7 for Sunday is a weekly serving of 7 things for you to savor. — It’s an email containing my reflections on interesting things I find laying about, seasoned with some quotes from my collection. See https://7forsunday.com/.
In a word, Senecan joy comes from within, from a good person’s own character and conduct: it arises from goodness itself and from right actions that one performs. This means that joy will not always be a matter of smiles and laughter, for good actions may be difficult and unpleasant: one may have to accept poverty, endure pain, even die for one’s country. A good person does these things only when they are right, and only for that reason, but the doing is itself a good and a reason to rejoice.
I don’t understand how we got to the common definition of “stoic”—the suppression of emotions. It’s a shame, because Stoicism is literally the opposite of suppressing one’s emotions. Emotions and reason have their right place. Stoic joy.
After ending on a startlingly inconclusive note in 1991, Twin Peaks returned in 2017 to extend the story for one more season. Yet audiences who’d hoped for a traditional ending were again denied one. Again, Lynch seemed to be imploring them to stop seeking clarity and embrace the moments whose overarching connections are far less obvious. What mattered to him, it appears, was the experience itself: the feelings they evoked, the uncanny images whose significance were difficult to parse yet impossible to forget. David Lynch didn’t want to leave his viewers with an interpretation, but with something more visceral—like the taste of cherry pie and a cup of hot coffee, black as midnight on a moonless night.
I watched Twin Peaks in real time on ‘ol broadcast TV. It bent my brain in the best way possible. But . . . there’s another season?! Shut up and take my money— I was reading this, thinking it was simply interesting. Until I got to this line… excuse me while I run to whatever streaming service it takes . . .
Dinner resists optimization. It can be creative, and it can be pleasurable. None of this negates the fact that it is a grind. It will always be a grind. You will always have to think about it, unless you have someone else to think about it for you, and it will always require too much time or too much energy or too much money or some combination of the three. It is unrelenting, in the way that breathing is unrelenting. There is freedom in surrendering to this, that even in this golden age of technological progress, dinner refuses to be solved.
I agree with Sugar. Somewhere along the way I learned that leaning into the mundane parts of meal preparation is actually what I need to do more often. I tend to get very head-down doing and that’s not healthy when it’s protracted hours upon hours. Instead, pre-planning when I’m supposed to stop doing and go work on the meal always results in my spending some meditative time in the ‘ol kitchen. Combined with “simple food, simply prepared”—fresh or raw ingredients, reduced combinations of flavors, smaller quantities, visually interesting—I feel I’m making some progress towards health and mental wellness in one activity.
Defiance and acceptance come together well in the following principle: There is always a countermove, always an escape or a way through, so there is no reason to get worked up. No one said it would be easy and, of course, the stakes are high, but the path is there for those ready to take it. This is what we’ve got to do. And we know that it’s going to be tough, maybe even scary.
The pile of unread books we have on our bedside tables is often referred to as a graveyard of good intentions. The list of unread books on our Kindles is more of a black hole of fleeting intentions.
Digital is great for consumption, but consumption is not the only reason for having a book.
Having the books physically take up space in my environment is a key feature of books! My anti-library—the collection of books I’ve not yet read—serves the important purpose of reminding what I don’t yet know. Also, when I have a spare moment the books’ proximity draws me to them; This enables me to affect my future self (albeit only slightly) by setting in sight things that would improve me through their reading.
Postrel’s argument about dynamism, evolutionary processes, and dispersed knowledge has direct relevance to technological change. She suggests that technological progress, much like biological evolution, is unpredictable and emerges through decentralized innovation rather than central planning, mirroring Hayek’s insight that no single entity can have enough knowledge to foresee or control all the variables involved in invention and innovation.
For a long time—perhaps all of my life until just a few years ago—I would have said I was completely on team Continuous Forward Progress; I would have said that change is good simply because it implies forward progress. But now I’m really seeing the value of “if this isn’t nice, I don’t know what is.” In most situations, I’m now feeling that leaving something just as it is would be great. The article is making a point about people who are against change on principle (although I’d wager most such people haven’t thought of it as a principle) and that’s not me either. I’m perfectly fine with change. But this is nice too.
What makes a great movement coach, and how do they balance structure, intuition, and individual learning styles to help students progress?
Teaching movement is as much about reading people as it is about teaching physical skills.
You have to wait— you just have to wait and see. It’s not always the right time to give feedback.
~ Cristina Latici (15:22)
The conversation explores the nuances of movement coaching, particularly in the context of parkour and dance. The discussion highlights the importance of understanding each student’s background and learning style, emphasizing observation over immediate correction. Cristina describes her approach, which involves assessing a student’s experience, allowing them space to explore, and offering small, precise adjustments when necessary. She reflects on the parallels between her parkour coaching and her past as a dancer, noting how both disciplines require a deep awareness of movement and the ability to convey complex physical concepts to others.
[Yoda and Luke] are having a conversation and Luke’s bitching, as usual. And Yoda says something to the effect of, “we are what they grow beyond.” And the point that’s being made is, if you’re a coach and you don’t make students who are better than you, you’re not a good coach.
~ Craig Constantine (22:04)
Another key theme is the role of community in movement practice. Cristina discusses how the group dynamic influences training, particularly when working with long-term students versus new participants. She also highlights the challenges of coaching adults versus children, explaining how her background in special education informs her patience and adaptability in coaching. The conversation touches on the idea of “touch” as an intuitive sense developed through movement practice, illustrating how familiarity with movement can enhance both safety and creativity.
Takeaways
Reading the student — A good coach observes and learns about each student’s background before offering guidance.
Holding back feedback — Immediate corrections aren’t always beneficial; sometimes students need space to explore movement on their own.
The role of community — A strong training group can create a supportive and engaging environment that extends beyond just learning new skills.
Differences in coaching adults vs. children — Adult students can be given more freedom, while children require more structured guidance.
Intuition in movement — Over time, practitioners develop an unconscious sense of movement that helps them adapt in unexpected situations.
Bringing past experience into coaching — Skills from other disciplines, like dance, can influence and enhance movement coaching.
Frameworks for structuring sessions — Having a strong guiding structure helps coaches tailor sessions to different groups and needs.
Personal growth through coaching — Teaching movement involves constant learning and adaptation, even for experienced coaches.
Adapting to different skill levels — Coaches must balance providing challenges with ensuring students feel comfortable and capable.
Flow and connection between movements — The ability to link movements seamlessly is a key part of high-level physical practice.
Resources
The Movement Creative — The parkour organization where Cristina coaches, offering outdoor movement training in New York City.
Gerlev Parkour Gathering — A well-known parkour event at Gerlev Idrætshøjskole Cristina mentions as a valuable training community.
Yamakasi — The original founders of parkour, mentioned in relation to training approaches.
The creative mind gets poisoned with the idea that your great work will be the result of getting serious. So many of my good ideas come from what looks like goofing off, wasting time. Art is play. There’s no way to tell what’s deep or shallow until you play with the idea.
Overwhelm from tasks, messages, and more is completely normal. It’s based on a fear that we can’t handle everything coming our way. That we’re going to fail at juggling all of these balls, and drop them, and be a failure. It’s a fear of inadequacy, that shows up as anxiety.
It’s not just a “fear” that we can’t handle everything coming our way. It’s the reality for me. I’m ambitious to a fault and I set myself up daily for far too much. As always, Babauta has the keys for pivoting away from the overwhelm, into the possibilities of progress.
No one asked me, but if I was asked to summarize Munroe’s work I’d say: He’s mastered the art of finding insight by shifting the scale. Why is that hard? Why is that helpful? Why is that great? Because to it at the mastery level (as Munroe does) requires one to have integrated a lot of knowledge. A lot.
The creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity. The creative mind plays with the objects it loves.
Because it’s elitist, an initiation into arcana. Because it’s nostalgic, rowing being a skill not much in demand in the industrial world. Because it’s fragile: The boat club is run on a shoestring, and the beat-up old boats held together by spit. Because it’s dangerous, and exercises the wits against the wind and the water. Because it’s a ritual. Because it’s redemption.
Silence is the absolute poise or balance of body, mind, and spirit. The man who preserves his selfhood ever calm and unshaken by the storms of existence—not a leaf, as it were, astir on the tree; Not a ripple upon the surface of shining pool—his, in the mind of the unlettered sage, is the ideal attitude and conduct of life.
There are a bunch of insights in this little conversation with Ira Glass:
I’m ambitious! I want the stories to be special and I want the interviews to be special. The nervousness is my fear that they won’t be, and my awakeness to how hard it might be to get it to work. If you have any ambition, you march into the interview with a battle plan. You have this theory about what’s going to happen with this other person but you really have not the best idea if it’s going to work. Interviewing is an art form that so depends on the soul of the other person and also on how the two of you interact.
I particularly like that one about nervousness as a sign that we are doing something right as podcast creators. What’s the hard work? What’s the part that makes us a little nervous? Exactly.
Are you feeling overwhelmed by the never-ending noise and distractions of our modern world? You’re not alone. In today’s fast-paced environment, finding inner peace has become more crucial than ever.
Back in early 2023, I was delighted to be invited to again join Vivian Carrasco on her show, The Within (U) Podcast. I think those of you who’ve heard a lot of me, will find this episode a little different. (Thanks go to Vivian for being such an open and inviting hostess!)
So glad that Vivian was able to hit the ship-it button recently on this, and a bunch more episodes! It’s great to see you back on the bicycle Vivi. :)