Space Harmony - Revision history

Juju: /* space harmony */

2022-04-18T14:43:17Z

space harmony

← Older revision		Revision as of 16:43, 18 April 2022
Line 16:		Line 16:
	<span class="tighter">Performing and experiencing the <mark class="c3">return beat</mark> provides the metaphysical context for both forms of effort, where both the navigated inscapes of the percipient practitioner, and their outward expressions of goal-oriented action are spatial, and the extra internal dimensions of self-awareness can lead to self-knowledge. As such, the <mark class="c3">return beat</mark> facilitates a wave-field for human activity.</span>		<span class="tighter">Performing and experiencing the <mark class="c3">return beat</mark> provides the metaphysical context for both forms of effort, where both the navigated inscapes of the percipient practitioner, and their outward expressions of goal-oriented action are spatial, and the extra internal dimensions of self-awareness can lead to self-knowledge. As such, the <mark class="c3">return beat</mark> facilitates a wave-field for human activity.</span>

	<span class="spread">[[File:Olu Taiwo.jpg\|thumb\|Olu Taiwo, photo: Dan Reid]]</span>		<span class="spread">[[File:Olu Taiwo.jpg\|thumb\|Olu Taiwo, photo: Dan Reid.]]</span>

Juju: /* space harmony */

2022-04-12T09:26:09Z

space harmony

← Older revision		Revision as of 11:26, 12 April 2022
Line 3:		Line 3:
	<span class="author">Olu Taiwo</span>		<span class="author">Olu Taiwo</span>

	<span class="tighter">A choreological perspective offers an interesting starting point for understanding the <mark class="c3">return beat</mark>. Choreology is the aesthetics and study of human movement through movement notation. Particularly Rudolf Laban’s initial notions of ‘effort’ and ‘place’, as situated in the seat of sensation of the performer, and actioned in relation to the body’s physical journal, <br>give relevant entry points.</span>		<div class="no-indent"><span class="tighter">A choreological perspective offers an interesting starting point for understanding the <mark class="c3">return beat</mark>. Choreology is the aesthetics and study of human movement through movement notation. Particularly Rudolf Laban’s initial notions of ‘effort’ and ‘place’, as situated in the seat of sensation of the performer, and actioned in relation to the body’s physical journal, <br>give relevant entry points.</span></div>

	From his Rosicrucian roots, dancer and choreographer Rudolf Laban created a movement praxis he called choreutics, which reflected what he articulated as ''space harmony''. It is based on patterns of rhythm and balance that can be perceived everywhere in nature, including in human anatomy. Laban saw spatial patterns in the pathways of human movement and recognized in these the shapes of the Platonic Solids. Expressive human movement closely aligned with the inclinations in the structure of these regular polyhedral forms.		From his Rosicrucian roots, dancer and choreographer Rudolf Laban created a movement praxis he called choreutics, which reflected what he articulated as ''space harmony''. It is based on patterns of rhythm and balance that can be perceived everywhere in nature, including in human anatomy. Laban saw spatial patterns in the pathways of human movement and recognized in these the shapes of the Platonic Solids. Expressive human movement closely aligned with the inclinations in the structure of these regular polyhedral forms.

Juju: /* space harmony */

2022-04-07T13:50:41Z

space harmony

← Older revision		Revision as of 15:50, 7 April 2022
Line 5:		Line 5:
	<span class="tighter">A choreological perspective offers an interesting starting point for understanding the <mark class="c3">return beat</mark>. Choreology is the aesthetics and study of human movement through movement notation. Particularly Rudolf Laban’s initial notions of ‘effort’ and ‘place’, as situated in the seat of sensation of the performer, and actioned in relation to the body’s physical journal, <br>give relevant entry points.</span>		<span class="tighter">A choreological perspective offers an interesting starting point for understanding the <mark class="c3">return beat</mark>. Choreology is the aesthetics and study of human movement through movement notation. Particularly Rudolf Laban’s initial notions of ‘effort’ and ‘place’, as situated in the seat of sensation of the performer, and actioned in relation to the body’s physical journal, <br>give relevant entry points.</span>

	From his Rosicrucian roots, dancer and choreographer Rudolf Laban created a movement praxis he called choreutics, which reflected what he articulated as ''~~<mark class="c1">~~space harmony~~</mark>~~''. It is based on patterns of rhythm and balance that can be perceived everywhere in nature, including in human anatomy. Laban saw spatial patterns in the pathways of human movement and recognized in these the shapes of the Platonic Solids. Expressive human movement closely aligned with the inclinations in the structure of these regular polyhedral forms.		From his Rosicrucian roots, dancer and choreographer Rudolf Laban created a movement praxis he called choreutics, which reflected what he articulated as ''space harmony''. It is based on patterns of rhythm and balance that can be perceived everywhere in nature, including in human anatomy. Laban saw spatial patterns in the pathways of human movement and recognized in these the shapes of the Platonic Solids. Expressive human movement closely aligned with the inclinations in the structure of these regular polyhedral forms.

	<span class="tighter">Laban took the spatial patterns that follow the Platonic Solids as forms to be actualized through human movement. He came to articulate specific Movement Scales: a series of patterned movement sequences that performers can repeat; moving through these pathways in a predefined way. These Scales linked the natural spatial <mark class="c1">gestures</mark> of human bodies that move along all directions and inclinations to the directions of the vertices of a platonic shape. Following these movement Scales opens up the body in space and also enlarges spatial awareness. It balances the body spatially and aesthetically. This is why this spatial practice is called space harmony.</span>		<span class="tighter">Laban took the spatial patterns that follow the Platonic Solids as forms to be actualized through human movement. He came to articulate specific Movement Scales: a series of patterned movement sequences that performers can repeat; moving through these pathways in a predefined way. These Scales linked the natural spatial <mark class="c1">gestures</mark> of human bodies that move along all directions and inclinations to the directions of the vertices of a platonic shape. Following these movement Scales opens up the body in space and also enlarges spatial awareness. It balances the body spatially and aesthetically. This is why this spatial practice is called space harmony.</span>

Juju: /* space harmony */

2022-04-07T10:39:37Z

space harmony

← Older revision		Revision as of 12:39, 7 April 2022
Line 16:		Line 16:
	<span class="tighter">Performing and experiencing the <mark class="c3">return beat</mark> provides the metaphysical context for both forms of effort, where both the navigated inscapes of the percipient practitioner, and their outward expressions of goal-oriented action are spatial, and the extra internal dimensions of self-awareness can lead to self-knowledge. As such, the <mark class="c3">return beat</mark> facilitates a wave-field for human activity.</span>		<span class="tighter">Performing and experiencing the <mark class="c3">return beat</mark> provides the metaphysical context for both forms of effort, where both the navigated inscapes of the percipient practitioner, and their outward expressions of goal-oriented action are spatial, and the extra internal dimensions of self-awareness can lead to self-knowledge. As such, the <mark class="c3">return beat</mark> facilitates a wave-field for human activity.</span>

	<span class="spread">[[File:Olu Taiwo.jpg\|thumb\|Olu Taiwo, photo: Dan Reid]]</>		<span class="spread">[[File:Olu Taiwo.jpg\|thumb\|Olu Taiwo, photo: Dan Reid]]</span>

Juju: /* space harmony */

2022-04-07T10:37:02Z

space harmony

← Older revision		Revision as of 12:37, 7 April 2022
Line 16:		Line 16:
	<span class="tighter">Performing and experiencing the <mark class="c3">return beat</mark> provides the metaphysical context for both forms of effort, where both the navigated inscapes of the percipient practitioner, and their outward expressions of goal-oriented action are spatial, and the extra internal dimensions of self-awareness can lead to self-knowledge. As such, the <mark class="c3">return beat</mark> facilitates a wave-field for human activity.</span>		<span class="tighter">Performing and experiencing the <mark class="c3">return beat</mark> provides the metaphysical context for both forms of effort, where both the navigated inscapes of the percipient practitioner, and their outward expressions of goal-oriented action are spatial, and the extra internal dimensions of self-awareness can lead to self-knowledge. As such, the <mark class="c3">return beat</mark> facilitates a wave-field for human activity.</span>

	<span class="spread">[[File:Olu Taiwo.jpg\|thumb\|Olu Taiwo, ~~Photo by~~ Dan Reid]]</>		<span class="spread">[[File:Olu Taiwo.jpg\|thumb\|Olu Taiwo, photo: Dan Reid]]</>

Juju: /* space harmony */

2022-04-07T10:36:36Z

space harmony

← Older revision		Revision as of 12:36, 7 April 2022
Line 5:		Line 5:
	<span class="tighter">A choreological perspective offers an interesting starting point for understanding the <mark class="c3">return beat</mark>. Choreology is the aesthetics and study of human movement through movement notation. Particularly Rudolf Laban’s initial notions of ‘effort’ and ‘place’, as situated in the seat of sensation of the performer, and actioned in relation to the body’s physical journal, <br>give relevant entry points.</span>		<span class="tighter">A choreological perspective offers an interesting starting point for understanding the <mark class="c3">return beat</mark>. Choreology is the aesthetics and study of human movement through movement notation. Particularly Rudolf Laban’s initial notions of ‘effort’ and ‘place’, as situated in the seat of sensation of the performer, and actioned in relation to the body’s physical journal, <br>give relevant entry points.</span>

	From his Rosicrucian roots, dancer and choreographer Rudolf Laban created a movement praxis he called choreutics, which reflected what he articulated as ''<mark class="c1">~~Space Harmony~~</mark>''. It is based on patterns of rhythm and balance that can be perceived everywhere in nature, including in human anatomy. Laban saw spatial patterns in the pathways of human movement and recognized in these the shapes of the Platonic Solids. Expressive human movement closely aligned with the inclinations in the structure of these regular polyhedral forms.		From his Rosicrucian roots, dancer and choreographer Rudolf Laban created a movement praxis he called choreutics, which reflected what he articulated as ''<mark class="c1">space harmony</mark>''. It is based on patterns of rhythm and balance that can be perceived everywhere in nature, including in human anatomy. Laban saw spatial patterns in the pathways of human movement and recognized in these the shapes of the Platonic Solids. Expressive human movement closely aligned with the inclinations in the structure of these regular polyhedral forms.

	<span class="tighter">Laban took the spatial patterns that follow the Platonic Solids as forms to be actualized through human movement. He came to articulate specific Movement Scales: a series of patterned movement sequences that performers can repeat; moving through these pathways in a predefined way. These Scales linked the natural spatial <mark class="c1">gestures</mark> of human bodies that move along all directions and inclinations to the directions of the vertices of a platonic shape. Following these movement Scales opens up the body in space and also enlarges spatial awareness. It balances the body spatially and aesthetically. This is why this spatial practice is called ~~Space Harmony~~.</span>		<span class="tighter">Laban took the spatial patterns that follow the Platonic Solids as forms to be actualized through human movement. He came to articulate specific Movement Scales: a series of patterned movement sequences that performers can repeat; moving through these pathways in a predefined way. These Scales linked the natural spatial <mark class="c1">gestures</mark> of human bodies that move along all directions and inclinations to the directions of the vertices of a platonic shape. Following these movement Scales opens up the body in space and also enlarges spatial awareness. It balances the body spatially and aesthetically. This is why this spatial practice is called space harmony.</span>

	<span class="tighter">At the same time, Rudolf Laban further investigated the nature of harmonious and efficient effort and coined the term eukinetics to address this study. eukinetics is a combination of two Greek root ~~words—‘eu’~~ meaning beautiful or harmonious and ‘kinetikos’ meaning movement. During the final two decades of his career in England, Laban’s interest and analysis shifted from creative and artistic movement to a broader concern with human movement in general.</span>		<span class="tighter">At the same time, Rudolf Laban further investigated the nature of harmonious and efficient effort and coined the term eukinetics to address this study. eukinetics is a combination of two Greek root words—
			<br>‘eu’ meaning beautiful or harmonious and ‘kinetikos’ meaning movement. During the final two decades of his career in England, Laban’s interest and analysis shifted from creative and artistic movement to a broader concern with human movement in general.</span>

	<span class="tighter2">In parallel to this he dropped the exotic word eukinetics and adopted the more common English term, ‘effort.’ The term addresses an abstracted concept, that when studied always needs to be understood in context. How effort is situated can be seen by answering a number of key questions. Whose efforts are we referring to? What are the reasons for this effort? Where and when does the effort take place? How does the effort take place? Why is this effort performed at all? Working with these and other questions in his investigation of effort led Laban to identify two main domains of action, both of which give rise to practices of ever refining mastering of spatial experience and spatial skill. One group is comprised of goal-oriented actions such as sports↵ and political and commercial endeavours. The attention of the bodies engaged in these actions is focused on the exterior and their spatial skills are applied to navigating and strategizing the use of space outside the body. The other group of actions is directed towards expressive goals such as artistic <mark class="c1">gestures</mark>, religious and cultural performance. The attentions of bodies engaged in these kinds of actions is focused internally, and their skills are applied in charting an outward expression of their inscapes. This second group of actions also leads to and mobilizes self-knowledge.</span>		<span class="tighter2">In parallel to this he dropped the exotic word eukinetics and adopted the more common English term, ‘effort.’ The term addresses an abstracted concept, that when studied always needs to be understood in context. How effort is situated can be seen by answering a number of key questions. Whose efforts are we referring to? What are the reasons for this effort? Where and when does the effort take place? How does the effort take place? Why is this effort performed at all? Working with these and other questions in his investigation of effort led Laban to identify two main domains of action, both of which give rise to practices of ever refining mastering of spatial experience and spatial skill. One group is comprised of goal-oriented actions such as sports↵ and political and commercial endeavours. The attention of the bodies engaged in these actions is focused on the exterior and their spatial skills are applied to navigating and strategizing the use of space outside the body. The other group of actions is directed towards expressive goals such as artistic <mark class="c1">gestures</mark>, religious and cultural performance. The attentions of bodies engaged in these kinds of actions is focused internally, and their skills are applied in charting an outward expression of their inscapes. This second group of actions also leads to and mobilizes self-knowledge.</span>

Juju: /* space harmony */

2022-03-28T12:45:23Z

space harmony

← Older revision		Revision as of 14:45, 28 March 2022
Line 5:		Line 5:
	<span class="tighter">A choreological perspective offers an interesting starting point for understanding the <mark class="c3">return beat</mark>. Choreology is the aesthetics and study of human movement through movement notation. Particularly Rudolf Laban’s initial notions of ‘effort’ and ‘place’, as situated in the seat of sensation of the performer, and actioned in relation to the body’s physical journal, <br>give relevant entry points.</span>		<span class="tighter">A choreological perspective offers an interesting starting point for understanding the <mark class="c3">return beat</mark>. Choreology is the aesthetics and study of human movement through movement notation. Particularly Rudolf Laban’s initial notions of ‘effort’ and ‘place’, as situated in the seat of sensation of the performer, and actioned in relation to the body’s physical journal, <br>give relevant entry points.</span>

	From his Rosicrucian roots, dancer and choreographer Rudolf Laban created a movement praxis he called choreutics, which reflected what he articulated as Space Harmony. It is based on patterns of rhythm and balance that can be perceived everywhere in nature, including in human anatomy. Laban saw spatial patterns in the pathways of human movement and recognized in these the shapes of the Platonic Solids. Expressive human movement closely aligned with the inclinations in the structure of these regular polyhedral forms.		From his Rosicrucian roots, dancer and choreographer Rudolf Laban created a movement praxis he called choreutics, which reflected what he articulated as ''<mark class="c1">Space Harmony</mark>''. It is based on patterns of rhythm and balance that can be perceived everywhere in nature, including in human anatomy. Laban saw spatial patterns in the pathways of human movement and recognized in these the shapes of the Platonic Solids. Expressive human movement closely aligned with the inclinations in the structure of these regular polyhedral forms.

	<span class="tighter">Laban took the spatial patterns that follow the Platonic Solids as forms to be actualized through human movement. He came to articulate specific Movement Scales: a series of patterned movement sequences that performers can repeat; moving through these pathways in a predefined way. These Scales linked the natural spatial <mark class="c1">gestures</mark> of human bodies that move along all directions and inclinations to the directions of the vertices of a platonic shape. Following these movement Scales opens up the body in space and also enlarges spatial awareness. It balances the body spatially and aesthetically. This is why this spatial practice is called Space Harmony.</span>		<span class="tighter">Laban took the spatial patterns that follow the Platonic Solids as forms to be actualized through human movement. He came to articulate specific Movement Scales: a series of patterned movement sequences that performers can repeat; moving through these pathways in a predefined way. These Scales linked the natural spatial <mark class="c1">gestures</mark> of human bodies that move along all directions and inclinations to the directions of the vertices of a platonic shape. Following these movement Scales opens up the body in space and also enlarges spatial awareness. It balances the body spatially and aesthetically. This is why this spatial practice is called Space Harmony.</span>

Juju: /* space harmony */

2022-03-23T11:32:25Z

space harmony

← Older revision		Revision as of 13:32, 23 March 2022
Line 3:		Line 3:
	<span class="author">Olu Taiwo</span>		<span class="author">Olu Taiwo</span>

	<span class="tighter">A choreological perspective offers an interesting starting point for understanding the <mark class="c3">return beat</mark>. Choreology is the aesthetics and study of human movement through movement notation. Particularly Rudolf Laban’s initial notions of ‘effort’ and ‘place’, as situated in the seat of sensation of the performer, and actioned in relation to the body’s physical ~~journal↵~~, give relevant entry points.</span>		<span class="tighter">A choreological perspective offers an interesting starting point for understanding the <mark class="c3">return beat</mark>. Choreology is the aesthetics and study of human movement through movement notation. Particularly Rudolf Laban’s initial notions of ‘effort’ and ‘place’, as situated in the seat of sensation of the performer, and actioned in relation to the body’s physical journal, <br>give relevant entry points.</span>

	From his Rosicrucian roots, dancer and choreographer Rudolf Laban created a movement praxis he called choreutics, which reflected what he articulated as Space Harmony. It is based on patterns of rhythm and balance that can be perceived everywhere in nature, including in human anatomy. Laban saw spatial patterns in the pathways of human movement and recognized in these the shapes of the Platonic Solids. Expressive human movement closely aligned with the inclinations in the structure of these regular polyhedral forms.		From his Rosicrucian roots, dancer and choreographer Rudolf Laban created a movement praxis he called choreutics, which reflected what he articulated as Space Harmony. It is based on patterns of rhythm and balance that can be perceived everywhere in nature, including in human anatomy. Laban saw spatial patterns in the pathways of human movement and recognized in these the shapes of the Platonic Solids. Expressive human movement closely aligned with the inclinations in the structure of these regular polyhedral forms.

Juju at 21:19, 22 March 2022

2022-03-22T21:19:25Z

← Older revision		Revision as of 23:19, 22 March 2022
Line 5:		Line 5:
	<span class="tighter">A choreological perspective offers an interesting starting point for understanding the <mark class="c3">return beat</mark>. Choreology is the aesthetics and study of human movement through movement notation. Particularly Rudolf Laban’s initial notions of ‘effort’ and ‘place’, as situated in the seat of sensation of the performer, and actioned in relation to the body’s physical journal↵, give relevant entry points.</span>		<span class="tighter">A choreological perspective offers an interesting starting point for understanding the <mark class="c3">return beat</mark>. Choreology is the aesthetics and study of human movement through movement notation. Particularly Rudolf Laban’s initial notions of ‘effort’ and ‘place’, as situated in the seat of sensation of the performer, and actioned in relation to the body’s physical journal↵, give relevant entry points.</span>

	~~<span class="tighter">~~From his Rosicrucian roots, dancer and choreographer Rudolf Laban created a movement praxis he called choreutics, which reflected what he articulated as Space Harmony. It is based on patterns of rhythm and balance that can be perceived everywhere in nature, including in human anatomy. Laban saw spatial patterns in the pathways of human movement and recognized in these the shapes of the Platonic Solids. Expressive human movement closely aligned with the inclinations in the structure of these regular polyhedral forms.~~</span>~~		From his Rosicrucian roots, dancer and choreographer Rudolf Laban created a movement praxis he called choreutics, which reflected what he articulated as Space Harmony. It is based on patterns of rhythm and balance that can be perceived everywhere in nature, including in human anatomy. Laban saw spatial patterns in the pathways of human movement and recognized in these the shapes of the Platonic Solids. Expressive human movement closely aligned with the inclinations in the structure of these regular polyhedral forms.

	<span class="tighter">Laban took the spatial patterns that follow the Platonic Solids as forms to be actualized through human movement. He came to articulate specific Movement Scales: a series of patterned movement sequences that performers can repeat; moving through these pathways in a predefined way. These Scales linked the natural spatial <mark class="c1">gestures</mark> of human bodies that move along all directions and inclinations to the directions of the vertices of a platonic shape. Following these movement Scales opens up the body in space and also enlarges spatial awareness. It balances the body spatially and aesthetically. This is why this spatial practice is called Space Harmony.</span>		<span class="tighter">Laban took the spatial patterns that follow the Platonic Solids as forms to be actualized through human movement. He came to articulate specific Movement Scales: a series of patterned movement sequences that performers can repeat; moving through these pathways in a predefined way. These Scales linked the natural spatial <mark class="c1">gestures</mark> of human bodies that move along all directions and inclinations to the directions of the vertices of a platonic shape. Following these movement Scales opens up the body in space and also enlarges spatial awareness. It balances the body spatially and aesthetically. This is why this spatial practice is called Space Harmony.</span>

Juju at 21:17, 22 March 2022

2022-03-22T21:17:40Z

← Older revision		Revision as of 23:17, 22 March 2022
Line 11:		Line 11:
	<span class="tighter">At the same time, Rudolf Laban further investigated the nature of harmonious and efficient effort and coined the term eukinetics to address this study. eukinetics is a combination of two Greek root words—‘eu’ meaning beautiful or harmonious and ‘kinetikos’ meaning movement. During the final two decades of his career in England, Laban’s interest and analysis shifted from creative and artistic movement to a broader concern with human movement in general.</span>		<span class="tighter">At the same time, Rudolf Laban further investigated the nature of harmonious and efficient effort and coined the term eukinetics to address this study. eukinetics is a combination of two Greek root words—‘eu’ meaning beautiful or harmonious and ‘kinetikos’ meaning movement. During the final two decades of his career in England, Laban’s interest and analysis shifted from creative and artistic movement to a broader concern with human movement in general.</span>

	<span class="~~tighter~~">In parallel to this he dropped the exotic word eukinetics and adopted the more common English term, ‘effort.’ The term addresses an abstracted concept, that when studied always needs to be understood in context. How effort is situated can be seen by answering a number of key questions. Whose efforts are we referring to? What are the reasons for this effort? Where and when does the effort take place? How does the effort take place? Why is this effort performed at all? Working with these and other questions in his investigation of effort led Laban to identify two main domains of action, both of which give rise to practices of ever refining mastering of spatial experience and spatial skill. One group is comprised of goal-oriented actions such as sports↵ and political and commercial endeavours. The attention of the bodies engaged in these actions is focused on the exterior and their spatial skills are applied to navigating and strategizing the use of space outside the body. The other group of actions is directed towards expressive goals such as artistic <mark class="c1">gestures</mark>, religious and cultural performance. The attentions of bodies engaged in these kinds of actions is focused internally, and their skills are applied in charting an outward expression of their inscapes. This second group of actions also leads to and mobilizes self-knowledge.</span>		<span class="tighter2">In parallel to this he dropped the exotic word eukinetics and adopted the more common English term, ‘effort.’ The term addresses an abstracted concept, that when studied always needs to be understood in context. How effort is situated can be seen by answering a number of key questions. Whose efforts are we referring to? What are the reasons for this effort? Where and when does the effort take place? How does the effort take place? Why is this effort performed at all? Working with these and other questions in his investigation of effort led Laban to identify two main domains of action, both of which give rise to practices of ever refining mastering of spatial experience and spatial skill. One group is comprised of goal-oriented actions such as sports↵ and political and commercial endeavours. The attention of the bodies engaged in these actions is focused on the exterior and their spatial skills are applied to navigating and strategizing the use of space outside the body. The other group of actions is directed towards expressive goals such as artistic <mark class="c1">gestures</mark>, religious and cultural performance. The attentions of bodies engaged in these kinds of actions is focused internally, and their skills are applied in charting an outward expression of their inscapes. This second group of actions also leads to and mobilizes self-knowledge.</span>

	<span class="tighter">Performing and experiencing the <mark class="c3">return beat</mark> provides the metaphysical context for both forms of effort, where both the navigated inscapes of the percipient practitioner, and their outward expressions of goal-oriented action are spatial, and the extra internal dimensions of self-awareness can lead to self-knowledge. As such, the <mark class="c3">return beat</mark> facilitates a wave-field for human activity.</span>		<span class="tighter">Performing and experiencing the <mark class="c3">return beat</mark> provides the metaphysical context for both forms of effort, where both the navigated inscapes of the percipient practitioner, and their outward expressions of goal-oriented action are spatial, and the extra internal dimensions of self-awareness can lead to self-knowledge. As such, the <mark class="c3">return beat</mark> facilitates a wave-field for human activity.</span>

	<span class="spread">[[File:Olu Taiwo.jpg\|thumb\|Olu Taiwo, Photo by Dan Reid]]</>		<span class="spread">[[File:Olu Taiwo.jpg\|thumb\|Olu Taiwo, Photo by Dan Reid]]</>