Cans Or Cu5

This test, as well as the next, are so closely-allied to "The Umbrella. Test" that the same observations made with rel'erence to that apply to these. These are controlled by the same mechanical principles as was that test.

The positions of the parties in making these two tests are shown in illustrations lios. 6 and 7. The positions in hold ing the cane or cue are enown in No. 6. And. in holding the chair in Uo. 7. In these positions the experimenter (or experimenters, for several make take oart in the tests) is required to maintain himself firmly on his feet, keen his position, and hold the object steady when the performer's hand or hands are placed upon it, as shown in the illustrations, just as he was expected to do with the umbrella.

It will be observed that the performer has the sane advantage in these tests of position and leverage as before. The experimenters are under the same disadvantages as to the extreme tension of their bodies, muscles and limbs. They labor under the delusion that they must brace themselves tremendously against some overpowering "Unknown Force" that is going to operate against them. They exhaust themselves contending against their own subjective exertions. The performer need only divine the direction of their spent energy as they brace against him and fall to, and give way to it, or follow it up. The subject creates immense momentum which causes the feats, and the performer gives way to it, allowing that force free and full Play.

Look at illustration No. 6. The experimenter grasps the cue like a vise at A and B. The performer places her hand at C. She holds her hand firmly there waiting for the "force" to come. In the tension of waiting and expectancy she iiives more or less of a pressure at C. And but a little is ever needed.'

The subject, nerves and senses alert, imagines he feels the oncoming of the "force". He braces against the slightest indication of an imaginary power. The performer discerns this bracing and gives way to the action of the force as she feels it. This giving way throws him for.vard, and off his balance. Ke attempts to regain it, and, in doing so, pushes against the performer's hand, which she must, at all times, endeavor to keep in contact with the object. This exertion on his part, instead of regaining his balance, throws him back the other way, in a rebound, as it were, from the performer's touch. The performer keeps up with him, and the effort to keep the contact exerts enough force to keep him from regaining his balance. He imagines that some power has him in its invincible clutches. Disconcerted, he strains his muscles, body and limbs to more tension than ever, but only serves to aid the performer by consuming his own strength. The subject simply makes

Page himself do /just what he has been expecting the "force" to do. (Kiss Hurst had a number of nice writeups regarding the above experiment with the world-renowned Japanese wrestler, Matsada. According to eye-witnesses he used all of his strength only to finally land on his back in the wings. Ed.)

[ THS UNRULY CHAIR"

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