#movement techniques

[historyofguns]

In the article "Shoot While Moving vs. Move Then Shoot" by Mike Boyle on The Armory Life, the author discusses training strategies for handling movement during armed encounters. Boyle, a veteran police trainer, emphasizes that traditional firearms training often neglects real-world scenarios involving movement. Through his experience and adaptation from practical shooting competitions, he suggests incorporating controlled movement into training. While acknowledging shooting while moving can be challenging, involving stress, he advocates for understanding when it's beneficial for self-defense. He stresses the importance of safely practicing movement with unloaded firearms and recommends simple footwork to gain advantageous positions, rather than elaborate drills primarily suited for tactical operators. The ultimate goal is to prepare for split-second decisions that improve safety and effectiveness during an armed encounter.

[cardo-de-comer]

nonverbal communication

[ilikecarsandlike4people]

Despite all my rage/I am still just a rat in a cage

Bullet with Butterfly Wings - The Smashing Pumpkins (Inspired by Wayne Coyne's "The Flaming Lips, Lollapalooza Tour, 1994 Silkscreen poster")

[silveredcircuitry]

FINAL SHOT

+ alt colours

[rav3nston3]

hi look i made a short little animation of a thing from my map (like this last post but without the nes palette restriction) tee hee

[soysaucevictim]

I can so see Gymrat!Roman stubbornly saying a ton of lead weighs more than a ton of feathers.

Look. STEM was never that himbo's strong suit. That was more Remus's Thing.

I bet Janus prompted the question and is losing their shit a lil bit. And aint above trolling their fucktoy.

Remus is losing more of his shit (more at the sheer STUBBORNNESS than anything else... he kinda know that math is a sore spot for his bro.)

Logan is def gonna bury his face in his hands. He Has Words.

Virgil's not even paying attention, probably listing to music too loud on his earbuds to know wtf is going on.

Pat's just going to let the kiddo down easy abt this.

[blackswaneuroparedux]

What 'War and Peace' is to the novel and 'Hamlet' is to the theatre, Swan Lake' is to ballet - that is, the name which to many people stands for and sums up an art form.

Robert Gottlieb

It’s hard to believe that Swan Lake’s original premiere was seen as disastrous. When it first performed on 4 March 1877, at Moscow’s Bolshoi Theatre.

Tchaikovsky’s magical ballet tells the story of the doomed love of Prince Siegfried and Princess Odette. Prince Siegfried goes out hunting one night and chases a group of swans – one of them transforms into a young woman, Odette, who explains that she and her companions were turned into swans by the evil Baron Von Rothbart. The spell can only be broken if someone who has never loved before swears an oath of undying love and promises to marry her. The Prince declares his love to Odette and promises to be loyal forever.

At a grand reception at the palace, the Prince must choose a bride – but he can think only of Odette. Suddenly a fanfare announces the arrival of two guests - it is Odette! The prince dances with her and asks for her hand in marriage. But it’s not Odette - the mystery woman is the daughter of the evil von Rothbart, Odile. Odette has witnessed the whole scene. Too late, Siegfried realises his mistake.

Siegfried follows Odette to the lake and begs her forgiveness. She says she forgives him but nothing can change the fact he broke his vow. They decide to die together. The lovers throw themselves into the lake.

There are a few different theories as to how Tchaikovsky came up with the idea for Swan Lake. Though the libretto is based on a story by the German author Johann Karl August Musäus The Stolen Veil, many of Tchaikovsky’s contemporaries claimed that he was deeply fascinated by the tragic life story of Bavarian King Ludwig II - sometimes called the Swan King - who died under mysterious circumstances by drowning himself in a lake.

It is likely that Tchaikovsky chose Ludwig II as the prototype of Prince Siegfried. It is easy to tell that the composer clearly enjoyed working on the music for Swan Lake, as he wrote far more material than would ever be required. As a result, the version most commonly performed today is, in fact, an edited one, created after Tchaikovsky’s death and significantly shorter than the original work. 

Considering that Swan Lake is currently the most frequently performed ballet in the world, it's hard to imagine that it was a failure upon its premiere, with near unanimous criticism of different production aspects. Critics were universally disparaging, claiming the production was indistinctive and forgettable. They disliked the set and the choreography, thought the orchestra and dancers were subpar, and thought Tchaikovsky’s score was too complicated. The dancers who performed in the ballet’s premiere also declared Tchaikovsky’s music was too rich to accompany their balletic moves, and simply too difficult to dance to.

Because of these distractions, the actual brilliant score by Tchaikovsky got largely overlooked amidst the chaos.  Although a few critics did recognise the virtues of the masterful score, it was considered far too complex for ballet, too “noisy” and too “symphonic”, resembling the grand, weighty music of Richard Wagner. Even the initial ballet dancers deemed the music too difficult to dance to as its density clashed with the fluid and graceful balletic movements.

One of the issues for the premiere performance was the absence of the Bolshoi’s prima ballerina, Anna Sobeshchanskaya. Sobeshchanskaya rejoined the production as Odette/Odile in April 1877 but insisted on making certain changes to the choreography and score. Two years later the original choreographer, Julius Reisinger, left Moscow and was replaced by Belgian choreographer Joseph Pater Hansen. Hansen set about re-staging Swan Lake, launching his new version in January 1880.  All 33 performances of the ballet between 1877-1883 sold out, attesting to the ballet’s increasing popularity amongst audiences.

A planned revival of the ballet in the early 1890s was cast into doubt by the death of Tchaikovsky in November 1893, who didn’t live to see the ultimate success of his ballet. Tchaikovsky had written far more material than was ever required, and after his death, Riccardo Drigo took on the job of revising Tchaikovsky’s score, with the approval of his brother Modest Tchaikovsky.

The revised and edited version – commonly the version of the score used today - is considerably shorter than the original, full-length work. It premiered on 15 January 1895 by the Maryinsky Ballet at the Maryinsky Theatre to overwhelmingly positive reviews.

Call it what you like - Dance of the Four Swans, Dance of the Cygnets, The Four Little Swans - but for me the pas de quatre from Swan Lake is one of the most iconic dances in one of the most iconic classical ballets of all time. It is a coveted role for a ballerina, one that requires technical precision and teamwork. The light-hearted Dance of the Cygnets involves 16 pas de chat performed by four dancers moving sideways in exact unison with their arms interlaced. 

I’ve always found its spirit of sheer innocence and beauty breath-taking to watch. I’m left with wonder restored and a distinct feeling of the flight of innocence coming back to rest in my hardened heart.

Video: Royal Ballet's Swan Lake (2018)

[indigospyder]

I’m frothing at the mouth I’ve found THE coolest EPIC: The Musical animation EVER, it’s so stylized and just absolutely GORGEOUS I NEED MORE

[saramencken]

Image: Anton Corbjin

[dreaminginthedeepsouth]

Das Auge der Liebe (The eye of love), 1952 :: Photographer: René Groebli

* * * *

"100 days. 100 hints on singing. No. 42. 

“Tekubi," "ashikubi", "kubi," are a trio of our freedoms, neck, ankles, and wrists. Their linguistic commonality in Japanese speaks to their common function, conduits of freedom to our extremities, hand, head, and feet. If we cultivate their freedom we become better painters, better dancers, better singers, each part contributing to the whole and the whole to each part. That is certainly what F. M. Alexander saw in the head, neck, torso relationship, a facilitator of freedom throughout the torso, a tune to which ankles and wrists are counterpoint. Free your neck in order for the wrists and ankles to be free, free your ankles in order for the neck and wrists to be free, free your wrists in order for the ankles and neck to be free, your whole body an organ of singing. You’ll never find the all of it, but that part of it for today, begin it now. Waiting is not an option."

[Thanks to Alan Bowers]

[pangyham]

been thinking about the liyue gang and how id draw their physical builds so here are some thoughts i had for xy cy and gm in particular

- xingqiu, unsurprisingly, would be quite lanky. i like to think he has broad-ish shoulders, like a thin athlete's build? hes a long boy to me haha, long face, neck, limbs, fingers etc, so naturally hes stands (comparatively) tall at 5'6" or 5'7"

i like to think hes most physically attractive one and has that handsome princely and boyish charm to him because it adds a lot to his fuckass duality LOL

- chongyun is a lot like xiao imo! short stature but with muscular arms. he seems nimble and flexible because of his normal attack animations (which bears a lot of similarities to xiao's actually! this + the fact that chongyun's normal attacks create gusts of wind further reinforces my hc that xiao trains him). sometimes i watch high energy choreography vids on youtube and some dancers look incredibly light on their feet, almost like their body is inherently bouncy? and i imagine chongyun to have that agility to him. chongyun has a delicate face and aura and i let that bleed into my hcs for his fighting style and physical capabilities hahaha. hes kind of like a cat who's deceptively strong. as for height.. just a few inches taller than xiao, so perceptibly short at 5'4"

- ga ming my new beloved. pretty much similar to chongyun but more muscular and stronger just because he wields his claymore with ease. theres a noticeable weight different between cy and his claymore the way he lugs it up after he swings (or even other claymore users like razor who, on his last hit, bounces from impact). meanwhile ga ming literally slams his to the ground LOL. i love his movements though hes very swift and expressive and radiant.. if cy has delicate movements then ga ming's is fierce and (charmingly!) assertive

ga ming is wonderfully charismatic though, i know hes not well known in liyue harbor yet, but he seems like the type to gain a reputation from his friendliness. how could no one adore him hahaha. 5'5" for height! just between xy and xq

[idon-twannabeperceived]

Btw seeing gringos trying to dance tango or salsa is so 🫥🫥

Like I don't mind at all bro go off but like put some flavor in there I AM BEGGING i swear u won't die WHERE IS YOUR SOUL DO YOU NOT HAVE A HEART

[ravenofspades]

i believe the time has come to reveal my greatest secret: quite possibly the single stupidest lancer build i ever did come up with. it has known quite a few names, but i shall simply refer to it as The Orbital Suplex Build.

-- SSC Atlas @ LL8 -- [ LICENSES ] IPS-N Blackbeard 3, IPS-N Caliban 1, SSC Atlas 3, HA Sherman 1 [ CORE BONUSES ] Titanomachy Mesh, Full Subjectivity Sync [ TALENTS ] Duelist 3, Juggernaut 2, Brutal 2, Technophile 2, Iconoclast 1, Combined Arms 1 [ STATS ] HULL:0 AGI:4 SYS:6 ENGI:0 STRUCTURE:4 HP:10 ARMOR:0 STRESS:4 HEATCAP:4 REPAIR:2 TECH ATK:+4 LIMITED:+0 SPD:8 EVA:18 EDEF:12 SENSE:3 SAVE:14 [ WEAPONS ] FLEX MOUNT: Kraul Rifle MAIN MOUNT: Terashima Blade (Supermassive Mod) [ SYSTEMS ] Synthetic Muscle Netting, Jäger Kunst I, Jäger Kunst II x3, Reinforced Cabling

now this did require an above average amount of the demon known as math (i had to do some addition). moreover, it's not exactly, how should I say, good, useful, or, y'know, viable at this level. but. if you really, really, really just wanna send people into fucking orbit, then here you go, this is the single funniest way you can do that. technically the only talents you really need are Juggernaut 2 and Duelist 3, but the others are either because this is an actual character i played, or for fun. Brutal 2, for example, deals 1 extra knockback if you crit.

also Jäger Kunst I & II are there for the funny. you could theoretically use the Ramjet from Nelson 3 on this build but it's already stupid enough as is.

the point of this build, and why we needed to use the Atlas, is yeet the enemy into the air so high they take maximum fall damage, that being 9 AP kinetic for 9 hexes in the air. how do we achieve this lofty goal?

boost, run into the space of some enemy mech, and then, because knockback goes away from you, and because you're an Atlas pilot so you can just cockroach your way directly under a larger mech, you smack the enemy directly in their mechanized crotch so fucking hard that it sends them 60 feet straight up in the air (2 knockback from Wind Stance on the Terashima Blade, plus 2 knockback from the tuned Supermassive Mod, plus 1 knockback from Titanomachy Mesh, and if you crit that's 1 knockback from Brutal 2). you then use Blademaster 3 to immediately ram them as a free action (and Reinforced Cabling coupled with some typical Atlas bullshit to actually move upr to them). because we boosted earlier, Juggernaut 2 procs, so this ram knocks our opponent 40 additional feet into the air (1 knockback from the ram, 1 knockback from Titanomachy Mesh, and 2 from Juggernaut 2). additionally, you can then ram again as another free action due to Titanomachy Mesh for 20 more feet. but you could instead grapple.

because we took Synthetic Muscle Netting this is something we can just straight up do on any mech, no matter the size, ignore the fact that i have ZERO hull on this mech this is totally gonna work (just swap some agility for hull if you're struggling). now assuming you win the contested grapple check because no way in hell did you just throw something size 1/2, the enemy must now move with you. because you have Reinforced Cabling, you can just pull yourself back down to the ground, and you therefore take no damage. the enemy cannot do this but moves with you nonetheless, and impacts the ground at mach Fuck You, taking 9 AP kinetic damage, and because you rammed them earlier, hey, they're prone. so you overcharge and hit them again, and because they're prone, yippee, more damage.

all that work for two sword hits and 9 AP kinetic damage means you're dealing an average of, like, 19 kinetic damage a turn. not great. but, extremely fucking funny. you can also just chose to leave the enemy in the air for your friends to take potshots at from behind cover, or just hit someone really, really fucking hard away from you so that they have to boost to get back. again, in no way is this build viable, but it's got some tricks, and it is funny. sometimes funny can be pretty good too.

also you can probably do this with 2 sword hits (this being get someone 9 hexes in the air) but we don't gotta worry about that because then they're not prone at the end

[remyfire]

Fucking nerd has had a very specific movement of a very specific symphony stuck in her head for days on end and it will not release her

[stackslip]

can't stress how much of a reactionary force psychoanalysts are especially in france lol

[raininyourblackeyes]

Stan a skater who has a full package in both TES and PCS. Stan Yuma Kagiyama.