Fascia, Anatomy and Movement Book

thank you everyone for joining us for this book promotion of one wonderful book by Joanne Davison Jerry's speaking to us from Brighton and she's a little bit under the weather so if you hear a few coughs and sputters then she's been very great to actually do this for us thank you for her right there so over to you Joe and I'll be in the background please do use the chat room if you want to ask questions or make any comments as we go through so thank you Joe over to you thank you John do I do the slides myself yes you can just put it okay hi everybody thank you so much for coming I'm so flattered there's so many of you excuse me wheezing and coughing Ivan literally this is my first day out of bed with flu so I am describing my book because I've been accepted invited too which is a privilege however I am going to start off describing what had me write it and I hope the purpose is much bigger than me promoting my book Diana thank you it's very sweet of you I was lucky enough to be trained many many years ago in yoga and frustrated to hell because I couldn't understand how to apply the anatomy I was studying to the movements I was seeing it's the simplest way of putting it it just made no sense to me at all and of course like many of us I'm sure well certainly people I've met and students I've worked with participants in all the courses I've done I wasn't the only person who thought I was the idiot because I didn't understand the anatomy well enough and I learnt my origins and my assertions and my biomechanical principles and what they didn't explain the movements and the differences in the people in the yoga class and in 1998 Tom Meyers was in the UK and Peter Blackaby who is an osteopath and was my first teacher invited him through the osteopathic school to come and talk to us in the yoga school hi people joining us hi hi Julia and Thomas walked in I'll never forget 1998 this was Swiss it's a long time ago but he walked into this beautiful Center that we had in Brighton and he said there ain't no muscle connected to no bone no we're in no body and you've got to think of this in context his this American dude and Tommy's a dude and he's got his song glasses on his head and he's leaning back on the wall and he's all cool and it's just like he committed anatomical heresy in the classroom in front of us and I was intrigued because I'm a complete maverick obviously and basically I signed up to do his training in structural integration Rolfing by any other name and I traveled 2,000 to 2099 to 2001 I did a two-year training and I really I loved Anatomy trains I read I loved how the principal I got how this principle of continuity that muscles and connect connective continuities could somehow relate to movement and that's me trans hadn't come out at that time I read the proofs when they arrived with Tom I was there in America and at the time I was a resident author at Cassell's as much among my other jobs I was a Chocolat EA but I'll tell you about that later and it's relevant believe it or not anyway so I was an author at a time and I said to Tom I'd love to proofread your book for you and it turned out that it was published by English publishers Elsevier and Mary law and Sarina Wolford were his publishers and I got to read the proofs and otama call teeth if you will on Anatomy trains I went with Tom and if it should became one of his teachers and then said please can I take Anatomy trains to the UK and teach it to movement teachers because I think it's a brilliant lens and I think not everybody wants to be a structural integrator and I want to make movement make sense and Tom said be my guest great way and we had big plans to do all sorts of things and life being life it didn't quite work out how it was supposed to but I ended up going down a slightly different route and creating my own yoga teacher training because what I came across was a huge lack of understanding amongst yoga teachers who had done something standard if you like like I take anatomy and like me they were very kind of setec I started off doing fine art and English many moons ago so I and as an artisan chocolat EI most of my life at that time we're talking 20 years ago I was very kind aesthetic and I I work with chocolate all day long so I was dabbling in soft matter I didn't know the importance of that at the time but I wasn't happy with the idea that this is a lever and this is a lever and this is a system of levers because the other thing was at the time I was married to and the daughter of very skilled mechanical engineers and when you live and grow up with mechanical engineers they can drive you mad but they are a brilliant brilliant minds and they want to know why things work the way they do and how they work so I suppose I inherited and married my desire to understand how things work and why they work that way and so I didn't carry on working with Tom but I created a yoga teacher training school I founded it in 2006 and it ran from 2008 to 10 in the art of contemporary yoga and the science of body architecture and we taught the anatomy trains principles and we taught the principles of working with the fashio and I got to work with Roberts life a lot I ended up sending all his facilitating on his UK workshops we became good friends and colleagues and I ended up studying his work - it was coming out of my ears and I wanted to know more and I ended up working a little bit with yup Thunder ball and studying all his papers and Robert helped me learn to read papers and then did webinars and ended up being invited by dr. Steven Levin to work with him and his team and then I met Leonid Bly um and John Sharkey and all these fabulous people who are involved in biotin secrecy and cut a long story short Serena Wolford and Roberts like conspired to have a book written about yoga and fashio which is this so I was invited in to do it and I found myself needing to bridge three domains and I'm gonna say this up front because I think unless you understand this it's not going to make sense to you the book lot of a mixin it's but nee this flash of quite frankly so the three parts were not fashio Anatomy and movement funnily enough the three aspects were the three aspects of us that fashio comes and makes sense off so first we have the animating or activating the intellectual minds so intellectually part one of the book reflects the research the story the history and the how and the why and the what of fashion and I did my utmost to go through as many of the most relevant papers as I could and absolutely not be on a kind of it my way is the way a bandwagon but to go out there and give a neutral explanation of the of the way the fashion works and what it is and what the research has led to and why it makes sense of our biology part two was animating the body architecture in other words how do we as a yoga teacher and a structural integrator I'm very interested in how do we apply that how do we take that intellectual stuff and rather than extrapolating into turning it through some marketing guru that then allows us to sell it as the next best thing in flexibility or fashio training I mean there is some serious nonsense being peddled out there and yes I take no prisoners I won't name anybody but my god be careful what you read on the internet and see on YouTube because there is some utter nonsense and now that doesn't mean that I haven't written any nonsense but I went to the people that wrote what I've written and asked them to assist me in making sure that I presented their work so this is it's my take but I've done my utmost throughout the book to explain it in a way that honors the people that preceded me anyone you come across who is claiming to have invented fashion or invented butter training or because of the way they deal with the fashion or fashio can work just turn a blind ear and walk away because this has been going on with this is this understanding go for years and we'll talk about that in a minute so I just want to open this whole thing up yes Diana the Jillian does it in it does a lot of work with the fashion we'll talk about that later so anyway on to the subject we're on animating the body's architecture finally because the book is yoga I talked about illuminating the emotional body and what that gave me access to was able to talk about the spirit able to illuminate the emotional being and make a little bit of sense of how fashion is involved right across the field of what's now called into reception so it's not just our understanding of the research its how we feel through the body and then on to the next I call it the next dimension where we actually talk about the the energy system and the sacred geometry or the geometry of our biology that resonates and gives us fields of resonance and that goes into the realm of energy medicine and we have to be very careful to know which realm we're in not because the Fator doesn't span them all necessarily but because I think we have a duty of care to follow through the research that we have access to and make sure that we're very grounded in what we say about fashion because it's a bit of a flash of free for all out there at the moment and you can end up hurting people with the best intentions and not meaning to because you just don't get that this is a paradigm shift it's not just a new content it's not like oh we have muscles and bones before and now we've added the fattier and this is what the Fator does it's not like that flasher literally changes the context in which we understand muscles and bones and what I want to do now is go through the book quite quickly why don't do anything quickly but we'll go through anyway and we'll start with part one which is all about the research this is somebody who graduated from the art of contemporary yoga someone called Katie Katie courts Katie courts killer now and I just love these images we went to great lengths to design them I've subsequently seen other people have done this before us but we honestly didn't know we sat with the drawing board the photographer and I David Oh David very silly it's gone out of my head Oh crazy David Willy of course David Willy photography awfully brilliant so sorry David and we spent absolutely the greatest time having these tubes made and putting the girls in them and having the lighting such that you could see because it's a visual metaphor for the fashion my life started in art and you can imagine creative expression and ballet and dance and so on and so this was heaven to me was to be able to come up with a metaphor and somehow describe how the fashion works as a tensional Network but as a tensional architecture in three dimensions at least and it's in 3d in the body it's animated its lengthened it's tensioned it's has different depths and it's it's something we can't imagine and being able to see it through John called Gambier toes work is really a privilege because a lot of my training was done before any of that ever came about so this is Katie inside her sleeve and the picture is very copyright so please be aware of that and it's the picture in the opening chapter of the book which I love them so in part one I look at the art of contemporary yoga which is obviously more yoga based I look at ancient wisdom and new knowledge where we look at the history of the fashio and how it informs what we're doing thank you Susie then I go on to the science of body architecture which is a bit the history of how fashio came to being understood as we understand it now then I talk about biotin security because what biotin seperti does is it explains the three-dimensional part so to just go back a second this is a biotin security organization what you're looking at now the in this image at this moment the tensional member is the fabric and the compressional member is the body but the body as katie lengthens into it is it their mutual tension compression Arrangements that can change so that's what happens inside we can't just say all the bones of the compression members and the skin is the tension it's not like that it's a tension compression architecture which I'll explain a bit later and it's it moves and it's a moveable three-dimensional feast of emergent properties and this is the hardest thing to get about biotin security is that it changes all the time because that's what we do so that's why I got so excited about biotin security because it started to make sense of exactly the aspect of an SME that I couldn't understand is that no two people seem to have the same Anatomy the book says it's like this the people say it's like this and this and this and this and this and this and this and this and this and this and this and how do you correlate those things and I just couldn't do it until I started putting anatomy trains together until I asked so to understand by sincerity so if you want you can think about these as stepping stones that that we started off in sort of one-dimensional anatomical parts and we need to know what they are so learn your Anatomy I'm gonna say then we went to two-dimensional which is kind of Anatomy trains where they all got joined up in lines and now we're moving to three-dimensional which is biotin security and how those lines create spaces and hold spaces and form spatially and so you can think of it like that you can think classical Anatomy something like Anatomy trains or kinematic chains and then thirdly biotin security and you put those three things together and you've got the one two three dimensions of understanding that's quite a good way of thinking about it just to hold it in and get to the paradigm shift anyway so then I talked about the remarkable human blueprint I will go quickly through these chapters which is our embryology the breath the bones and the dermatomes which is me starting to get argumentative about the fact that I don't think physiology is separate from an s mean separate from biomechanics spines lines and also mobility offers a slightly different take on the spine not that I've got a different take but I just offer researchers different take well I do because I couldn't find evidence for what I was reading in life the elastic body explains the elasticity and gets us closer to biotin secresy since in sentience is all based on Roberts life's work and why the fashio is the largest sensory organ of the body and the facial forms which is a very well as technical as I get chapter all about what fashio is and isn't and talks about Dean Zhu Hans work and other people that precede the glut of wannabe fashion experts that keep coming up on Facebook and sending me nuts bluntly Jan John are you able to supply that image now at this moment that goes with this particular piece yes exactly hi Julie oh wow right there you go thank you John this was sent to me by Roberts like because he's so generous with his research and he's such a fabulous mentor um this is the one of the most recent and kind of formal diagrams of what fashio is and FATA isn't what is intramuscular set Futter in other words that which is between the muscles what is superficial flash oh that which is on the back of the skin immediately under your hand the visceral fashio and the different densities you can see the chart has on the left hand side from dense to loose so the closer we get to the surface the superficial flutter the less dense it becomes and the closer we get to the deeper layers of the body walls and the internal body the denser it gets and this is quite a clever schematic really it shows how what they call proper fashio is very very dense very close to the bone not necessarily but it can be aponeurosis which is a tenderness sheets so it's like a tendon is more tubular like in appearance and aponeurosis is more sheet-like in appearance a ligament which obviously is what is between bone on bone so there are many people arguing that the periosteum the fissure around the bone is continuous with the joint capsule and the ligamentous tissue between the bones and the tendon which is obviously that muscle that becomes continues with a periosteum and in the in the dissection program you get to see so clearly that these are not separate entities but you couldn't even say that ten years ago unless you knew yup fond of all but we'll get to that so stay with me and don't worry so we get less and less dense as we're more superficial more and more dense as we're more deep and I'll answer your question in a minute hi Fiona and the we get more and more regular in this graph of the the tissue and more irregular as it gets more dense the meningeal fashion would partly be considered in the visceral in the visceral scheme of things in the organic fashio and it would be considered at a very deep depth but it's specialized and the specializations are not fully accounted for here John so you have to kind of allow that this is a schematic of a body that is not this isn't the body this isn't what the body looks like even vaguely and this is one of the big problems that everybody's having you've got people like jean-claude gamble so who says there are no layers there are no layers and he'll stand and even shout that Carlos deco and Antonio step over there beautiful work showing the different layers of the patter that these layers are not how the body behaves in life and so this schematic is a general overview to give people a sense that the fashio is not just a discrete area of the lumbosacral architecture where there's less muscle and more fat sure it's actually pervades the whole body it's what holds us together muscle resides within it however it's invested throughout muscle so muscle muscle fiber muscle fib real actin myosin it's all if you like and sheathed or invested with or ubiquitously contextualized by ie everywhere this flutter in its different expressions and different characteristics yet it's or joined you know the meningeal fashion doesn't it's not separate from that which is around it and the Douro of the spine and the actually speaking of that and what James just written we opened the whole spinal dura in the steel dissection and all the membranous --tz-- hydrated or apparently hydrated from the dissection method all the membranous parts of it were still intact still visible still holding fluid and we were able to see the fluid motion of the cerebrospinal fluid unfortunately the the the cerebrum and the tentorium and the brain tissue is not preserved by this method it's that's the downside of it that it just turned to mush so unfortunately we couldn't see that but I can't tell you how just remember this is a schematic this is not fashion you know it's like going to the doctor and the doctor treats the x-ray and doesn't actually look at you there's nothing more frustrating you know you are not an x-ray the x-ray informs you about the living body and this informs you as a schematic guide that superficial fascia is different and looser and than tendon but it's just a schematic you know don't do your head in but thank you Robert it's beautiful John thank you there we go brilliant now excuse me geometry the fashio is basically when you view John called Gambier toes work when you view it in a teal dissection where it's not dehydrated and stratified ie layered because it's not layered in the human body you could say there is layering but you'd be pushing its depths it has different depths and it has different characteristics and expressions at those different depths so when you see a YouTube clip showing you what you do to the fashio when you use this method be very very skeptical because it may only be the superficial most subtle aspect that is behaving like that the deeper periosteum fashio may not even be affected and it would be different for each person depending on that treatment so this will drive you mad to get but you have to get it the fashio is ubiquitous it's everywhere it is not the same everywhere it has different expressions depending on where it and how you use it and who it belongs to what makes us all the same is that we are all unique and that makes us all the same welcome to the world of paradox and if you can't enter the world of paradox and the world of polarity as distinct from duality you've had it put the book down and leave the webinar now go home and give up whatever it is you're doing because you will not get there if you want to be dualistic and say the fashion is this it's not this therefore it doesn't work like that it is usually a spectrum where the polarity expressed in that previous image is it can be very dense or not very dense it can be very regular or not very regular it can be very stuck and stiff or not very stiff and not very stuck at all they can glide it can be much too floppy which case it's too flexible which is often more dangerous than being too stiff because we need a new vocabulary so you see where I'm coming from it's a whole other world and it bursts us out of the two-dimensional anatomical lines even they're an upgrade on one dimensional anatomical parts but they do not get us to volumetric facial matrices in a network that lives in the round so you can get the paradigm shift this is what gets us to the round Leonardo da Vinci's drawings of these are four-dimensional what makes them four dimensional I'm going to do this really simply and I'm sure some of you will argue with me but please don't because I'm not I haven't got time to go into any one aspect tonight is that but it's past seven and I've only got to the second page is that this geometry is this time it's not the fourth dimension time is the medium time and space or the media in which the fourth dimension occurs and includes the fourth dimensional object is something that moves through itself and these Leonardo was unbelievable you can see through the objects they can move through themselves if you look up for dimension on the on the Internet you will see these shapes moving through themselves in animation and it's very difficult because we live in a 3d world so it's almost impossible for us to see 4d and this part of the book just before I get to this shows you links you into sacred geometry which I deal with in part three so so you understand we are in the world of body geometry and Leonardo da Vinci understood that and I makes a lot of sense of his work later on he was an architect and he understood a great deal that we can learn so this is a picture from the book of how we use exercises practical exercises throughout the book to show people how to feel the different qualities of the FATA you can put your thumb on your palm and your fingers on the back of your hand and just wiggle your fingers and you can immediately feel the different qualities of glide on the back and the front of the hand and immediately you understand what I've already said which is that the Fisher has different characteristics depending on how it's used so if I go to pick up my glass as I've been doing all my life it's the inside of my hand that gets the use not the back of my hand we don't pick up glasses with the back of the hand so the back of the hand has a different quality different function less adhesion the front of the hand has different behavior because it requires to be used differently so it's more tethered and more dense same fashio different expression the picture in the middle at the top is the rectus abdominus the faculae aponeurotic sheet underneath it and the one at the bottom is one of jean claude campitos images which if you haven't seen them get your hands on them they are amazing and because he's got an endoscopic camera but going under the skin of a living body into a semi closed space because of course he's had certain into the camera he's showing something much more like what's going on inside us before we're cut open and these are called fibrillar networks or mat micro vacuolar meaning the spaces are contained and tubular and people expect to see these sort of furry filaments like because of gilt Headley's fuzz and in fact that was dry tissue it wasn't a very accurate presentation and Julia guild will tell you that now himself the tubes are the tubular Ness is this collagenous protein acid's hydrated ability to express itself in different ways so it's like jelly a bit and this is another image of one of the graduates in another tube showing again another aspect of how depending on where she is in space the fabric of the tube is tensioned in a different way and that's precisely how your tissue works however it's a metaphorical expression of it because I can't get nearer than that it's a visual metaphor oh yeah do if you've got a chance to see the webinar but it's on call did with John got watch it watch it watch it so this is I think this is chapter I don't know what that is but I think it's about the way we move the way we do because we can and these were some yoga poses basically demonstrating that the tissue moves with us and we don't leave it in different ways we don't leave it behind and the idea that you know we go we do a movement and we just take for granted that we can do the counter movement so these are my illustrations and just joking at the idea that when somebody's get stuck in Eagle pose with their arms like that they expect to be able to get out of that pose we take that for granted and this was just an image of people rushing somebody in Eagle pose for structural release as if that's what we need to live so yeah I was just having fun there Dara I have fun with anatomy but the other reason for the pictures of Leonardo da Vinci was that I talked about the history of anatomy and how we developed the knowledge that we have now and please remember that fashion was discovered in the Western world in dissection in 200 years ago by John Godman and it was kind of buried because it wasn't convenient it was too new a view 200 years ago and the next person to really pick it up seriously was 80 still the father of Osteopathy and a hundred years ago he was writing about what's just being discovered now in the research so when I read people currently claiming to have discovered this and that about fashio find their research papers is all I can say to you because the amount of crap that's out there is really distressing and you have to filter it because it's spoken with such authority there's one particular person out there saying he was at the third fashion research Congress and done another as if that's an accreditation it isn't it just means he got to do a poster so please be discerning and the history anybody claiming that they discovered it I mean give me a break yup found a vowel in fact discovered that the tissue of the human elbow in a dissection in 1985 and the book references this and goes into great detail about his teachers because he insisted on crediting them that he his his work was buried I mean he showed that the tissue of the human elbow basically what he did was instead of dissecting the tissue away to show the muscle in the bone like what you're seeing here now he did the opposite he dissected out the muscle and everything that wasn't tissue and showed that the human elbow was a continuity under tension full of proprioceptive Meccano receptors that meant it was a sensory substrate and it was just way too much information it was way too outside the box and it was buried in 1985 robert Schleich found him and in 2009 yot Vanderwaal was asked to present his original PhD from 1985 by that time he was emeritus professor of anatomy at Maastricht University at the second international fashion research Congress I'm talking keynote speaker now so you can take the granted he knows what he's talking about and if you ever get a chance to do any work with you up on the wall just do he's amazing and he did this presentation of his work and showed that in 1985 I think he got it and he was very upset on that occasion I spent some time with him and that his work had been buried for so many years but since he's been given all this recognition ever since he I can't tell you he's amazing and he's worked now he's retired but he goes around the world teaching about embryology and taking me and NASA me back to its origins god I wish he'd been my Anatomy teacher God God God I wish he'd been mine SME teacher he he's magical and I I do a lot of work with his work he was fabulously helpful he helped me write this chapter five told me I wasn't nearly daring enough I was far too formal but I was also lucky enough to be working with Professor Darrell Evans who's an embryologist and I had to bridge the gap then I think my next incarnation will be a great deal more daring because we know there's so much more knowledge out there now about the fashio but thanks for that John that's brilliant I'm agreeing and endorsing everything everyone's putting hear about yup fund of Ireland jean-claude EMF toe please please go and see all these people but it does get confusing and I really hope that if nothing else my book will give you a little bit of a way of stringing it all together because I've met with them all I've sat with them all I talked with them all I've emailed them all they were so generous I think cuz I wasn't studying a PhD and I wasn't in competition or they were just gorgeously helpful but they loved helping me make a yoga book and make sense of it so please know that the the book honors their work so anyway this is the architecture thing where the picture on the left the big picture is the standard anatomy that we're all trained in and that we have an origin and insertion and if you look at these pictures on the left again they're my illustrations but they're not untypical of what you would see in a standard and SME book and what they imply is that the muscle is only attached to the bone at the origin and the insertion that the muscle is this lovely clean thing that exists in space distinct from its neighbour and that the angle at the elbow acts like a lever and none of that's true so when you look at a picture like the one at the top right which is the triceps muscle you notice that no matter what cross-section yeah I agree with you top to bless from its notes but if you really up on the balls work he will explain bless from its work so you don't need to do that separately I'm unless you're studying embryology which is a different thing so the picture on the top right is a slice of the triceps muscle and what I invite you to notice there and I go into much more detail in the book is that there is not a single place on that slice that isn't connected and it wouldn't matter if you took that slice every millimeter it's all connected so how do you get that image as a photograph to make sense of the picture on the left the short answer is you don't because that picture on the left is an icon it is a graphic artifact and it makes absolutely sense of how we move I mean really so little it's quite embarrassing so I obviously use the classical orange or grapefruit or lemon as an example and I do it in a very simple diagram because my invitation is to my readers to use that for their students so that you can understand these layers and later on the book or in that chapter I open out the orange and show you how you can show how the fashio represented by the orange peel the pith the covering of the segment and the covering of the little tiny globules of juice inside then there are all different expressions of the fashion and not dissimilar to us thinking about that which wraps around the the skin the what wraps around a muscle the muscle fibers could be likened to the metaphor of the juice droplets and it's quite a nice way of holding it it's just that we keep going down in these ever finer depths of the tissue so then chapter 4 is all about biotin security there's dr. Levin standing on the senescence needle tower which I'm now pictures of me standing under stillson's needle tail and basically this is the idea that we are basically a tension compression architecture and now I can tell you why it's relevant that I work with chocolate basically chocolate is soft matter our current paradigm for understanding biomechanics is based on hard matter physics we are not hard matter we are soft matter so basically according to dr. Levin and I totally endorse his work is there are no levers there are no upright inverted pendulums and there are no discontinuities in biologic forms so that's nice and controversial depending on what level you're at and which academic institution you're in and how long you've known about fashio and whether you followed through Leonardo da Vinci got it he understood amazingly because he spent so much time watching nature and observing and making sense of how things move Snell says Needle tower is not necessarily an example of a human body because it's a tensegrities architecture it's not a biotin seperti architecture however it represents a three-dimensional map of a close-packed system what do I mean by that if you imagine the bubbles on your cappuccino or the bubbles on the top of a beer the froth in a bag another bubble and more bubbles with bubbles inside them and more bubbles with bubbles inside them you have a sample of soft matter you you basically bags of bubbles colloids emulsions bubbles of different types sizes thicknesses fabrics held together with these in this fantastic network of collagenous soup and if you were to take the center of each of those bubbles and join them up with a line you would have patterns and if they were regularly packed they would look like Nelson's Needle tower and if they were irregularly packed they would look like jean-claude can bet those images under the skin I'll just leave you to work with that basically we are tension compression systems and that can be adequately demonstrate demonstrated what's being taken a lot more time to make sense of is how we actually move the gross anatomy around the macro system as a biotin security architecture how do we argue that because we're going to argue with a lot of history doesn't make it right we think individual muscles are activated by individual nerves to move the body around and we know that's a fallacy now it's just not accurate just not then we'll get to that in chapter 9 but what this picture on the right is from Tom Clements who is another person if you want to put it on Tom Fleming's FLE M ons and Tom Fleming's made a lot of models for dr. Levin and I talked about him in my webinars and there's much more detail and biotin secrety in those and he sent me that drawing that he did and made a model of the human spine that actually makes sense of how the human spine moves it takes more explanation and I haven't got time but trust me it's worth following up so this was the picture that we had this is a lovely Victorian painting of the spine on the left and it was a stacked column which is hard metaphysics a column is hard metaphysics it holds up something above and below and it's a compression system and as you can see my friend Katie she of the picture at the beginning who was inside the tube is standing on one leg and standing doing various amazing things that she spoke exactly amazing but there's no muscles in her foot strong enough or in her fingers strong enough to hold that doesn't make sense and why isn't her spine falling off if it's a stacked column if you tilt a column in a building you so much as tilt it let alone turn it upside down or sideways the building collapses the structural integrity is at stake so hard matter physics is the wrong model it's a paradigm shift we're not just changing content here we're not just saying oh it's not muscles and bones this fashio uh-uh-uh it is muscles and birds and fashio and they combined in a particular three-dimensional geometry that makes sense of the fact that Katie can stand on one foot at this angle without her head falling off which it would if it was a column so my request is after this webinar delete the word column from your vocabulary about the spine because it's not a column that's a request any help I'm getting more in my old age about the language so the next chapter five was the one I did with Darrell of Professor Darrell Evans and professor emeritus professor yupp fond of all and I hope you enjoy it he's one of my crazy drawings because I suddenly saw it all as bags within bags within bags within bags or chambers within chambers within chambers and the scale of the embryo compared to the mother it's inside of its just extraordinary but when we think of ourselves as bags within bags within bags within bags within bags and then the little tiny self assembling bag in the middle you are self assembled you need help but you're self assembled and you nee you expand and expand and expand and expand and the mother expands and expands and expands and expands and then there comes a tipping point where she contracts and contracts and contracts and you shoot out and then you start expanding and expanding and expanding and unfolding and it's this incredible continuum of expansion and contraction and there's an element of spiral motion and toroidal motion and all the stuff of the other dimensions that we are entering which is why this is quite difficult to get your head around this is my favorite chapter it was the toughest chapter it was the fastest learning curve and I wish you luck with it because it was it's dense but the complexity with which we grow ourselves is unbelievable so your new sugar thank you I cannot tell you go and work with your font of art it's just amazing and he he thinks blech Schmidt is amazing I do too but blech Sherman is very hard to follow I started it inside out to write this chapter it was a one-year master's degree in embryology for me but it got sent back to me three times by the publishers because it was too intellectual too dense too heavy that doesn't mean I understand embryology it means I know yolk from the vile is the most extraordinary teacher of it and go work with him he's amazing these are my drawings I'm just showing off now because I couldn't explain the Wonder the amazing incredible way in which we grow ourselves and being an artist at heart I can't see it until I can draw it and I when I painted it I realized something incredible I have to share this with you because it sends me crazy I know GPS who did a rheology for three weeks in their medical degree or whatever it was who think that the sphere of the amniotic sac and the sphere of the yolk sac where they touch each other it's called the germ layer in between and there's somehow this idea that this little bug this little larva called you starts off in this little germ layer in the in-between between the amniotic sac and the yolk sac that's not accurate and I want to see if you can really get this onto my best to explain it imagine a blue water balloon that is the amniotic sac and imagine a yellow water balloon underneath it that is the yolk sac and where they meet if you were able to see through those two water balloons you would see where they joined a double layered green oval disc yes that is the embryo it's called the bilayer the disk is the embryo so the embryo is a continuity of the amniotic sac and the yolk sac it's where they meet and where they meet there's two little membranes form to join either end of the spherical where the two spheres meet the either end something joins and it's little tiny tiny membrane forms and once called the Clos Akal membrane and once called the bucco pharyngeal membrane and the clerical membrane is going to become the anus and the buckeye pharyngeal membrane is gonna become the mouth then it starts off as where these two spheres join and just beyond the Baka pharyngeal membrane this little tiny cells start to pump and pulse and they're the cardiac cells and the top part of the sac grows down over and buckles this way so that the heart starts above the crown and folds down and the crown and the brain and the face and the throat and the forensics they will they all this foreign to your larynx all they grow up from the heart so the heart folds down and we fold round it and over it and grow up from it so in the yogic world I mean it's just sheer heaven finding out that you know the 8th 7th 8th chakra the heart starts and then we fall down through the 7th 6th 5th and become the 4th and the rest grows down 3 2 1 from it so I mean it's heaven and the other part of it that's heaven is that the geometry of the forming embryonic cells starts off as one conceptus divides into 2 divides into 4 divides into 8 is the basis of the sacred geometry that Leonardo da Vinci drew that I showed you earlier so this really is a very big deal to get your head around and it is essential that you expand your mind to include it without going all hairy fairy is John Jacques he calls it you can open up to the fact that there really is a geometry of soft matter and it really is the same as what we call sacred geometry and there really is max and algebra for understanding it and it really is the same math and algebra of the cosmos but we'll get to that I don't want to sound like a lunatic the these are just images from the book showing the emergent property surrounding and the surrounding tissues and basically just I asked you to get the sacks are the own cells and tissue of the embryo right form arises in fluids mm-hmm sort of gerald yes of course form arises in fluids it arises in the mesenchymal fluids which includes the cells include the cells around the cells on the membranes around the cells and includes the stuff within that is the the fashio and the potential fashion and the FATA that can bind in cells and unbind cells so it's what we call the embryonic soup but I have to keep going so I just want you to notice the top three pictures there in the lower three pictures the top three are are my sketches of the lower three with their context and I just invite you to keep thinking in context it's not that muscles and bones are wrong it's that muscles and bones reside in the collagenous matrix and that's what's changing everything and the fashion runs through them and that's such as a picture of my little picture of the embryo so I'm gonna move on so if you can't see that slide can you see this one don't you you're very welcome can you see this one Jen I hope you can sweetie I can see it can anybody else not see I don't know if anyone else I'm gonna keep going Jen you might have to re-upload because these are all on here so this is the next chapter chapter 5 and in it I'm just looking at my copy of the book it sorry chapter 6 the breakfast owns and the dermatomes I talked about on the left there so as the iliopsoas don't get me going if you look up in the classical anatomy of the iliopsoas you will be told that if you look up the grey's anatomy and you look up the psoas you'll be directed to the iliopsoas excuse me and I contend that that is an arbitrary affiliation so as in my world is completely distinct neighbor cousin best friend forever call it what you will with iliacus quadratus lumborum and the diaphragm hence the second drawing to the right if you and will both of them because in the body they are not separate come to the dissection and see their earthly beautiful this I had a wonderful yoga teacher another wonderful yoga teacher called John um John why your name come out of my head I've got so many John's in my head Oh Joe walks John sake John because he's face it come to mean he's just written a book for handspring so go on the handspring website and look up his fabulous book oh my brain I'm sorry I'm not well anyway John darling circ of course Eve John stuck bless him John still competes Blackaby when my teachers love them both to pieces John Stokes just written a book it was absolutely fabulous and I I was I thought I was gonna get to do something installations for it actually but he got found somebody much much much better than me but he was fabulous fabulous teacher and he made us study biomechanics and Anessa me he's the what I drove in that I drove him absolutely mad asking questions and John said imagine the diaphragm as a muscle of walking and are so as as a muscle of breathing what do you get and I don't know if John's ever found what I found in dissection but he we found those membranes and we found those scuse me intimate relationships and I just use the yoga pose to show that when we do a yoga pose with one leg we treat the so as differently on each side we ask it to behave different so as as a spine stabilizer rather than a hip flexor and that immediately opened magical doors to me magical medical doors and I invite you to consider it the same I write a lot better in the book so please do have a look um then I talk about the dermatomes the breath the bones and the dermatomes and invite you to remember that the embryonic structures such as the somites forming the spaces between the vertebra and not the vertebra if any book tells you that the somites form the vertebra it's not accurate the somites form half a vertebra the space in between and half the low one the next one so those spaces designate what's called dermatomes on the skin sclera tomes in the skeleton and Maya tomes in the muscle the different aspects from the outside to the inside I've asked Robert if there's fashio tomes and he laughed and I think if we can just remember this map as well when we're holding the whole body in our mind we start making sense of regional sensory domains or territories or contours of the body and actually I just bring it back to get more significance because it's I think it's very important that we think of the body in these segmental regions which of course yoga does because of the chakras but not because they're specific segments but because they're zones of awareness from the inside to the outside and when we understand faster as a sensory organ that makes much more sense to us this by the way is the tissue immediately under the skull and in fact this was dissected by Todd Garcia in the anatomical laboratory of enlightenment he used to be a partner of Gill Headley but Todd he's actually the clinical anatomist of the - and his work is in a domain of its own like John Sharkey it's a very precise whole-body anatomical understanding not just the patter and he does this beautiful and he did this for us but it this was an umber and as traditional embalming so the the tissue sets and ideas and it's much harder to dissect whereas in the teal dissection this some of this had disintegrated as soon as you took it out because it was soft like a little more like living tissue and that was just to show you the inside of the head and inside that the the fash are holding the ethmoid and sphenoid and it's just utterly beautiful and my friend Shane McDermott took this photograph and I rewired a hanger to show it so that we could actually see it and fabulous and that was a dissection I didn't talk um so basically I move on to say we can't necessarily understand the body in these planes in traditional biomechanics we are taught that there are three planes transverse coronal and sagittal the body doesn't have any flat planes no straight lines no flat planes no levers no upright inverted pendulums there aren't any in biologic forms sorry even a Jose Owen who's done some fabulous research on how the upright inverted pendulum actually extends to the lumber spine sorry whole body whole and complete from birth to death whole one thing no planes now they're very useful references absolutely so that you know whether you're talking about the front and the back or the side on the top of the base or the inferior anterior and all that but these are terms of reference bodies are not divided this way we're curved so this is the chapter where I talk about curved is the new straight and we talk about primary and secondary curves which is a picture that you see on the right and you have to read the book to get this because it's fab and it translates very beautifully into the geometry of form which is pictured here again I've scribbled over photographs of one of my colleagues Alex and that's an image from the picture and one of the pictures of Katie just showing that there is a three-dimensional geometry in existence that holds for one mer in time and this is what we mean by emergent properties and that's why it's very hard to get your head around fashio because it changes because we do and we're talking about living bodies here so new Booker rules guys this is about biotin security in action or elasticity and I try to explain flexibility and stiffness and elasticity and I'm not even gonna attempt it in this webinar but please watch the webinar that John Wilkes has in which I describe that because somebody who is super flexible and super bendy and lovely soft sabi biota integrity or ten secretary toy no no no no no no we don't want that that's called ehlers-danlos and it is not to be it's basically hypermobility and it's not it's a nightmare you don't want that you want suitable stiffness to be able to walk around and this is a cheater I don't know if you can see behind this cheater there's another one behind it in a beautiful curve in another direction our spines move in all kinds of directions and that puppy is I just want you to notice that he's the puppy is sorry I was just reading the things yes John Stehr if he's doing a webinar grab it he's bad he's hilarious he's a Larry the puppy is right from the tip of its tail to the end of its nose is holding itself balanced so that it can really get that water but hold its whole body as a ten security architecture and I just can't tell you that excuse me I am just seeing if the VIPs contacted me which they haven't I can't tell you how bad shows the whole body held together this one bit gets left out and even the animals tail is included in this balance counterbalance system of the whole body in space at all times that's a paradigm shift so this is the ninth chapter one of my favorites that quotes a lot of Roberts like and the heart math Institute and may one hope rainbow and the worm another fabulous scientist the research to show how the fascial matrix works as a sensory Network and that it is the largest sensory organ of the body I recently read an article online in which somebody claims that the we can't feel the fashion is it's not quiet to the brain but the muscles and tendons are wired to the brain so we can feel those I'm not allowed to swear online spherical nonsense as my father would say the fashio I the nearest I get to it and I described this in the book as a result of a conversation with Peter hyejung who is a extraordinary person in the world of fashion and he explained this to me it was brilliant about how the body is kind of a hierarchy and what I the nearest I can get to it is this if you think of the primary colors yellow red blue as the central Keystone's of the central nervous system and then we have secondary and tertiary colors so when we blend red with yellow we get orange when we blend red with blue we get purple when we get a blend blue with whatever yellow we get green that's like the peripheral nervous system and we get the secondary and the tertiary colors but beyond that we get these subtle expressions of color the shades the tones the pastels the hues and so we feel everything everywhere it's just that we don't necessarily know what we're feeling and we haven't got the language for this subtlety of sensation that we experience all the time we call it proprioception meaning the sense of one's own self so it's your biofeedback system and it doesn't make the nerves wrong it doesn't mean nerves don't wire to muscles it means that the tissue also informs signals and communicates so that the main nerve which is wrapped but ER anyway cardiovascular tracks or neurovascular tracks are all wrapped in some form of fascial matrix and under tension and the tension itself communicates and the fabric itself communicates so we we are basically a listening device we have in in some nerves we have four times really sensory aspects as we do motor so this is a listening device and it's already listening it's the mind that didn't catch up it's the mind that thinks this is all new the body doesn't think it's new it's always been like this so what we're doing what's so exciting is that we're getting new distinctions and we've got to be very careful that we use the language accurately with those distinctions so I like to think I do but when I wrote this book I haven't met John Sharkey and I use the word layers and he's explained as Jam will endorse in the one series that we've been doing there are no layers there deaths so we're getting even more specific about this language I took my clients when they say oh it hurts I say what's the sensation is there a quality of does it feel like it's burning does it feel like it's sticky does it feel like it's and they have we grow their vocabulary of understanding and it literally allows me to interpret what's going on and change and that's this attentional Network and what you can see from this picture and this is spiders webs out in the forest is that I put my hand under that little bush that shrub and shook the shrub everything every single part of that mesh would move every part of it then that would communicate and it communicates a vibration it communicates through Meccano transduction it communicates through changing chemistry it communicates through filters of fluids it communicates through motion and kinetics it communicates through the genetic coding it's all there it's so complex it's a wonder we've survived this many years with the limited explanations we've had so far I mean I hope this just opens the door for you because well if nothing else the Meccan oh receptors are considered this is taken from Roberts life adapted from Roberts life's work Golgi Puccini Ruffini and the interstitial free nerve endings have time to go into all of those but I talk about them at some length in the book and then I talk about the specifying terms of fashion because there's so much controversy about them and just invite the reader to understand what they're hearing depending on which level of academic literature they're reading and I think I talked about this in one of the webinars don't I John so I won't go into it now but it's it's all there in the book and I try to explain it in very straightforward terms so it's extremely accessible so then part two is about how we put this all into practice and I'll move a bit quicker now because I appreciate that you've all been online for now I can't believe my voice is still working but we talked about animating the architecture I go into Anatomy trains to which I'm obviously very loyal but I think as I said to you there in the 2d of the 3d so they're a great stepping stone don't learn them instead of your Anatomy because we want the 1d Anatomy followed by the anatomy trees too deep into BIOS insecurity 3d and you have to contain it in the sense and sentience so it's all there Yoga and something I call posture profiling which I'll talk about in a minute adjustment of the fashion form which again is for yoga teachers because I consider all movement teachers to be manual therapists and the way we touched people matters and we are soft matter so it matters how we integrate with soft matter we become communication systems and if you poke people or in yoga classically force people you know I'm saying you know the elastic breath so I bring the elastic body of the previous part into how we breathe and that a lot of that is integrated with ancient yogic pranayama teachings and I try to make sense of them I don't reproduce the exercises I try to explain why the Yogi's actually understood this elasticity and we find out in part three that they actually understood all of this long before we did and yoga for the fascial body is a simple practice basically that a very simple practice that you can do now I want to make a point about that before I get to it we tend to use fascial release as a blanket term as if it means one thing and you need to do a fashion release course or get a foam roller or butter genius or fashio training in order to do what you should do to the fashion the reason that doesn't work as a concept is there's no such thing as the pusher what I mean by that is every aspect of the fashion expresses a different aspect of us it's as complex as we are now why that matters is that we sometimes behave as if the gross big movements like going for a run or going to the gym and training or horse riding or climbing a mountain or somehow something that wears us out and exhausts us is or you're a big treatment big muscles treatment sports massage or whatever or valuable totally valuable but it is the way to release the fashion that deeper you go the harder you remember I'm trained in what is known as Rolfing and you know we're taught to be very strong because it's very strong stuff and it Diaz and we've got a uh nadir or it's resistant and we've got to make it resistant the fashio I hope I'm putting this across has a range of expressions it is on a scale that is a polarity from very very dense to not very dense at all from very regular and close to very irregular and these polarities exist so for every hard thing that we do and need to do a soft thing at the other end of that scale but is also needed by the tissue or the tissue can't respond in its fullest variety they just can't so what I do in this last part of this section is a simple practice where the body begins to be able to do a practice that is soft and restorative it's called restorative yoga it's what I'm trained in and it's a very simple practice anybody can do it and I really recommend it as the other part of the wheel you know get fit sure but take care of your tissue and do something that's in between strong and nothing so this is another image of Casey I just love it it's just so beautiful and this is Samira on the left this is my curved is the new straight because as you can see there's no straight lines anyway so why would we want to put it into straight sagittal coronal and transverse planes mm-hmm look the body it's just a reference but we forget that and we talk with proper anatomical drawings and about sitting up curved we can't sit up straight because we're not so I talked about in practice how the spine loves to be in its appropriate curves especially in sitting and it's all illustrated and described and it's not currently argued because it's not about this is my way it's about making sense of how the body is the architecture of the body actually works and appears and behaves and from a biotin security point of view this all makes beautiful sense the next chapter is yoga and Anatomy trains and I redrew them as sweeps or what I call bands because when you're using this for movement analysis or posture profiling you have to learn to see shadows and bands you can't see gluteus maximus you can see the region in which it resides under the skin through the adipose tissue and the fatter but you don't get to see gluteus maximus or any other muscle other than by its shadow continuity or its band that it's part of unless you are in surgery or dissection hopefully it's thinking back to when I cut my knee open I saw four other more muscle than I wanted to but you get my direct so these are the front line and the back line and I don't know if there's any more here and I show them in for example the front and the back when I do this with all the lines I show them how you can't body read with them unless you use them in pairs because in motion a you have to see them a completely different rate and be the work together so we look at something like the back in the front in a forward bend or a back bend and we look at the sides relative to each other and all the deep front line and so on so I it's very practical this part of the book so it's how you actually apply these principles to reading the body and you you continue to work with it in living since that's that's the emphasis on this part of the book this is the arm lines and this is trying to show the deep front line as part of the breathing mechanism and how posture and breathing are completely interrelated this is posture profiling very quickly and unfairly because it's a fabulous chapter and it's really useful we're reading the body but we basically see fashio typing we have to be very careful these are very soft graphs but I can't wait to have a course together in this because it would just be so valuable to everybody so I'm gonna do it in the future we talked about biking to jungle where my king is very strong it's the Aster it's you know obliques type character with big muscles and Nordic and have a cold and brute force and at the other end of that scale that polarity is it's a jungle body where we thin and wiry moves through very quickly and sinewy and you could think of them in the jungle not making a sound as they move through think avatar and then the vertical scale of ectomorphic mesomorphic endomorphic and we won being very staccato and fast and the middle one being in the middle and the endomorphic being much slower and softer and sometimes just a sensitive but more still more gut based I explain where these terms come from I liken them to equivalent yoga terms and I give a sense of how you can body read people and place them on this graph and your time is always how can I move this person nearer to the center it's all explained in the book and it's great and I'm gonna do workshops on it because it's fabulous people really get it when they do it we look at the geometry or of fosters and this is all about adjustment this is another of my favorite chapters because you read books on adjustment in yoga they talk all about adjusting the poses and you get a list of poses and how to adjust them how do you do that we don't adjust poses we adjust people so without making them wrong or saying that that's not how it dues as my son would say when he was little that's not how it dues everyone's yoga poses are unique to them and you adjust it according to their balance and the footprint that you make with them because you become a close to kinematic chain another whole thing I'm got time but I just want to show you it so they'll not talk about the elastic breath cycle so I take everything that we learned intellectually in Part one and apply it in practice to breathing I think this is brilliant chapter my friend Linda dontel helped me do this she's got a place called tree house yoga in London and if anybody wants to do vinyasa flow in a way that is like restorative yoga but all joined up and get the breathing in their bodies rather than in their must go and see Lin Dan towel at treehouse Yoga she's absolutely amazing and this is an image of how the breathing cycle works in that way so you can see it all in the book and it's in yogic terms as well but they're separate thing you don't need to be a yogi to get it it's a fashio spring loads our breath and we work with this elastic cycle of tension compression and compliance so I explained how the elastic principles the previous part of the book makes sense in motion and breathing acuity and this is the images of a simple practice so every single pose is illustrated and demonstrated how you do the movements it's all these are the drawings that make it make sense so finally we're nearly there I promised John I won't go from mother and her part three is much more about how we internalize the fashion and how the history behind this geometry comes full circle because in the we learn in the archetypal geometries that the ancient Yogi's understood geometry geometry comes from Gaia Maitreya geometria geometer geometry and Gaia is the earth goddess mother earth and Maitreya comes originally from meter measure and actually that is a derivative of mater so it literally means geometry literally means the measure earth and very interestingly people like NASA marine and the resonance project and lots of people now are really getting very excited about understanding the dimensions that we occupy and the correlates between the what's called the icosahedral resonance in the cosmos and in the body once we understand it as soft matter and a whole United geometric function of soft matter it's it's the same physics because it's living matter and the difference is that the classical biomechanical notions are rooted sometimes in hard matter physics and you can't mix them because we're not hard matter basically it's not rocket science but any it were currently is rocket science did different reasons anyway this is Sameera isn't that beautiful it's just the most beautiful beautiful image I Samira and Katie by the way both in London if you can find their yoga classes email me and I'll put you through to their schools if any of you are in London Casey's in Dedham in Essex now and anyone near them go and see them go and work with them they are fabulous fabulous yoga teachers and beautiful to boot I mean my god dream on well so this is the an even simpler practice than the previous one this practice is called fashio bukit asana which means freeing the fashio and it comes from power macht asana which means freeing the winds or the wind currents and the wind currents we think of wind currents tidal currents electrical currents currents in your gut very important and they are waves they are the resonance in the body and the Yogi's understood it it's quite extraordinary because you can read so much in the ancient yogic texts that we're just discovering about fashion air with all these advanced modern technologies it's hilarious anyway that's another whole thing and this very very subtle practice where you simply open and close the hands move the wrists the elbows the shoulders you open and close the feet move the ankles the knees and the hips and then you work on the neck and it's a 20 minute very beautiful and you find yourself sitting much more beautifully as if the the dermatomes or the subtle pathways of energy or the chakras or the whole tissue fluid field of the internal soft tissue matrix or the Fator itself is somehow freed and breathing and I've had the great privilege to work teaching people this over years of all ages from 8 to 88 98 actually was my oldest client and it makes the most amazing difference with the most subtle and non-invasive work so it's there in the book in great detail literally every minute of it is detailed in what you do and how you do it and illustrated and then there is a breathing meditation so the name of the practice if you go to the Bihar school of yoga BiH a are Bihar school of yoga you will find pow1 mooc asana and that means freeing the winds PA w am mucket asana in UK t asam a poem look at a sauna freeing the winds and it's adapted from that and I call it fashion look at us allure freeing the flusher and do I ever come up to London to teach yoga yeah I will invite me I do sometimes and basically powder fashion opt asana is very very subtle and then what the idea is to bring that to an even more subtle level and this is called the IM meditation my friend alex who you saw I drew him or drew over him in a previous image Alex gave me this meditation specifically for the book which is very beautiful is called the IM meditation and i inna straight it and guide people through and basically what I'm looking to do in this third part of the book is have this fascial internal balancing and freeing experienced so we go out of the realm of thinking and into the realm of application on the body and then even deeper into the realm of awareness and that's what I try to do with the three layers of the book and it's a seriously ambitious project twice as long as it was supposed to have handspring what Zoey and I hope we get there so this is what I talk about the being the body and the mind or the intellect we have thought we have instinctive movement and we have conscious awareness in those three layers and I talk about that as an integrated practice you're welcome it ER and then I talk about sacred geometry and sacred geometry is another thing I'd love to come up to London and teach one day to get people with their compares of compasses and stuff because I think amazing happens when you draw the geometries that your body eat resonates with and you do these practices to get your body resonating with this multi-dimensional awareness and what happens because this is actually considered to be the geometry of consciousness there are just stop being scientific but there is science behind this and when you draw these geometric patterns and you draw the basic sacred geometry flow life which I'm wearing here around my neck which is based on the the geometry of our formation as embryos something very magical starts to happen you actually start to resonate with what you're doing and people come up with they I went into a trance I'm all flowy I can feel that and you get these wonderful cynical intellectuals with their pairs of compasses doing these drawings I'm going to beginning difference to me and it does and it's just like Wow and that thrills me so one of things I talk about is creating mandalas which is basically a geometry so that we can create class plans and I actually do this as plans for clients for their anything they want to do at home yoga clients usually and I just show you how to create a mandala flow and how to use polarity in the designing of a yoga lesson another thing I'd love to teach so this is a lovely realness of polarities we're basically the top half of the wheel is the pose the bottom half of the wheel is the counter pose in the opposite position and it it resonates with this idea of polarity rather than juror allas duality my pendant though I don't think you can see it it's called the Flower of Life there we go and what it is is every single circle overlaps another circle informs what's called a vesica Pisces and it's a basis of the geometry that Leonardo drew at the beginning of this presentation and it makes sense of soft matter physics that's the best I can do at this moment but go to another webinar you'll see it all drawn up and this is using these polarities in training people in yoga poses so that it's just great fun and again another thing I will be doing in the future and these are different ones this is a much more rigorous one on the left for a young man and showing how you do dog pose and counter pose and basically what I'm saying is regardless of the tradition in yoga where we do all downward dog humble folded flexion mouth base movements for however long it is till our guru tells us that we can stop being so humble and start doing back bends I say no doesn't work body fat needs polarizing movements and that's what these are all about so it's just to bring balance to the tissue throughout and it's particularly important with people that work at home on their own I'm sure you do this in your practice whatever your practice is it's if someone's been lying down then when you get them up you bring them back into being upright so that there is a shift in their awareness they have time to fly through fascist job in the body in my opinion is to bring us into balance or homeostasis and if that's the case why would we just train it in one direction so it just doesn't make sense to me hence the book and then this is this is where I get really thrilled I go into the history of sacred geometry and we go into the history of numbers which we call the Arabic numerals that we use and the Arabic numerals actually were not from Arabia the Arabians called them the Hindu sect and they came from the Indus Valley I've had people challenge me that they actually originated in China I think they originated in the Indus Valley because this is very very ancient drawings of these numbers and we had Roman numbers then this will be relevant in a minute we had Roman numbers and when the Roman numerals were designed they were mostly straight lines not all there is a see a nerdy but mostly they were all straight lines and there was no zero so we had no concept of zero and the concept of zero is considered to be the biggest breakthrough in mathematics in Western world and one of the people who insisted on learning about the new numerals and how to use them and understand the concept of zero was Leonardo da Vinci and his book de vino' proporciona there's only two copies in the world divine proportion is what makes sense of a Fibonacci code and pi and how it expresses divine proportion in the body and it will blow you away and he insisted on learning these forms and the concept of zero changes everything because it forms a triumvirate it forms three things you have to have zero nothing or neutral in order to have positive and negative so it takes us out of the world of duality plus or minus positive or negative black or white right or wrong and into the world of polarity United in three things concept to zero gives us things plus-minus neutral electron proton Neutron we have to have three things and the basis of biotin sobriety is triangulation the Holy Trinity so the details of all this were all behind long before Christianity came along and we have these profound depths of knowledge in this sacred geometry and there are yogic poems sutras and if you read them Sanskrit had what's called an alphanumeric correspondence like Greek and Hebrew and if you translate the words of these poems and get their alphanumeric correspondences there's one to the divine that adds up to PI to thirty two decimal places over ten there ain't no way that's a coincidence sorry so in those times the sounds we made the Sanskrit words were used for the yogic postures the resonance fields we create with chanting resonated through the system and they really really do if you understand the Fisher as attentional Network and it's exactly the same principle that if you have two guitars in the room and they're both tuned and you pluck the E string on one guitar the E string only will resonate on the other guitar from the other end of the room and that's a known fact so I invite you to consider that when you think of yourself as a highly tuned instrument and your facial network as suitably strong guitar has to have sufficient stiffness it starts to make sense of the collagen Network and as a sports transmission network as a resonance field so if we think in fields we'll get there but we have to understand these numerix and this is basically archetypal geometry it gives rise to these patterns there's the Flower of Life that's what I'm wearing around my neck the egg of life is the pattern of the third division of the embryo the flower of life is the pattern of the eighth division of the embryo before its before it becomes the four implants so you can actually trace the embryology you can trace all these patterns through the embryology is absolutely unbelievable it gets deeper and deeper and deeper you can go all sorts of places and you end up with these spirals and spiraling threads which in yoga are called nerdy's and they are the nerve currents and they can be readily explained by understanding the fashio as a neural sensory tissue which I just found so exciting I mean it emerged from the work it was up back so here you have the picture of the dermatomes that I showed you at the beginning of the book and I then put the chakras over the dermatomes and it gets quite exciting and I kind of leave it there because that's the end of the book and that's where I having done all that now I've kind of started again and going into different dimensions now we're just doing some work with the fourth dimension and it's getting very exciting I am going to be breaking the book down into its component parts of making work books from different things and so do keep in touch do go on my website become a subscriber I I don't write very often but when I do it will be to inform you something fun and interesting you

Channel: Embodied Health Community

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Id: IS56LrorfOA

Length: 90min 5sec (5405 seconds)

Published: Fri Dec 23 2016