Transverse movements cut through the space between the edge of the kinesphere and the center of the kinesphere (which is occupied by the mover’s body). In the Movement Harmony Project, we worked with several transverse spatial sequences, notably the Axis Scales.
These forms are notable because they have a companion peripheral form. The Axis Scales share the harmonic interval of the second with Girdles, yet evoke a quite different kinesthetic feeling.
Some participants characterized the transverse Axis Scales as “reeling and chaotic,” “sharp,” “dynamic,” “goofy,” “playful and unpredictable.” Others found the back and forth zigzagging pattern to be “calming, enlivening, and elegant.” One participant noted that there is an “equilibrium created by bye constant back-and-forth rhythm” of the transverse pathways. Although it is not possible to regain balance by a return to center, the mover is “stabilized by the repetitive pattern.”
All project participants had past experiences with both the Axis Scales and Girdles. Based on these experiences they expected to prefer one form over the other. Yet, encountering these sequences anew, many participants found that their preferences had changed! One admitted, “I thought I would love floating around the Girdle. However, the Axis Scale seemed easier to remember and, surprisingly, more ‘natural’ to me.” Another mused, “I used to like the Axis Scales better. But now I seem to prefer the Girdles.”
Spatial forms have meaning, but that meaning is individual and seems to be subject to change.