Movement Patterns Quotes

I had to lower my hands, I had to work my hips a different way. I also had to stride to get the power. I'd always been a standstill hitter and had to generate power from my upper body. Basically, I had to change everything I was doing. It was really difficult.

When I see people on the street, I look at how they walk. It's like a signature, a fingerprint.

Much more of the brain is devoted to movement than to language. Language is only a little thing sitting on top of this huge ocean of movement.

Ten-year-old boys move differently than middle-aged women, who move differently than athletic guys, who move differently than government bureaucrats.

Mine was an apparent forward movement whereas Burley's was a continuous serpentine movement.

Most birds are very stiff-necked, like the robin, and as they run or hop upon the ground, carry the head as if it were riveted to the body. Not so the oven-bird, or the other birds that walk, as the cow-bunting, or the quail, or the crow. They move the head forward with the movement of the feet.

As more and more architecture is finally unmasked as the mere organization of flow - shopping centers, airports - it is evident that circulation is what makes or breaks public architecture.

Often you see people who move there and then, once they have arrived, the ball moves here after which they also come here, but then the ball goes there again. I say: just stay where you are, then you are in any case at the right place half of the time.

It was so interesting that the girls were moving in such a different way.

When I was 5 years old, I saw people dancing in my head. In college, I would choreograph for the cultural shows, and in my notes, I would actually create formations of people. It was how my whole brain worked.

The car is not a rabbit or a deer that jumps around in sweeping lines, but it is a man-made work of technology in need of an appropriate roadway. Rather, the car resembles a dragon fly or any other jumping animal that moves shorter distances in straight lines and then changes its direction at different points.

The different tempos and yeah, it's cadence. It's the way she moves through space, it's gestures.

My focus in the training sessions is always about movement to create openings and opportunities. When you don't have the ball, you still need the discipline to know where you should be, who you should be marking, but when we have the ball, it is important to be able to move around.

The movements we do are complex but natural, they're picking stuff up off the ground, running, jumping, climbing - stuff that we were made to do, that we were created to do.

My template for everything is organisation. With the ball you have to know the movement patterns, the rotation, the fluidity and positioning of the team. When we have the football everybody's a player.

I learnt the theory of movement, which I still teach sometimes. I was very, very ambitious to learn a skill.

The body moves through space every day, and in architecture in cities that can be orchestrated. Not in a dictatorial fashion, but in a way of creating options, open-ended sort of personal itineraries within a building. And I see that as akin to cinematography or choreography, where episodic movement, episodic moments, occur in dance and film.

When you walk, you need the leg to swing back and forth underneath you. It needs to flex at a certain point, then extend as you follow through your gait. Now, that function doesn't really help at all while I'm standing on my dirt bike or snowmobile.

Technique wasn't my favorite thing to learn, and I doubt I would be great teaching it.

Why do you need to gallop while you fly?" "Why do humans have to sway their arms while they walk? I dunno boss, but it just feels right.

We're the only animal that wakes up and doesn't stretch.

Don't get confused; doing choreography in the ring can be done by anyone. I take the guy who works in the gas station on the corner, and I teach him a choreography for a week, and I swear he can do it in a ring.

I'm not a good choreographer: I can't remember what I put down.

Processionalism is primary - how you get from one place to another, the relationships and effects of spaces as you move about in them. That's worked out awfully well in the State Theater. I'm a 'straight-in' man myself; I'm too nervous, I like to know where I am. I also like to know where I'm going.

A dance to the music of time.