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Rob Liberti wrote:
Lee,
I'll give you the best answers I can, but remember that I'm still a novice - and I brought that up because these are all ideas that I would assume are in common. (Also note I took the things I thought would be common in order from simple to more complex or at least more integrated.)
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Thanks for the answers. Novice or no, in the land of the blind, the one-eyed man is king.
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I have no idea how to address you question about how the lines of intention are distinguished or what is their gross function is. They seems to be the 6 (arguably 8 directions) inward and outward from center. I really don't understand what you mean by "what is the subjective driver of the intention of up" but my guess is that it is more inline with "an awareness placed along the line coupled with an idea of up" which initially seems to be "just a visualization of going up" while you are visualizing the other directions as well - but I assume the idea is that you do that to train a feeling. Eventually the feeling is maintained and the visualizations are no longer as necessary. Maybe I'm wrong. Point here is that anyone reading this that trains this way most likely is following what I mean.
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By distinguishing lines, I mean if you had to identify new lines, or to evaluate the worth of a line you already have (to decide whether it is worth keeping), could you do this and how might you go about doing it?
I guess what I mean by subjective driver is what you feel you are doing to produce an effect. Kinda an example based on what I was taught - that one is to take an external object in the distance - a car, a tree, a house, etc. - and literally attempt to move it... without externally moving, and without trying to imagine it, but to produce a physical activation of the body. Eventually this association is to become so strong that it feels indistinguishable from actually really moving something, even though nothing really moved, so that any time I try to really move something, that the effect of the training carries directly over. So in this case, I am literally trying to move something so that it produces a physical effect in the body, but without external movement happening.
But okay, that is different from an awareness coupled with an idea. The idea can be "up" that I have labeled it, but if it is not an attempt at movement, then it is something other than actual "up", just that it feels "up". So what the mind feels it is doing to produce that "up" becomes a more important description of it. That still being different from visualization by itself, "imagined skill" to borrow a term from someone else, where there is visualization but without producing any physical effect that you can feel whatsoever.
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It is definately "a combination of more than one intention at times, combined with overt movement in yet another intended direction". I believe (and I couldbe wrong) that they can be "employed along the same lines of the body simultaneously" or "along separate ones".
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And when they are combined, is sensation of the combined intentions distributed along the entirety of the body lines, or is it more a feeling of one end repelling the other end?