Tag Archive | Margaret Goldie
April 19, 2020  

On Getting in and out of a Chair. “Hats off!”

They will see it as getting in and out of a chair the right way. 1

The Chair! For so many teachers the sine qua non of the Alexander Technique. And, of course, we have all seen the little film of the Master taking Margaret Goldie – looking rather like a puppet – in and out of a chair.

It was 1985 or ’86 and I had only recently started having lessons with Margaret Goldie. “Chairwork” had taken on a completely different character. It was never about getting in or out of a chair this way or that way. I began to see that every action or non-action that happened in a lesson was about what was happening in my brain. What Alexander had been at pains to write about in his four books began to make sense in a way that, up until then, it had not.

More than once during this time of coronavirus, Albert Camus’ novel La Peste has come to mind. Set in the Algerian city of Oran in the 1940’s during an outbreak of the plague, the whole city is in quarantine. It is a fascinating, multi-levelled piece of writing. One of the main characters, Joseph Grand, aspires to write a prose-perfect novel but his search for perfection has become an impassable barrier. He explains to his friend Dr Rieux:

“What I really want, doctor, is this. On the day when the manuscript reaches the publisher, I want him to stand up – after he’s read it through, of course – and say to his staff: ‘Gentlemen, hats off!’

Rieux was dumbfounded, and, to add to his amazement, he saw, or seemed to see, the man beside him making as if to take off his hat with a sweeping gesture, bringing his hand to his head, then holding his arm out straight in front of him. That queer whistling overhead seemed to gather force.

“So you see,” Grand added, “it’s got to be flawless.” 2

Not a bad aspiration by any means, you might think, but Grand does seem to be getting lost in the details:

“I’d like you to understand, doctor. I grant you it’s easy enough to choose between a ‘but’ and an ‘and.’ It’s a bit more difficult to decide between ‘and’ and ‘then.’ But definitely the hardest thing may be to know whether one should put an ‘and’ or leave it out.” 2

Rieux persuades Grand to read him the all-important opening sentence of his manuscript:

Then, pitched low but clear. Grand’s voice came to his ears. “One fine morning in the month of May an elegant young horsewoman might have been seen riding a handsome sorrel mare along the flowery avenues of the Bois de Boulogne.”

Silence returned, and with it the vague murmur of the prostrate town. Grand had put down the sheet and was still staring at it. After a while he looked up.

“What do you think of it?” 2

Rieux politely responds that his curiosity is whetted and he wants to know what comes next but, in his search for perfection in the opening sentence, it seems that Grand has not succeeded in getting beyond it.

“That’s only a rough draft. Once I’ve succeeded in rendering perfectly the picture in my mind’s eye, once my words have the exact tempo of this ride – the horse is trotting, one-two-three, one-two-three, see what I mean? – the rest will come more easily and, what’s even more important, the illusion will be such that from the very first words it will be possible to say: ‘Hats off!’” 2

During that period back in the 1980’s I have a vivid recollection of a morning working in a teacher-training course. One of the teachers there confessed to the students that she could not immediately think how to respond when her pupil had asked her, “What happens when I can get in and out of a chair perfectly? What happens then?”

My lessons with Miss G flooded into my mind. “But it’s not about getting in and out of a chair” thought I.

This teacher however, after what must have been a very pregnant pause, had responded, so she informed us, thus:

“Why then, you make an art of it!”

Later that morning there was a coffee-time reading from one of Alexander’s books – I forget what exactly it was – but the contrast between the material in the reading and the practical work taking place was startling. After the reading everyone went back into their routine of trying to get each other in and out of chairs “perfectly”. The precise and detailed feedback they gave each other seemed to differ only in the medium from Grand’s obsession with finding le mot juste.

The procedure had become an end in itself: another example of the medium becoming the message.

The exposure we all get to the daily repetition of what happens – including what is said – in a training course conditions us to accept it as “right”, even to the extent of rejecting what happens in other such courses. As one of my colleagues once said to me, surprising even herself by always going back to the same place for refresher courses, “It get’s into your nervous system.” There are many kinds of addictions to which human beings are susceptible.

And the books? That’s a whole other matter.

1. Teaching Aphorisms: The Alexander Journal No 7, 1972, published by the Society of Teachers of the Alexander Technique. Also published in Articles and Lectures by Mouritz (1995).

2. La Peste, Albert Camus (translation by Stuart Gilbert)

© John Hunter 2020

April 9, 2020  

The Giving and Withholding of Consent: the Secret of “Letting Do”

So you’ve learnt how to direct – and perhaps you experience some expansion, integration and a flow of energy when you “give your orders”.

You can inhibit some of your reactions and enter into a more quiet state. Maybe you can let your head lead as you go into activity. Then now it’s time to explore the world of giving and withholding of consent: the secret of “letting do”.

I had my first real experience of this in a lesson with Margaret Goldie. I was sitting with my hands resting palms-up on the tops of my legs. She took one arm, moved it around – up and down and rotating it in a particular way that she had – and let it rest at my side. Then the brain work!

“Not you doing it!” she quietly insisted.

“You are going to give consent to letting your hand come back up onto the top of your leg, but you are not going to do it.”

I had already been having lessons with her for some years so I was not distracted by “unbeliever” thoughts. I just listened to her and followed her instructions as exactly as I could.

“Not you doing it! You are going to give consent to allowing your hand to move. Give consent and let it do it!”

Then suddenly, effortlessly – my hand floats up onto the top of my leg. How? Not, evidently, by using the familiar pathways I associated with such a movement.

It’s all there in one of Alexander’s Teaching Aphorisms:

“The reason you people won’t give consent is because none of you will give consent to anything but what you feel.

F M Alexander 1

This approach gave me new insights into Alexander’s work, in particular the similarity with aspects of Taoism.  2

Withholding consent – inhibition – is the doorway. Pass through it and experiment with giving consent to what you wish to do – volition – and then “letting do”! Allowing activity to take place using unfamiliar pathways, given that so many of our “identity habits” are embodied, challenges our sense of who we think we are, opening a door to a world which seems to operate under different laws.

 …the Alexander Technique, like Zen, tries to unlock the power of the unknown force in man.

Patrick Macdonald 3

Your early experiments might be simple physical activities – like the one Miss Goldie showed me; giving consent to a very basic movement of some part of the body, getting out of a chair, moving around from A to B or even (and this takes patient practice) making a cup of tea. As you become more at home in this new medium, you could experiment with interacting with other people. Give consent, for example, to chatting with your neighbour about the weather.4

You must learn to get out of the teacher’s way, learn to get out of your own way, then learn to get out of ITS way.

Patrick Macdonald 5

What do you find? Do you become more the watcher than the doer?

If you wish, share your experiences in the comments section or write to me.

1. Teaching Aphorisms: The Alexander Journal No 7, 1972, published by the Society of Teachers of the Alexander Technique. Also published in Articles and Lectures by Mouritz (1995).
2. The concept of non-doing in Taoism – Wu Wei – has been understood in different ways throughout its long history. See en.wikipedia.org/wiki/Wu_wei
3. The Alexander Technique As I See It, Patrick MacDonald; Notebook Jottings. Published by Rahula Books, 1989
4. At the time of writing we are all practising social distancing so interacting with others may have to wait.
5. The Alexander Technique As I See It, Patrick MacDonald; Notebook Jottings. Published by Rahula Books, 1989

© John Hunter 2020

July 23, 2015  

Reflections on History & Development, #1: Trees & Fruit, Alexander’s early influences

F. Matthias Alexander was one of those rare human beings: an innovator in the field of human potential. His research was always practical and experiential. At a time when psychology was moving more and more into the realm of the unconscious, Alexander was exploring consciousness, in particular at the level of the interrelationship between the physical and the mental aspects of human functioning.

What he discovered is that as humanity evolved we developed our intellectual capacities more quickly than our physical and sensory capacities, and this resulted in a parting of the ways, a dualism. In a properly integrated human being there is a constant two-way flow between mind and body; intention flowing into activity modulated by feedback.

Certainly Alexander was not, as perhaps some may have thought, a “blank sheet of paper” (but then if one thought about it how could he – or anybody – have been). Recent research is bringing to light a great deal of material about the period in which Alexander was developing his ideas and practice. What is clear from this research is that many of the principles and ideas used by Alexander can be found elsewhere (and some of them I will explore in these writings). To me that is not at all surprising. There have always been human beings who are interested in philosophy, health, self-improvement, posture, energy, mind and body, respiratory and vocal techniques, etc., etc. One has only to look at some of the most ancient texts – or other forms of transmission – to see that these questions constitute fundamental issues for human beings. When one starts along this path, one is not the first or the last to do so. It is a path of discovery shared by those human beings who have that particular interest, which might be termed “evolutionary”, in the exploration of the self. What one then finds along that path cannot in essence be very different from what others have found. We are not different in our functioning or our possibilities from our ancestors. If Alexander ‘borrowed’ or ‘stole’ from others, from what sources did these others in their turn draw, and similarly those before them and so on? What is important is that a human being has the potential to develop; some do and some don’t. The ideas are around us and can be found. The point then is to make something practical and useful for oneself in order to embody the ideas; very few achieve that. Alexander was such a person, and that it why so many of us are interested in him rather than the various ‘others’ who may have shared parts of his journey. That he found something of a different order is apparent to any sensitive person who has worked with or even been in the presence of those who were his pupils. A tree is judged by its fruit.

Although others may help to open the door into the ‘inner world’, once you are there you are on your own. Nobody can do the work of integrating your organism for you; and in just this lies the mystery (though this does not appeal to the scientific mind). ‘Non-doing’ or a “directed (integrated) state” are not things that anybody discovered or invented, they are states which can be entered into.

Certain ‘researchers’ into early influences are now trying to make a case that Alexander was at best a synthesiser and at worst a plagiarist of other peoples work.

I have to say that I find their arguments very weak, because there is no evidence that any of the people who might have influenced him, directly or indirectly, ever reached such a level of realisation as he did, otherwise there would be many more traces of their work. Where is the fruit of those trees?

I can’t help thinking that if some of those ‘researchers’ (not all) had ever spent half an hour in Margaret Goldie’s teaching room or had felt Patrick Macdonald’s hands on them for even ten minutes, they might understand that they are barking up the wrong tree altogether. But there again, perhaps they would not.

© John Hunter 2015

March 15, 2015  

Being with Erika and Miss G #15

Erika Whittaker and Margaret Goldie were really like chalk and cheese. In the early days, as young women, they did not get on too well. Goldie had, said Erika, somehow got into what she called the “inner circle” at Ashley place (by which she meant the Alexander family, plus Irene Tasker and Ethel Webb) and she did not mix very much with the other students.

According to Erika the children at the Little School were a little bit frightened of Goldie; one day when they were all being served with soup, none of them dared to start eating in case they had not “inhibited” enough. Then F.M. came in, sat down and said, “Eat, eat. It will get cold!”

“She had this way” Erika said, “of looking you up and down as if to say ‘what are you doing here?’, and one felt an icy chill. The other students were all a bit frightened of her.”

When, more than half a century later, they re-established contact, they formed a touching friendship. Erika, having found some strange things going on in the Alexander world after an absence of several decades, was very grateful to be able to talk to Goldie and be re-assured that she was not alone in her critique. While Erika was staying with me on one of her London visits she was invited to Goldie’s for lunch.  She came back delighted.

“We had smoked salmon, Stilton cheese and champagne; my favourites.”

Goldie also valued the contact with Erika. When I told her on a later occasion that Erika was coming again to London, she became quite emotional.

“Oh Erika!” she said. “When we were at Ashley Place she was always so light, so joyful and so free. Mr Alexander was always sending us off to go for a walk, saying we were too serious.

‘Why can’t you be more like Erika,’ he would say. ‘She understands.’

But we couldn’t. We didn’t know how.”

I only went to Miss Goldie’s house in Richmond once, and that was to take Erika to visit her. I dropped her off and went a few hours later to pick her up. I went in and spent half an hour or so together with these two old ladies who had influenced my understanding of Alexander’s work so much over the last twelve years. It was the only time I was to see them together and it was the last time I saw Goldie before she died.

Goldie was sitting at her little desk under her bookshelves, full of fascinating titles. You really got the sense that she was a thinker: someone who reflected on subjects which had concerned mankind throughout the ages. She looked very fragile and had bruises on her face after a recent fall, but with Erika’s clever and considerate questions and prompts, the conversation was lively and Goldie reminisced happily.

She told us the story of her first lessons, when she was having each day one from FM and one from AR. She said she loved her lessons with FM, but hated the ones with AR. In desperation she wrote to her father who was paying for the lessons, and said that she thought it was not right that he should be spending all this money when she was only benefiting from half of the lessons.  His response was that he was paying all this money so that she could learn to face and deal with any problem that life put in her path, and this was one of them.  Later, she said, she became great friends with AR.

Erika asked her, for my benefit really, how was it that FM could see and work with so many people in a day without seeming to get tired.

Goldie laughed. “It was because he wasn’t doing anything” she replied.

“A lot of young teachers nowadays” continued Erika (and by “young teachers” she meant more or less anyone under the age of seventy), “are very concerned about getting more pupils and trying to make FM’s work more popular. What’s your view about that?”

Goldie smiled and said. “It was never meant for everyone. It is meant for the few who wish to evolve.”

© John Hunter 2015

August 8, 2014  

Tips4Teachers: Some Thoughts about “Orders” and “Directions”

FM Alexander seemed at certain times to favour the word “orders” to describe processes involved in his technique of re-education and at other times “directions”; he also used both words as, for example, here:

“…if we are going to do, not a mechanical exercise, but something real that matters, you have to think out beforehand the means whereby you have to do it, and give the directions or orders for these means whereby, in the form of a wish, as it were, and keep that wish going all through the activity.” [i]

He sometimes also used the term “directive orders”.

Walter Carrington often referred to “wishing” and “willing”; Margaret Goldie spoke of “brain-thought-messages”; Patrick Macdonald preferred “think up”; Marj Barstow, somewhat controversially, talked about “moving up”; and Erika Whittaker said it was really about “decisions”.

In this article I would like to consider particular emphases which are brought out by the words “orders” and “directions” in the English language in order to explore how the nuances of meaning might inform our ways of using these words in our work on ourselves and in our teaching.

The following list is doubtless not exhaustive, but gives some sense of the breadth of meaning that can be found in these words. Some of the elements listed hereunder will be very familiar to most people interested in Alexander’s work and have perhaps already been written and talked about sufficiently. Others are certainly worthy of further exploration and I will dedicate future posts to that endeavour.

  1. Order as the opposite of chaos

The above meaning of the word “order” – found, for example, in the expression “order your thoughts” – is not so apparent in “direction”. Its clearest application is in trying to calm a disordered mind. Dr Wilfred Barlow, in his thoughtful letter to Father Geoffrey Curtis, writes:

“… it is useful to tell pupils that for a short period at the start of the lesson they should, as you [Fr Curtis] put it, ’give their orders and not do anything to implement them’. I would call this ‘first stage ordering’. This period of directing at once begins to calm the mind, and such initial calming is not very different from the calming effect which might be achieved by meditation or prayer or some other repetitive mental discipline.” [ii]

All that is required is to say the words to oneself, like a mantra, without trying to link the words to parts of the body or to any kind of sensory experience. A mind that is saying the orders can less easily be thinking about to-do lists or various worries that may be circulating the mental landscape.

One of FM’s aphorisms also refers to this “first step”:

“When you get to the point of giving an order and hoping to God that it won’t be carried out, you are making the first step forward.” [iii]

  1. Order as sequence, e.g. “in a certain order”.

The sequence is important. For example, in order to carry out an activity (or not carry out an activity) most likely involving arms and/or legs, we want the movement to be supported by a lengthening and widening back; the back cannot lengthen and widen to its optimum if the head is pulling back and down onto it; therefore we want the head to go forward and up and take pressure off the cervical spine; the head can’t go forward and up if the neck is stiff; therefore we want the neck to be free. Hence the sequence, “Let the neck be free in order to allow the head to go forward and up in order to let the spine lengthen and the back widen in order to … (carry out whatever activity one has chosen). Each stage can liberate the possibility for both subsequent and preceding ones to progress. Therefore as they connect and integrate, they become one.

“The phrase ‘All together, one after the other” expresses the idea of combined activity I wish to convey.” [iv]

  1. Order as command

Both “orders” and “directions” carry the meaning of “commands”.

Many teachers use the example of a ship’s captain or a Duchess ruling her estate to make clear the distinction between giving a command and trying to carry it out. A ship’s captain who, having ordered “full steam ahead”, then runs down to the engine room and starts shovelling coal into the boiler, would be considered mad. Similarly a Duchess, having commanded that something or other be done in her household, has the expectation that her orders will be carried out. In the psychophysical realm too, trying to carry out an order when that work belongs to another function, or constantly checking out whether something is happening or not, is as counterproductive in the human organism as on the ship or country estate.

  1. Order: a request to make, supply, or deliver food or goods

This is an interesting one; to “place an order” – as, for example, in a restaurant – has a very different emphasis from “order” as “command”. There is still the distinction between the one who gives the order and the one who carries it out, and the same expectation that the request will be met. However, there is more the sense of a contract rather than of a duty. It’s worth experimenting with this nuance to see how it changes your experience.

  1. Order: a situation in which everything is arranged in its correct place

The expression “the natural order of things” comes to mind. We are not trying to impose a different system of organisation on ourselves but rather we are trying to stop interfering and uncover “the natural order”. I like this quote by Donald Curtis.

“Relaxation means releasing all concern and tension and letting the natural order of life flow through one’s being.” [v]

  1. Direction as aim or purpose

For example, “she had no direction in life”.

In this regard the word “direction” has a different sense than “order”. One can have order in one’s life (timetables, structure, etc.) but have no sense of a life-purpose. Similarly one can have a sense of one’s life leading in a certain direction, in terms of career or personal development, and yet in many aspects be very disorderly.

  1. Direction as orientation

“Modern man, when in activity, has very little awareness of such simple directions in space as backwards and forwards, and up and down, in relation to his own body…” [vi]

This meaning is not found in “ordering” but it is a vital aspect of sending directions. To lend meaning to the words ‘forward’, ‘up’, ‘back’, etc. it is important to relate these words to a direction in space. Muscle, as Hellstromists [vii] know, is very sensitive to directional thinking.

Patrick MacDonald comments in The Alexander Technique As I See It that:

“The science of physiology has not yet got round to recognizing this factor of orientation, even though it is the fundamental on which everything else depends.” [viii]

Once a state of mental calm has been achieved, or at least approached, it is time to let the ordering or directing relate more intentionally to the physical body; Dr Barlow’s “stage two ordering”, whereby:

“…the teacher…teaches the pupil the bodily meaning of the orders and how to put them together in relationship to his body.” [ix]

In my experience an essential element of this is to relate directions to orientation in space; to be aware of where “up” is (the virtual continuation of the spine); to be aware of where “forward” and “back” are.

  1. Directions as a description of expansion

The directions are specific to our human musculo-skeletal system. For a hypothetical spherical entity, for example, the directions would be something like “let every point on the surface move away from the centre”. A description of what happens when the human musculo-skeletal frame expands is that the head tends to go forward and up, the spine lengthens, the back widens and the knees go forward and away.

  1. Direction as relationship between parts

Although it is an essential aspect, it is often forgotten that the directions are about the relationship between parts of the body: for example, head forward and up in relation to the neck; head away from hips, knees away from hips. The relationship is one of opposition (Alexander used the term “antagonistic pulls”).

The late Sir George Trevelyan put it thus:

“I think ‘head forward and up – but my head can’t go forward and up because my back is going back – but my back can’t go back because my head is going forward and up – but my head can’t go forward and up because my back is going back ….etc. etc.'” [x]

  1. Direction as instructions (how to do)

We are all used to reading instructions on packaging, and the directions can also be thought of as instructions how to do something; means-whereby. For example, in order to type these words I am going to let my neck be free in order to allow my head to go forward and up in order to allow my back to lengthen and widen in order to let my shoulder widen and my arm lengthen in order to move my fingers towards the keyboard etc. etc.

  1. Direction as movement

Marj Barstow’s use of the word “move” (as, for example, in her use of the words:

“… you move your head delicately upwards”

– rather than “direct”, “order” or “think” caused a great deal of controversy. I must say though that the experience under her hands was by no means one of an ordinary muscular movement, but rather one of allowing the head to be carried upwards by a kind of inner buoyancy, so the difference for me was only semantic.

  1. Direction as a flow of energy

“It is not enough to just give the orders. You must also conduct the energy there” [xii]

In many cultures and in many epochs of history there has existed a “science of vital energy”: qi, prana, vitalism, animal magnetism, odic force and orgone – to name but a few. Did Alexander find something similar though his work with projected messages?

Patrick MacDonald refers to:

“…sending a flow of force to alter the condition of a part or parts.” [xiii]

This is an important and subtle aspect of Direction and one which I will write more about in a separate article.

  1. Ordering or directing as wishing or willing

I find it helps pupils a great deal to remind them that they should:

“… give the directions or orders for these means whereby, in the form of a wish …” [xiv]

“Wishing” and “willing” are, of course, very different inner processes and are both worthy of further exploration.

  1. Direction as “brain-thought-messages”

This was the expression favoured by Margaret Goldie. She did not speak of either “inhibition” or “direction”, but of “stopping” and “thinking” – and the thoughts were not speculative or reflective but were “brain-thought-messages” which connected with the physical body.

  1. Direction as “decision”.

Alexander, as recorded by Ethel Webb, told a pupil:

“You only do what you decide to do” [xv]

Both Erika Whittaker and Margaret Goldie stressed the importance of really making decisions. This aspect of Direction connects with Intention.

  1. A Directive State

Dr Barlow’s “third stage of ordering” is, he says, akin to:

“… a state of ‘grace’, in which the ‘words’ and the ‘flesh’ are one and the whole organism is in a ‘directive state’.” [xvii]

To conclude, I have added to the footnotes a list of synonyms for Order and Direction – which may provide further food for thought. [xviii]

Notes

[i] An Unrecognised Principle in Human Behaviour: Address given to the Child Study Association, F M Alexander, 1925. Articles and Lectures, Mouritz (1995)

[ii] More Talk of Alexander, Chapter 18, Ed. Dr W. Barlow. Victor Gollancz Ltd 1978.

[iii] Teaching Aphorisms: The Alexander Journal No 7, 1972, published by the Society of Teachers of the Alexander Technique. Also published in Articles and Lectures by Mouritz (1995).

[iv] Use of the Self, F M Alexander, Chaterson 1946

[v] Donald Curtis (1915-1997) was an American writer and speaker on New Thought (see http://cornerstone.wwwhubs.com/Donald_Curtis.html). I know nothing about him or his writings, but I stumbled across the quote and find it very apt.

[vi] The Alexander Technique As I See It, Patrick MacDonald. Chapter 3: Why We Learn the Technique. Published by Rahula Books, 1989.

[vii] “Hellstromism” or “Muscle Reading” is a technique used by mentalists to create the illusion of mind-reading by detecting involuntary movements or changes in muscle tone in response to stimuli (see http://en.wikipedia.org/wiki/Muscle_reading).

[viii] The Alexander Technique As I See It, Patrick MacDonald. Chapter 3: Why We Learn the Technique. Published by Rahula Books, 1989.

[ix] More Talk of Alexander, Chapter 18, Ed. Dr W. Barlow. Victor Gollancz Ltd 1978.

[x] In his Memorial Lecture to STAT in 1992, Sir George shared with us his way of using directions with the sense of what might be described as an “oppositional, non-doing relationship” between parts of the body.

[xi] Marj Barstow used this way of explaining direction. She would pose the question: “What moves first, in what direction and what is the quality of the movement?”

[xii] This very interesting remark by FM was told to me by the late Tony Spawforth.

[xiii] The Alexander Technique As I See It, Patrick MacDonald. Chapter 4: Teaching the Technique. Published by Rahula Books, 1989.

[xiv] An Unrecognised Principle in Human Behaviour: Address given to the Child Study Association, F M Alexander, 1925. Articles and Lectures, Mouritz (1995)

[xv] Teaching Aphorisms: The Alexander Journal No 7, 1972, published by the Society of Teachers of the Alexander Technique. Also published in Articles and Lectures by Mouritz (1995).

[xvi] See Tips4Teachers – “…not to do…”

[xvii] More Talk of Alexander, Chapter 18, Ed. Dr W. Barlow. Victor Gollancz Ltd 1978.

[xviii] Lists of synonyms:

Synonyms for order: Synonyms for direction:
adjustment administration
aligning charge
arrangement command
array control
assortment government
cast guidance
categorization leadership
classification management
codification order
composition oversight
computation superintendence
disposal supervision
disposition
distribution
establishment
form
grouping
harmony
layout
line
lineup
management
method
neatness
ordering
orderliness
organization
pattern
placement
plan
procedure
procession
progression
propriety
regularity
regulation
rule
scale
scheme
sequence
series
setup
standardization
structure
succession
symmetry
system
tidiness
uniformity

© John Hunter 2014

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