A Companion to This Lesson
You are The Cartographer — The inner being who holds the cortical self-image. They see the body as a territory with bright regions and dark regions. Every movement is received as: <em>What just became visible? What pixel lit up that was dark before? Where did I discover a joint I didn't know I had?</em> This lesson's central question was: "Can I map the precise location of every 'pixel' on the back of my pelvis and connect them into a continuous, articulated circle of movement?" 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 am scanning the territory of my back, looking for where the floor feels clear and where it feels like a foggy, undifferentiated mass. I notice the heavy pressure of my pelvis, but the exact boundaries of its shape are still blurry and indistinct. Stage 2: I am drawing a line between the tail and the waist, feeling the spine fold and unfold like a delicate instrument. I notice a tiny echo in my skull, a small 'yes' that tells me the path between these two points is becoming visible on my map. Stage 3: I am shifting the weight to the right and left, trying to keep my knees still so I can find the exact 'pixels' of my hip joints. I feel the ribs beginning to soften, allowing the map of my pelvis to expand sideways without dragging the whole body with it. Stage 4: I am carefully inking the hours between 12 and 6, discovering that the space between 1 and 2 feels different than the space between 4 and 5. The roundness is a riddle; I have to slow down to find the curve where my brain wants to take a shortcut. Stage 5: The circle is becoming a continuous flow, like an expensive watch movement with no ticking. I can feel the 'rubber stamp' of my pelvis leaving a perfect, symmetrical impression on the floor, and my head is starting to dance along its own tiny dial. Stage 6: With one leg long, the map is suddenly distorted, and I have to find new ways to reach the hours that feel far away. I am learning to differentiate the hip from the pelvis even when the support is uneven, lighting up pixels that were previously dark. Stage 7: I am managing two clocks at once, one turning clockwise and the other counterclockwise, a feat of mental and physical cartography. As I stand up, the map feels bright and detailed; I am no longer a block of wood, but a collection of articulated joints. And here is what the Shadow — the habit pattern — was doing at each stage: Stage 1: The Blunt Mover is gripping the lower back and hips as a single, solid unit, unaware of the potential for articulation. Stage 2: The Striver is trying to 'do' the arching by pushing the feet hard into the floor rather than rolling the pelvis. Stage 3: The Blunt Mover is swaying the knees wildly to 'fake' the pelvic tilt, avoiding the work of hip differentiation. Stage 4: The Striver is skipping over the 'blind spots' in the circle, turning the curve into a series of straight, jerky lines. Stage 5: The Blunt Mover is beginning to stand down as the movement becomes too complex to 'clump' together. Stage 6: The Striver is holding the breath and tensing the abdomen to force the pelvis through the 'melted' parts of the clock. Stage 7: The Blunt Mover has dissolved completely into the ease of the walk, leaving a clear and detailed map behind. Now write a CONDENSED NARRATIVE (2-4 paragraphs) that retells this lesson's arc from your perspective as The Cartographer. 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 Cartographer), 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 Cartographer'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 Cartographer'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 Cartographer'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.
Can I map the precise location of every 'pixel' on the back of my pelvis and connect them into a continuous, articulated circle of movement?
This lesson is called "Pelvic Clock" and its central question was: "Can I map the precise location of every 'pixel' on the back of my pelvis and connect them into a continuous, articulated circle of movement?" The lesson was explored through the lens of The Cartographer. The lesson moved through these sections: Part 1: Initial Scan and Setup, Part 2: The Vertical Axis: 12 and 6, Part 3: The Horizontal Axis: 3 and 9, Part 4: Building the Arcs, Part 5: Full Circles and Head Integration, Part 6: Asymmetrical Leg Variations, Part 7: Complex Coordination and Conclusion 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 Cartographer (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 Cartographer'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 Cartographer. 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 and Setup. The steps in this part are: Initial body scan lying on the back with legs long, sensing contact, hip joints, and spinal arches.; Bend knees and stand feet hip-width apart.. 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 Cartographer 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: Where are the blank spots on my body map right now?
The Cartographer: I am scanning the territory of my back, looking for where the floor feels clear and where it feels like a foggy, undifferentiated mass. I notice the heavy pressure of my pelvis, but the exact boundaries of its shape are still blurry and indistinct.
The Shadow: The Blunt Mover is gripping the lower back and hips as a single, solid unit, unaware of the potential for articulation.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 2: The Vertical Axis: 12 and 6. The steps in this part are: Increase the arch of the lower back to roll the pelvis down toward the heels (6 o'clock), then release.; Pause and lengthen legs.; Return to home position and introduce the pelvic clock imagery (12 at top, 6 at tail, 3 right, 9 left).; Roll pelvis between 12 o'clock (flattening back) and 6 o'clock (arching back).; Continue 12-6 movement while observing head movement and freeing the breath.; Pause and lengthen legs.; Return to home position; rock 12-6 while holding the breath, then while breathing freely.; Pause and lengthen legs.. The prominent pedagogical qualities are: Relationship, Function, 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 Cartographer 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 distinguish the top of my pelvis from the bottom through the spine?
The Cartographer: I am drawing a line between the tail and the waist, feeling the spine fold and unfold like a delicate instrument. I notice a tiny echo in my skull, a small 'yes' that tells me the path between these two points is becoming visible on my map.
The Shadow: The Striver is trying to 'do' the arching by pushing the feet hard into the floor rather than rolling the pelvis.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 3: The Horizontal Axis: 3 and 9. The steps in this part are: Return to home position; roll pelvis to 3 o'clock (right side heavy) and back to middle.; Roll pelvis to 9 o'clock (left side heavy) and back to middle.; Bisect the clock between 3 and 9, keeping knees relatively still toward the ceiling.; Pause and lengthen legs.; Return to home position; 3-9 movement, sensing skeletal resonance in the head.; Rest in home position.. The prominent pedagogical qualities are: Function, Sensing, 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 Cartographer 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 find the lateral edges of my map without swaying my knees?
The Cartographer: I am shifting the weight to the right and left, trying to keep my knees still so I can find the exact 'pixels' of my hip joints. I feel the ribs beginning to soften, allowing the map of my pelvis to expand sideways without dragging the whole body with it.
The Shadow: The Blunt Mover is swaying the knees wildly to 'fake' the pelvic tilt, avoiding the work of hip differentiation.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 4: Building the Arcs. The steps in this part are: Inscribe the right-side arc from 12 to 6, adding hours gradually (12-1, 12-2, etc.).; Pause and lengthen legs.; Return to home position; inscribe the left-side arc from 12 to 6 counterclockwise.; Pause and lengthen legs.; Return to home position; arc centered on 3 o'clock (between 2 and 4, then 1 and 5).; Pause and lengthen legs.; Return to home position; arc centered on 9 o'clock (between 8 and 10, then 7 and 11).; Pause and lengthen legs.. The prominent pedagogical qualities are: Function, Pause, 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 Cartographer 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 connect the cardinal points into a smooth, round curve?
The Cartographer: I am carefully inking the hours between 12 and 6, discovering that the space between 1 and 2 feels different than the space between 4 and 5. The roundness is a riddle; I have to slow down to find the curve where my brain wants to take a shortcut.
The Shadow: The Striver is skipping over the 'blind spots' in the circle, turning the curve into a series of straight, jerky lines.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 5: Full Circles and Head Integration. The steps in this part are: Return to home position; full clockwise circles, marking all 12 hours.; Circle the head, letting the resonance reach the pelvis.; Pause and lengthen legs.; Return to home position; full counterclockwise circles.; Fast, playful circles, then slowing down to reclaim the curve.; Pause and lengthen legs; imagery of the clock distance on the body vs. the floor.; Return to home position; 'rubber stamp' imagery circles to ink the floor.; Pause and lengthen legs; scan contact and arches.. 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 Cartographer 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 map a continuous circle or a series of disconnected points?
The Cartographer: The circle is becoming a continuous flow, like an expensive watch movement with no ticking. I can feel the 'rubber stamp' of my pelvis leaving a perfect, symmetrical impression on the floor, and my head is starting to dance along its own tiny dial.
The Shadow: The Blunt Mover is beginning to stand down as the movement becomes too complex to 'clump' together.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 6: Asymmetrical Leg Variations. The steps in this part are: Right knee bent, left leg long: clockwise pelvic circles.; Left knee bent, right leg long: counterclockwise pelvic circles.; Both legs long: pelvic circles.; Return to home position; cross one leg over the other and circle.. The prominent pedagogical qualities are: 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 Cartographer 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 my map hold up when the landscape of my legs changes?
The Cartographer: With one leg long, the map is suddenly distorted, and I have to find new ways to reach the hours that feel far away. I am learning to differentiate the hip from the pelvis even when the support is uneven, lighting up pixels that were previously dark.
The Shadow: The Striver is holding the breath and tensing the abdomen to force the pelvis through the 'melted' parts of the clock.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 7: Complex Coordination and Conclusion. The steps in this part are: Return to home position; circle pelvis clockwise while circling head counterclockwise, then reverse.; Final rest and scan lying long.; Come to standing and walk.. The prominent pedagogical qualities are: Sensing, Question, 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 Cartographer 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 maintain two distinct, articulated maps simultaneously?
The Cartographer: I am managing two clocks at once, one turning clockwise and the other counterclockwise, a feat of mental and physical cartography. As I stand up, the map feels bright and detailed; I am no longer a block of wood, but a collection of articulated joints.
The Shadow: The Blunt Mover has dissolved completely into the ease of the walk, leaving a clear and detailed map behind.
Cortical noise is reduced by slowing the movement down to find the 'roundness' of arcs and using the 'rubber stamp' imagery to externalize the internal map, shifting focus from 'doing' to 'sensing pressure.'
The moment of Integration emerges when the head begins to mirror the pelvic clock passively and independently, indicating that the spine has become a clear, quiet conduit for the articulated map of the pelvis.