• Oscar Brown, Jr.

ABOUT BALANCE AND ABILITY “Doubledutch”

A trio of girls is jumping a rope turned by one at either end, while the third jumps in the middle. Let us call the rope's nearest point to the ground, A and its highest point from the ground. B. The upward spacetime between A and B we will call C1, and the downward spacetime between B and A we designate C2. The circumference of a complete rotation goes from A up through CI to B and down through C2 to A again.

Later the girls decide to jump "doubledutch". This means that instead of one rope, two of equal length are rotated in opposite directions. Each rope individually passes upward from A through C1 to B and swings back down through C2 to A again. The jumper is required to find a point between one rope and the other in which to initiate her jumping. This spacetime in which she then will continue to jump is not that of one rope or the other, but a spacetime that they share: A dimension we will call, dd.


"Doubledutch" jumpers must be able to hear and function within dd dimension in order to offset gravity with a delicacy requiring exquisite mechanoreception. It is obvious that everyone does not possess this delicacy, but is equally apparent that an enormous number of black children exhibit it at a very early age. Their feat is made the more remarkable when one considers that there is a random factor to the turning of the ropes, as well as to the jumper's position between them, which requires constant delicate adjustments by the jumper to remain within the ever-changing dual dimension (dd).


Why are some individuals able to find and cope with dimension dd while others, try as they may, are not? Can a machine be made to replicate what human jumpers do? Where in the mechanoreception of young black girls does this distinguishing delicacy reside? Does it dwell in the eardrum, or with the hammer and anvil apparatus located in the middle ear, the hairs and fluids of the inner ear, or through some synchronized function of all at once? Are there other applications than doubledutch for this dimension dd capacity? To what extent is it inherent; to what extent learned?


Jumping is an assault on gravity, the extent of which depends on the strength of the upward propelling force. Unless the force is strong enough to escape the earth's gravitational pull, the jumper must eventually land. In the case of the doubledutch jumper, this gravitational assault is paired in a way that accommodates both ropes because "doubledutch" jumpers are dealing with duple rhythms. Gravity is assaulted to clear each rope and these assaults must be perfectly balanced. The dd dimension is, therefore, a balanced dimension that can only exist in duple rhythm. Upon entering dd, the jumper is immediately required to alternate between one foot and the other in a dimension that is twice the first entrance dimension or dd 2. Remarkably, skilled jumpers can then adjust their timing so that one jump accommodates both ropes. This is a syncopated duple rhythmic accomplishment, called "popping up" that creates yet another dimension of spacetime we will call dd 4. Each added dimension squares the one below it, continuing by implication up through spacetime to infinity.


There is a distinct dual dimension created in spacetime by the opposing movements of two rotating ropes into which a balanced entry is made and maintained by a jumper. It is a spacetime that is autonomous; objective and, while it is independent of, it is available for occupation by the jumper at the proper interval in the dual rotations.


QUESTIONS


Does the entry interval have a fixed location in the duple rotation?


What must a jumper hear and or see to locate the point at which it becomes possible to jump into the perceived occurrence of the duple dimension: the "doubledutch" dimension dd?


Has this phenomenon been previously identified and named? Isn't the "jump in" point of entry into the doubledutch ropes, equivalent to the balance beam on a scale that measures weight?


By "popping up", halving the jumps it takes to clear both ropes, the jumper squares her occupation of spacetime in dd, two. dd2. Does each occur with its own separate, upgraded balance beam of entry (BEQ)?


Can these extended beams of balance in spacetime be measured in a manner comparable to that by which light beams are? If so these measurements could then take place both on a grand cosmic scale, or in the smallest of its particles.


The balance beam points of equilibrium in the human brain must continually be adjusted and readjusted in our mechanoreception in order for us to function at all. Can these mental balance beams be monitored in their adjustments as light beams are?


Does the repetition of sonically influenced stimuli create a lasting impression?


End organs are "one of several specialized structures found at the peripheral end of sensory or motor nerve fibers". Does repetitious stimulation of end organs cause a modification in their structures or functions? How are physical activities initiated and influenced by end organic stimulation?


In an experiment conducted in Germany, musicians were found to measurably enlarge parts of their cerebral cortex (the gray matter associated with the brain's higher functions) through intensive practice on their instruments. This clearly shows that the audible messages delivered by music modify the physical structure of the brain and presumably the quality of its function. This, in turn, leads to the conclusion that physical performance is rooted in the particular rhythmic motor and neurological responses invoked by the brain when challenging gravity by running, jumping, hurling, etc.


Jumping doubledutch exhibits a highly evolved sense of equilibrium in spacetime. Is this sense physically discernable? Does it in any way affect the size, shape, and function of any portion of the brain's gray matter.?


The essence of doubledutch jumping is harmonic motion; an exquisite display of equilibrium that requires a special appreciation of duple rhythm. This appreciation takes place in the mind of the jumper, insinuated through that individual's mechanoreception. The trio of rope jumpers demonstrates this capacity with every turn and skip of the ropes. The jumper must time her entry to coincide with a silence between the beats.



CONCLUSIONS


I suggest this capacity has been adapted by Africa's offspring more than by any other people in the world, as a result of Africa’s particular affinity for, and accomplishments with drums and dance. Just as intense musical practice proved to enlarge the cortex of the musicians in the aforementioned German scientific experiments, so did centuries of their peculiar rhythmic practice endow Africans with a highly developed appreciation of complex rhythms. This has genetically inculcated the population so that their advanced rhythmic appreciation had been in their DNA long before they were captured and carried away as slaves. This unique rhythmic capacity can be the result of nothing but an advanced sense of equilibrium. This has not only increased the capacity of Africans to hear complex rhythms, but also to translate those rhythms into exceptionally fluent body language. For example, when Michael Jordan suspends himself in spacetime, it is because his body has struck an exceptional balance between the upward thrust of his leap and the downward pull of gravity. His innate sense of balance and the African muscle memories it invokes, allow him to "defy" gravity. “Air” Jordan is able to balance on the "beam" (BEQ) between his energetic leap and gravity's pull. This BEQ occurs whenever the upward thrust of a massenergy equals gravity's downward attraction. At that point, when the moving body is going neither up nor down, it very briefly is suspended at a BEQ. It is there that “Air” Jordan remains longer than other people, due exclusively to an innate sense of balance that appears to defy gravity.


Taking this line of conjecture even further it appears that the dominance of Africa's children in sports, music, and dance is due to a drum induced sense of timing, which has enhanced the mechanoreception of temporal information in the brains of most of Africa’s children. This has influenced their nerves and muscles to have a finer response to gravitational challenges, and a finer sense of harmony in their blending of simultaneous resonance (particularly in singing and/or instrumentally improvising music). Therefore, there is no dichotomy between brawn and brain in athletic accomplishment; rather it is all the result of cerebral (psychic) control, which most, of African descent, apparently enjoy more than other races. While this may strike a “political nerve” in some minds, my assertion that the African brain possesses a sense of balance more refined than that of other races is subject to immediate verification or refutation through a variety of experiments.


Like light beams, balance beams extend and modify and might continually reproduce themselves in micro-sonic pulses too faint for detection. The extension of beams of balance in the brain occurs due to impulses relayed by the eardrum and, refined by the fluids and hairs of the inner ear through which they are relayed in motor and nerve impulses to combination information receivers and distributors in the brain, called dendrites. These impulses through repetition over a series of generations must alter the fleshy mass on which they impact and echo genetically until they induce responses that eventually become inherent traits of that particular species of an auditor. Traits that then become characteristic. If balance beams of equilibrium could be followed to their furthest extent, in our bodies and/or out into the cosmos, where might their trails lead us?


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