A Companion to This Lesson
You are The Soft Front — The being who lives in your 'inner curve' — the throat, the chest, the belly, and the psoas. They are the barometer of your safety. They don't care about strength; they care about <em>Safety and Space</em>. Every movement is received as: <em>Am I safe enough to let go of this knot? Does my front feel long and quiet, or am I still wearing my armor?</em> This lesson's central question was: "Can the rib cage be reimagined as a flexible 'basket' or 'accordion' that allows the spine to fold and unfold with equal neutrality in all directions?" 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 weight of my chest against the floor, a heavy, undifferentiated block. My head rolls, but I sense a sharp boundary in my neck where the curve simply stops. Stage 2: I am exploring the line between my shoulder and my hip. As I slide my arm, I feel the right side of my rib basket beginning to fold like a soft, yielding hinge. Stage 3: I compare the two sides of my geometry. One side folds like soft paper; the other feels like stiff cardboard, resisting the curve of the slide. Stage 4: My pelvis lifts, and I feel a spiral traveling up my spine. I keep my shoulder wide, a cloak spreading on the floor, while my ribs twist underneath it. Stage 5: I am a living accordion. As one side shortens, the other opens wide, and my breath fills the expanding bellows of my ribs without effort. Stage 6: My arms form a hoop above my head. As I slide them, I feel my shoulder blades dancing away from my spine, clearing space in my upper back. Stage 7: I am folded into a tight shape, holding my ankles. Even here, I find the micro-movements that allow my pelvis to roll without disturbing the quiet of my shoulders. Stage 8: I stand and walk, and my chest no longer feels like a cage. It is a light basket that expands in all directions, supporting my breath and my stride. And here is what the Shadow — the habit pattern — was doing at each stage: Stage 1: The Bracer is holding the belly tight, guarding the breath and treating the ribs like armor. Stage 2: The Bracer wants to lift the shoulder to 'reach' further, but the floor's resistance forces a pause. Stage 3: The Bracer is confused by the lack of 'work,' searching for a muscle to pull or grip. Stage 4: The Bracer tries to 'help' the hip lift by tensing the neck, but the sliding arm provides a new, easier path. Stage 5: The Bracer is starting to let go of the abdominal wall, allowing the belly to soften and move. Stage 6: The Bracer grips the jaw and throat, wary of this unfamiliar and vulnerable overhead territory. Stage 7: The Bracer is grimacing, trying to 'win' the movement, until the invitation to smile breaks the habit. Stage 8: The Bracer has stood down; the belly is soft, and the shoulders hang like a loose, heavy cloak. Now write a CONDENSED NARRATIVE (2-4 paragraphs) that retells this lesson's arc from your perspective as The Soft Front. 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 Soft Front), 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 Soft Front'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 Soft Front'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 Soft Front'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 the rib cage be reimagined as a flexible 'basket' or 'accordion' that allows the spine to fold and unfold with equal neutrality in all directions?
This lesson is called "The Rib Basket and the Shoulder Cloak" and its central question was: "Can the rib cage be reimagined as a flexible 'basket' or 'accordion' that allows the spine to fold and unfold with equal neutrality in all directions?" The lesson was explored through the lens of The Soft Front. The lesson moved through these sections: Part 1: Initial Scan and Head Rolling, Part 2: Unilateral Arm Lengthening, Part 3: Bilateral Arm Lengthening and Comparison, Part 4: Hip Lift and Arm Integration, Part 5: Alternating Hip/Arm Integration, Part 6: Overhead Arm Sliding, Part 7: Holding Ankles and Hip Lifting, Part 8: Final Integration and Standing 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 Soft Front (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 Soft Front'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 Soft Front. 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 Head Rolling. The steps in this part are: Stand and walk, sensing the movement of the chest and breath.; Continue walking, sensing weight shifts, the spine, ribs, and shoulders.; Lie on the back, arms at sides, palms down, legs at a comfortable width.; Scan the right side of the body from heel to hip.; Map the right side of the chest, shoulder blade, and breath.; Scan the left side of the body from heel to neck, noting differences.; Sense the 3D volume (width and thickness) of the chest and breath.; Roll the head slowly side to side within a comfortable range.; Bend knees and stand feet; continue rolling the head.. The prominent pedagogical qualities are: Sensing, Function, 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 Soft Front 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 sense the geometry of my chest and spine as a flexible basket rather than a rigid cage?
The Soft Front: I feel the weight of my chest against the floor, a heavy, undifferentiated block. My head rolls, but I sense a sharp boundary in my neck where the curve simply stops.
The Shadow: The Bracer is holding the belly tight, guarding the breath and treating the ribs like armor.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 2: Unilateral Arm Lengthening. The steps in this part are: Lengthen the right arm by sliding the right shoulder blade down the mat.; Continue sliding the right shoulder, sensing rib folding and head participation.; Pause in the middle.; Slide the head along the floor to follow the right shoulder (ear toward shoulder).; Coordinate breathing with the right arm lengthening (inhale to lengthen, exhale to return).; Slide the right shoulder down while sliding the left shoulder up; head is free.; Rest with legs long.. The prominent pedagogical qualities are: Function, Relationship, 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 Soft Front 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 shoulder blade slide down the mat without the front body reflexively bracing?
The Soft Front: I am exploring the line between my shoulder and my hip. As I slide my arm, I feel the right side of my rib basket beginning to fold like a soft, yielding hinge.
The Shadow: The Bracer wants to lift the shoulder to 'reach' further, but the floor's resistance forces a pause.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 3: Bilateral Arm Lengthening and Comparison. The steps in this part are: Bend knees, stand feet, arms at sides, palms down.; Lengthen the left arm by sliding the shoulder blade down (imagination first).; Compare sides and alternate lengthening the right and left arms.; Track both shoulders moving up and down the mat in opposition.; Rest with legs long; sense changes in breathing.. The prominent pedagogical qualities are: Sensing, Function, 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 Soft Front 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 symmetry in the folding and unfolding of both sides of my 'accordion'?
The Soft Front: I compare the two sides of my geometry. One side folds like soft paper; the other feels like stiff cardboard, resisting the curve of the slide.
The Shadow: The Bracer is confused by the lack of 'work,' searching for a muscle to pull or grip.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 4: Hip Lift and Arm Integration. The steps in this part are: Bend the right knee and stand the right foot.; Lift the right hip to roll the pelvis to the left.; With arms at sides, lift the right hip while keeping the right shoulder on the ground.; Integrate: Lift the right hip and lengthen the right arm simultaneously.; Pause in the middle.; Bend the left knee, stand the left foot, and lengthen the right leg.; Lift the left hip while keeping the left shoulder blade flat on the ground.; Integrate: Lift the left hip and lengthen the left arm simultaneously.; Rest with legs long.; Roll the head side to side, sensing the relationship to the spine.. The prominent pedagogical qualities are: Function, Relationship, 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 Soft Front 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 pelvis roll while the shoulder stays flat, creating a diagonal fold through the torso?
The Soft Front: My pelvis lifts, and I feel a spiral traveling up my spine. I keep my shoulder wide, a cloak spreading on the floor, while my ribs twist underneath it.
The Shadow: The Bracer tries to 'help' the hip lift by tensing the neck, but the sliding arm provides a new, easier path.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 5: Alternating Hip/Arm Integration. The steps in this part are: Bend both knees and stand both feet.; Alternate lifting the left hip and the right hip.; Follow the movement up the spine and ribs; keep shoulders in the plane of the floor.; Integrate: Lift the hip and lengthen the same-side arm alternately.; Rest and listen to the 'cloak' and 'basket' imagery.; Repeat hip/arm integration, sensing the sternum and collarbones.. The prominent pedagogical qualities are: Relationship, Sensing, Function. 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 Soft Front 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 spine become a neutral axis for the rhythmic accordion-like movement of the ribs?
The Soft Front: I am a living accordion. As one side shortens, the other opens wide, and my breath fills the expanding bellows of my ribs without effort.
The Shadow: The Bracer is starting to let go of the abdominal wall, allowing the belly to soften and move.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 6: Overhead Arm Sliding. The steps in this part are: Interlace fingers and lay the hoop of the arms overhead on the floor.; Slide interlaced hands side to side overhead in the plane of the floor.; Slide hands left, sensing the right shoulder blade moving away from the ribs.; Slide hands right, sensing the left shoulder blade.; Rest with legs long.. The prominent pedagogical qualities are: Sensing, Relationship, Function. 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 Soft Front 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 upper ribs differentiate from the shoulder blades in the overhead geometric plane?
The Soft Front: My arms form a hoop above my head. As I slide them, I feel my shoulder blades dancing away from my spine, clearing space in my upper back.
The Shadow: The Bracer grips the jaw and throat, wary of this unfamiliar and vulnerable overhead territory.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 7: Holding Ankles and Hip Lifting. The steps in this part are: Bend knees, stand feet, arms at sides, palms down.; Sense the breath widening and thickening between the shoulders.; Imagine alternating hip lift and arm lengthening.; Perform alternating hip lift and arm lengthening (accordion ribs).; Pause in the middle.; Step the right foot wide and close; hold the right ankle (or simulate).; Lift and settle the right hip joint while holding the ankle.; Rest briefly.; Step the left foot wide and close; hold the left ankle (or simulate).; Lift and settle the left hip joint; keep the left shoulder down and face soft.; Rest and prepare for the final challenge.; Bend knees wide and hold both ankles (or simulate).; Alternate lifting hips while holding both ankles; keep shoulders flat.; Rest with legs long.. The prominent pedagogical qualities are: Function, Relationship, 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 Soft Front 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 spinal suppleness and a soft face under the constraint of a closed geometric loop?
The Soft Front: I am folded into a tight shape, holding my ankles. Even here, I find the micro-movements that allow my pelvis to roll without disturbing the quiet of my shoulders.
The Shadow: The Bracer is grimacing, trying to 'win' the movement, until the invitation to smile breaks the habit.
You are writing a booklet for someone who just completed a Feldenkrais ATM lesson. This section covers Part 8: Final Integration and Standing. The steps in this part are: Right knee bent, left leg long; lift right hip and slide right shoulder down.; Left knee bent, right leg long; lift left hip and slide left shoulder down.; Final rest and scan from heels to shoulders.; Bend knees, stand feet; roll the head side to side.; Stand and walk, sensing changes in breathing and movement.. The prominent pedagogical qualities are: Sensing, Function, 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 Soft Front 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 new geometry of the 'basket' and 'cloak' persist when I return to gravity?
The Soft Front: I stand and walk, and my chest no longer feels like a cage. It is a light basket that expands in all directions, supporting my breath and my stride.
The Shadow: The Bracer has stood down; the belly is soft, and the shoulders hang like a loose, heavy cloak.
Cortical noise is reduced through the use of 95% imagination and 5% movement, which bypasses the Bracer's protective reflexes. The 'washing' is furthered by the rhythmic alternation of hip lifts, which creates a wave-like oscillation through the spine.
The moment of integration occurs when the student can hold their ankles—a high-tension constraint—and still find the 'light smile' and 'supple twistings' that allow the pelvis to roll independently of the quiet, flat shoulders.