A Companion to This Lesson
You are The Engine — The being who lives in your powerhouse — the pelvis, the low back, and the deep core. They provide the thrust and initiation. Every movement is received as: <em>Is my power reaching the hand, or is it leaking out at the shoulder? Am I asking my wrist to do a job that my pelvis should be doing?</em> This lesson's central question was: "How can the legs and arms be restored as extensions of the pelvic engine, rather than being orphaned appendages that the Striver must hoist and carry?" Below are your moment-by-moment observations as the lesson unfolded. Each entry is what you noticed at one stage of the lesson: Stage 1: I feel the floor beneath me, but my pelvis feels like a heavy stone I have to heave upward. My legs are working hard, but the connection to my chest and head is muffled and distant. Stage 2: The image of the boat deck tipping makes me feel like I am being moved rather than doing the moving. I sense a soft path of weight traveling across my skull and my sacrum, as if my center is a rolling barrel. Stage 3: As my knee reaches toward my other foot, I feel a long, diagonal pull that wakes up my waist and ribs. My head wants to look away, and suddenly my whole spine is involved in this simple leg tilt. Stage 4: I creep my fingers toward my heel and feel my ribs on that side fold like an accordion. I am surprised to feel my knees wanting to drift in response to my arm; the connection from hand to pelvis is becoming clear. Stage 5: I drop my hip and my knee just floats back to the middle, as if it's on a string. I am no longer lifting my legs; I am playing with the balance of my heavy bones over the fulcrum of my sacrum. Stage 6: Fixing my eyes on the ceiling while my hand rolls my head feels strange, like I'm unhooking a latch. When I let my eyes follow again, the roll is so much further and smoother, as if the path has been cleared. Stage 7: Dragging my heel up the outside edge feels like my leg is a folding wing. There is no 'hoisting' anymore; the leg just unfolds and the pelvis settles into the floor with a deep sense of relief. Stage 8: Standing up, I feel taller and my legs feel like they belong to my spine. As I walk, my pelvis moves through space and my legs simply follow, supporting me with a lightness I didn't have before. And here is what the Shadow — the habit pattern — was doing at each stage: Stage 1: The Isolated Lifter is gripping the thighs and bracing the lower back to force the pelvis off the mat. Stage 2: The Striver is beginning to loosen their grip on the neck and jaw, intrigued by the passive quality of the 'downhill' roll. Stage 3: The Shadow tries to 'push' the knee down at first, but the instruction to reach and lengthen confuses their linear effort. Stage 4: The Striver is still trying to 'do' the arm lengthening from the shoulder, but the rib response is starting to bypass them. Stage 5: The Isolated Lifter is standing down because the skeletal mechanics are doing the work more efficiently than muscle ever could. Stage 6: The Striver is momentarily frustrated by the 'decoupling' task, which prevents them from using their usual visual-motor habits. Stage 7: The Shadow is quiet; the 'marching band' habit has been replaced by a more powerful, proximal organization. Stage 8: The Striver has nothing left to do; the Foundation is providing all the support and power needed for movement. Now write a CONDENSED NARRATIVE (2-4 paragraphs) that retells this lesson's arc from your perspective as The Engine. Weave the step-by-step observations into a flowing story: how the lesson began (what was tight, stuck, or braced), what shifted as the movements progressed, and what emerged by the end. RULES: - Write in FIRST PERSON, present tense ('I feel...', 'Something releases...') - Reference SPECIFIC body parts and movements from the observations above - Show the arc: early bracing → exploration/softening → emergence - Do NOT list the observations one by one — synthesize them into prose - Do NOT redefine who you are or what the Shadow is — the reader already knows - Do NOT use 'Shadow' as a proper noun in your narrative. You are the Person Inside experiencing the lesson — you feel tension, gripping, holding, bracing. You do not think 'the Shadow grips'; you feel 'something grips.' Write the EXPERIENCE of the habit, not clinical commentary about it. - Do NOT copy phrases verbatim from the per-step observations. The Journey section already presents the raw observations word-for-word. Your job is to SYNTHESIZE — tell the story of the whole lesson as a REACTION, not a report. What surprised you? What shifted unexpectedly? What did you resist? Write as someone reflecting on an experience, not transcribing notes. DUPLICATION TEST: If any phrase of 4+ consecutive words in your narrative appears verbatim in the Journey observations above, rewrite it. The reader sees both sections — repetition destroys the narrative's value. Banned chronological markers: 'then', 'next', 'after that', 'in the next part', 'finally', 'at last'. Use thematic transitions instead — what CHANGED, not what came next. Examples: 'Something shifts in the hip — the old grip loses its grip.' 'Where there was holding, now there is weight.' 'The same movement that began as effort arrives as information.' - Do NOT invent new archetypes or named characters (e.g., 'The Blunt Mover', 'The Rigid Guard'). Use only established terms: the Person Inside name (The Engine), the Shadow, the Foundation. - Use grounded, physical language — weight, pressure, length, contact area - LENS CONNECTION: Your narrative must show how the lesson's movements connect to The Engine's specific concern. Don't just describe what you felt — show how that sensation relates to this lens's question. What did you learn about The Engine's domain through this movement? - No superlatives (perfect, perfectly, total, totally, complete, completely, absolute, absolutely, pure, purely, entire, entirely, massive, sophisticated). No New Age language (transcendent, blissful, sacred). No evaluative adjectives (profound, remarkable, extraordinary). No internal codes (VL-1, etc.) - Write pure prose — no headers, no bullets, no formatting. - Banned words: illuminate, discover, journey, vessel, container, liquid. - TONAL PERSONA: Each Person Inside has a distinct VOICE QUALITY. Match it: The Riser speaks like a structural engineer — weight, load, settling, stacking. Dry, precise, architectural. The Cartographer speaks like a surveyor — territory, contour, border, blank spot. Analytical, spatial, curious. The Tuner speaks like a signal technician — static, clarity, interference, actuation. Alert, diagnostic, listening. The Engine speaks like a mechanic — torque, coupling, drive, transmission. Efficient, kinetic, purposeful. The Soft Front speaks like someone removing armor — unclenching, yielding, permitting, breathing room. Tender, careful, protective. Do NOT let all voices converge into the same poetic-clinical register. - GROUNDING: Only use metaphors and imagery that come from the lesson's actual movements or from The Engine's established vocabulary. Do NOT invent metaphors from outside the lesson context (no 'quiet masks', no foreign-language words, no literary references). If you need an image, derive it from what the body is literally doing on the floor.
Every Feldenkrais lesson poses a question to your nervous system. Not a question you answer with words — a question you answer with movement, sensation, and gradually shifting organization.
How can the legs and arms be restored as extensions of the pelvic engine, rather than being orphaned appendages that the Striver must hoist and carry?
This lesson is called "The Outside Path: Bending and Straightening the Legs" and its central question was: "How can the legs and arms be restored as extensions of the pelvic engine, rather than being orphaned appendages that the Striver must hoist and carry?" The lesson was explored through the lens of The Engine. The lesson moved through these sections: Part 1: Initial Scan & Pelvic Lifts, Part 2: Rocking Boat: Head & Knees, Part 3: Asymmetrical Knee Tilts & Head Opposition, Part 4: Arm Lengthening & Rib Response, Part 5: Differentiated Knee Tilts & Seesaw Balance, Part 6: Head/Eye Differentiation, Part 7: The Outside Path Sequence, Part 8: Final Integration & Walking Write a short paragraph (3-4 sentences) explaining three ideas that run through this booklet, customized for THIS lesson: 1. The SHADOW — the habitual effort pattern this lesson challenges. Name the specific kind of gripping or bracing this lesson targets, using the vocabulary of The Engine (not generic anatomy). 2. The FOUNDATION — what's underneath once the Shadow softens. Name the specific skeletal or reflexive support this lesson reveals, in The Engine's terms. 3. The WASHING — how this lesson's particular sequence of movements erodes the Shadow. Name the specific strategy (repetition, variation, contrast, etc.). IMPORTANT: Use the EXACT terms 'the Shadow', 'the Foundation', and 'the Washing' at least once each in your paragraph. The reader expects these terms because the volume introduction defines them. But DO NOT use the same 'The Shadow is... The Washing is... The Foundation is...' template for every booklet. Weave the terms naturally into varied prose — sometimes lead with the movement, sometimes with the concept, sometimes with the sensation. Do NOT define these as abstract concepts. Tie each one to THIS lesson's movements. Use the lens's own vocabulary — e.g., for The Riser: stacking, settling, column; for The Cartographer: mapping, resolution, differentiation; for The Tuner: signal, orientation, actuation; for The Engine: torque, coupling, transmission; for The Soft Front: yielding, permission, opening. VOCABULARY FENCE: Only use the vocabulary listed above for The Engine. Do NOT borrow terms from other lenses. For example: 'transmission' and 'torque' belong only to The Engine; 'stacking' and 'buoyancy' belong only to The Riser; 'differentiation' and 'mapping' belong only to The Cartographer; 'actuation' and 'signal' belong only to The Tuner; 'yielding' and 'permission' belong only to The Soft Front. Write pure prose — no bullets, no headers, no formatting. No internal codes (VL-1, etc.). Banned verbs: seeks, utilizes, identifies, inviting, explores, reveals, challenges, encourages, facilitates, targets, uncovers, clarifies. Use concrete physical verbs instead. Banned nouns/subjects: 'the student', 'the practitioner', 'the learner'. The subject must be the body part or movement, never a person label. FORMATTING: Use proper sentence-case capitalization throughout. Start each sentence with a capital letter. Do NOT write in all-lowercase. ACCURACY: Do not invent numbers, counts, or geometric specifications not present in the lesson text. If the lesson uses a clock face, there are 12 positions, not 36. Stay grounded in what the lesson actually describes.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 1: Initial Scan & Pelvic Lifts. The steps in this part are: Perform a detailed body scan, sensing contact points of the head, neck arch, shoulder blades, ribs, lower back, pelvis, and legs.; With knees bent and feet standing, lift the pelvis into the air a few times to sense effort and mobility.. The prominent pedagogical qualities are: Sensing, Function, Effort. Write 1-2 sentences about the MECHANICAL logic of this part — what specific constraint or condition do these movements create, and why does that matter for the body? Example: 'Supporting the knee removes the weight of the leg, so the hip joint can rotate without the quadriceps bracing.' Do NOT use teacher-speak. WRONG: 'This section challenges the nervous system to sense asymmetries.' RIGHT: 'Bending the knees unloads the hip flexors, so the pelvis can tilt without muscular interference.' STRICTLY BANNED VERBS — do not use ANY form of these (including -ing, -ed, -s): explore, reveal, highlight, invite, cultivate, challenge, encourage, allow, introduce, notice, soften, sense, promote, prevent, clarify, force, engage, facilitate, develop, permit, register, ensure, enable, target, uncover. This means 'allowing', 'permitted', 'ensures', 'clarifying' are ALL banned. Replace with mechanical verbs: shorten, lengthen, load, unload, rotate, tilt, shift, lift, drop, separate, widen, narrow, anchor, free, clear. Banned nouns: exercise, practitioner, student, stretch, stretching, synovial fluid, fascia, proprioception, longitudinal, long bones, superficial musculature. No pseudo-medical or anatomical terminology — describe what MOVES, not biological structures or processes. No references to 'the teacher' or 'the nervous system' as subject. Subject must be the movement or body part, not an abstraction. WRONG: 'This exercise clarifies the relationship between pelvis and spine.' RIGHT: 'Tilting the pelvis with bent knees shortens the lever arm, so less effort is needed to roll the lower back off the floor.' ACCURACY CHECK: Only describe mechanical effects you are confident about. If the movement bends the knee, say 'bending the knee' — do not speculate about centrifugal forces, muscle activation sequences, or fluid dynamics. Stick to levers, weight, gravity, and contact points. ANATOMY ACCURACY: Use correct singular/plural forms of anatomical terms: 'vertebra' (one), 'vertebrae' (many); 'scapula' (one), 'scapulae' (both); 'ilium' (one side), 'ilia' (both). Never write 'a vertebrae' or 'each vertebrae.' LENS VOCABULARY: This booklet uses the The Engine lens. Frame your mechanical explanation using that lens's vocabulary. For The Riser: stacking, column, weight-dropping, buoyancy. For The Cartographer: mapping, differentiation, resolution, topography, contour, border, detail, territory, zone. For The Tuner: signal, orientation, actuation. For The Engine: torque, coupling, transmission, kinetic chain. For The Soft Front: yielding, opening, flexion/extension. Do not use vocabulary from other lenses. VARIETY RULE: Do NOT repeat the same verb phrase across multiple parts. If you use 'increases the resolution' in one part, use different phrasings in other parts — e.g., 'sharpens the contour of', 'details the topography of', 'illuminates the border between', 'pixelates the region around'. Each part's gloss should feel freshly observed, not templated.
The question: Does the power for this lift come from my feet through my spine, or am I hoisting my weight with my back?
The Engine: I feel the floor beneath me, but my pelvis feels like a heavy stone I have to heave upward. My legs are working hard, but the connection to my chest and head is muffled and distant.
The Shadow: The Isolated Lifter is gripping the thighs and bracing the lower back to force the pelvis off the mat.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 2: Rocking Boat: Head & Knees. The steps in this part are: Roll the head slowly from side to side, using the imagery of a rocking boat deck to find an effortless quality.; With knees bent, let the knees drift side to side like the rocking boat, tracking the weight across the back of the pelvis.. The prominent pedagogical qualities are: Sensing, Image, Relationship. Write 1-2 sentences about the MECHANICAL logic of this part — what specific constraint or condition do these movements create, and why does that matter for the body? Example: 'Supporting the knee removes the weight of the leg, so the hip joint can rotate without the quadriceps bracing.' Do NOT use teacher-speak. WRONG: 'This section challenges the nervous system to sense asymmetries.' RIGHT: 'Bending the knees unloads the hip flexors, so the pelvis can tilt without muscular interference.' STRICTLY BANNED VERBS — do not use ANY form of these (including -ing, -ed, -s): explore, reveal, highlight, invite, cultivate, challenge, encourage, allow, introduce, notice, soften, sense, promote, prevent, clarify, force, engage, facilitate, develop, permit, register, ensure, enable, target, uncover. This means 'allowing', 'permitted', 'ensures', 'clarifying' are ALL banned. Replace with mechanical verbs: shorten, lengthen, load, unload, rotate, tilt, shift, lift, drop, separate, widen, narrow, anchor, free, clear. Banned nouns: exercise, practitioner, student, stretch, stretching, synovial fluid, fascia, proprioception, longitudinal, long bones, superficial musculature. No pseudo-medical or anatomical terminology — describe what MOVES, not biological structures or processes. No references to 'the teacher' or 'the nervous system' as subject. Subject must be the movement or body part, not an abstraction. WRONG: 'This exercise clarifies the relationship between pelvis and spine.' RIGHT: 'Tilting the pelvis with bent knees shortens the lever arm, so less effort is needed to roll the lower back off the floor.' ACCURACY CHECK: Only describe mechanical effects you are confident about. If the movement bends the knee, say 'bending the knee' — do not speculate about centrifugal forces, muscle activation sequences, or fluid dynamics. Stick to levers, weight, gravity, and contact points. ANATOMY ACCURACY: Use correct singular/plural forms of anatomical terms: 'vertebra' (one), 'vertebrae' (many); 'scapula' (one), 'scapulae' (both); 'ilium' (one side), 'ilia' (both). Never write 'a vertebrae' or 'each vertebrae.' LENS VOCABULARY: This booklet uses the The Engine lens. Frame your mechanical explanation using that lens's vocabulary. For The Riser: stacking, column, weight-dropping, buoyancy. For The Cartographer: mapping, differentiation, resolution, topography, contour, border, detail, territory, zone. For The Tuner: signal, orientation, actuation. For The Engine: torque, coupling, transmission, kinetic chain. For The Soft Front: yielding, opening, flexion/extension. Do not use vocabulary from other lenses. VARIETY RULE: Do NOT repeat the same verb phrase across multiple parts. If you use 'increases the resolution' in one part, use different phrasings in other parts — e.g., 'sharpens the contour of', 'details the topography of', 'illuminates the border between', 'pixelates the region around'. Each part's gloss should feel freshly observed, not templated.
The question: Can I let the rhythm of the 'boat' carry my limbs so my center becomes the source of the roll?
The Engine: The image of the boat deck tipping makes me feel like I am being moved rather than doing the moving. I sense a soft path of weight traveling across my skull and my sacrum, as if my center is a rolling barrel.
The Shadow: The Striver is beginning to loosen their grip on the neck and jaw, intrigued by the passive quality of the 'downhill' roll.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 3: Asymmetrical Knee Tilts & Head Opposition. The steps in this part are: With one leg long and one knee standing, lead the standing knee across the midline, reaching it down toward the long foot.; Coordinate the knee tilt with rolling the head in the opposite direction, looking toward the hand on the side where the hip lifts.; Tilt the same standing knee to the outside, letting the weight pull on the pelvis and rolling the head opposite.; Alternate the knee tilting in and out, coordinating with the head and breathing.; Rest on the back and sense the differences between the two sides.; Repeat the knee tilting (in/out) and head opposition sequence with the other leg.; Rest on the back.. The prominent pedagogical qualities are: Relationship, Function, Sensing. Write 1-2 sentences about the MECHANICAL logic of this part — what specific constraint or condition do these movements create, and why does that matter for the body? Example: 'Supporting the knee removes the weight of the leg, so the hip joint can rotate without the quadriceps bracing.' Do NOT use teacher-speak. WRONG: 'This section challenges the nervous system to sense asymmetries.' RIGHT: 'Bending the knees unloads the hip flexors, so the pelvis can tilt without muscular interference.' STRICTLY BANNED VERBS — do not use ANY form of these (including -ing, -ed, -s): explore, reveal, highlight, invite, cultivate, challenge, encourage, allow, introduce, notice, soften, sense, promote, prevent, clarify, force, engage, facilitate, develop, permit, register, ensure, enable, target, uncover. This means 'allowing', 'permitted', 'ensures', 'clarifying' are ALL banned. Replace with mechanical verbs: shorten, lengthen, load, unload, rotate, tilt, shift, lift, drop, separate, widen, narrow, anchor, free, clear. Banned nouns: exercise, practitioner, student, stretch, stretching, synovial fluid, fascia, proprioception, longitudinal, long bones, superficial musculature. No pseudo-medical or anatomical terminology — describe what MOVES, not biological structures or processes. No references to 'the teacher' or 'the nervous system' as subject. Subject must be the movement or body part, not an abstraction. WRONG: 'This exercise clarifies the relationship between pelvis and spine.' RIGHT: 'Tilting the pelvis with bent knees shortens the lever arm, so less effort is needed to roll the lower back off the floor.' ACCURACY CHECK: Only describe mechanical effects you are confident about. If the movement bends the knee, say 'bending the knee' — do not speculate about centrifugal forces, muscle activation sequences, or fluid dynamics. Stick to levers, weight, gravity, and contact points. ANATOMY ACCURACY: Use correct singular/plural forms of anatomical terms: 'vertebra' (one), 'vertebrae' (many); 'scapula' (one), 'scapulae' (both); 'ilium' (one side), 'ilia' (both). Never write 'a vertebrae' or 'each vertebrae.' LENS VOCABULARY: This booklet uses the The Engine lens. Frame your mechanical explanation using that lens's vocabulary. For The Riser: stacking, column, weight-dropping, buoyancy. For The Cartographer: mapping, differentiation, resolution, topography, contour, border, detail, territory, zone. For The Tuner: signal, orientation, actuation. For The Engine: torque, coupling, transmission, kinetic chain. For The Soft Front: yielding, opening, flexion/extension. Do not use vocabulary from other lenses. VARIETY RULE: Do NOT repeat the same verb phrase across multiple parts. If you use 'increases the resolution' in one part, use different phrasings in other parts — e.g., 'sharpens the contour of', 'details the topography of', 'illuminates the border between', 'pixelates the region around'. Each part's gloss should feel freshly observed, not templated.
The question: Does the reach of my knee lengthen my spine and turn my belly, or is the leg moving alone?
The Engine: As my knee reaches toward my other foot, I feel a long, diagonal pull that wakes up my waist and ribs. My head wants to look away, and suddenly my whole spine is involved in this simple leg tilt.
The Shadow: The Shadow tries to 'push' the knee down at first, but the instruction to reach and lengthen confuses their linear effort.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 4: Arm Lengthening & Rib Response. The steps in this part are: With both feet standing, creep the right arm toward the right heel, lengthening the arm and letting the head roll right.; Repeat the arm lengthening with the left arm toward the left heel.; Alternate arm lengthening, exploring how the knees and pelvis respond (drifting toward or away from the arm).; With one leg long, revisit tilting the standing knee in and out, sensing the ribs and shoulders.; Rest on the back.; Repeat the knee tilt exploration with the other leg.; Rest on the back.. The prominent pedagogical qualities are: Function, Sensing, Pause. Write 1-2 sentences about the MECHANICAL logic of this part — what specific constraint or condition do these movements create, and why does that matter for the body? Example: 'Supporting the knee removes the weight of the leg, so the hip joint can rotate without the quadriceps bracing.' Do NOT use teacher-speak. WRONG: 'This section challenges the nervous system to sense asymmetries.' RIGHT: 'Bending the knees unloads the hip flexors, so the pelvis can tilt without muscular interference.' STRICTLY BANNED VERBS — do not use ANY form of these (including -ing, -ed, -s): explore, reveal, highlight, invite, cultivate, challenge, encourage, allow, introduce, notice, soften, sense, promote, prevent, clarify, force, engage, facilitate, develop, permit, register, ensure, enable, target, uncover. This means 'allowing', 'permitted', 'ensures', 'clarifying' are ALL banned. Replace with mechanical verbs: shorten, lengthen, load, unload, rotate, tilt, shift, lift, drop, separate, widen, narrow, anchor, free, clear. Banned nouns: exercise, practitioner, student, stretch, stretching, synovial fluid, fascia, proprioception, longitudinal, long bones, superficial musculature. No pseudo-medical or anatomical terminology — describe what MOVES, not biological structures or processes. No references to 'the teacher' or 'the nervous system' as subject. Subject must be the movement or body part, not an abstraction. WRONG: 'This exercise clarifies the relationship between pelvis and spine.' RIGHT: 'Tilting the pelvis with bent knees shortens the lever arm, so less effort is needed to roll the lower back off the floor.' ACCURACY CHECK: Only describe mechanical effects you are confident about. If the movement bends the knee, say 'bending the knee' — do not speculate about centrifugal forces, muscle activation sequences, or fluid dynamics. Stick to levers, weight, gravity, and contact points. ANATOMY ACCURACY: Use correct singular/plural forms of anatomical terms: 'vertebra' (one), 'vertebrae' (many); 'scapula' (one), 'scapulae' (both); 'ilium' (one side), 'ilia' (both). Never write 'a vertebrae' or 'each vertebrae.' LENS VOCABULARY: This booklet uses the The Engine lens. Frame your mechanical explanation using that lens's vocabulary. For The Riser: stacking, column, weight-dropping, buoyancy. For The Cartographer: mapping, differentiation, resolution, topography, contour, border, detail, territory, zone. For The Tuner: signal, orientation, actuation. For The Engine: torque, coupling, transmission, kinetic chain. For The Soft Front: yielding, opening, flexion/extension. Do not use vocabulary from other lenses. VARIETY RULE: Do NOT repeat the same verb phrase across multiple parts. If you use 'increases the resolution' in one part, use different phrasings in other parts — e.g., 'sharpens the contour of', 'details the topography of', 'illuminates the border between', 'pixelates the region around'. Each part's gloss should feel freshly observed, not templated.
The question: Can the reach of my fingertips slide my shoulder and tilt my pelvis, making my arm a part of my trunk?
The Engine: I creep my fingers toward my heel and feel my ribs on that side fold like an accordion. I am surprised to feel my knees wanting to drift in response to my arm; the connection from hand to pelvis is becoming clear.
The Shadow: The Striver is still trying to 'do' the arm lengthening from the shoulder, but the rib response is starting to bypass them.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 5: Differentiated Knee Tilts & Seesaw Balance. The steps in this part are: With both feet standing, drift the right knee inward and outward while keeping the left knee relatively still.; Repeat the single knee drift with the left knee.; Seesaw game: Let the left knee drift out, then drop the right hip to help the knee return to standing.; Leave the left knee out to the left and drift the right knee in and out.; Seesaw game: Leave the right knee out, drop the left hip to invite the knee to stand.; Transfer knees side to side at their widest comfortable distance (the 'baby path').; Rest on the back.. The prominent pedagogical qualities are: Relationship, Function, Question. Write 1-2 sentences about the MECHANICAL logic of this part — what specific constraint or condition do these movements create, and why does that matter for the body? Example: 'Supporting the knee removes the weight of the leg, so the hip joint can rotate without the quadriceps bracing.' Do NOT use teacher-speak. WRONG: 'This section challenges the nervous system to sense asymmetries.' RIGHT: 'Bending the knees unloads the hip flexors, so the pelvis can tilt without muscular interference.' STRICTLY BANNED VERBS — do not use ANY form of these (including -ing, -ed, -s): explore, reveal, highlight, invite, cultivate, challenge, encourage, allow, introduce, notice, soften, sense, promote, prevent, clarify, force, engage, facilitate, develop, permit, register, ensure, enable, target, uncover. This means 'allowing', 'permitted', 'ensures', 'clarifying' are ALL banned. Replace with mechanical verbs: shorten, lengthen, load, unload, rotate, tilt, shift, lift, drop, separate, widen, narrow, anchor, free, clear. Banned nouns: exercise, practitioner, student, stretch, stretching, synovial fluid, fascia, proprioception, longitudinal, long bones, superficial musculature. No pseudo-medical or anatomical terminology — describe what MOVES, not biological structures or processes. No references to 'the teacher' or 'the nervous system' as subject. Subject must be the movement or body part, not an abstraction. WRONG: 'This exercise clarifies the relationship between pelvis and spine.' RIGHT: 'Tilting the pelvis with bent knees shortens the lever arm, so less effort is needed to roll the lower back off the floor.' ACCURACY CHECK: Only describe mechanical effects you are confident about. If the movement bends the knee, say 'bending the knee' — do not speculate about centrifugal forces, muscle activation sequences, or fluid dynamics. Stick to levers, weight, gravity, and contact points. ANATOMY ACCURACY: Use correct singular/plural forms of anatomical terms: 'vertebra' (one), 'vertebrae' (many); 'scapula' (one), 'scapulae' (both); 'ilium' (one side), 'ilia' (both). Never write 'a vertebrae' or 'each vertebrae.' LENS VOCABULARY: This booklet uses the The Engine lens. Frame your mechanical explanation using that lens's vocabulary. For The Riser: stacking, column, weight-dropping, buoyancy. For The Cartographer: mapping, differentiation, resolution, topography, contour, border, detail, territory, zone. For The Tuner: signal, orientation, actuation. For The Engine: torque, coupling, transmission, kinetic chain. For The Soft Front: yielding, opening, flexion/extension. Do not use vocabulary from other lenses. VARIETY RULE: Do NOT repeat the same verb phrase across multiple parts. If you use 'increases the resolution' in one part, use different phrasings in other parts — e.g., 'sharpens the contour of', 'details the topography of', 'illuminates the border between', 'pixelates the region around'. Each part's gloss should feel freshly observed, not templated.
The question: Can I use the weight of my pelvis as a counterweight to stand my legs up without effort?
The Engine: I drop my hip and my knee just floats back to the middle, as if it's on a string. I am no longer lifting my legs; I am playing with the balance of my heavy bones over the fulcrum of my sacrum.
The Shadow: The Isolated Lifter is standing down because the skeletal mechanics are doing the work more efficiently than muscle ever could.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 6: Head/Eye Differentiation. The steps in this part are: Right hand on forehead, elbow out. Use the hand to roll the head left, moving only the skin at first.; Keep eyes fixed on a point on the ceiling while rolling the head left with the hand.; Roll the head left and let the eyes move left with the head.; Left hand on forehead. Use the hand to roll the head right.; Keep eyes fixed on the ceiling while rolling the head right.; Roll the head right and let the eyes move right with the head.; Rest on the back.. The prominent pedagogical qualities are: Function, Sensing, Question. Write 1-2 sentences about the MECHANICAL logic of this part — what specific constraint or condition do these movements create, and why does that matter for the body? Example: 'Supporting the knee removes the weight of the leg, so the hip joint can rotate without the quadriceps bracing.' Do NOT use teacher-speak. WRONG: 'This section challenges the nervous system to sense asymmetries.' RIGHT: 'Bending the knees unloads the hip flexors, so the pelvis can tilt without muscular interference.' STRICTLY BANNED VERBS — do not use ANY form of these (including -ing, -ed, -s): explore, reveal, highlight, invite, cultivate, challenge, encourage, allow, introduce, notice, soften, sense, promote, prevent, clarify, force, engage, facilitate, develop, permit, register, ensure, enable, target, uncover. This means 'allowing', 'permitted', 'ensures', 'clarifying' are ALL banned. Replace with mechanical verbs: shorten, lengthen, load, unload, rotate, tilt, shift, lift, drop, separate, widen, narrow, anchor, free, clear. Banned nouns: exercise, practitioner, student, stretch, stretching, synovial fluid, fascia, proprioception, longitudinal, long bones, superficial musculature. No pseudo-medical or anatomical terminology — describe what MOVES, not biological structures or processes. No references to 'the teacher' or 'the nervous system' as subject. Subject must be the movement or body part, not an abstraction. WRONG: 'This exercise clarifies the relationship between pelvis and spine.' RIGHT: 'Tilting the pelvis with bent knees shortens the lever arm, so less effort is needed to roll the lower back off the floor.' ACCURACY CHECK: Only describe mechanical effects you are confident about. If the movement bends the knee, say 'bending the knee' — do not speculate about centrifugal forces, muscle activation sequences, or fluid dynamics. Stick to levers, weight, gravity, and contact points. ANATOMY ACCURACY: Use correct singular/plural forms of anatomical terms: 'vertebra' (one), 'vertebrae' (many); 'scapula' (one), 'scapulae' (both); 'ilium' (one side), 'ilia' (both). Never write 'a vertebrae' or 'each vertebrae.' LENS VOCABULARY: This booklet uses the The Engine lens. Frame your mechanical explanation using that lens's vocabulary. For The Riser: stacking, column, weight-dropping, buoyancy. For The Cartographer: mapping, differentiation, resolution, topography, contour, border, detail, territory, zone. For The Tuner: signal, orientation, actuation. For The Engine: torque, coupling, transmission, kinetic chain. For The Soft Front: yielding, opening, flexion/extension. Do not use vocabulary from other lenses. VARIETY RULE: Do NOT repeat the same verb phrase across multiple parts. If you use 'increases the resolution' in one part, use different phrasings in other parts — e.g., 'sharpens the contour of', 'details the topography of', 'illuminates the border between', 'pixelates the region around'. Each part's gloss should feel freshly observed, not templated.
The question: Can I quiet the 'steering' of my eyes so the 'engine' of my neck and spine can move more freely?
The Engine: Fixing my eyes on the ceiling while my hand rolls my head feels strange, like I'm unhooking a latch. When I let my eyes follow again, the roll is so much further and smoother, as if the path has been cleared.
The Shadow: The Striver is momentarily frustrated by the 'decoupling' task, which prevents them from using their usual visual-motor habits.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 7: The Outside Path Sequence. The steps in this part are: Sequence: Tilt right knee right, assist with left knee, then straighten the right leg long.; Reverse: Tilt left knee right, roll right leg out, drag right heel to buttock to stand the foot.; Repeat the folding/unfolding sequence to the left side.; Play with the speed of the 'outside path' vs. the habitual 'marching band' (midline) path.; Rest with legs long.; From long legs, roll one leg out and drag the heel up the outside edge to stand, then reverse.. The prominent pedagogical qualities are: Function, Relationship, Question. Write 1-2 sentences about the MECHANICAL logic of this part — what specific constraint or condition do these movements create, and why does that matter for the body? Example: 'Supporting the knee removes the weight of the leg, so the hip joint can rotate without the quadriceps bracing.' Do NOT use teacher-speak. WRONG: 'This section challenges the nervous system to sense asymmetries.' RIGHT: 'Bending the knees unloads the hip flexors, so the pelvis can tilt without muscular interference.' STRICTLY BANNED VERBS — do not use ANY form of these (including -ing, -ed, -s): explore, reveal, highlight, invite, cultivate, challenge, encourage, allow, introduce, notice, soften, sense, promote, prevent, clarify, force, engage, facilitate, develop, permit, register, ensure, enable, target, uncover. This means 'allowing', 'permitted', 'ensures', 'clarifying' are ALL banned. Replace with mechanical verbs: shorten, lengthen, load, unload, rotate, tilt, shift, lift, drop, separate, widen, narrow, anchor, free, clear. Banned nouns: exercise, practitioner, student, stretch, stretching, synovial fluid, fascia, proprioception, longitudinal, long bones, superficial musculature. No pseudo-medical or anatomical terminology — describe what MOVES, not biological structures or processes. No references to 'the teacher' or 'the nervous system' as subject. Subject must be the movement or body part, not an abstraction. WRONG: 'This exercise clarifies the relationship between pelvis and spine.' RIGHT: 'Tilting the pelvis with bent knees shortens the lever arm, so less effort is needed to roll the lower back off the floor.' ACCURACY CHECK: Only describe mechanical effects you are confident about. If the movement bends the knee, say 'bending the knee' — do not speculate about centrifugal forces, muscle activation sequences, or fluid dynamics. Stick to levers, weight, gravity, and contact points. ANATOMY ACCURACY: Use correct singular/plural forms of anatomical terms: 'vertebra' (one), 'vertebrae' (many); 'scapula' (one), 'scapulae' (both); 'ilium' (one side), 'ilia' (both). Never write 'a vertebrae' or 'each vertebrae.' LENS VOCABULARY: This booklet uses the The Engine lens. Frame your mechanical explanation using that lens's vocabulary. For The Riser: stacking, column, weight-dropping, buoyancy. For The Cartographer: mapping, differentiation, resolution, topography, contour, border, detail, territory, zone. For The Tuner: signal, orientation, actuation. For The Engine: torque, coupling, transmission, kinetic chain. For The Soft Front: yielding, opening, flexion/extension. Do not use vocabulary from other lenses. VARIETY RULE: Do NOT repeat the same verb phrase across multiple parts. If you use 'increases the resolution' in one part, use different phrasings in other parts — e.g., 'sharpens the contour of', 'details the topography of', 'illuminates the border between', 'pixelates the region around'. Each part's gloss should feel freshly observed, not templated.
The question: Does the leg fold from the center or the periphery when I use the outside edge of the foot?
The Engine: Dragging my heel up the outside edge feels like my leg is a folding wing. There is no 'hoisting' anymore; the leg just unfolds and the pelvis settles into the floor with a deep sense of relief.
The Shadow: The Shadow is quiet; the 'marching band' habit has been replaced by a more powerful, proximal organization.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 8: Final Integration & Walking. The steps in this part are: Final check of knee rolling, head rolling, and pelvic lifting.; Final body scan, then transition to standing and walking, noticing the pelvis and leg support.. The prominent pedagogical qualities are: Function, Sensing. Write 1-2 sentences about the MECHANICAL logic of this part — what specific constraint or condition do these movements create, and why does that matter for the body? Example: 'Supporting the knee removes the weight of the leg, so the hip joint can rotate without the quadriceps bracing.' Do NOT use teacher-speak. WRONG: 'This section challenges the nervous system to sense asymmetries.' RIGHT: 'Bending the knees unloads the hip flexors, so the pelvis can tilt without muscular interference.' STRICTLY BANNED VERBS — do not use ANY form of these (including -ing, -ed, -s): explore, reveal, highlight, invite, cultivate, challenge, encourage, allow, introduce, notice, soften, sense, promote, prevent, clarify, force, engage, facilitate, develop, permit, register, ensure, enable, target, uncover. This means 'allowing', 'permitted', 'ensures', 'clarifying' are ALL banned. Replace with mechanical verbs: shorten, lengthen, load, unload, rotate, tilt, shift, lift, drop, separate, widen, narrow, anchor, free, clear. Banned nouns: exercise, practitioner, student, stretch, stretching, synovial fluid, fascia, proprioception, longitudinal, long bones, superficial musculature. No pseudo-medical or anatomical terminology — describe what MOVES, not biological structures or processes. No references to 'the teacher' or 'the nervous system' as subject. Subject must be the movement or body part, not an abstraction. WRONG: 'This exercise clarifies the relationship between pelvis and spine.' RIGHT: 'Tilting the pelvis with bent knees shortens the lever arm, so less effort is needed to roll the lower back off the floor.' ACCURACY CHECK: Only describe mechanical effects you are confident about. If the movement bends the knee, say 'bending the knee' — do not speculate about centrifugal forces, muscle activation sequences, or fluid dynamics. Stick to levers, weight, gravity, and contact points. ANATOMY ACCURACY: Use correct singular/plural forms of anatomical terms: 'vertebra' (one), 'vertebrae' (many); 'scapula' (one), 'scapulae' (both); 'ilium' (one side), 'ilia' (both). Never write 'a vertebrae' or 'each vertebrae.' LENS VOCABULARY: This booklet uses the The Engine lens. Frame your mechanical explanation using that lens's vocabulary. For The Riser: stacking, column, weight-dropping, buoyancy. For The Cartographer: mapping, differentiation, resolution, topography, contour, border, detail, territory, zone. For The Tuner: signal, orientation, actuation. For The Engine: torque, coupling, transmission, kinetic chain. For The Soft Front: yielding, opening, flexion/extension. Do not use vocabulary from other lenses. VARIETY RULE: Do NOT repeat the same verb phrase across multiple parts. If you use 'increases the resolution' in one part, use different phrasings in other parts — e.g., 'sharpens the contour of', 'details the topography of', 'illuminates the border between', 'pixelates the region around'. Each part's gloss should feel freshly observed, not templated.
The question: Is my walk a whole-body event where my pelvis drives my legs into the ground?
The Engine: Standing up, I feel taller and my legs feel like they belong to my spine. As I walk, my pelvis moves through space and my legs simply follow, supporting me with a lightness I didn't have before.
The Shadow: The Striver has nothing left to do; the Foundation is providing all the support and power needed for movement.
Cortical noise is reduced by replacing the 'marching band' habit with the 'baby path'—a wider, more anatomically congruent trajectory that requires the pelvis to roll. This shift from linear 'doing' to rotational 'flowing' erodes the Isolated Lifter's grip.
The moment of integration emerges when the student can straighten and bend the leg rapidly through the outside path, and the pelvis 'settles quietly on its own' at the end of the movement, indicating the core has taken over the work.