"I have mentioned how a large part of Tai Chi is releasing tension from your body through the practice of the meditative form. This is effectively a clearing of interference. Now, add in the coordination of breathing with the movements of the form, and what you have is body and mind energizing into action out of stillness. With practice, the stillness is increasingly profound and the transition into motion can be quite explosive—this is where the dynamic pushing or striking power of Tai Chi emerges: the radical change from emptiness into fullness. When delivering force, the feeling inside the body is of the ground connecting to your finger tips, with nothing blocking this communication. Highly skilled Tai Chi practitioners are incredibly fast, fluid, responsive—in a sense, the embodiment of Muhammad Ali’s ‘Float like a butterfly, sting like a bee.’"—Josh Waitzkin, The Art of Learning

See also: Indecision One; Two; Three, Form, Intent, ExpressionOriginal Trajectory, Fear, Love, Four Movements and Fear as Contour.

why do i assume the worst?

The worst is familiar to you.

"Centuries later, the same image of the net was imposed upon the world as the lines of both celestial and terrestrial latitude and longitude, as graph paper for plotting mathematical wiggles, as pigeonholes for filling, and as the ground plans for cities. The net has thus become one of the presiding images of human thought. But it is always an image, and just as no one can use the equator to tie up a package, the real wiggly world slips like water through our imaginary nets. However much we divide, count, sort, or classify this wiggling into particular things and events, this is no more than a way of thinking about the world: it is never actually divided."—Alan Watts

See also: The Break and Real/Ideal.

See also: Original Trajectory and The Shift.

Prints are well under way.

The first of four designs has come off of the letterpress. This one is based closely off the Together/Alone Quad. It measures 7x7”, and is printed on Magnani Revere Black 250gm by my exceptionally skilled friend Ana Cordeiro. There will likely be 50 editions available for purchase, and 25 artist’s proofs I’ll be giving away. 

Tonight I ran a few of the artist’s proofs through the laser cutter at NYC Resistor. This is a final product that’s difficult to reproduce photographically, that wants to be held, and seen with the naked eye.

More pictures and information on the process to come. If you are curious about ordering one, send me an email.

While I was testing out the laser at NYC Resistor for the prints, a rainbow came through the window.

While I was testing out the laser at NYC Resistor for the prints, a rainbow came through the window.

“When moving the body, the step is of first importance. The step is the root of the body, it is the central axis of motion. Since the whole body is used in an encounter with an enemy, the person who wishes to be unbeatable must rely on footwork. When advancing, retreating, turning or angling, the changes are in the handwork, but it is the footwork that allows the hands to adapt and change to the advantageous position. Advancing, retreating, turning or angling, without the steps how can one have a chance? Lowering, rising, extending or contracting, without footwork how can one execute profound changes? The saying is that the eyes are key and the heart decides the reaction, in all changes and turns of the body, in reaction to all types of affront, it must be that footwork is the leader. In addition, the steps must not be forced. Movement must spring from an empty heart, as if dancing without conscious effort, the body desires to move and the steps turn to all sides. The hands are about to move, the steps also urge them in motion. Without timing it so it is so, without making it go it goes, this is what is referred to as the upper wishes to move and the lower follows.”—Xing Yi Nei Gong

See also: Equilibrium and Feedback Loop.

among women who were free of PMDD at baseline, those with a trauma history (including sexual abuse, physical abuse, and severe accidents) were 4 times more likely to develop PMDD at follow-up than were nontraumatized women.”—Medscape