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It's been a while, hasn't it.  I have been busy living life in order to have something to write about.
Something that keeps coming back up is the Photoshop vs Illustrator mechanical-assimilation dialogue.  Do you keep track of pixels or do you keep track of vectors?  Do you micromanage muscles, or do you tell the body where you want the energy to go and trust it to figure out the rest?  —Sometimes we do have to start with the pixels, in order to eventually stumble upon the feeling of Doing It Right.  But then once we know where the energy is supposed to go, we bite ourselves in the arse if our not-very-bright brains try to tell our brilliant bodies how to do their jobs.  Here is something I was thinking about back at the beginning of May.  I'm still thinking about it.
Roxana has a damned fine walk.  It's smooth.  It's serene.  It's dead sexy.  How does she do it?  I watched this video over and over until the answer smacked me between the eyebrows.

Vectors!  The first vector I noticed was the newest one to me.  When Alicia Pons was here she said the man's breath and intention resonates through the two chests and into the woman's hips.  In class she said, "men, blow into your partner!  Blow into your partner!" and I don't know *why* I'm the only one who turned red...but I get it now.  This is the first time I've seen what she was talking about.  See how Mr. Roxana Suarez pulls his intention through his body and sends it through her down into her hips and spine, where it turns into dance?  Well, *I* see it.  Alicia was right about the chest and rib cage being like the body of the guitar, the sounding box.  And then in this backward guitar, the resonating in the body creates the plucking of the strings, the movement.

Then I noticed her other vectors.  They're easy to see in her because she has such a clean dance.  No physical noise getting in the way of the music.  When she's standing, I see that strong grounding vector down and also that equally strong breath vector up.  When she goes, I see the trajectory vector sending her where she's going, as if it's always a teeny bit ahead of her, even though it changes directions.  Not news, but seldom do I see so clearly that the *reason* she has such a peaceful upper body is because it doesn't have to do any *work*.  And it doesn't have to do any work because she's sufficiently Going with the parts of her that need to go.

There are also a billion other reasons for her damned-fineness, the chief one being, she's spent enough time mastering beautiful technique that she can just forget about it and let go.  But her lesson for me today is, "it's simple.  You just get rid of everything that is not Vector."

And then you toss in a few of those yummy little adornos for yuks.