The structure of filmy Fascia. [inaudible] the structure filling fashion. I'm gonna give you another word, Carrie Fascia. Hey Terry, fashion membranes over the deep fashion. So why Perry fashion membrane as well. Fuzz is literally just like a crazy, silly reaction where to attention with, I saw him from my eyes, I had no other word for call it pause for about 10 years. Finally came up with filming fashion. Tell me, fashion is greater. So textural word, it gives you something to connect to as a kinesthetic touch person.
Like I am the most of the people I work with doesn't say anything to an anatomy stuff. So I made it this word, hairy fashion members. So Perry needs around or near in Latin. Fashional is all for pertaining to fashion. So these are the membranes that are around the fashion. It's fashion. Imagine if I'm feeling really cocky and I often now I just call it carry fashion, right? I take them down. Alright, instead of the Andrew Ticks, right and like, and cause I'm going to show it to you as a fashion. Now remember, this is a thin Felton membrane that's transparent, is slippery.
Do you see how stilted? Transparent. Slippery. It has tensile strength. One. One, one, one, one.
It's different than the date. Fashion is different than that subcutaneous adipose layer. It has its own properties and the nightmares and bouncing. Like I told you, he's got a bunch of Collagen in it and the fact that it's slippery tells me it's got a bunch of Elastin and and and, and your go. Polysaccharides sounds like Fascia me now. It must be just on the belly wall right now. Let's keep looking. So here we are at the side.
This is 5:00 AM and me. I've pre dissected the superficial fashion. You can see there's a membrane on the yellow, right? There's a membrane on the deep side of the [inaudible] and then there's more membrane over the d fashion inside of membrane system in this dissection. I look my on it. Him, you seeing what you see, cotton candy.
I put line and put intention. I see cotton candy. If I put it back down, it's a memory. That's how I pick it up. This cotton candy. Okay. I put it down. It's a membrane cotton candy membrane. Cotton Candy then right. My Particle Wave Particle, which is, it depends on how you're doing.
Alright guys strong too. Let's pick up a leg that [inaudible]. Wow. This is official fashion. Is it forced conducting? Yeah, of course. So, okay. I've been in this thing as I flip it around on hand, it's almost nothing there. Yeah. Hmm. Well it's just, it's just on the ballet I and on the top [inaudible].
So here we're at the Shin. Now you've got this bone and they'll hear the Tibia you on the outside. It's kind of neat. There's a fibrous covering here and the deep fashion of coral fashion. That's where we're having this image on top of their current fashion side of the leg. Now you can see again, the superficial fashion has a shiny membrane, Albert inside the membrane system.
If I walk away from this with the halogen lamps, it would cook and turn it into Brown and crispy. This I can shut my hemostat under it and demonstrate some tensile strength. Just try it off. Okay, Tara strong. Now is that the money shot? Did I get to the bottom of it? That shiny bit there? Is that the deep fashion? If I take a picture now, would I be showing you the fashion? No, it turns out there, there's another layer is felt another sort of behind right and Katrina's parent selfie layer that would obscure the specific lines of the deep fashion. Another layer. So we've got the layer of the salt or the fatty layer. The one that I are ripped away. We got another one here. How deep does it go?
I have you done the membrane rabbit hole? Are we going to go here? And so we finally hit this, the d, the dense fibers of the deep passion. Well there does come a point as you pull these films away, but eventually you find yourself pulling the silver strings. Then you know you've, you've struck instructing fashion, but on the way to it, how many memories do I take away? One, two, three. Pretty common. That's [inaudible]. That's sectoral as three memories.
I'm not telling you that there's three memories there, I'm telling you. That can kind of set three members. Here we are on the back of the knee. This was the shot I showed you at the very beginning when I was telling you about so many passionate or curry fashional membranes. There's the glare of account. And look, I'm free drop. This is smart.
I'll give this to Congress. I'm free dropping a scalpel with us blade on the other one, catching it by the blade. I, I'm dropping in and catching him dropping half sheet to show you this trampoline equality, right? That's in hand. That's inherent to the, to these membrane, right? It's an bouncy collagenous cool. Uh, property that it has. I'm working as a gross dissector here, not as a histologist or a molecular biologist, right? So I observed the properties through these kinds of behaviors rather than identifying and low molecular way.
So structure about pairing fashion membranes under the de facto. All that was over the new fashion. Remember Plaza over the deep fashion parafunctional membranes over the deep, passionate phys under the deep passionate Perry fashional membranes under the DIY fashion. It's the same stuff I'm giving you the, uh, the, the, the mad at him. I'm not the only person who thinks about this stuff. There's like the ten second group in the fashion congress where interested in smart people who also have their own considerations about these tissues is loose carry, are connected tissues as they call them. And it keeps saying there's no, there's no, uh, there's no, what do you call it? There's no, uh, layers insist. There's no layers. It's just a pile of mucous.
If you put your microscope in there and look at basically it looks like a little bubbles and strengths, bubbles and strings throughout, and you don't get any sense of the layer. A layer is a function of gross anatomy folks. It's not a function of microscopic anatomy, right? The scale is different and so the appearance is different. I think that's why we talk past each other sometimes where we're observing the same tissues at different scales. And sure enough, the, you know, the elephants is not a giant animal if you're focused on Tonio, but it is a big time. So I thought though, with all due respect to these people who are telling me that there's no layers there, can I demonstrate differential movement in a continuous substrate that will represent what I'm seeing in a body? So I took a Pyrex dish, I put it on a cutting board here. I had put some clear Jello in it, caught up licorice, made it into a vascular training, popped it in the fridge, took it out of the fridge, poured more clear gel, Rick cut more vascular tree onto it, made a double layer of vascular tree is common substrate or Jello and bang on it. Damn straight, look cool.
I was able to show differential logo with an account and substrate, right? There's no layers there. I can take a bread knife and cut it into layers, so right, I can go across it this way and show you where she, the vasculature, this one liar and maybe another one down there. I think actually the reason why I behave this way is because the gel on top wasn't as cold as the tele on the bottom and that permitted digico and possibly if it was continuous temperature and there was no temperature differential and might matter, have an hour, we'll demonstrate the differential moments. I'm not sure I can anchor it in a continuous substrate story, but I was trying to do my best to think like somebody else. Okay. Now this is not the way upon which that is base. So here's the calf, the knee, and we're in the hamstring area here. That's the butt.
Here's some dates. Ashes still intact here. So these ashes still attached here. Sorry, Cindy Pascha as they removed here at the back of the hamstrings. We're going to zoom in on that, but I just want to let you know where we work and as I grabbed this, um, better deep fashion at the top of the frame there. Um, and I, yeah. Can you see how the membranes are anchored in the deep Fascia? I total connection and differential movement and what we have as a transition of textures right through, through our continuous form.
And I have to cut, I have to cut, I have to dissect and cutaway those membranes from the deep fascicles. They're continuous with it, right? And uh, as I do so the, the, the striking parts of the fashion become more clear. And look, I got, here's my three layers of licorice dancing on top of one another. Right? Demonstrating with, with eyes, without even having a cut differential movement within a membrane system, right? That that appears to function in a layer way, whether it's layers or not. Okay. Functions as layers to allow the greatest amount of excursion within the system. I thought that was so great.
It was like our medium of white. So we call them, right? Um, I learned from that not to hire laboratories for my own projects, but to just pick up pictures while I'm teaching. Like I said, this isn't a class, all this swirl, the image that you see are from classes of mine, and I just go run out with my camera. So guys, I don't know what I didn't go, I messed it up. I asked him to reflect the superficial Fascia along with everybody else, unless if they're Vivi passion. So he did that, but he kind of hacked through the fashion ads. So here's the heel calcaneus, here's the Achilles tendon cupboard and the Fascia. Here's the cut deep fashion. Here's a window for the day. Fashion. Here's a band of deep Fascia is still intact. Here's a second window in deep fashion again.
So there's the gastrocnemius muscle up there. I got early excited because he didn't know what he had done, but I knew what he had done. A fortuitous error is that not beautiful. You see that differential moment is quite dramatic, okay? And as functioning by means of a membrane system. Now look, I brush, I'm going to try and understand the structure of this memory system. See, flip up the back of my scalpel and I scored your puddle away. Do you see that?
I make a polo is so po on this side, there's no more puddle up here. I've already dried it out just by touching. That's how quickly it changes. And as I pull it up, where do you see cotton candy floods.
My Second Cup. I didn't get the money shot yet though. You're so there's still number eight down there covering the gas. How do you get to the bottom of it yet? And then I'm playing with it. I played back and look at the way it scrolls up like that. Wait a second. Didn't I cut that into two and yet now it's one [inaudible] like it's like magic or something.
And then you see the incredible and adherence of that you call your quality of the tissue to us underneath her. Right? So it's both all sticky and sticking to where it came from. Um, and as I cut it into two areas, the turn turns a wire. I it some more because I'm trying to get down to the, to the silvery. A tendon is the belly of the gastrocnemius muscle. And how much do I have to cut now I'm kind of there now. See, see crinkling up there. But here the membrane system is still intact. Yeah. I'm trying to understand what exactly I'm cutting.
This cutting is a story. It's so sad. It's an illusion. It's not what it is. It's what I'm doing. Right? So I'm not going to tell you what it is based on what I've caught. That would be false thinking, right? How I want to tell you what it, but I can get ideas about it from cutting it and I've got this frigging thing three times and it's turned into one membrane. You see that? It just keeps being one thing. You watched me do it.
Can you tell me better what the hell just happened there? Cause I don't know what happened. I keep cutting it. How do you get a nice spread down in terms of is one thing to scroll up back on himself like a forced in. By the way the penis is the poster child of only fashion. He says he reached one or maybe are feeling down after 30 tops.
Good luck. Catch it. So these are water readings. Do you know these things? Most fun toy. You're never touching [inaudible] pass them around. [inaudible] you get the idea right? Elongated doughnut, right? It's Toroidal it's like this [inaudible] right? It's so slipping on itself.
It's a lot like this memorized somehow. I mean you basically got water we need from [inaudible]. Oh the shearing, right? You feel like it's going to anchor dog's anchor tourists. So you can't quite do with the thing goes, you go forever.
Your skin and the supervision ration on ended up around your ankle, right at these places and yet this is very similar. It's sort of rolling up on soap the way you saw it and do right there. I'm kind of involuting and yet by unity I can take that water. We have thought about this a lot. I can put that water. We on a cutting board, we've got my scalpel right and I'm sucker down, cut the top layer off, create a layer [inaudible] layer through that. The acquittal puddle. I could cut that way or and I'd be in the middle of the donut.
I got two layers when I got from be a third layer down there. I can come through that and be a fourth layer down by the cutting board. I can cut down water, wading into four layers of fashion boats and if I was really careful I can cut that water we need into a one sheet of plastic, exactly what it's made out of us and carefully folded and rolled up on. So fluid is a one lighter, is it four layers? Depends on how you cut it, but functionally, right, it's a mutual relationship to itself as a system that can kind of roll on itself in its new coil substrate with its fibers and permit differential movement.
Good trick on the water. We use them. Perfect example, right? Because it's just a three fluid in there and a couple of snakes if you're actually playing it as opposed to a fibrous of felting, fibrous maintenance. But interesting enough, now remember that slippery property and that wet property, this is, this is uh, this system, this membrane system dependent the curry fashional membranes. The spas is um, our reservoir in your body. There's a water reservoir as a water reservoir. It's our radiator, right?
As a way of distributing thermal buildup. You sit here on your ass before hours heated and building up in your butt. Okay? You stand up and move. That heat gets redistributed through the fluid in that work, right? We're do seeing the inflammation that arises from state service states as yields keep build up inflammation movement distributes that cake through this fluid network, which is a movement system.
I said he gets a heat transfer system on one among other things. Now I mentioned the last one. It's an interesting fiber. Um, the last one has like a hydrophobic sleeve around it, allowing it to collide right within your tissues. It's also dotted with hydrogen molecules, which are, uh, Adams or river, which are happy to bind with anything else under conditions of inflammation stays, [inaudible] and dehydration. So inflammation status and dehydration, bleed to hydrogen bonding and cross linking of Elastin fibers with Collagen fibers in the matrix yielding a more gummy or gluey texture to the slippery, wet you quite old nature of the substance than it would be otherwise.
Right? So you could, that's what Brian was talking about in the first page, right? In those, actually the science behind it at the time, either it wasn't 20 years ago, but now it's appears clear, right? That this processes take place in these very memories under conditions of status, dehydration, and inflammation that you'll end up with hydrogen bonding and cost and linking of the fibers in a way that changes its texture, lowers its conductivity, lowers this and [inaudible]. The reservoir goes down. Right now you're low or you're, again, you're lowering the conductivity or lowering its capacity to transfer heat. You're increasing the inflammation spaces, inflammation, dehydration yields to gumming gummy. That's what to run wild goes to.
She steps off the curb or tendon terrace, right? Because she's going to have a lot of crystallization in her fashion, right? That's lowering it's slipper that's lowered as slippery as in a kind of a hard way to fix, right? You want to catch it gummy and send it back in the direction of slippery rather than waiting on it and let it go in the direction of griddle and crystalline. Someone asked me a couple of talks ago, Gayle, what are the crystals?
I was like, man, that's what we have. Question Crystal, crystal. Well, I did a little, little quick research. I called Robert [inaudible], he's my Google for fashion. And uh, and he was like, what at first was I thought as a calcium carbonated, as a calcium locked. So like now it's neither of those. It's actually the May artifact that happens in cooking. This is when you, when you put some butter in a pan and then you throw in some onions and you go really slow and you caramelize, right. Go all the wonderful flavors and such, or when, yeah, when you make crispy or the skin of fish crispy, it's the same crispy happening inside your body. Right. You see it's a caucus recombining of of the molecule such that the sugars start binding what the facts and the proteins in a way that not only renders you more mobile and crispy, but it makes you tasting better.
Your [inaudible], you don't have to go that way. It doesn't have to go that way. Right. If you do the opposite of what generates that, right. If would slow cooking yourself through spaces, inflammation and dehydration, then what's the cure? Yeah. Right. Hydration.
So you gotta you've got to do things that are not inflammatory, like don't listen to NPR, whatever. [inaudible] that driving down the highway [inaudible] inflammatory motions. They also like you don't understand on the ground every now and then, right? Because the surface of the earth is a great pool of electrons and inflamed tissues are an accumulation of protons. And the way to did fleeing that Proton cumulation is to be in contact with an abundant source of electrons.
If we happen to have been provided in the form of earth, [inaudible] striking earth all the time, creating giant [inaudible] electrons. So I gotta go stand on. It takes about a half an hour for the electrons. Actually migrate through your tissues, up to your hips, another half hour to your head or do Canadian American zen lie down on the ground when you're sick, right? And you have full contact and they can migrate in very quickly. Smart people do it. You can do it too tough here. Hey man, it's not going to work.
But there are methods you can go on earthing.com and get a mat in front of your computer. That's ways to, to right, to zero out the voltage to, to allow him to ground. Your body's a also food, et cetera. There's a lot of ways to Dan and slain, but basically the key is to [inaudible]
But if you're chronically dehydrated, by the way, the problem of chronic dehydration is not solved by sitting at your ass in front of the computer going like this all day with a jug of water, right? Dr Batman, you if have an ounce for every two houses at your biases, message, drink of water, you're doing this for all day and every plane. And As you get up and pee, hmm, okay, are you drinking? Get and Drinking Your pee? And you never actually integrate the water into your body. You're still basically consequently hydrated because you haven't moved in such a way that calls for the fluid.
Your tissue called the fluid into use, right? So you're just passing the fluid. You have to demand the fluid to get into your body. So you gotta move to hydrate,
If your reservoir is low, then all that time when you're digesting us really well, right? And what, what's happening, any of you, you're going through, you're getting done by way touch. So touch is moving some body, right? If you can't move yourself, you can get someone to move you and get the same thing. So hindsight is 2020, right? I called my first, uh, DVD skin and a superficial fashion.
My second day did fashion and muscle.
Now you understand the anatomy of what you're seeing, don't ya? You're seeing the structure of the parent fashional memories that permit the sharing of the superficial fashion over the deep right by means of those memories that are dissected for you over and over again. You get it. So now you have the anatomy of that movement. Similarly here, right? We need the membranes enable the movement.
If the gas drop rapport attached to the deep fashion directly, it wouldn't be a lever. It wouldn't be a difference as a cashier point, the casket couldn't go anywhere if it were attached to the deep fashion and there has to be something else. The membranes are the something else that permit the movement, right? Does that make sense? So here we are. Um, and also then us panning up up to the hamstrings here. Uh, where you'll see the d fashion has been dissected away, uh, to show that the differential movement is also happening, you know, within a muscle there. Now this is plantar flexion and dorsiflexion causing differential movement in the hamstrings. That's not cool. [inaudible] all right. Whether it be the nerve or the different compartments of the hamstring must be up here. They're going in different directions.
Did he know that happen while you flex and do your foot right? And you have massage therapist and you're like working on their leg. It's like my, my problem was in my ankle. I'm going, does it happen? You know, it's one thing, the movements impact the whole local movement impacts the whole, and if there were dragging that system, they dehydration inflammation and stay right. You wouldn't have the full range of motion of the, of the peripheral extension. Does that make sense, Danny? That's cool. So I love this particular area. Okay. Someone is holding the wrist here and this unfixed arm, someone's holding your elbow over here.
And what we're looking at is that the transparent deep Fascia of an unfixed forums playing easier to see the Fascia and a fixed body because it's driving more opaque. But in an unfixed body, you can actually see to her, which is to our advantage when you're trying to demonstrate differential movement. So there's a little missing Pacha busy fashion here and a, it's covered here, but keep your eye on these tendons. The tendon of the Brachia already, Alison extensor Carpi radialis washed away. This one dies under and then pops out from under the other one. We were squealing Shannon to see that, right? It comes out from under no idea that was happening in Ireland. All right. This is combination, a combination of super nation, hmm. And the, and these will live in the attendance.
I'm typing up from under each other and bearing yourselves under each other as all kinds of movement happening in your arm. Now I'm hoping that you will add these observations to your value to process when you see someone with movement inhibition. This is one access just one of many. I'm selling you. This is the whole story, right? It's just added to your tool kit. It's another bit that you can add to your considerations when someone's moving like a block of wood, and that's not because tweaking this nerve and that nerve man necessarily going to get to there, right? You might to g a Guam, right? Right.
D hydrated membranes who's cutting up this potential has thermal distributing potential. This movement potential have all been reduced by [inaudible] inflammation. Dehydration makes sense. Don't you love that? Also, it's not just the musculature folks, right? It's also the neurovascular system that's also in [inaudible] and this [inaudible] in these membranes. [inaudible] from memory.
So this was raised elbows hit actually kicked your mind on one image from Ray, but just watch. It's very subtle, just a differential movement of the vein and altar to the biceps. 10 alright. The veins during this whole dance care around the biceps tendon, as the elbow rolls around, I see different movement, different movement. You can't have the vascular tree anchored onto the musculature that would be dragged on the system, right? You have to have a difference in the movement of the vascular tree and the neural tree relative to the musculature. Here's your race, inner five. We're looking at the great staff who was vain in booth here, and as I, as I rotate around the hip a little bit, extend and flex the knee, you're going to see differential lumen between the vein and the musculature. Isn't that cool? Whoosh.
That's great. Sound effects. Feel free to do it. Yeah, they go on in different directions. That's differential movement. No differential movement. You're a bogie or a tree. Oh, that's so cool. Now, the truth of it, right, is I have to dissect the vein out of the light. The vein isn't a isn't. Okay, so lang waiting.
Why in their independent of everything else, right? We have total connection and differential movement. How do we pull that off? In the muscular skeletal system, we do it through membranous networks. There's very fashion and calling through the fucks, right through goose area, connected tissue. Listen, what makes it possible. And it's also maybe even within the tree itself, we saw a differential moment within the layers of vasculature, right?
And think about it, if I'm, if I'm on the outside of America and I've never done this with a kid, you put your kid on an American around and picked like the horse, he on the outside and you know like chase after like and the crime, that's all Kevin [inaudible] going on three more times. Now the down on the inside, he put his kid on on by the pole and he's like, it's okay cause they're not moving at the same rate right? Now look at this. The vasculature is popped up on where the vasculature on the east side isn't moving at the same rate as the basketball shoe on the outside. Here's your merry-go-round, right? So you have to have differential moment within the system.
Some goes up and some goes down and actually if you look back at that shot, Mr got by, you can see the membrane there. I couldn't see it at the time though. At the time I dissect it, it was invisible to me. Oh look, there's a cotton candy at the horizon and yet what we're looking at is a membrane covering Vastus, intermedius and then brain on the deep side, rectus femoris. It turns out that the membranes there, the cell stockings, that's higher up. So stocking, that's what enables that beautiful movement. But I'm still the word gliding. We need the word shearing cause Sherry use the more accurate description of differential movement in continuous tissue riding as a hockey puck going off in ice with a little bit of water in between. That's gliding.
No fibers connection between the hockey puck and ice surface or fluid interfacing and stuff. Glass slip on glass slide with a drop of more or less the lining.
So Stacy is dehydration, inflammation make for glowiness and then onto [inaudible]. So you've got to care for your reservoir movement.
It's dissectable as if as a fashion, right? It's the felt that one rather than the regular fibrous arrays looks like cotton candy when it is dry and intention fall apart, get it, put it intention, remember can put it back down to remembering cotton candy and cotton candy. Remember it's look small thing where I can cut it into layers just like I can cut your water, wading into layers and don't take us on boats. All of that smiling. It's just stems of all by it by a part shearing, super hydrated.
Slippery interfaces is bouncy and lasted the way I show up to and share their translates by music. What a July in this new coin of that plus fibers network of Skype membranes. Maybe that's a good question for Mr God by some lights with the skin on and then it reflected the scanner and sharing the superficial fashion and then here's the deep fashion. It's pretty far along actually. You guys growth phase in Vancouver? Yeah, I've got, I've had across the whole continent, you know I needed 4,000 miles to get here.
Put your things into our bypass too, like certain parts of the u s where they can't grow phase on the line here. I was amazed at how big the families grew up in Florida. She'll be like, if you need to watch the four part 10 here, so watch me thighs. You see that how they rolled edge bulging ties, holding ties here. Say, okay, make a muscle [inaudible] so proud. Give a little squeeze and I've got such a big muscle, a little bit of guns make a muscle. What's happening there, right are that the muscle tissues are on bunching up underneath the deep Fascia, which is bulging. And that change renders us impressed.
[inaudible] okay, so let's look at the movement. And so that deep passion. Now, what role does the deep passion play in movement? Here we are. Back to a clip we saw earlier, we're focusing on the middle of it now. Look at the d fascist intact. And what's it doing during that Dorsiflexion? Find our collection. It's bulging. Alright, you don't see any excursion of the de fashion though. Why?
Because it's anchored on the bottoms, right? Deep flashes sending off [inaudible] ribbons of on septic that go to the periodicity on the [inaudible]. Continuity with it, right? That outer projections of the bones anchor into the deep fashion, the inner projections of the deep fashion anchor into the bones. And we really have one continuous network of skeleton and exoskeleton. And a very particular way that renders the deep fashion stable as compared to the stuff moving underneath it and the stuff moving over it.
And let's talk more about, here's a meat clip. So watch this beautiful compression stocking, which is the Fascia. A lot of the fight on flexing and extending the kneading over here. That's supply the march to a beautiful fiber organization here of [inaudible] fashion. You see that I believe means during the moments it kind of leans. I can't really go anywhere as a whole because it's anchor into the bone, right?
So distorts in response to the bony articulations and the muscular movement. It just stores in bunches, right? But it doesn't particularly go anywhere. I know way that punch. Okay, now watch this. See that fare. They watch that vein. Say the vein move underneath that he fashion right there. It's here.
There's excursion of a vein in a membrane system deep to the deep facet during the flection and extension at an ankle. Michael, what's the fashion line? Right? Isn't bulging a little bit. It's the relatively stable component of the fashion movement system. This was surprising to me. I didn't quite get that when I only had one passion, right? Because I thought, oh, fashion is a plastic medium. Right?
That's what I was told when I was also in my training fashion, the body, it's a plastic medium. And in fact we were told a story about the fix the tropic effect, right? Where through pressure, right? And heat that was introduced by the manual therapist, you can actually sort of chemically transformed the deep fashion. We were definitely thinking about the defection from a solid to a gel.
And once it was in that Gel state, I could move it to my purposes. Right? So the idea was to change it and then once you've changed it to you mess with it, I'll pull it in surface. Right on that person's movement potential. Well, that was the story we told ourselves. I learned that in the first part if my training, and in the second part of my training I had the privilege of studying with Robert [inaudible] who said, oh, I don't know about that. He says, because it takes a job with a friend. He says, if you look at it very carefully, you can see that it takes away from an elephant. It's nice to, to induce [inaudible]. If I could leave fashion, you have to know [inaudible] what she do. Somebody might got a phd after that conversation, I have to see if they could figure it out. But all he figured out was that there are, there are mild fibroblasts in the deep fascia that, that um, that our, our, the, the mechanism of its tone, right?
And that those myofibroblasts operated at a completely different rate of contraction then the muscle tissue and that those contractions are developed slowly and hold four of her day on let go, right? Until some other demand is placed on the tissue that will slowly encourage them to have a different tunnel, right? But it's not like in, in seconds inducing a fix, a trope like effect, right? That I can then rearrange that from those fibers and they'll suddenly turn into a different pattern than a won't be a grid on my tie anymore. So when I looked at literally hundreds of bodies and seeing a consistent pattern over and over again so that I can call it out. When I see you are you are, you're not going to look into buying up. It's going to be a really loose grid of two layers here and it's going to be a type grid of three layers here and it's going to be, I can, that's going to be a tight grid or one layer here.
I can kind of call that because as surely as I know, there's going to be probably two bones in this arm here. I can pretty much also tell you this is going to be up a hatch 90 degree pattern of loosely organized fibers in the forearm and yeah, they might feel thicker in a tennis player and a little thinner and a little old lady, but the basic organization doesn't change, right? So I'm not, I'm not converting that tissue the way I thought it was. What am I doing? Ice Skating with my elbows. I skating with my elbows. So new story, this story, I anchor my elbow into the deep Fascia the way I always did. Okay. But instead we can do something that fits the Coburg effect or this dude leaning on somebody's body. And as I, as I do that in gravity, I can only hold this with the same positioning gravity for x many seconds, right?
And after a little while I just put changed the weight and pressure a little bit and I feel that the movement is happening where in a membrane system, I'm open, it's happening in the memory system. I vote, I go ice skating, I numbering system and digging around in there. Now this is not a bad thing. The activity is the same. The technique is the same. Although it's different as a story. I tell you a whole, you're good techniques that give you good results very dearly. Don't throw out the technique because your story sucks, right? The techniques are good, but whole, your theories, your stories about them.
Very what we are all telling stories to explain what we're doing that are fairly ridiculous. Right? And that's okay. That's okay. We kind of were store a story town breed. Okay, so but the thing is don't fight each other over the story. Right? And encourage you chose chugger over the good techniques I'd, why are we each others techniques? And maybe Barbie chose stories too, but all of those stories vary widely and by the way, I can anchor this and float around in the membrane over the deep fashion. If I'm accurate in the same spot I'm calling for movement underneath my pressure, right? I'm going to be getting differential moving into membranes under the deep fashion for us. Cool.
I say you can actually intentionally access different membranes through the way that you touch in a way to do service to that, and I assure you of the metaphor that you're showing up to the body with is not inducing picks a tropic effect like elephant and mold the Fascia, but engaged membranes in a way that hydrates agglomerates and results in flow. You're going to touch differently. Okay, what did he show up with story-wise? It's going to affect your behavior and the way they interact in relationship. Dense. Five essential qualities, palpable texture, straggly dissectable into, this is the famous one I highly regular visible rays of dense collages, fibers, multilayered, but this, these multilayers are, have no excursion, have no have no moment potential between them. They have, they distort like a fabric, like your clothing, right? But the, the multiple strings of just like that, take them to beginning. They're stuck to each other. Right?
There is a differential movement between the layers of threads, the way there's differential movement between the membrane stack or between the lobules in a superficial fashion, relatively stable, right? It's flexible. Distortable elastic, but stable relative to its surroundings. So I call it exoskeletal and I wouldn't blame you for it, but I often falsely attributed it with qualities that actually will log itself somewhere else. I didn't want. When you see arguments going on in and out about what fashion does and doesn't do, we're not always going to be talking about the same tissue. But now you people have seen three different types of tissues that all have different structures, functions, and movement potentials, all working together to permit play within the unity, right?
Differential movement within the musculoskeletal system. This is what we got. Two so far. One body, one body, many textures, one body, many textures, differential movement without separation. One body. We can go learn about this picture on class one body, my name, textures, differential moment without separation. I see it performing. I see a one body, many textures, differential movement, fast separation. How large can you go? One by one by one body.
Any textures, differential movement without separation during your break. Water your feet. I'm going to turn off the microphone. [inaudible].