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As 13

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Published by: bluetoothfairy1815 on Jan 26, 2012
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  • What Is Good Use?
  • You Are Not a Statue
  • No Positions, No Poses
  • The Breath of Life
  • Let It Happen
  • Your Breathing Improves
  • How We Got This Way
  • Three Easy Tests
  • See for Yourself
  • The Road to Take
  • Not an Exercise
  • How to Start
  • The Basic Movement
  • Your Whole Head
  • Your Whole Body
  • The Upward Direction
  • On Your Way
  • The Instant Train
  • How to Succeed Without Really Trying
  • The Trouble with Physical Exercises
  • The Trance in Which We Live
  • Our Mistaken Ideas About Ourselves
  • The Crown of the Senses
  • Discover a World Within
  • Part Person vs. Whole Person
  • Staying in the Moment
  • Why We Shrink
  • The Upright Creature
  • Must We Fall Apart?
  • How We Conquer
  • It Goes by Itself
  • Never a Feeling of Strain
  • A Future Without Fear
  • The Seven Actions
  • An Effortless Program
  • No Dumb-Bells, No Leotards
  • A Way to Begin
  • For Your Enjoyment
  • Nine Rules to Follow
  • Applications to Daily Life
  • Eating Soup
  • How to Get Out of a Slump
  • The Way You Talk
  • Exploring Yourself
  • Apply the Basic Movement
  • Brushing Your Teeth
  • Opening a Door
  • With Children
  • Jogging and Running
  • Playing Golf
  • Walking Up and Down Stairs
  • Applying the Basic Movement
  • A Short Daily Routine
  • A Time for Rest
  • Rotating Your Head
  • Moving Your Arms
  • Moving Your Legs
  • Rolling onto Your Side
  • Sitting Up

There is still another factor at work in this universal un-
familiarity with ourselves and our functioning. Perhaps no
one has given a sharper and more disquieting picture of it
than the writer Arthur Koestler. People who listen for the
first time to the sound of their voice played back on a tape
recorder usually get a shock, says Koestler. He offers himself
as an example: "I am of Hungarian origin, and although my
foreign accent retains the specific density of pea-soup, I was
virtually unaware of this till I first listened to my voice on a
recorded broadcast. I have a good ear for other people's
accents, yet perceive my own voice as if it were free from it."
So too may our singing be stridently out of tune and yet
sound just fine to us until a musical accompaniment pulls us
back on the track.
All this occurs, according to Koestler, because in the per-
ception of one's own voice, the actual acoustic production
plays a subordinate part. The main component of what we
perceive is the sound we think we are projecting. There may
be a world of difference between what we think we hear and
our performance as heard by others, but this discrepancy is
masked from us by the process of hearing what we intend
and not what we are in fact uttering.
The same applies also to our gestures and movements,
however defective and self-defeating they may be, remarks
Koestler. "The clumsy gesture is screened off from aware-
ness by the direct impact of the image of the intended
graceful movement on perception."

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