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Posts Tagged ‘principles’

More than a hundred years ago, a Delsartean-inspired actor who figured out how to regain voice loss named F.M. Alexander noticed a principle of human nature related to movement perception and gave it a term: “debauched kinesthesia.”

A more modern term might be: “Sensory Dissonance.” It is what happens when there is a violation of the brain’s “predictive coding” processes that have been described by neuroscience in the Bayesian model of the brain. This model explains how we can instinctively work out whether there is time to cross the road in front of an approaching car or not. We make a prediction based on past experiences, with these predictions (hopefully) updated “on the fly.” Of course, if our “predictive coding” ability doesn’t match reality, our next reaction will depend on how we deal with being wrong. The confounding, irrational quality that a Sensory Dissonant experience seems to possess is related to points described by the terms: Cognitive Dissonance and Cognitive Bias. Denial is most common; (described in *THIS* collection as the “Confirmation Bias”) and accidents can result. If you haven’t read it yet, I have previously outlined in the first half (in the previous post below) the relationship of Sensory Dissonance to these latter categories.

Why Sensory Dissonance Is Important

Aside from avoiding accidents, many more advantages will come from further consideration of this topic. A most interesting area is performance – when you know how to do something, but can’t reliably do it when needed. Or when doing what you imagine you know how to do doesn’t get you where you want to end up.

What most people do about having experienced Sensory Dissonance after making a “mistake,” is to rearrange themselves back to where they believe they “should” be physically oriented. Returning to whatever you sense was the “normal” state of affairs will feel “right” merely because it is most familiar. Because noting your reactions about Sensory Dissonance may also contain an expression of “Cognitive Dissonance” it probably will also be somewhat uncomfortable. (Maybe not; some have learned to welcome and find excitement in what is unfamiliar and unknown.) There’s a payoff of predictable security to resume what is familiar for most people. Most people will be motivated when noting a mismatch to put themselves “right again.”

But should you? But what if your sense of “right” needs calibrating? What if you feel strange when there hasn’t been a kid on your shoulders or you have not done an experiment pushing your arms against a door frame? (Check out the examples in the *first half* of this article.)

When Sensory Dissonance pops into your awareness, there’s an advantage to purposefully allow yourself to feel “strange” and to take a moment to consider what you’re going to do about it. The experience of Sensory Dissonance is an important pointer. This “strange” feedback reveals previously unknown information about the nature of the real state of affairs that would benefit from your thoughtful consideration of what to do about it. It’s an opportunity, don’t ignore it!

Perceptual dissonance is a signal that something different from the norm has just happened. You have the option to act on having noticed a difference by taking the reins back from habitual routines. This calls for using some awareness, strategic thinking and perhaps serious study to revise the affected routines. Perceptual dissonance gives you valuable feedback about what you have been overdoing that might be unnecessary. Viva la difference!

It would be really crazy if every time you carried a weight for awhile, you wanted to put the weight back on again to avoid feeling Sensory Dissonance. But this is the understandable urge in certain situations.

An example: while swimming. Getting back into the water where it feels relatively “warmer” seems logical when the wind factor on skin makes you feel cold in comparison…until your submerged body temperature really drops to match the temperature of the water. Chattering from the cold, you pretty quickly realize that getting back in the water to “get warm” is a short-sighted solution. However, there are many other situations that don’t offer this obvious feedback of mistakenly having made that short-sighted choice!

Act Wisely on Sensory Dissonance

Next time you feel disoriented, consider what this means. Here is a potential for an insight. Maybe pause and consider what you’d like to do about having received a curious sensation of perceptual dissonance, instead of ignoring it and getting yourself back to where you “feel right.”

By deliberately experimenting with Sensory Dissonance, you’ll realize that human sensory orientation judgment is relative, not absolutely “True.”

For instance, if you often stand with your weight on the ball of your foot or on one foot and something gets you to stand with your weight on your heels or both feet, Sensory Dissonance will make you feel strange as if you are leaning backwards or to the “wrong” side. (Women who routinely wear high heels and walk mostly on the ball of their feet know this sensation.) Getting back into those high heels to feel “normal” or transferring all your weight to the other foot is like getting back into the pool to get warm – a short-sighted solution. But in this situation, there is no feedback like getting cold if you stay in the water to tell you that you chose wrong, (unless your feet or calves eventually start hurting or your knees start crumbling.)

What Sensory Dissonance Is Really Telling You

What you might want to do is to think a bit about the important information that Sensory Dissonance is offering you. It’s really saying that your habitual “normal” has been violated. Did you know you were actively doing something in the opposite direction of what Sensory Dissonance just revealed to you? You didn’t until now. Because of the Sensory Dissonance signal, you now have the option of taking the reins back from your habit by using some awareness and strategic thinking to consider changing some of those habits.

The actor quoted at the beginning of the article has solutions. His “Alexander Technique” method always contain this Sensory Dissonant signal that something different has happened. An Alexander Technique teacher gives experiences in classes and “hands-on guided modeling” that reliably feel as if something mysterious and lighter has happened to your movement coordination. It’s the only answer I know about for sifting out problematic features from previously ingrained habits “on the fly,” addressing performance issues involving postural mannerisms.

Hope this little article will lead you to question what you should do about it when you feel Sensory Dissonance. Surprising dissonant sensations can be used as important pointers to bring to your attention that what you just did, felt or experienced. What just happened was something entirely, originally new and different – for you. Here is something that could benefit from your serious attention and consideration – and maybe even be worth investing in long-term study of Alexander Technique!

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Rumor has it that kids don’t grasp abstract thought until they’re older. At a young age, the ability to do so is supposed to be undeveloped.

Grown-ups who are supposed to be capable of abstraction also seem to have trouble recognizing it is happening too. Trot out abstract art, for instance; many adults haven’t a clue how to decipher the intent of an abstract artist. Some of the secret questions to answer when looking at art is to imagine,”Why would someone do this?” “What state would a person need to maintain to do this?” But these questions are missing for most adults because they have been trained in school to answer questions and not formulate them.

But there’s another reason people aren’t commonly able to perceive abstract means. They get dazzled by “valuable” content. They’re so fixed on the content of what happened when they were experimenting or thinking creatively that they lightly skip over any awareness of what they did to get what they wanted. One of the most common questions students wonder about after an Alexander Technique teacher gives them a hands-on guided modeling turn is, “How did you do that to me?”

Meet my two young students. They are sisters, eight and ten years old. Their parents and Hula teacher want them to learn better posture. As their teacher, I imagined that the grammatical structure of language that mostly every kid masters before age three or four has got to be abstract enough to certify them being able to do so. These two kids double qualify as great students because they also speak Japanese flawlessly.

Imagine these kids to be sort of like an Artificial Intelligence that don’t have enough context to abstract yet. As their teacher, I have to figure out what that experience is and provide it for them. Abstract (in our case of learning Alexander Technique) means the underlying process, principles or events that are supposed to be inside the process of how the wanted result happened. They can’t use what I teach them unless they understand how to apply it. 

So – what is the most important first-hand experience that these kids might be missing that I would commonly assume every adult already has?

I thought back to my stepson playing on a swing at four years old, discovering an amazing twist and whirl. Then when he got his dad’s attention, he was so disappointed that he couldn’t repeat his previous success for his dad to see him doing. Then I realized something: Kids only have trial and error to train themselves to learn something physical, and the likelihood of repeating a new success is tiny. No wonder learning a physical trick is so frustrating next to pushing buttons on a video game!

So that meant I first had to teach these kids how to train themselves.

For kids, (for all of us, really) any missing link of abstraction can be taught through storytelling. Kids need a context, and these contexts need to be built by example or illustration in ways they can identify with the characters in a story. In order to imagine a motive, you must be able to put yourself in a situation where that motive makes sense. If people are going to read minds and use what the brain science people call “mirror neurons,” they need some familiarity with situations that people experience. So how could I orchestrate a context for learning how to train?

I had one kid pretend they were a very smart animal and the other kid was the trainer. They used a clap for signaling successes – no talking. We had great fun training each other to do odd things. The kids also learned how to be clear, kind to themselves and use the important elements of training such as taking care with timing to reinforce the right behavior, preventing the animal from learning the wrong things and celebrating successes. Now when learning new skills, they understood that they were both the animal and the trainer. (Thanks to Karen Pryor.)

Then we went through, very fast, activities that were complex: juggling, learning dance steps for Hula class, singing, playing the piano and doing gymnastic moves at a super-fast rate. They learned key concepts of improving their coordination that Alexander Technique has to offer for their ability to move freely. Because of having played the Training Game, they could perceive how what they had learned about training themselves could be used in many different situations.

These two girls didn’t have any problem learning abstract concepts in only eight lessons.  AND – it was great fun for them!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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This post is the last part in a series called NAMED. Seeking a way for my students to remember the steps of how to use Alexander Technique, I came up with a simple word they could remember to help jog the steps. Each letter of the word is a category for each of the steps. 

N…NOTICE On April 4th, 2012, starting with points about self-observation 

A…ASK Explored the “A” part of the mnemonic – on April 6th, 2013 

M…MOVE Read more about experimental moves on April 11th, 2013 

E…EVALUATE Exploring how to regard purposes, standards and timing and make conclusions – in three parts on April 14th, 15th, and 16th 

D…DIRECT – Today, the final post of the series – avoid training your mistakes, interrupting routines and today’s post is how to clear sensory feedback noise.

Directing – Clearing Sensory Feedback

OK, so let’s say we have connected up the steps of the process to the effortless doing of an action successfully – preventing old nuisance habitual responses. (Please read the previous post if this doesn’t make sense to you yet.) This is preparation for Directing. The steps of the action can now be “actively” thought or said – but without the movement action attached.

Why connect the strategy of “directing” to non-action is in another brain fact. There’s a big signal-to-noise issue between feedback and active movement. To minimize this, it works to slow down the activity (or refuse what is unwanted entirely) and then recite or think a narration as steps for the new, improved process.

If you have been following previous posts – you learned the importance of connecting up these directions using a new way to prepare for action. These new ability to “Direct” are words or thoughts that will substitute for habitual movement preparation before you know you’ve decided to move. What you want to replace are the old preparations that go on in the brain and body responses before the choice to move happens. Directing is intended as a precursor behind the urge to move.

The reason for non-action is to prevent the habitual response from jumping in to answer the urge to “do it.” Replacing habitual preparation for movement with Direction is similar to visualization – only Directing uses a kinesthetic and/or verbal strategy.

Because Directions are done by thinking the steps of what you’re intending to do very deliberately – without doing them – that’s why it’s important to have already connected words to the steps of how you intend to proceed as we learned in our last post. We compose these words in the passive impersonal present tense to avoid any urge for over-doing these suggestions. Here’s an example of what we might say using an example from Alexander Technique :

“The neck frees and the head aims forward and up,

while the torso lengthens and widens.

Then the knees go forward and away… “

 

Then the new steps can begin that would carry out original goals with new starting point. It will also be possible to do something else instead as a fresh last-moment decision – turning on a dime.

Now – what happens? Probably something below the level of what you can perceive. That’s why Directions are repeated, surrendering the urge for feeling around to verify results. What we’re after is allowing the body to return to it’s resting length so a full range of action is available when we do respond in action. We’d like to be free of conflicted or outdated responses and free to improvise.

After using all the steps of Alexander Technique, when you do act, there is a significant “feeling” that happens. It’s a signature sensation that Alexander Technique teachers offer. With some practice and smart strategic thinking, you’ll be able to do it yourself. It’s this delicious sense of “flow.” Or as it used to be known among Alexander Technique crowd, “Do-Less-Ness.” It’s almost a religious experience, but without the cultural values attached.

What’s after this? You might make a discovery about the nature of you suspended goal. If you want more discoveries, well, do the steps again. Remember how you were NAMED!

  1. Notice
  2. Ask
  3. Move
  4. Evaluate
  5. Direct

 

This is the conclusion of a mini-course. We’ve been using NAMED to help Alexander Technique students remember the entire class content of using the Alexander Technique. Hope you enjoyed it!

 

 Happy Experimenting!

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I’m illustrating ideas of thinking strategy & perception in some educational writing about Alexander Technique in the form of an e-book.  Useful would be a bunch of ideas how to illustrate abstract concepts in pictures.

As thinking skills are, this subject is a challenge because it is a process. It is similar to how people get seduced by the results rather than becoming impressed with the effectiveness of using the process. A focus on results leads people to brush aside the process that got them there and seize upon the dazzling results. In the case of Alexander Technique, people get distracted by the result of getting better at doing something or recovering the ability to move easier.

The most obvious illustrations of showing pictures of the body from the result of using the process has the potential to seriously misdirect the content of Alexander Technique. The ability to see motion needs to be educated to perceive the level of action being trained. It also needs a relationship to movement, and pictures are two dimensional.

Perhaps the solutions are illustrative videos!

Alexander Technique uses the kinesthetic sense as the arena to train thinking skills. Among other benefits, the Technique helps to eliminate unnecessary habits of movement that were unintentionally trained and are perpetuated by accidental association.

The process leading up to the ability to move & learn easier is the content. The obvious choice of illustrating frozen body positions with photography tends to give potential students the wrong idea, no matter what the quality of the photographs. Readers assume pictures are showing them the examples of the “proper” ways to move so they can copy this proper form and assume the “right” positions. Of course, learning the ability to respond with less effort is a significant and valuable side effect, but when it comes to improving freedom of movement, establishing and copying an ideal is the wrong way to get it.

The act of copying bodily positioning works against learning the process because it encourages going for the results in the “old same way.” The internal experience of the learner is that moving easier will often feel wrong from the inside. This is because the human sense of orientation only gives feedback about changed position relative to the status quo, not absolute fact. What is new and unpracticed can be sensed as strangely unfamiliar and off balance if it is radically different from habituated norms.

Every advertising authority recommends dangling benefits. In Alexander Technique, the benefits are so broad that a list of them ends up sounding like snake oil sales. The process is the content, not the result. But the result is the motive for using the process!

Hope you appreciate the challenge!

Winners will get a free copy of my forth-coming e-book titled “Younger Than Yesterday, Alexander Technique for Fast Learners.”

(Of course, I am assuming that you can understand what these isolated one-liners mean in isolation without having read the rest of the writing. All misunderstandings are valid in this situation!)

Please make suggestions in the comments about pictures, designs and images to illustrate ANY of these different proposed captions. (Suggestions to edit the captions are also appreciated.)

  1. *Muscles are contracted by effort. When you stop forcing them, muscles return to resting length in the “off duty” state. Lengthening a muscle feels like…nothing.
  2. *As multiple goals are added and must be accommodated, being pulled in opposing directions is bound to be conflicting. We get into trouble because we can’t foresee the effect of repeating what we do over time.
  3. *The sense of location, effort & weight is relative, not absolute fact. Because humans adapt, we can get used to just about anything that feels normal, once repeated enough.
  4. *Repetition trains a new habit. Practicing a series of chained behaviors creates a new skill. Be careful what you allow yourself to repeat!
  5. *Effectively trained habits install seamlessly; they disappear and become innate so the habit can be relied upon to work the same way every time.
  6. *For a base-line comparison, show off an authentic example by observing your own habits in action without trying to improve yourself first.
  7. *Get some words for how you’re moving by describing the movement’s direction, sequence, timing and quality.
  8. *Thinking is the first part of movement. You are already preparing to move to respond as soon as you think about it.
  9. *After movement preparation and before going into action, you get a moment of veto power.
  10. *Now that you’ve experienced something new, what do you do to get a repeat performance? (Wanted are more pics of multiple choices. For instance, some ideas we already have are: “say the magic word,” “file folders,” “elephant remembering computer password”, “list-making….” Specific suggestions about how to illustrate these suggestions are great!)
  11. *To duplicate desired results of an experiment: suspend previous ways of getting the goals and follow the sequence of experimenting that worked before. Presto!
  12. *Recognize new information by their unfamiliar, subtle, elusive, disorienting, funny & paradoxical characteristics.
  13. *Refusing, fooling, lying, slowing to a crawl, waiting, distraction, placating, cheating… Anything that works is fair game in using preventative veto power against the coercion of habitual routines!

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