it moved with sensitive looseness, loosely threaded together: each movement had a touch of exaggeration , as though some secret power kept springing out.

I’m training tuna fish to land travel using slices of tomatoes as wheels. You wouldn't believe how many swimming creatures are jealous of ducks' versatility of movement.

God, in eternity, exists in a dynamic mutuality co-equally and co-eternally - three "modes of being" or "persons" and yet one essence. It is a dynamic, fluid movement that does not change in essence.

Sweet bleedin’ Jesus,” Faolan exploded, snatching up the shirt and yanking it back down over her head in one fluid movement. “Do ye think to display yerself for every man on the beach? Ye doona allow me to look and I’m bloody livin’ with ye.

Xuan’s movements were fluid and effortless, and I followed his lead with ease. The world around us faded away, and for a few precious moments, it was just the two of us, lost in the music in a peaceful quiet. I prayed that God would look down on us and see the beauty of our existence, and the trueness of our love. I prayed that He would decide to spare Xuan and leave us alone for many years. I prayed for a miracle.

The distribution of wealth and income is primarily the role and responsibility and freedom of individual people and businesses through their voluntary economic interaction with other people and businesses. And their voluntary exchange of economic value through products, services, and ideas. In this way, social mobility is maximized and a fluid class structure allows for both upward and downward economic movements; this is social justice.

Her hair, once pale, now shone red, a shock of color against her still porcelain skin, bold as blood. It skimmed her shoulders as she twirled, and bowed, a bright streak at the center of a deadly circle. Ojka danced, and the metal kept pace, the perfect partner to her fluid movements, and the entire time, she kept her eyes closed.

Would that it were possible for you to grow wings, and soar into the air! Poised between earth and heaven, you might see the solid earth, the fluid sea and the streaming rivers, the wandering air, the penetrating fire, the courses of the stars, and the swiftness of the movement with which heaven encompasses all. What happiness were that, my son, to see all these borne along with one impulse, and to behold Him who is unmoved moving in all that moves, and Him who is hidden made manifest through his works!

Yesterday you were riding on my shoulders," he murmured. "The house was full of noise. Clomping up and down the steps,doors slamming. Scattered toys. I don't know how many times I stepped on one of those damned little cars of Brady's/" Turning back, he ran a hand over her hair. "I miss that.I miss all of you." "Daddy." In one fluid movement she rose and slid her arms around him. "It's the way it's supposed to work. Three of you off at college, Brendon moving around to get a handle on the busines of things.It's what he wants. And you, building your own.But..I miss the crowd of you." "I promise to slam the door the very first chance I get." "That might help." "Sentimental softie.I love that about you." "Lucky for me.

We are all many things. Sometimes people get used to us being the one thing they most expect from us, and they don't know how to handle the other many things we are and have to offer. This is not our limitation to own. Let's be whatever many things our heart calls us to be. There's not a lot of consistency in freedom, aside from fluid movement among the many things we are. And that's a mighty beautiful thing.

The idea that the stars literally influence men (by a falling fluid, an influenza) is plainly untenable. But that the movements of the constellations are a clock by which earthly changes can be measured is less easy to dismiss.

Nala pushed her lithe body from the desk and swept across the room, her stilettos clicking against the tiled floor. Her movements were as fluid and elegant as the gazelles that inhabited the grassy savannas in Africa. She stood silently in front of the open window, the chiffon curtains floating in the breeze around her. She presented an ethereal vision, which held Abayomi spellbound. Beautiful on the outside. Lethal on the inside, he thought to himself.

Unfortunately, repentance is commonly viewed as something we do to get on God’s good side. We think to ourselves, “If I feel sorry enough, get angry enough at my sin, then God will forgive me.” This view splits the coin of repentance. It assumes that turning from sin is our work, and returning to Christ is God’s work. But, remember, repentance is one movement, one coin. To turn from sin is to turn to Christ, a fluid movement of grace, which is a gift from God (Rom. 2:4).

Are my friends dead?” Kestrel demanded. “Tell me.” “I will tell you after I have set you on that horse and you haven’t fought me, and after I am seated behind you and you don’t have any clever ideas to shove me off or throw us both. I’ll tell you when we’ve made it to the harbor.” He came close. She didn’t say anything, and he must have decided that she agreed, or maybe he didn’t want to hear her voice any more than she wanted to speak, because he didn’t wait for an answer. He lifted Kestrel onto Javelin, then settled behind her in a swift, fluid movement. Kestrel felt the lines of his body fit along hers. His closeness was a shock. Kestrel decided, however, to agree to the bargain. She didn’t signal Javelin to rear. She didn’t drive her head back into Arin’s jaw. She decided to behave. She focused on what mattered. That kiss had meant nothing. Nothing. What remained was the hand she had drawn, and how she would play it. The horses burst from the stables.

Because the quadriceps group is dramatically stronger, the hamstrings must be able to work at their optimal capacity in order for the movement to be fluid. If the hamstrings group is weakened or inflexible, the resulting imbalance will lead to injury.

So the question is, what can I do to motivate you, Polly?” She eyes me salaciously and I drop my gaze, unable to return the intensity. Gently, she uses one finger to lift my chin and make my eyes meet her own. They are a vivid blue and alive with desire for me. The air around us is charged and the tension is palpable. My soaking pussy is a testament to how much I already want her… “Well?” she asks, breaking my train of thought. I gaze at her face; just a few inches from mine. “I – I’ve never done this before…” “Done what Polly?” Rachel chides, removing her finger. I miss the contact immediately and am rueful to have upset her. She raises one eyebrow at me. “Thought about what motivates you?” she asks, sardonically. “I’ve never been like this… with a woman, I mean…” She rises from the sofa in one fluid movement and stands above me. “Kneel Polly.” Surprised by the order, I blink at her before I respond. “Excuse me?” Rachel smiles at me. “Get. On. Your. Knees,” she says, articulating each word, and pointing to the floor in front of her. “I am going to find a way to motivate you.

She had such an interesting way of moving. Not fluid and graceful like a young lady who had studied the social arts, but rather each move was brisk, efficient. As if she calculated the most effectual order of movements and performed them accordingly as she did the simple tasks of meal preparation.

Around 6:30, I fire up one of the playlists that my husband, Phil, has made. Nina Simone starts to sing and my movements become more fluid. I love to dance. Guests might see me on the line and think I’m cooking, but I’m really feeling the music, feeling the timing—dancing and cooking at the same time.

I'd better light the charcoal," Gennie said after a moment. "I didn't ask before," Grant began as they started down the pier. "But do you know how to cook on one of those things?" "My dear Mr. Campbell," Gennie said in a fluid drawl, "you appear to have several misconceptions about southern women.I can cook on a hot rock." "And wash shirts in a fast stream." "Every bit as well as you could," Gennie tossed back. "You might have some advantage on me in mechanical areas, but I'd say we're about even otherwise." "A strike for the women's movement." Gennie narrowed her eyes. "Are you about to say something snide and unintelligent?

Callie rises up inside me, wearing my skin like a loose robe. She sticks her little hands into the baggy sleeves of my arms. She inserts her chimp’s feet through the trousers of my legs. On the sidewalk I’ll feel her girlish walk take over, and the movement brings back a kind of emotion, a desolate and gossipy sympathy for the girls I see coming home from school. This continues for a few more steps. Calliope’s hair tickles the back of my throat. I feel her press tentatively on my chest—that old nervous habit of hers—to see if anything is happening there. The sick fluid of adolescent despair that runs through her veins overflows again into mine.

The smart voter is politically-fluid in that they don't rigidly believe that the same viewpoint, party manifesto or individual is the poultice for all maladies in every election. They attune themselves to the zeitgeist, search for potentially-reputable parties and candidates with suitable policies and cast their vote accordingly.

The third dream was hard to put into words. It was a rambling, incoherent dream without any setting. All that was there was a feeling of being in motion. Aomame was ceaselessly moving through time and space It didn't matter when or where this was All that mattered was this movement. Everything was fluid, and a specific meaning was born of that fluidity. But as she gave herself up to it, she found her body growing transparent. She could see through her hands to the other side. Her bones, organs, and womb became visible. At this rate she might very well no longer exist. After she could no longer see herself, Aomame wondered what could possibly come then. She had no answer.

Each ribosome had more than fifty different components. If you broke down a slew of them into their separate parts and thoroughly mixed them up in a suspending fluid, then Brownian movement—caused by encounters with molecules of the suspending medium—kept knocking them against one another until the fifty-some parts assembled into whole ribosomes.

It’s a strange irony that most people who are truly creative don’t really know where their ideas come from. To be a writer, just like all crafts, is an art form. You can take evening classes in writing at the local library, where you go along every Tuesday night and read out your weekly piece, and that can serve to improve your expertise a little, but to be a Wrong Planet writer you have to first of all be an artist. The art of searching for words radiates from deep inside the writer, and I truly feel that when a true writer is sitting quietly at his desk his movements are beautifully interwoven. His breathing will even come with an effortless grace. The ability to move fluidly in his study in this manner begins with a truly intuitive knowledge, although if the truth were known, there’s a little bit of insanity in the writer that does everyone an awful lot of good.

Desegregating the activity of civil society in the West, as well as inside Israel, illustrates the very essence of a one-state solution when the one-state movement is still in its embryonic stage. An activity around themes, and not according to national, religious, or ethnic identity, can be the unique contribution of the one-state movement. But again themes can sound too abstract and fluid for a movement that seeks desperately to change the public mind after years of being conditioned by a distorted historical narrative, manipulated media coverage, and a lethal futuristic vision.

An “infinite number”? For Leonardo, that was not just a figure of speech. When he spoke of the infinite variety in nature, and especially of phenomena such as flowing water, he was making a distinction based on his preference for analog over digital systems. In an analog system, there are infinite gradations. That applies to most of the things that fascinated him: sfumato shadows, colors, movement, waves, the passage of time, the flow of fluids. That is why he believed that geometry was better than arithmetic at describing nature, and even though calculus had not yet been invented, he seemed to sense the need for such a mathematics of continuous quantities.

Meditation is a state of mind which looks at everything with complete attention, totally, not just parts of it. And no one can teach you how to be attentive. If any system teaches you how to be attentive, then you are attentive to the system and that is not attention. Meditation is one of the greatest arts in life – perhaps the greatest, and one cannot possibly learn it from anybody, that is the beauty of it. It has no technique and therefore no authority. When you learn about yourself, watch yourself, watch the way you walk, how you eat, what you say, the gossip, the hate, the jealousy – if you are aware of all that in yourself, without any choice, that is part of meditation. So meditation can take place when you are sitting in a bus or walking in the woods full of light and shadows, or listening to the singing of birds or looking at the face of your wife or child. In the understanding of meditation there is love, and love is not the product of systems, of habits, of following a method. Love cannot be cultivated by thought. Love can perhaps come into being when there is complete silence, a silence in which the meditator is entirely absent; and the mind can be silent only when it understands its own movement as thought and feeling. To understand this movement of thought and feeling there can be no condemnation in observing it. To observe in such a way is the discipline, and that kind of discipline is fluid, free, not the discipline of conformity.

You are a fertile God. Many seeds are dropped into the soil. Many do not sprout. Yet beneath the appearance of waste nothing is wasted, nothing lost. Giant trees crash to the forest floor, decompose, and become the soil out of which the saplings arise. Similarly, in human affairs, movements are created, rise, do Your work in the world, decline, go back into the soil, and provide the rich humus out of which new life springs. Generations come and go. Sun and rain, winter and summer, seed time and harvest. Always Your Word remains constant. Your people are called over and over, generation after generation, back into this constancy, back to this mysterious fluid stability—the only security worth having. Can You not waste a little more time on us?

The first movements of the fetus produce this sense of the splitting subject; the fetus's movements are wholly mine, completely within me, condition my experience and space. Only I have access to these movements from their origin, as it were. For months only I can witness this life within me, and it is only under my direction of where to put their hands that others can feel these movements. I have a privileged relation to this other life, not unlike that which I have to my dreams and thoughts, which I can tell someone but which cannot be an object for both of us in the same way... Pregnancy challenges the integration of my body experience by rendering fluid the boundary between what is within, myself, and what is outside, separate. I experience my insides as the space of another, yet my own body.

When Pribram encountered Bernstein's work he immediately recognized its implications. Maybe the reason hidden patterns surfaced after Bernstein Fourier-analyzed his subject's movements was because that was how movements are stored in the brain. This was an exciting possibility, for if the brain analyzed movements by breaking them down into their frequency components, it explained the rapidity with which we learn many complex physical tasks. For instance, we do not learn to ride a bicycle by painstakingly memorizing every tiny feature of the process. We learn by grasping the whole flowing movement. The fluid wholeness that typifies how we learn so many physical activities is difficult to explain if our brains are storing information in a bit-by-bit manner. But it becomes much easier to understand if the brain is Fourier-analyzing such tasks and absorbing them as a whole.

There is no greater wonder than to range The starry heights, to leave the earth’s dull regions, To ride the clouds, to stand on Atlas’ shoulders, And see, far off, far down, the little figures Wandering here and there, devoid of reason, Anxious, in fear of death, and so advise them, And so make fate an open book… …Full sail, I voyage Over the boundless ocean, and I tell you Nothing is permanent in all the world. All things are fluid; every image forms, Wandering through change. Time is itself a river In constant movement, and the hours flow by Like water, wave on wave, pursued, pursuing, Forever fugitive, forever new. That which has been, is not; that which was not, Begins to be; motion and moment always In process of renewal… Not even the so-called elements are constant… Nothing remains the same: the great renewer, Nature, makes form from form, and, oh, believe me That nothing ever dies….

His expression was perturbed, as if he’d been reminded of something he had wanted to forget. But as his gaze slid over her bewildered face, his mouth curved a little, and he settled into the cradle of her body with an insolent familiarity that temporarily robbed her of breath. “Mr. Rohan … how … why … what are you doing here?” He replied without moving, as if he were planning to lie there and converse all day. His infinitely polite tone was an unsettling contrast to the intimacy of their position. “Miss Hathaway. What a pleasant surprise. As it happens, I’m visiting friends. And you?” “I live here.” “I don’t think so. This is Lord Westcliff’s estate.” Her heart thundered in her breast as her body absorbed the details of him. “I didn’t mean precisely here, I meant over there, on the other side of the woods. The Ramsay estate. We’ve just taken up residence.” She couldn’t seem to stop herself from chattering in the aftermath of nerves and fright. “What was that noise? What were you doing? Why do you have that tattoo on your arm? It’s a pooka—an Irish creature—isn’t it?” That last question earned her an arrested stare. Before Rohan could reply, the other two men approached. From her prone position, Amelia had an upside-down view of them. Like Rohan, they were in their shirtsleeves, with waistcoats left unbuttoned. One of them was a portly old gentleman with a shock of silver hair. He held a small wood-and-metal sextant, which had been strung around his neck on a lanyard. The other, black-haired man looked to be in his late thirties. He wasn’t as tall as Rohan, but he had an air of authority tempered with aristocratic arrogance. Amelia made a helpless movement, and Rohan lifted away from her with fluid ease. He helped her stand, his arm steadying her. “How far did it go?” he asked the men. “Devil take the rocket,” came a gravelly reply. “What is the woman’s condition?” “Unharmed.” The silver-haired gentleman remarked, “Impressive, Rohan. You covered a distance of fifty yards in no more than five or six seconds.” “I would hardly miss a chance to leap on a beautiful woman,” Rohan said, causing the older man to chuckle.

The same force that moves the tides, opens a flower, or creates lightning in a storm animates our bodies. This life force moves the breath, the fluids, and the current flowing through our nerves as well as the inner workings of each and every cell. This animating principle is the force behind all the organs of perception: hearing, touch, taste, smell, and sight. Although not itself a solid substance, this life force infuses the body and manifests as the light shining from our eyes, the glow of the skin, and the timbre of the voice. As this force moves through the body, it influences the shape and form of our structure, creating our posture, the rhythm of our walk, and the character of our faces. Everything that has ever happened to us—our birth, the fall from a tree at the age of six, our thoughts and feelings, what we eat, the climate in which we live—is inscribed upon our body, creating a living archaeological record. When we develop an awareness of the interior movement that permeates the body, we gain access to the movement of our minds. Yoga is a means of reviving our connection to this natural wisdom.

LIGHT AS AN EXCITATION OF SPACE Let's try and understand light in terms of an excitation of empty space-even if that makes no immediate sense. We might alternatively understand light in terms of a field, as we introduced that term in chapter 2. But light differs from the fields of temperature distributions, of sound, or of water in fluid motion described there: Whereas those phenomena are due to the composite action or motion of molecules at a more elementary level, light has its own reality at that level. It cannot be understood in terms of an oscillation of some matter that also exists in the dark-no, light is nothing but just that, light. It is an oscillation of an abstract nature, equivalent to a set of numbers that are assigned to each point in space. True, these abstract numbers have implications-most notably, they imply energy. But while a water wave transports energy by the movement of water molecules, the passing of a light wave does not mean that anything material oscillates. The energy of the liquid wave is the energy associated with gravitation and motion of its molecules; the energy of light is energy pure and simple, associated with every illuminated point in space.

Our approach and method of presentation is also radically different from traditional fare. For example, the complex series of decisions, movements, and fighting on July 2 are always—always—broken apart and tendered to readers in separate chunks. The fighting around Devil’s Den and Little Round Top is usually handled in one chapter, the Peach Orchard salient in another section, Cemetery Ridge in yet another chapter, and so on. The consequence of this customary method of presentation compartmentalizes these phases of the engagement into mini-battles comprising separate actions. And that is how most students of Gettysburg have come to view them. But they were not unrelated sequestered endeavors. Rather, they were part of one overall interlocking strategy of attack that came much closer to breaking apart and decisively defeating Meade’s army than anyone heretofore has fully explained. Thus, Chapter 7—all 137 pages of it—is presented as a single fluid event so that readers may fully comprehend what Lee intended to accomplish with his echelon attack, how the attack was progressing, where it broke down, and who was responsible—and just how close Lee came to realizing his bid for victory on Northern soil.

She did not answer. Or, rather, she answered by sliding long fingers across Kassad’s chest, ripping away the leather thongs which bound the rough vest. Her hands found his shirt. It was soaked with blood and ripped halfway down the front. The woman ripped it open the rest of the way. She moved against him now, her fingers and lips on his chest, hips already beginning to move. Her right hand found the cords to his trouser front, ripped them free. Kassad helped her pull off the rest of his clothes, removed hers with three fluid movements. She wore nothing under her shirt and coarse-cloth trousers. Kassad’s hand slid between her thighs, behind her, cupped her moving buttocks, pulled her closer, and slid to the moist roughness in front. She opened to him, her mouth closing on his. Somehow, with all of their motion and disrobing, their skin never lost contact. Kassad felt his own excitement rubbing against the cusp of her belly. She rolled above him then, her thighs astride his hips, her gaze still locked with his. Kassad had never been so excited. He gasped as her right hand went behind her, found him, guided him into her. When he opened his eyes again she was moving slowly, her head back, eyes closed. Kassad’s hands moved up her sides to cup her perfect breasts. Nipples hardened against his palms. They made love then. Kassad, at twenty-three standard years, had been in love once and had enjoyed sex many times. He thought he knew the way and the why of it. There was nothing in his experience to that moment which he could not have described with a phrase and a laugh to his squadmates in the hold of a troop transport With the calm, sure cynicism of a twenty-three-year-old veteran he was sure that he would never experience anything that could not be so described, so dismissed. He was wrong. He could never adequately share the sense of the next few minutes with anyone else. He would never try. They made love in a sudden shaft of late October light with a carpet of leaves and clothes beneath them and a film of blood and sweat oiling the sweet friction between them. Her green eyes stared down at Kassad, widening slightly when he began moving quickly, closing at the same second he closed his. They moved together then in the sudden tide of sensation as old and inevitable as the movement of worlds: pulses racing, flesh quickening with its own moist purposes, a further, final rising together, the world receding to nothing at all—and then, still joined by touch and heartbeat and the fading thrill of passion, allowing consciousness to slide back to separate flesh while the world flowed in through forgotten senses. They lay next to each other.

FASCIA: THE TIES THAT BIND Imagine a collagen-rich, stretchy slipcover for every organ, nerve, bone, and muscle in our bodies, and you start to get a sense of how fundamental connective tissue—specifically fascia—is to the entire body. Suspending our organs inside our torso, connecting our head to our back to our feet, fascia protects, supports, and literally binds our body together. Fascia can be gossamer-thin and translucent, like a spider web, or thick and tough like rope. Ounce for ounce, fascia is stronger than steel. Other specialized types of connective tissue include bones, ligaments, tendons, cartilage, and fat (adipose) tissue. Even blood, strictly speaking, is considered connective tissue. But to me, the most exciting aspect of the latest research on connective tissue relates to fascia. Fascia is the stretchy tissue that forms an uninterrupted, three-dimensional web within our body. Our body has sheets, bags, and strings of fascia of varying thickness and size, some superficial and some deep. Fascia envelops both individual microscopic muscle filaments as well as whole muscle groups, such as the trapezius, pectorals, and quadriceps. For example, one of the largest fascia configurations in the body is known as the “trousers,” a massive sheet of fascia that crosses over the knees and ends near the waist, giving the appearance of short leggings. This fascia trouser is thicker around the knees and thinner as it continues up the legs and over the hips, thickening again near the waist. When the fascia trouser is healthy, supple, and resilient, it acts like a girdle, giving the body a firm shape. Fascia helps muscles transmit their force so we can convert that force into movement. The system of fascia is bound by tensile links (think of the structure of a geodesic dome, like the one at Epcot in Disney World), with space and fluid between the links that can help absorb external pressure and more evenly distribute force across the fascial structure. This allows our bodies to withstand tremendous force instead of absorbing it in one local area, which would lead to increased pain and injury. Fascia is also a second nervous system in and of itself, with almost 10 times the number of sensory nerve endings as muscle. Helene Langevin, director of the Osher Center for Integrative Medicine at Harvard Medical School, has done landmark studies on the function and importance of connective tissue and its impact on pain. One of the leading researchers in the field today, Langevin describes fascia as a “living matrix” whose health is essential to our well-being.

You!’ the first guard yelled. ‘Hands on your head, don’t move.’ Wing slowly put his hands on his head, showing no hint of emotion. ‘What the hell?’ the other guard said. ‘He’s just a kid.’ He pulled a pair of handcuffs from his belt and slowly moved behind Wing and grasped one of his wrists. In one fluid motion, Wing grabbed the guard’s own wrist with his free hand and twisted hard. There was a sickening crunch, the guard howling in pain as Wing stepped backwards, too close for the man to bring his gun to bear. He pulled the guard’s wounded arm further over his own shoulder, dragging the man closer, and jerked his head backwards, his skull connecting with the man’s nose with a crunch. Wing rotated around the guard, pressing the wounded arm up into the small of the man’s back and ducking behind him, giving the other guard no clean shot without hitting his associate. He pushed hard, sending the stunned guard staggering towards his partner, and delivered a sharp kick to the base of his spine. The wounded guard’s momentum sent him careering into the other man, yowling with pain and confusion. Wing took two short steps and in a blur of movement pulled the handcuffs from the wounded man’s belt and snapped them closed around both his broken wrist and the wrist of the unwounded guard’s gun hand. Wing pressed his fingers into the pressure point behind the wounded guard’s ear and he collapsed, instantly unconscious, pulling the other guard down with him and pinning his gun to the ground. The conscious guard snatched for the gun with his free hand, but Wing dropped on to him, his knee pressing into his throat hard enough to choke him but without crushing his windpipe. Wing delivered a sharp knuckle jab to the guard’s shoulder and his free arm was instantly disabled too. Wing could hear the sound of at least half a dozen more guards racing up the stairs from below. He knew there would be more than he could handle. He reached down and took a smoke grenade from the webbing on the pinned guard’s chest and pulled the pin with his teeth, tossing it through the doorway into the stairwell. There were cries of confusion from just below as the confined space filled with impenetrable clouds of white smoke. Wing pulled a flashbang stun grenade from the other side of the pinned guard’s webbing and waited a couple of seconds before tossing it into the stairwell too. He closed his eyes, the flash of the grenade clear even through his eyelids. ‘Who the hell are you?’ the guard pinned beneath Wing gasped. ‘Just a kid,’ Wing said with a slight smile and punched him unconscious.

Fascism rested not upon the truth of its doctrine but upon the leader’s mystical union with the historic destiny of his people, a notion related to romanticist ideas of national historic flowering and of individual artistic or spiritual genius, though fascism otherwise denied romanticism’s exaltation of unfettered personal creativity. The fascist leader wanted to bring his people into a higher realm of politics that they would experience sensually: the warmth of belonging to a race now fully aware of its identity, historic destiny, and power; the excitement of participating in a vast collective enterprise; the gratification of submerging oneself in a wave of shared feelings, and of sacrificing one’s petty concerns for the group’s good; and the thrill of domination. Fascism’s deliberate replacement of reasoned debate with immediate sensual experience transformed politics, as the exiled German cultural critic Walter Benjamin was the first to point out, into aesthetics. And the ultimate fascist aesthetic experience, Benjamin warned in 1936, was war. Fascist leaders made no secret of having no program. Mussolini exulted in that absence. “The Fasci di Combattimento,” Mussolini wrote in the “Postulates of the Fascist Program” of May 1920, “. . . do not feel tied to any particular doctrinal form.” A few months before he became prime minister of Italy, he replied truculently to a critic who demanded to know what his program was: “The democrats of Il Mondo want to know our program? It is to break the bones of the democrats of Il Mondo. And the sooner the better.” “The fist,” asserted a Fascist militant in 1920, “is the synthesis of our theory.” Mussolini liked to declare that he himself was the definition of Fascism. The will and leadership of a Duce was what a modern people needed, not a doctrine. Only in 1932, after he had been in power for ten years, and when he wanted to “normalize” his regime, did Mussolini expound Fascist doctrine, in an article (partly ghostwritten by the philosopher Giovanni Gentile) for the new Enciclopedia italiana. Power came first, then doctrine. Hannah Arendt observed that Mussolini “was probably the first party leader who consciously rejected a formal program and replaced it with inspired leadership and action alone.” Hitler did present a program (the 25 Points of February 1920), but he pronounced it immutable while ignoring many of its provisions. Though its anniversaries were celebrated, it was less a guide to action than a signal that debate had ceased within the party. In his first public address as chancellor, Hitler ridiculed those who say “show us the details of your program. I have refused ever to step before this Volk and make cheap promises.” Several consequences flowed from fascism’s special relationship to doctrine. It was the unquestioning zeal of the faithful that counted, more than his or her reasoned assent. Programs were casually fluid. The relationship between intellectuals and a movement that despised thought was even more awkward than the notoriously prickly relationship of intellectual fellow travelers with communism. Many intellectuals associated with fascism’s early days dropped away or even went into opposition as successful fascist movements made the compromises necessary to gain allies and power, or, alternatively, revealed its brutal anti-intellectualism. We will meet some of these intellectual dropouts as we go along. Fascism’s radical instrumentalization of truth explains why fascists never bothered to write any casuistical literature when they changed their program, as they did often and without compunction. Stalin was forever writing to prove that his policies accorded somehow with the principles of Marx and Lenin; Hitler and Mussolini never bothered with any such theoretical justification. Das Blut or la razza would determine who was right.

He was amazing. He was addicting. At that moment I knew...Owen Mycroft wasn't just a male. This music was of another world, his fluid movements were unlike any human on Earth and sparks flew from his eyes. Couldn't anyone else in the room see those fireworks? Was I the only one? I didn't care what he was. I was in his world now.

Endometriosis, or painful periods? (Endometriosis is when pieces of the uterine lining grow outside of the uterine cavity, such as on the ovaries or bowel, and cause painful periods.) Mood swings, PMS, depression, or just irritability? Weepiness, sometimes over the most ridiculous things? Mini breakdowns? Anxiety? Migraines or other headaches? Insomnia? Brain fog? A red flush on your face (or a diagnosis of rosacea)? Gallbladder problems (or removal)? — PART E — Poor memory (you walk into a room to do something, then wonder what it was, or draw a blank midsentence)? Emotional fragility, especially compared with how you felt ten years ago? Depression, perhaps with anxiety or lethargy (or, more commonly, dysthymia: low-grade depression that lasts more than two weeks)? Wrinkles (your favorite skin cream no longer works miracles)? Night sweats or hot flashes? Trouble sleeping, waking up in the middle of the night? A leaky or overactive bladder? Bladder infections? Droopy breasts, or breasts lessening in volume? Sun damage more obvious, even glaring, on your chest, face, and shoulders? Achy joints (you feel positively geriatric at times)? Recent injuries, particularly to wrists, shoulders, lower back, or knees? Loss of interest in exercise? Bone loss? Vaginal dryness, irritation, or loss of feeling (as if there were layers of blankets between you and the now-elusive toe-curling orgasm)? Lack of juiciness elsewhere (dry eyes, dry skin, dry clitoris)? Low libido (it’s been dwindling for a while, and now you realize it’s half or less than what it used to be)? Painful sex? — PART F — Excess hair on your face, chest, or arms? Acne? Greasy skin and/or hair? Thinning head hair (which makes you question the justice of it all if you’re also experiencing excess hair growth elsewhere)? Discoloration of your armpits (darker and thicker than your normal skin)? Skin tags, especially on your neck and upper torso? (Skin tags are small, flesh-colored growths on the skin surface, usually a few millimeters in size, and smooth. They are usually noncancerous and develop from friction, such as around bra straps. They do not change or grow over time.) Hyperglycemia or hypoglycemia and/or unstable blood sugar? Reactivity and/or irritability, or excessively aggressive or authoritarian episodes (also known as ’roid rage)? Depression? Anxiety? Menstrual cycles occurring more than every thirty-five days? Ovarian cysts? Midcycle pain? Infertility? Or subfertility? Polycystic ovary syndrome? — PART G — Hair loss, including of the outer third of your eyebrows and/or eyelashes? Dry skin? Dry, strawlike hair that tangles easily? Thin, brittle fingernails? Fluid retention or swollen ankles? An additional few pounds, or 20, that you just can’t lose? High cholesterol? Bowel movements less often than once a day, or you feel you don’t completely evacuate? Recurrent headaches? Decreased sweating? Muscle or joint aches or poor muscle tone (you became an old lady overnight)? Tingling in your hands or feet? Cold hands and feet? Cold intolerance? Heat intolerance? A sensitivity to cold (you shiver more easily than others and are always wearing layers)? Slow speech, perhaps with a hoarse or halting voice? A slow heart rate, or bradycardia (fewer than 60 beats per minute, and not because you’re an elite athlete)? Lethargy (you feel like you’re moving through molasses)? Fatigue, particularly in the morning? Slow brain, slow thoughts? Difficulty concentrating? Sluggish reflexes, diminished reaction time, even a bit of apathy? Low sex drive, and you’re not sure why? Depression or moodiness (the world is not as rosy as it used to be)? A prescription for the latest antidepressant but you’re still not feeling like yourself? Heavy periods or other menstrual problems? Infertility or miscarriage? Preterm birth? An enlarged thyroid/goiter? Difficulty swallowing? Enlarged tongue? A family history of thyroid problems?

But Emenike resumed talking, gesturing, his movements fluid and sure, his manner still that of a person convinced they knew things that other people would never know.

In a revolution, when the ceaseless slow accumulation of centuries bursts into volcanic eruption, the meteoric flares and flights above are a meaningless chaos and lend themselves to infinite caprice and romanticism unless the observer sees them always as projections of the sub-soil from which they came. The writer has sought not only to analyse, but to demonstrate in their movement, the economic forces of the age; their moulding of society and politics, of men in the mass and individual men; the powerful reaction of these on their environment at one of those rare moments when society is at boiling point and therefore fluid.

The tent emerged in a lumpy mass of canvas, rope, and poles. Harry recognized it, partly because of the smell of cats, as the same tent in which they had slept on the night of the Quidditch World Cup. “I thought this belonged to that bloke Perkins at the Ministry?” he asked, starting to disentangle the tent pegs. “Apparently he didn’t want it back, his lumbago’s so bad,” said Hermione, now performing complicated figure-of-eight movements with her wand, “so Ron’s dad said I could borrow it. Erecto!” she added, pointing her wand at the misshapen canvas, which in one fluid motion rose into the air and settled, fully constructed, onto the ground before Harry, out of whose startled hands a tent peg soared, to land with a final thud at the end of a guy rope.

t o improve the physical capacity of the horse, a trainer must learn to value its qualities and to compensate for its flaws. Physical training of an athlete, particularly a human athlete, requires a deep understanding of the sporting discipline in question. It is in this same spirit that the chapters in this book describing the biomechanics and physical training of the horse as an athlete have been developed. The presentation of these concepts begins with a series of simplified and educational reminders on the biomechanics of the muscles underlying overall movement. The primary body system involved in active physical exercise is the muscular system and the first three chapters focus on the muscular groups and actions of the forelimb, the hindlimb and the neck and trunk, and this leads to a chapter discussing the biomechanics of lowering of the neck. To evaluate the usefulness of an exercise and to understand its mode of action, including its advantages and disadvantages, it is essential to have a basic understanding of musculotendinous functional anatomy. An understanding of these fundamental ideas is directly applicable to the later chapters, which focus on training and the core exercises for a horse. Training a horse for every discipline brings together two specific but complementary areas, which are often worked on at the same time: conditioning and strengthening. The aim of conditioning is to develop respiratory capacity and to improve cardiovascular function. This results in a greater ability to perform with prolonged effort, while also improving the recovery time after this effort. Strengthening of the horse has two main goals: (1) to improve the flexibility of joints secondary to the action of ligaments and muscles (these structures have an intrinsic role in the control and stability of joints) and (2) to develop effective muscular contraction and coordination, making movements more fluid, lighter and confident (1, 2).

Regular stretching makes your movements more sensuous and fluid.

In an instant I was in her arms, her lips against my cheek. I cupped her face in my hands and stared into those eyes, dancing eyes, warm and smiling, filled with tears and love, a combination I couldn’t lose, couldn’t walk away from again. She pulled me inside and closed the door behind me, locking it. I tried to speak, but words wouldn’t come, and she put her finger to my lips to calm me. She turned with her shoulder blades against my chest and drew my arms around her, holding the backs of my hands in her palms. Placing my palms just under her collarbone, she ran my hands down her body. As they passed over her breasts, I could tell they were larger, full and tight, swollen with fluid, and she gasped slightly as I touched her nipples. I closed my eyes, resting my chin on her shoulder, and she continued downward. They moved under her breasts, and I lifted up slightly, feeling their weight, the heaviness, wondering how tired her shoulders were at the end of the day, reminding myself to give her a good backrub. She turned my wrists and drew my hands downward. They immediately began to move forward, over the place where her slim waist used to be, out farther and farther, until they stopped even with her navel. Her skin under the cotton dress was tight, and I spread my fingers wide, taking in the size of her tummy, the width, the depth, moving around it like gripping a basketball. And then it happened. It kicked, a good, hard kick. I could feel it rolling around inside her, stretching and moving, moving deep in her as I had just a few months before on that first night, asking her how it felt to carry a child inside her. I remembered, and she was right. It did feel the very same. My moving inside her had created this movement, and I bit my lip to keep from crying out, from shouting, from wailing in joy as I’d heard her wail in sorrow. She pivoted in my arms and stared into my face, her eyes sad, pain an inch thick over her expression. “Steve, I wanted to tell you, really I did. I wanted to tell you about the baby. And I wanted to tell you about . . .” I put my hand up to quiet her. “I knew, Diana. I already knew.” She looked at me, puzzled. I drew her over to the sofa and sat down beside her. “Remember when we first met?” She nodded. “Well, I lied. The real reason we were here was to look for Nick Roberts.” She was still, quiet, waiting for the rest of the explanation. “When I first came here, I was looking for Nick Roberts. Before I left here the first time, I knew you’d written that book. But I didn’t say anything because by that time I didn’t care. I came to find Nick Roberts. What I found was a beautiful woman, the love of my life. Nick Roberts and anything associated with Nick Roberts just didn’t matter anymore.” “Why didn’t you tell me you knew?” she asked, looking down at her hands, unable to meet my eyes. “Because. Because it didn’t matter. Because I knew I’d have to explain to you why I was here in the first place. Because I was afraid you’d be afraid, afraid I was just playing you, afraid I’d expose you and give you up to the media. But I didn’t, I swear to god. It wasn’t me.

placed her hand on his upper arm. It was an innocent gesture, but the sensation was like a jolt of lightning, even through the fabric of his shirt. His body reacted instantly. He swallowed hard and cleared his throat. Right now, his emotions spiraled out of control. “Aw, hell!” In one fluid movement he pulled her to him, one hand at the back of her head, his other arm coiled around her waist. He tilted her head and claimed her mouth with the hunger born of weeks of pent-up desire for this woman. Kissing her like a starved man who’d finally been given a morsel of food, Daniel savored the feel of her soft body pressed to his. It’s what he’d longed to do since he first laid eyes on her.

Kaleidoscope Yoga: The universal heart and the individual self. We, as humanity, make up together a mosaic of beautiful colors and shapes that can harmoniously play together in endless combinations. We are an ever-changing play of shape and form. A kaleidoscope consists of a tube (or container), mirrors, pieces of glass (or beads or precious stones), sunlight, and someone to turn it and observe and enjoy the forms. Metaphorically, perhaps the sun represents the divine light, or spark of life, within all of us. The mirrors represent our ability to serve as mirrors for one another and each other’s alignment, reflecting sides of ourselves that we may not have been aware of. The tube (or container) is the practice of community yoga. We, as human beings, are the glass, the beads, the precious stones. The facilitator is the person turning the Kaleidoscope, initiating the changing patterns. And the resulting beauty of the shapes? Well, that’s for everyone to enjoy... Coming into a practice and an energy field of community yoga over and over, is a practice of returning, again and again, to the present moment, to the person in front of you, to the people around you, to your body, to others’ bodies, to your energy, to others’ energy, to your breath, to others’ breath. [...] community yoga practice can help us, in a very real, practical, grounded, felt, somatic way, to identify and be in harmony with all that is around us, which includes all of our fellow human beings.
 We are all multiple selves. We are all infinite. We are all universal selves. We are all unique expressions of the universal heart and universal energy. We are all the universal self. We are all one another. And we are all also unique specific individuals. And to the extent that we practice this, somatically, we become more and more comfortable and fluid with this larger, more cosmic, more inter-related reality. We see and feel and breathe ourselves, more and more, as the open movement of energy, as open somatic possibility. As energy and breath. This is one of the many benefits of a community yoga practice. Kaleidoscope shows us, in a very practical way, how to allow universal patterns of wisdom and interconnectedness to filter through us. [...] One of the most interesting paradoxes I have encountered during my involvement with the community yoga project (and it is one that I have felt again and again, too many times to count) is the paradox that many of the most infinite, universal forms have come to me in a place of absolute solitude, silence, deep aloneness or meditation. And, similarly, conversely and complimentarily, (best not to get stuck on the words) I have often found myself in the midst of a huge crowd or group of people of seamlessly flowing forms, and felt simultaneously, in addition to the group energy, the group shape, and the group awareness, myself as a very cleanly and clearly defined, very particular, individual self. These moments and discoveries and journeys of group awareness, in addition to the sense of cosmic expansion, have also clarified more strongly my sense of a very specific, rooted, personal self. The more deeply I dive into the universal heart, the more clearly I see my own place in it. And the more deeply I tune in and connect with my own true personal self, the more open and available I am to a larger, more universal self. We are both, universal heart and universal self. Individual heart and individual self. We are, or have the capacity for, or however you choose to put it, simultaneous layers of awareness. Learning to feel and navigate and mediate between these different kinds and layers of awareness is one of the great joys of Kaleidoscope Community Yoga, and of life in general. Come join us, and see what that feels like, in your body, again and again. From the Preface of Kaleidoscope Community Yoga: The Art of Connecting: The First 108 Poses

The wise leader is like water. Consider water: water cleanses and refreshes all creatures without distinction and without judgment; water freely and fearlessly goes deep beneath the surface of things; water is fluid and responsive; water follows the law freely. Consider the leader: the leader works in any setting without complaint, with any person or issue that comes on the floor; the leader acts so that all will benefit and serves well regardless of the rate of pay; the leader speaks simply and honestly and intervenes in order to shed light and create harmony. From watching the movements of water, the leader has learned that in action, timing is everything. Like water, the leader is yielding. Because the leader does not push, the group does not resent or resist.

He has a rather fluid style,” says Hirsch, who was already cutting together scenes. “Not that he moves the camera all that much; he moves the camera at a certain moment through a scene and his staging of the action is fluid. Kersh doesn’t cover a scene in a simplistic way. He doesn’t shoot a master and then go in for close-ups. He will shoot mini masters that overlap at certain key points. It’s a subtle thing. He really knows what he’s doing.” “I stage differently from George; I use the camera differently,” says Kershner. “I use the actors in a different way. I certainly love his work but mine is just different. The photography is totally different, the lighting, the movement.

She heard a crash, and before she even had time to feel bad for the waitress getting docked, another crash and then another followed. She tilted her head in curiosity—just as a table umbrella across the walk shot fifteen feet up to be batted high in the sky, fluttering all the way to the Seine. A cruise boat honked and Gallic curses erupted. Half-lit by the walk’s torchlights, a towering man turned over café tables, artists’ easels, and book stands selling century-old pornography. Tourists screamed and fled in the wake of destruction. Emma shot to her feet with a gasp, looping her satchel over her shoulder. He was cutting a path directly to her, his black French coat trailing behind him. His size and his unnaturally fluid movements made her wonder if he could possibly be human. His hair was thick and long, concealing half his face, and several days’ growth of beard shadowed his jaw. He pointed a shaking hand at her. “You,” he growled. She jerked glances over both of her shoulders looking for the unfortunate you he was addressing. Her. Holy shite, this madman had settled on her.

ANXIOUS CONTRACTIONS Life is movement. It’s dynamic and pulsating like a swift moving river. To be in a contented and happy state is to be in a state of flow where your thoughts and feelings follow a natural current and there is no inner friction or need to check in on your anxiety every five minutes. When you feel in flow, your body feels light and your mind becomes spontaneous and joyful. Anxiety and fear are the total opposite. They’re the contractions of life. When we get scared, we contract in fear. Our bodies become stiff and our minds become fearful and rigid. If we hold that contracted state, we eventually cut ourselves off from life. We lose flexibility. We lose our flow. We can think of this a bit like pulling a muscle. When a muscle is overused and tired, its cells run out of energy and fluid. This can lead to a sudden and forceful contraction, such as a cramp. This contraction is painful and scary as it comes without warning. In the same way, we can be living our lives with a lot of stress and exhaustion, similar to holding a muscle in an unusual position for too long. If we fail to notice and take care of this situation, we can experience an intense and sudden moment of anxiety or even panic. I call this an “anxious contraction,” and it can feel quite painful. Learning how to respond correctly to this anxious contraction is crucial and determines how quickly we release it. Anxious contractions happen to almost everyone at some point in their lives. We suddenly feel overwhelmed with anxiety as our body experiences all manner of intense sensations, such as a pounding heart or a tight chest or a dizzy sensation. Our anxiety level then is maybe an 8 or 9 out of 10. We recoil in fear and spiral into a downward loop of more fear and anxiety. Some might say they had a spontaneous panic attack while others might describe the feeling as being very “on edge.”   THE ANXIETY LOOP It’s at this point in time where people get split into those that develop an anxiety disorder and those that don’t. The real deciding factor is whether a person gets caught in the “anxiety loop” or not. The anxiety loop is a mental trap, a vicious cycle of fearing fear. Instead of ignoring anxious thoughts or bodily sensations, the person becomes acutely aware and paranoid of them. “What if I lose control and do something crazy?” “What if those sensations come back again while I’m in a meeting?” “What if it’s a sign of a serious health problem?” This trap is akin to quicksand. Our immediate response is to struggle hard to free ourselves, but it’s the wrong response. The more we struggle, the deeper we sink. Anxiety is such a simple but costly trap to fall into. All your additional worry and stress make the problem worse, fueling more anxiety and creating a vicious cycle or loop. It’s like spilling gasoline onto a bonfire: the more you fear the bodily sensations, the more intense they feel. I’ve seen so many carefree people go from feeling fine one day to becoming fearful of everyday situations simply because they had one bad panic attack and then got stuck in this anxious loop of fearing fear. But there is great hope. As strange as it sounds, the greatest obstacle to healing your anxiety is you. You’re the cure. Your body wants to heal your anxiety as much as you do.

I left South High School thinking that qalb and heart were one and the same. I used one word to refer to a muscle in my body and the concept of falling in love and the idea of what it takes to raise a family or to teach an entire classroom full of teenagers from around the world, and the students from the Middle East would use one single word for all of that, too. Qalb and heart seemed identical. Then I looked up qalb on Google Translate one weekend, while the kids were missing me and I was missing the kids. When I asked Google to change “heart” into Arabic, it gave qalb, as expected. But when I asked Google to switch qalb into English, I got heart, center, middle, transformation, conscience, core, marrow, pith, pulp, gist, essence, quintessence, topple, alter, flip, tip, overturn, reversal, overthrow, capsize, whimsical, capricious, convert, change, counterfeit. In addition, the word meant: substance, being, pluck. I am in love with this word, I thought. What is all this movement about? My own concept of heart did not include flip, capsize, or reverse. Our two cultures did not have the same idea of what was happening at the core of our beings. There was something reified and stolid about my sense of heart, whereas the idea of heart that these kids possessed appeared to have a lighter, more nimble quality. Whatever it was, qalb seemed more fluid and less constrained than anything I had imagined happening inside of me.

It didn’t matter how strong he was. If he wasn’t fluid with his movements, all the raw power in his frame would be useless.

As the twentieth century continued to roar, the idea of information grew in status to an idea of global importance. Yet as the idea of information became more popular, we slowly began to forget about the physicality of information that had troubled Boltzmann. The word information became a synonym for the ethereal, the unphysical, the digital, the weightless, the immaterial. But information is physical. It is as physical as Boltzmann’s atoms or the energy they carry in their motion. Information is not tangible; it is not a solid or a fluid. It does not have its own particle either, but it is as physical as movement and temperature, which also do not have particles of their own.

So much of what the self-love movement gets wrong is the result of viewing the self as some kind of monolithic and singular entity. That’s how we’ve been taught to experience ourselves. But when we put ourselves under the microscope, when we take a good look inside, that view starts to unravel. We begin to experience our inner lives as fluid, dynamic, multifaceted, vast, and surprising.

feelings.8 Our sensory world takes shape even before we are born. In the womb we feel amniotic fluid against our skin, we hear the faint sounds of rushing blood and a digestive tract at work, we pitch and roll with our mother’s movements. After birth, physical sensation defines our relationship to ourselves and to our surroundings. We start off being our wetness, hunger, satiation, and sleepiness. A cacophony of incomprehensible sounds and images presses in on our pristine nervous system. Even after we acquire consciousness and language, our bodily sensing

I froze with embarrassment, but then listened to the music as it thundered out of the speakers around us. The beat was driving, calling to something in my blood, something wild and uninhibited, and I started moving up and down to it. I felt stiff, awkward, out of place, certain everyone was watching and judging me for this ridiculous display. But the music drove me onward, and before I knew it, I was jumping higher, timing my jumps to the beat, then going bigger… and bigger. My movements grew less controlled, more fluid and instinctual, and pretty soon I was laughing just as hard as Alexy. It was unabashedly ridiculous, yet I didn’t think I’d ever felt anything so wonderful in my entire life.

A life sentence is like an insect encased in amber. Amber at one point is a fluid. As it is exposed to air, it becomes more viscous. Sometimes insects may get trapped in it. As it hardens, you see the insect's movements become slower. When it solidifies, he's just there. Thank God that I have been able to move enough to keep the liquid around me from solidifying.

He gave us music that reached into the ear like a lover's tongue and changed the color of our feelings. He presented movement so exquisite and fluid it coaxed our souls out of our bodies to dance with him, weightless in the perfume of divinity.

It's one of those winter nights when the darkness is so thick it's as if the whole area has been dipped head first in a bucket of blackness, and The Monster steals out of the door and crosses the half-circle of light around the last light in the street so quickly that if Elsa had blinked a little too hard she would have thought she was imagining it. But as it is she knows what she saw, and she hits the floor and makes her way down the stairs in one fluid movement.

He glanced at the thick scar across her palm—proof of the vow she’d made to Nehemia to free Eyllwe. Arobynn clicked his tongue. “It hurts my heart to see so many new scars on you.” “I rather like them.” It was the truth. Arobynn shifted in his seat—a deliberate movement, as all his movements were—and the light fell on a wicked scar stretching from his ear to his collarbone. “I rather like that scar, too,” she said with a midnight smile. That explained why he’d left the tunic unbuttoned, then. Arobynn waved a hand with fluid grace. “Courtesy of Wesley.

Poised Positioning • Be mindful of how you use your body to communicate. • Be fully present in the moment. • Be thoughtful and gracious in your actions. • Be fluid and elegant in your movements. • Express flow—walk in freedom and spontaneity. • Develop an unshakeable sense of authentic inner confidence and certainty. • Develop a deep respect for others. • Move slower and more deliberately. • Walk in integrity, class, and modesty. • Smile kindly and laugh softly. • Become a student of manners and etiquette.

As a professional speaker, Susanne travels all over the country and practically lives on airplanes. One day as she entered security to board yet another flight, she was struck by the poise, posture, and gestures of the man in front of her in line. As a communications expert, she observed his excellent presentation with appreciation and awe. The gentleman was dressed impeccably in a crisp white shirt and well-fitted suit and he sported a new haircut. She watched him as he removed his flawless leather belt, his gold money clip, and well-polished shoes. (And of course, he had Listerine in a baggie to ensure fresh breath!) The care with which he dismantled was impressive. His poised and fluid movements were deliberate and respectful of his personal possessions. As he regrouped and proceeded down the concourse, she was struck by how his stance and carriage intrigued and impressed her. His projection of elegance created a presence of pride and dignity. He left a remarkable impression.

he chopped the blade down onto the crown of Mark Rothstein’s head in one fluid movement and let it go planted to the bridge of the lieutenant’s nose.

How did you live? asked the being on the right. Tell it truthfully, the other said, as, from either side, they gently touched their heads to his. They recoiled, then withdrew to two gray stone pots set down on either side of that grand hall, into which they vomited twin streams of brightly colored fluid. The small versions of themselves rushed to bring towels, upon which they wiped their mouths. May we confirm? said the one on the right. Wait, what did you see, he said. Is there some— But it was too late. The being on the right sang a single ominous note and out came the several smaller versions of himself, but crippled and grimacing, bearing between them a feces-encrusted mirror. The being on the left sang his (somber, jarring) note, and several smaller versions of himself tumbled out, rolling forth via a series of spastic clumsy gymnastic movements that were somehow accusatory, bearing the scale. Quick check, the Christ-prince said sternly. I’m not sure I completely understood the instructions, the funeral-suited man said. If I might be allowed to— The being on the right held the mirror up before the funeral-suited man, and the being on the left reached into the funeral-suited man’s chest with a deft and aggressive movement, extracted the man’s heart, and placed it on the scale. Oh dear, said the Christ-emissary. A sound of horrific opprobrium and mourning echoed all across that kingdom.

The Holistic Life Foundation’s program combines yoga postures, fluid movement exercises, breathing techniques, and guided mindfulness practices. The movement activities are designed to enhance muscle tone and flexibility, and students learn breathing techniques designed to help them calm themselves. Each class includes a didactic component where instructors talk to students about identifying stressors and using mindfulness and breathing to reduce stress. At the end of each class, students lie on their backs and close their eyes while the instructors guide them through a mindful awareness practice. The program has been offered in a variety of settings in school and outside school.

TWO HEARTS   She looks into my eyes with a joy that no earthly being can honestly describe as I look right back into hers, assuring her of how much I truly love her. As she again seeks me out, her lips form a precious mold over top of mine, now reaching deep down into my place of content to reconfirm with me that she too knows who I am and why I had reached out to her. I embrace her as I have before, gradually applying my lips to her most tender outlets, admitting her entire body to fusillade with excitement and pleasure. Penetrating the layers of her consciousness as my hands slip down her arcuate back our bodies now build upon the afterquaking that now intensifies with each turn of the limbs as our bodies move together in one fluid formation. Her lips slowly imitate my every decisive movement. I can feel her using all of me as a vessel to cure her own weakness as she reconstructs herself from inside of that delicate place within her heart. Her lips find me again as the two of us lie comforted in each other’s arms behind the greatest force on earth. With our bodies sprawled out against the slippery stone that supports our growing urge to love and be loved, we lay hidden from the rest of the world at the center of the earth. We are where two hearts become one, again surprising our merciful king who resides in the stars as the beauty of our love emerges from all that was once mysterious.

Human history is replete with the fluid movement of people, and tribes and countries and cultures and empires are never, ever permanent. Over a long enough time-scale, not one of these descriptions of historical people holds steadfast, and only a thousand years ago your DNA began being threaded from millions from every culture, tribe, and country. If you want to spend your cash on someone in a white coat telling you that you’re from a tribe of wandering Germanic topless warriors, or descended from Vikings, Saracens, Saxons, or Drogo of Metz, or even the Great Emperor Charlemagne, help yourself. I, or hundreds of geneticists around the world, will shrug and do it for free: You are. And you don’t even need to spit in a tube—your majesty.

The broader project of “social justice” thus advances the “rights” of minorities of many kinds to remove inequality—or even difference itself—from our world. Men must be removed from positions of authority, and boys must be trained to see strong manhood as akin to “toxic masculinity.” Income must be taken and redistributed. Capitalism should be strenuously resisted, for it was built on the back of racism. Reason must be opposed by “personal narratives” driven by a belief in “standpoint epistemology,” the view that one’s minority status gives one a unique ability to see truth that privileged peoples necessarily cannot comprehend.31 Public spaces must be redone to accommodate the fluid “gender identities” of individuals. And more broadly, all forms of personal identity (and “orientation”) must be affirmed without question and accepted as a positive reality. (As I have noted, a thorough critique of these views comes in Chapters 3 and 4; we’re seeking, in all fairness, to describe the system in a compact way here.)

You can't recapture people who are gone, not exactly, not entirely. You can imagine their faces, or their bodies, or their hands, but those images are like stills, or paintings in frames. The other times, when they crossed their arms, made sudden or tender gestures, flattened down the crease in their trousers, lowered their gaze, smoothed away a bang. Those images of movement, of animation, are gone. I don't know where. The past. ... It's harder to remember their voice when the asked a waiter for some lemon, or complimented your blouse, or noticed how late it was getting. Recapturing fluid images of people as they were in life, while they keep morphing and resisting you is nearly impossible. But you can remember how they made you feel.

Nature has taught me about fluid adaptability. About not only weathering storms, but using howling winds to spread seeds wide, torrential rains to nurture roots so they can grow deeper and stronger. Nature has taught me that a storm can be used to clear out branches that are dying, to let go of that which was keeping us from growing in new directions. These are lessons we need for organizing.

By their very nature, returnees seek a reconnection to a past life, a former identity marked more often than not by a single language or a single cultural frame of reference. We go back to what we know, including our native tongues. This process of reclaiming a homogenous existence runs counter to multi-culturalism on a societal level and hybridity on an individual level. Aren't we supposed to be complex, hybrid creatures containing multitudes? What about the concept of multiple belongings promoted by such internationally successful authors as Elif Shafak and Zadie Smith? On paper, where it mostly lives, this concept sounds ideal. "Multiple belongings are nurtured by cultural encounters but they are not only the preserve of people who travel", writes Shafak. "It is an attitude, a way of thinking, rather than the number of stamps on your passport. It is about thinking of yourself, and your fellow human beings, in more fluid terms than solid categories". I wouldn't go as far as to suggest that returns imply a repudiation of a complex view of identity or of globalization - it's globalization that has allowed the many people you'll meet in this book, me included, to come and go, to cross borders and cultures - but they force us to think of movement in multi-directional ways. Some returnees find that the life they thoughts they would have back home is a fantasy, so they make their way back to the host country. Homeland returns remain unpredictable, in part because despite their historical contexts, they don't have the clear road maps and narratives that outward migrations enjoy.

There is a Life-Principle of the world, a universal agent, wherein are two natures and a double current, of love and wrath. This ambient fluid penetrates everything. It is a ray detached from the glory of the sun, and fixed by the weight of the atmosphere and the central attraction. It is the body of the Holy Spirit, the universal Agent, the Serpent devouring his own tail. With this electro-magnetic ether, this vital and luminous caloric, the ancients and the alchemists were familiar. Of this agent, that phase of modern ignorance termed physical science talks incoherently, knowing naught of it save its effects; and theology might apply to it all its pretended definitions of spirit. Quiescent, it is appreciable by no human sense; disturbed or in movement, none can explain its mode of action; and to term it "fluid," and speak of its "currents," is but to veil a profound ignorance under a cloud of words.

The kid burst through the front door, with a stainless-steel bottle looped through one finger and what looked like two granola bars in his other hand. “You don’t care if he goes?” was the quiet question that came at me. “Not at all,” I confirmed. “If you’re okay with it.” “You’re only going for a hike?” “Yes.” I saw him hesitate before letting out another one of his deep breaths. Then he murmured, “I need a minute,” just as Amos stopped in front of me and said, “I’m ready.” Was… was Mr. Rhodes coming too? He disappeared into the house even faster than his son had, his movements and strides long and fluid considering how muscular he was. I needed to stop thinking about his muscles. Like yesterday. I knew better already, didn’t I? Subtle, I was not. “Where’s he going?” Amos asked, watching his dad too. “I don’t know. He said to give him a minute. He might be coming too…?” The kid let out a frustrated sigh that made me side-eye him. “Change your mind?” He seemed to think about it for a second before shaking his head. “No. As long as I get out of the house, I don’t care.” “Thank you for making me feel so special,” I joked. The teenager looked at me, his quiet voice back, “Sorry.” “It’s okay. I’m just messing with you,” I told him with a grin. “He said I couldn’t go out with my friends so….” “You’re hanging out with chopped liver?” I could only imagine the kind of relationship he had with his dad if he wasn’t used to being picked on. “I’m messing with you, Amos. I promise.” I even nudged him with my elbow quickly.

There is a fear of catching AIDS , but a fear also of simply catching sex. There is a fear of catching anything whatever which might seem like a passion, a seduction, a responsibility. And, in this sense, it is once again the male who has most deeply fallen victim to the negative obsession with sex. To the point of withdrawing from the sexual game, exhausted by having to bear such a risk, and no doubt also wearied by having historically assumed the role of sexual power for so long. Of which feminism and female liberation have divested him, at least dejure (and, to a large extent, de facto). But things are more complicated than this, because th e male who has been emasculated in this way and stripped of his power, has taken advantage of this situation to fade from the scene, to disappear — doffing th e phallic mask of a power which has, in any event, become increasingly dangerous. This is the paradoxical victory of the movement for feminine emancipation. That movement has succeeded too well and now leaves the female faced with the (more or less tactical and defensive) defaulting of the male. A strange situation ensues, in which women no longer protest against male power, but are resentful of the 'powerlessness' of the male . The defaulting of the male now fuels a deep dissatisfaction generated by disappointment with a sexual liberation which is going wrong for everyone. And this dissatisfaction finds expression, contradictorily, in the phantasm of sexual harassment. This is, then, a very different scenario from traditional feminism. Women are no longer alienated by men, but dispossessed of the masculine, dispossessed of the vital illusion of the other and hence also of their own illusion, their desire and privilege as women. It is this same effect which causes children secretly to hate their parents, who no longer wish to assume the role of parent and seize the opportunity of children's emancipation to liberate themselves as parents and relinquish their role. What we have, then, is no longer violence on the part of children in rebellion against the parental order, but hatred on the part of children dispossessed of their status and illusion as children. The person who liberates himself is never who you though the was. This defaulting o f the male has knock-on effects which extend into the biological order. Recent studies have found a fall in the rate of sperm in the seminal fluid, but, most importantly, a decline of their will to power: they no longer compete to go and fertilize the ovum. There is no competition any more. Are they, too , afraid of responsibility? Should we see this as a phenomenon analogous to what is going on in the visible sexual world, where a reticence to fulfil roles and a dissuasive terror exerted by the female sex currently prevail? Is this an unintended side-effect of the battle against harassment - the assault of sperm being the most elementary form of sexual harassment?

to get out of the cold wind, lining their dens with grass and twigs to prevent sleeping on the cold ground. Animals taught him how to survive in the bad weather, and they taught him how to stay hidden, even in winter. After the long, cold winter passed, the sun returned and warmed the land, then rains came, and life sprang forth. In summer, violent storms passed through the area, and at times the wind would be so strong that it would knock down even the largest trees. The creek would flood and wipe out all traces of anyone ever having been there. ☐❖☐ Six years passed. Michael became a full-grown man. His hair was the color of sand. He had wide-set blue-green eyes, and he was more than six feet tall, with a strong, muscular body, wide shoulders, narrow hip and waist. He moved with the fluid movements of a cat.

moved down to her waist. She slid up against my body like a fluid, her lips parted and her head thrown back as I found her mouth with mine and strained her to me. We clung to each other, our bodies molding together until she pulled her lips from mine. For a moment, she looked up into my face, silently, then her hand went behind my head and pulled it down to hers again. Last night, when I had looked at her she had seemed beautiful and cool, relaxed and almost lethargic in her movements. She was different now, close against me, her long body moving hungrily, her lips searching my mouth and her tongue darting and curling. I slid my hands over the swell of her hips, up the arching curve of her back and gripped the fragile straps at her shoulders. In a moment, she moved away from me, dropped her arms to her sides and let me ease the dress from her shoulders and down over her breasts while she looked at me, breathing through her mouth. When I let go of the cloth and pressed my hands against the smoothness of her, she moved her fingers briefly at the side of the dress, then slid it down over her hips, let it fall and stepped from it, naked, toward me. I picked her up, carried her to the divan and lowered her to it, fumbled with my clothes and then sank to the divan to lie full-length beside her, reaching for her with my lips and my hands and my body. Ayla placed both her palms against my chest and whispered almost inaudibly, "Wait, Shell." For what seemed a long time she held me from her, then she smiled. Her eyes closed. "Hold me. Love me." When I pulled her close her arms went around me and she pressed the length of her body almost violently against mine. Her lips were moist and clinging as they kissed me and pressed against my flesh and nibbled at my skin, and the long fingernails traced fire down my spine. Then she was softness, an incredible softness, every touch of her hands, her breasts, her thighs, a velvet softness, and warmth that swallowed me, enveloped me, for an immeasurable time.

The Five Prana Vayus 1.Udana Vayu – The upward and outward movement of energy. This vayu governs enthusiasm, inspiration, expansion, and ascension. As prana enters the body, udana moves it upward toward the throat and face. With pranayama, udana vayu is affected by controlling the inhalation side of the breath and any retention of the breath after inhalation. 2.Prana Vayu – (Sometimes called “Pran” Vayu): The inward and upward movement of energy. This vayu governs the intake of prana into the body, as well as inhalation, eating, drinking, sensory impression, and mental experiences, and it is energizing and vitalizing. Prana vayu controls prana as it enters the body through the region of the chest and then ascends. With pranayama, prana vayu is affected by controlling the inhalation side of the breath and its capacity in the body. 3.Samana Vayu – The assimilating, inward-spiraling movement of energy. This vayu governs the assimilation of food, oxygen, and all experiences into the system. As prana enters the body, samana spirals it inward to coalesce around the navel center. With pranayama, samana vayu is affected by balancing the lengths and capacity of both the inhalation and exhalation. 4.Apana Vayu – The downward and outward movement of energy. This vayu governs the elimination of waste, as well as exhalation, energetic grounding, childbirth, and the removal of negative emotional and psychological experiences. Apana vayu moves prana downward toward the reproductive organs and out of the body, aiding with letting go. With pranayama, apana vayu is affected by controlling the exhalation side of the breath. 5.Vyana Vayu – The expanding and circulating movement of energy. This vayu governs the circulation of nutrients in the blood and bodily fluids, emotions and thoughts, and engagement in the wider world. Vyana vayu spirals from the center of the body and expands outward, integrating prana into the body and world. With pranayama, vyana vayu is affected by controlling the capacity of both the inhalation and exhalation.

Music is a universe of sound, constantly expanding and dividing. Compositions are carved into movements and passages. A half note branches off into quarter notes, sixteenth notes—the same tone, yet held for a different duration, a different effect. A harmony of multiple notes, a counterpoint of multiple melodies, an orchestra of multiple instruments: separate spheres, playing in parallel. “A composer must make order out of this hopeless profusion of noise. To play every note at once—one big, all-encompassing dot—would produce chaos. To play none would produce silence. But to space them out artfully on a staff of time: that would produce a masterpiece. “And so the composer splits the piece into measures and meter. The notes are held tight within bar lines, told when to ring out and when to die out, when to attack and when to decay. They are given finite boundaries. *You will last for eight breaths, and no more.* To them, time is fixed; to the composer, it is fluid. She could speed it up, slow it down, change duple meter to triple meter or a march to a waltz. She knows that the beauty lies not in how long the note lasts, but in the sound that it makes while it does. “Maybe, the woman thinks, our composer has done the same with us. Lest eternity seem too long and infinity too loud, she imposes measures on our existence, divides it into years, generations, incarnations. We count beats and birthdays. We emerge from the silence, and we fade back into it. This is not a punishment or a curse, any more than it is to assign a time signature to a song. After all, if there is no beat, how can there be a dance? “She does not do this to make us suffer. She does this to make us music.

That a state of equilibrium has never been reached, proves that it is impossible. But in infinite space it must have been reached. Likewise in spherical space. Inform of space must be the cause of the eternal movement, and ultimately of all "imperfection." That "energy" and "stability" and "immutability" are contradictory. The measure of energy (dimensionally) is fixed, though it is essentially fluid. "That which is timeless" must be refuted. At any given moment of energy, the absolute conditions for a new distribution of all forces are present; it cannot remain stationary. Change is part of its essence, therefore time is as well: by this means, however, the necessity of change has only been established once more in theory.

but in this stage the Hindu philosophers find one of life’s most common traps: People become attached to its earthly rewards—money, power, sex, prestige—and thus try to make this stage last a lifetime. Sound familiar? This is another description of being stuck on the fluid intelligence curve, chasing Aquinas’s four idols—money, power, pleasure, and honor—that lead to self-objectification, but that never satisfy. To break the attachment to these idols requires movement to a new stage of life, with a new set of skills—spiritual skills. The change can be painful, Acharya said, like becoming an adult for a second time. And it means letting go of things that defined us in the eyes of the world.

The Moon's magnetic gravitational power, combined with the movement of the Earth influences the flow of sap in trees and plants and of body fluids, including the rhythm of the blood, the female menstrual cycle and gestation cycles, and the brain itself.

He stared at me just long enough for it to be weird and then set his soda down. In a single fluid movement he gathered me in his arms and folded me into his chest, burying his face in my neck. It was so unexpected I froze. And then I melted. I’d missed him. So much. And I loved it when he held me. It was something I couldn’t allow outside of sex because it made me want to never let go. But this hug took me by surprise, and once I was in it, there was no getting out. My heart just wasn’t that strong. He clutched me to him so hard that for a second I got worried something was wrong. Really wrong. I wrapped my arms around his waist and hugged him back, wondering if he’d gotten some bad news. He didn’t look well, and he never broke my no-affection rules. “What’s wrong?” I whispered. He shook his head in the crook of my neck. “I’m just glad you’re here.” He dragged his face from my neck and looked like he might kiss me, but instead he put his forehead to mine and closed his eyes. I gave him a breathless smile. “Well, we’re friends with benefits, right?” I said, my lips an inch from his mouth. “This is the friends part.” And I missed you. Couldn’t stand not seeing you today. Wanted to take care of you. Needed to make sure you were okay. He put a hand to my cheek and ran a thumb along my lips. Then he leaned in and kissed me. It was tentative and soft, and I dissolved into it. It was like the space I’d put between us made me need more of him to make up for it, and I couldn’t get close enough or soak up enough of him.

She isn't sure how long they sit like that, the two of them side by side, lost in their own thoughts, but it's a soft scratching sound that brings her attention back to the clearing. Opening her eyes, she looks across to where they had left the prone bird and is startled to see the hawk no longer lying beneath the leaf litter but standing upright, its head cocked, one beady orange eye peering at her with suspicion. "Look," she whispers, reaching for Jack's arm. Jack follows her gaze. The bird studies them a moment then hops clumsily away through the leaves towards the base of a tree. Lillian holds her breath, watching as it half-extends one wing. It hops a few more paces but it looks off-balance, too damaged to fly; but it's as if it hears her thought and determines to prove her wrong for suddenly it stretches out both wings and, in one fluid movement, takes flight across the clearing to land in the lowest branch of a nearby tree. Lillian feels her heart beating in her chest, a heady mix of excitement and elation. The sparrowhawk perches on the bough, its eye still fixed in their direction before it glides off the branch and sails low across the clearing in a showy swoop before soaring away through the trees and out of sight. "Well how about that?" says Jack. "Lazarus rises.

The reason why we can’t see our eyes moving with our own eyes is because our brains edit out the bits between the saccades—a process called saccadic suppression. Without it, we’d look at an object and it would be a blurry mess. What we perceive as vision is the director’s cut of a film, with your brain as the director, seamlessly stitching together the raw footage to make a coherent reality. Perception is the brain’s best guess at what the world actually looks like. Immense though the computing power of that fleshy mass sitting in the darkness of our skulls is, if we were to take in all the information in front of our eyes, our brains would surely explode.** Instead, our eyes sample bits and pieces of the world, and we fill in the blanks in our heads. This fact is fundamental to the way that cinema works. A film is typically 24 static images run together every second, which our brain sees as continuous fluid movement—that’s why it’s called a movie. The illusion of movement actually happens at more like 16 frames per second. At that speed, a film projection is indistinguishable from the real world, at least to us. It was the introduction of sound that set the standard of 24 frames per second with The Jazz Singer in 1927, the first film to have synchronized dialogue. The company

My curiosity aroused, I flipped to another page. 蛸と海女: Tako to Ama, trans. ‘The Dream of the Fisherman’s Wife.’ Head thrown back, eyes closed, a nude woman lay sprawled ashore. Her brows creased in anguish and ecstasy. As she was pleasured by a large octopus. No, octopi. I trailed a finger along the suctioned underside of the creature’s appendage to her breast where a smaller octopus latched onto. The painting might’ve been unmoving, but it held an animated quality. The woman writhing on the shore; the fluid movements of the sea creatures as the trio derived mutual pleasure from their strange encounter. Their visceral desire seeped through the page, and I was but a voyeur.

Birds are masterpieces of nature. The fluid beauty in their colors and their physical form is living art. Their every subtle and conspicuous movement - the undulating traverse of the wren, the high step of the heron, the dance of the crane, and the contemplative blink of the owl — is poetry. Wheeling, pitching, pivoting, swooping and swerving are an aesthetic.

Unlike muscles, cartilage isn’t on the blood circulation route; it receives nutrients via the movement of the joint, which helps nourishing fluid flow in and out. When you take weight on and off your knees—as well as the joints in your spine—you are bathing them in beneficial stuff. This is important even if you’re not feeling pain; if you’re hurting, it’s imperative.