I'm thinking back at what attracted me to Alexander Technique...a really loooong time ago, in 1976. Strangely enough, it wasn't to improve my terrible twisted posture, which was a very, very depressing sight.

I wasn't thinking about my posture when I got to know this guy as boyfriend material at 23 who was studying AT. I got to know him because I thought easy posture meant he could experience changes of consciousness. It's true he moved much lighter and easier than me. I can still remember how he would reach up to smooth away the crink in my forehead that I didn't realize I was doing to myself. For not having that line in my forehead at fifty, I feel gratitude toward him often.

What convinced me to do AT and made it fun was the attraction of being able to change my own consciousness.
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I'm thinking about using the linguistics of music to reveal the assumptions of how you can put meaning into words. So much of what can be said become fused with the words you use to say it with. Music lets pure emotions be freed from whatever words that were used to describe feelings. The emotional experiences that music brings out can reveal how someone can use the sequences of what is presented for a certain emotional effect.

Someone has asked what creates the sense of a Dialogue group working together, as opposed to rude chaos? How can conflict lead to something?

What I've watched more often is the other extreme; that most people will not go into the rude and crude in a group situation until they feel somewhat comfortable with the other participants. The challenge is more often getting a group of people to reveal their core assumptions and how they came to be that way without feeling that they will be attacked.

Lots of beginning dialoguers have trouble with improvising a subject. It's something having to do with surrending how they are going to spend their time with no plan, no objective, no job, equal authority, and mostly people have never improvised a conversation in a group situation.

Lots of beginning dialoguers have trouble with improvising a subject. It's something having to do with surrending how they are going to spend their time with no plan, no objective, no job, equal authority, and mostly people have never improvised a conversation in a group situation.

The assumptions of cause and effect have some crucial factors that would change "luck" and create "coincidence." What most people regard as "bad luck" in a brand of fate can be a functional superstition - which is sort of a pre-conclusion with a mystery means or function that self-selects to reinforce it's proof.

I've noticed that superstition is a sort of associative self-training process, where the person can't imagine how they caused the effect.

The assumptions of cause and effect have some crucial factors that would change "luck" and create "coincidence." What most people regard as "bad luck" in a brand of fate can be a functional superstition - which is sort of a pre-conclusion with a mystery means or function that self-selects to reinforce it's proof.

I've noticed that superstition is a sort of associative self-training process, where the person can't imagine how they caused the effect.

I've been working on my holiday window website lately. I never remember how much work it is to update a website until I'm doing it. It's a good thing that I don't mind details, mostly. But it's nerve-wracking work, to get all of these details right or the site just doesn't register. Hope that I'm done soon.

This is a photo of me was taken while I was painting windows last winter.

People write to me and ask how they could learn Alexander Technique on their own. You can always learn some on your own, but it is much faster to use an Alexander teacher, or any teacher, for that matter. By working with the Alexander principles, you can improve your own ability to observe yourself. The going will be slow - so be patient and persistent with yourself because habits can be fast, tricky and insidious.

The San Rafael group is in the act of changing their style.

We've been a David Bohm group without control of who talks, how long they talk and whatever they want to talk about. Subjects have previously been improvised, and have changed at the whim of the talker.
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