FUNCTIONAL JUGGLING

A BOOK ABOUT JUGGLING

by CRAIG QUAT

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This book has been possible with the support of:

The European Commission's support for the production of this publication does not constitute an
endorsement of the contents, which reflect the views only of the authors, and the Commission cannot
be held responsible for any use which may be made of the information contained therein.

1st edition: January 2021

Functional Juggling: A Book About Juggling by Craig Quat is licensed under Attribution-Sha-
reAlike 4.0 International.
To view a copy of this license, visit http://creativecommons.org/licenses/by-sa/4.0/

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FUNCTIONAL JUGGLING
A BOOK ABOUT JUGGLING
by CRAIG QUAT

Cothinkers: Lapo Botteri & Josefa Chat

Editor: Dr. Kate Riegle van West
Illustration & layout: Miguel Manzano

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THANK YOU

The concepts of Functional Juggling would not exist without the collaborative efforts, support, and
friendship of thousands of beautiful people from around the world. Here I will take a moment to
recognise just a few of these people, but stress that there are many more who have participated
in this journey with me. From every person who has ever picked me up from a transit station, or
given me food, clothes, and a place to sleep; you are the largest and most important group of
people to thank first. Without you, I would be lost.

3C Circus Competency Catalogue for their proposal and partnership in the completion of this
book.

Erasmus+ for their funding of the project.

(The European Commission’s support for the production of this publication does not constitute
an endorsement of the contents, which reflect the views only of the authors, and the Commis-
sion cannot be held responsible for any use which may be made of the information contained
therein.)

The Hungarian Juggling Association, Cirqueon, and Circo Tascabile for their collaborative
partnership in forming the 3C Circus Competency Catalogue.

Lapo Botteri for his friendship and guidance as a great thinker and believer in the power of
circus.

Veronika Gallyas for the uniqueness of her mind and willingness to work for change.

Barbora Adolfová, Adam Jarchovský, Katka Klusáková, and Marc Verhille for their inspir-
ing model and skillful delivery of good social circus practice.

Keats Danbhi Lee for happy thoughts and Neverland.

Josefa Iskandara for the friendship of a lifetime.

Dr. Kate Riegle van West for being an absolute legend and inspiration to me as a person.

Miguel Manzano for his brotherhood and visionary mindset.

Jael Rodriguez for helping me to find my way home.

Rika Taeymans and Kelly Green for sharing so much love and support.

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Eva Boke Ziblje for her embodiment of space and freedom of imagination.

Steven Desanghere for the tranquility of his wisdom.

Donald B. Lehn & Timothy A. Roberts for their mentorship and contributions to the profes-
sionalisation of circus education.

Peter Duncan & Ben Nagle Hyde for their compassionate efforts to make the world a more
equal place.

Marianna De Sanctis for showing me what I couldn’t see.

Daniel Shultz for his creative exploration of siteswap notation.

Ilaria Cieri for the fearlessness of her freedom.

Dr. Nick Mccaffery for being someone who cares about others.

Paola Avilés for her supernova personality.

Hernan Granados for his pursuit of inclusion based circus around Central America.

Gonzalo Borgogno for his brotherhood and love.

Greta Non Sei for her conscious awareness of others.

Javier Morales for the overwhelming size of his heart.

Celso Pereira Varela for his intelligent investigations of alternative learning models.

Pedro Ferrer for being able to speak with animals and telling me what they say.

Aldonza Orellana for recognising me as an “Ambulante.”

José Guillermo Méndez for being part of the revolution.

Marc Bielert for stepping up the game, and Francesco Boni for encouraging it to change.

Zuzanna Jarmakowska for her determination and strength.

Jack Rafael Sánchez McGuirk for the quality of his practice and greatness of his beard.

Adolfo Rossomando for telling me that I was going to change the world.

Johan Welton for the stunning light of his existence.

Michael Karas for directly inspiring and participating in the initial wave of research that led to
the creation of Functional Juggling.

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The original Band of Jugglers: Josh Williams, Sandra Leith, Dan Mulqueen, David Ram-
say, and Tyler Katarsky for the youthful adventures of a lifetime.

Amy Elyse Cohen for encouraging me to dream.

Kevin O’keefe for that one time in Copake, NY and everything else he has done for the circus
community.

Paul Hallinan Miller for always building sandcastles.

Richard Kennison for never not believing in me.

Davide Cattaneo for his friendship, guidance, and support.

The American Youth Circus Organisation (AYCO) and American Circus Educators (ACE)
for being my home town heroes.

Daníel Birgir Hauksson for Iceland and its bananas.

Louis De Lauro for introducing me to juggling and inspiring me to use it as a tool for social
change.

Joseph Manuli for nurturing my relationship with chess and encouraging me to be defiant.

Amy Kristin and James Brown for their extraordinary educational interventions with me as a
self destructive traumatised child.

And finally, a huge thank you to the following list of other organizations who have helped me to
share and grow, over the years.

The American Youth Circus Organization (AYCO) and American Circus Educators (ACE)

The European Federation of Professional Circus Schools (FEDEC) and the European Youth
Circus Organisation (EYCO)

Circus Works, UK and Altro Ciro, Italy

The International Jugglers Association (IJA) and European Juggling Convention (EJC)

Professionalising European Youth Circus (PEYC), and Federación de Escuelas de Circo

Socio Educativo (FEECSE).

Juggling Magazine, Circus Talks, Circus Now, and the Pyramid Journal of American
Youth Circus.

Educircation, The Invisible Circus, Juggling Center Berlin, Valencia Circus Association,
and Kids in Action.

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Streetwise Community Circus, Nofit State Circus, National Center for Circus Arts (Lon-
don), and Dublin Community Circus.

Ecole De Cirque Bruxelles, Cirque Du Soleil, Cirque du Monde, and the Smithsonian
Folklife Festival 2017.

Cirkus Cirkor, LeGrando, DOCH, Circolair, and AcirKaos.

Circostanza, Spazio Bizzarro, and BigUp Scuola Di Circo.

Juggling Life, Jersey Jugglers, and Princeton University Juggling Club.

The Katzenbach School for the Deaf, American School for the Deaf, and the Matheny
Medical and Educational Center.

Camphill Village Copake, ANCA World Autism Festival, and Autism Highway Chalk
Festival.

Cardiff University Brain Research Imaging Center (CUBRIC).

Fundacja Kolorowy Świat, Lublin Circus Community, and Projekt HAPPY BRAIN.

Carampa, El Disparate, Espai de Circ, Circus In Beweging, and Circus Centrum.

Play Juggling, Cabeza De Martillo, Renegade and K8.

Unreal Skate Shop and the Northeast Corridor Line.

INspiral, CQ Formación and Zirkusgasse.

Circo Dragon, ELCIRCA, Circo Pal’ Barrio, Circologia, and Cracovia 32.

Curubanda, Escuela de Danza, Teatro y Circo - Parque Libertad, Casa de Arcoiris and
Circo Fantizztico.

Congreso Internacional de Malabarismo y Artes Circenses (CIMAC), and Malabicirco.

Convención Argentina De Malabares (CAM), La Parlota Circo, Casa Payaso, Ruda Cru-
da, Escuela De Pies A Cabeza, and Grupo Alas pa’ volar.

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TABLE OF CONTENTS

Chapter 1: What is Juggling? 9

Chapter 2: Expression vs. Experience 10
Chapter 3: Formula Solutions 12
Chapter 4: Global Activation 14
Chapter 5: Accessibility 16
Chapter 6: Education 17
Chapter 7: Functional Juggling 22
Chapter 8: Binary Forms 23
Chapter 9: Theory of Process Formations (Components) 26
Chapter 10: Theory of Process Formations (Assembly) 31
Chapter 11: Arrangements 35
Chapter 12: Spatial Sequencing Maps 38
Chapter 13: Prop Swap Notation 41
Chapter 14: Fixed State Notation 47
Chapter 15: Open State Notation 54
Chapter 16: Mixed State Notation 56
Chapter 17: Primary Composition 58
Chapter 18: Sensory Facilitation 64
Chapter 19: Functional Transformations 78
Chapter 20: The Future 85
Chapter 21: Getting Involved 86

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CHAPTER 1

WHAT IS JUGGLING?

If it is our goal to increase the accessibility of juggling for everyone, then we should begin by
establishing what we mean to describe by the word juggling. This is because understanding
clearly what the thing is that we are trying to share, will better enhance and guide our ability to
further develop its educational models. Deciding what it actually means to juggle, however, can
be a challenging task with some considerably difficult barriers to overcome.

There are many different interpretations of juggling, with the main idea being that it is something
we consider by the qualitative values of its physical expressions alone: throwing and catching,
for example. Now, this way of understanding may seem obvious at first, but it fails to recognise
any of the underlying relationships between the outcomes of its interactions, and shows no con-
sideration for the manner in which we are affected by the experience itself.

By default, this interpretation imposes a limitation on the total amount of ways that juggling can
ever be expressed. Trying to understand juggling in this way makes for long, complicated, and
controversial explanations of the idea. This is because it becomes necessary to document a long
list of all the possible expressions which we subjectively consider to be (or not to be) juggling.

Poi, for example, is certainly recognised as “object manipulation”, but not everyone would agree
that poi is juggling. This is because it deeply depends on which cultural interpretation of the
idea each person selects to determine its value. If we were to evaluate the activity based on our
list of its expressions alone, and if the actions of poi were not on that list, then our understanding
of it would be to think that poi is not juggling. Alternatively, if we were to look at poi from the
perspective of its sequencing relationships with space and time, and the states of mind which
those interactions relate to, then our understanding of poi would be to think that it is juggling.

Juggling cannot and should not be defined by the outcomes of its physical expression.

To describe juggling in such a way is to attempt to define all of music by one instrument, or all
of dance by one style. This cultural error of trying to understand juggling as action, as opposed
to states of relationships between actions (in the same way that we do with music or dance), is
what causes juggling to become so inaccessible to so many people in the first place.

If we continue to define juggling in this way, then we inherently alienate anyone outside
the current sphere of its cultural predetermination.

In order to overcome such barriers, we will need to learn to look at juggling in a new way. This
is a process which begins by deconstructing our principles of what juggling can or cannot be,
and recreating its experience, in whatever image, of the activity we can imagine.

Let us begin.

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CHAPTER 2

EXPRESSION VS. EXPERIENCE

So, if we are not to understand juggling in terms of its actions, then in what other ways can it
be understood? For this, we should consider making a distinction between the expression and
experience of its activity.

Now, it is possible to change an expression of something without necessarily changing its experi-
ence, but it is not possible to change the experience of something without affecting the outcome
of its expression. For example, a 3-object cascade is the same experience regardless whether it
is performed by bouncing balls or throwing clubs.

Certainly, changing the technique of an activity changes the outcome of its expression, but it
does not alter any of the relationships of the experience itself. The experience of a cascade re-
mains the experience of a cascade, no matter how much or how many times we change the form
of its expression. In this way, we can say that an expression of juggling describes only its action,
whereas the experience of juggling describes its universal state of relationships between actions.

Expression Experience

Action or medium used to Universal state of interaction,

produce the experience not related to outcomes of its
expression
(Subject to change) (Not subject to change)

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This separation of experience from expression helps to clarify some of the general controversies
and misunderstandings we have about juggling from the start. The point, here, is to try to think
about juggling in a different way - not to explore what makes it different from itself, but to navi-
gate what makes it the same. In other words, we want to evaluate which universal conditions of
juggling are present in all forms of its expression, and which ones are not.

Describing juggling in this way means to consider it from both its internal and external perspec-
tives.

▪ Internally, what are the communication and sequencing relationships it allows us to form?

▪ Externally, what are the sensory dialogues it creates with space and time?

▪ And holistically, what other states of mind does it describe?

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CHAPTER 3

FORMULA SOLUTIONS

Thus, Quat Props and the Functional Juggling Community propose the following description as a
formula solution to answering the question: what is juggling?

“A managed anti-entropic sequence of orbital events, harmonised by space and time.”

Note, this description does not attempt to define the meaning of juggling (meaning is subjec-
tive). Instead, what it tries to do is describe the smallest possible combination of the sensory and
sequencing relationships associated with the state of mind that we recognise as being juggling.

This description can be thought of in four parts.

1. A Managed
It might seem obvious and unnecessary to explain, but technically, nothing can be experienced
without being experienced. So, it goes to say, that any experience of juggling will always include
some “managed” form of its own expression.

2. Anti-Entropic Sequence
This is a fancy way of saying a structured pattern of events that repeats itself. The term anti-en-
tropic is used because it describes an element of our sensory relationship with space and time.

Entropy is a condition of the universe that moves it from states of order to disorder. This constant
change of space, from our perspective, is what allows us to create our linear sense of time. Like
a story, it progresses with a clear direction of forward (future) and backwards (past). Time, like
space, is a dimension. We may not always think of it this way, but mathematically and scientifical-
ly, that is reality. Although we are unable to escape the universal force of entropy, we are able to
distort some of our sensory relationship with it.

Anti-entropic sequencing behaviour repeats itself, which reduces the overall amount of refer-
ence we have to changes in space, over time. Reducing reference to change in space, also re-
duces our ability to be aware of linear time within that space. This does not necessarily prohibit
us from continuing to process entropy, but it does lower some of our ability to be aware of its
progressions.

3. Of Orbital Events
In order to form a sequence of events, we need events to sequence with. In the case of juggling,
we describe these types of events as being orbital. Describing an event as orbital is another way
of saying that it has a start point which is the same as its end point.

An object that travels through space also travels through time, and it is this fractal layering of
orbital events, within orbital anti-entropic sequences of events, which further acts to distort our

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sensory relationship with it. This may sound like a strange sensation to some, but many of us are
already familiar with its unique stimulations, as it is the same formula we use to construct things
like music and dance.

4. Harmonised by Space and Time

One of the more unique things we can say about juggling is that its tempo (or frequency of ac-
tion) is not determined by a juggler, but rather, by the relationship that a juggler forms with the
juggling. This is a strange concept of sensory interaction, which is easier to explain in compari-
son to some traditional factors of classic sport.

One of the most common intentions of classical sport is the ultimate release of energy or power.
To hit the hardest, to jump the highest, or to run the fastest. This emphasis of energy release
focuses its point of sensory communication as an outward value, and promotes a linear dialogue
with spatial information. Basically, it creates a situation in which more information is being com-
municated out into space, than is being processed or received from it. Not only that, but the
linear structures of traditional sport do not provide nearly as much opportunity to collect sensory
feedback information about their experiences, as do the orbital events of juggling.

In order to experience juggling, one must learn to process and adjust to its constantly changing
flows of sensory feedback information. This is very similar to the way that a musician responds to
the sensory feedback information of sound whenever they play their instrument.

CONCLUSION

Although somewhat wordy and abstract in its explanation, this definition is not intended to be
confusing. Ultimately, as we learn to apply its meaning in more relevant contexts, we should be
able to look back on it as a simplified equation of juggling’s experience.

This description of juggling is very different from many other interpretations of the idea, and is
not expected to be fully understood, or appreciated, until after much deeper examination of its
practical applications.

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CHAPTER 4

GLOBAL ACTIVATION

LINEAR VS. NONLINEAR PROCESSING

Whether or not we agree on the specific terms of what makes something juggling, or not, is
not so important. What is important, is that we recognise its science, which tells us that juggling
represents the stimulation of a very unique state of mind.

A juggling mind is not a normal mind.

It uses different sequencing tasks to process information than would otherwise be possible under
linear conditions.

If we were to imagine the brain as a complex system of interconnected roadways, we could ex-
pect to see certain linear patterns of traffic emerge in relation to our most common sequencing
tasks. These linear states of mind can be thought of as having a point A to point B relationship
with information. For example, 2+2=4 is a linear equation; it works in the direct manner of
cause, effect, and outcome. It follows an order of understanding that says first this, then that,
which leads to another. This linear ordering of information mirrors the same entropic principles
responsible for ordering our relationship with time.

The brain can only process information in relationship to the way that it processes time. If time
is processed linearly then information is processed linearly, as well. Although this is an effective
tool for helping us to function within certain dimensions of our own reality, it is not the only way
we have to process information.

As we described earlier, juggling is a sensory activity which involves the mild distortion of our re-
lationships with space and time. This subtle change to stimulation may seem small on the surface,
but underneath it has a profound effect on the way that we are able to interact with and process
information. This altered state of mind can be recognised by its hyper, yet fluid, states of commu-
nication, and is what we refer to as global activation. Under such conditions, we observe cross
regional communications taking place all over the brain, at the same time. This is also something
we recognise as being part of a flow state or meditation.

linear mind non linear mind

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To process information globally means to process without intention or reference to position in
time. These states of mind are unique in that they allow more information to be processed si-
multaneously, over broader networks of divergent schema. Although juggling is not alone in its
ability to stimulate this state of mind, it is one of the more direct and concentrated means we have
for activating the experience.

Yes, juggling increases brain mass and improves executive functioning capacity, as well as a long
list of other things, but it is not the overwhelming list of its benefits that we wish to discuss here
in this book. Rather, our interest is in trying to uncover the rawest possible formula of its stimu-
lation, so that we may better transfer the outcomes of those benefits to more people. In this way,
we see juggling as being the means to its cause, but not as the cause itself. Cause relates to the
beneficial outcome of an activity’s experience, and in the case of juggling, these outcomes most
certainly relate to its stimulation of global activation.

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CHAPTER 5

ACCESSIBILITY

WHAT ABOUT SKILL?

It has been observed, to some surprise, that the overall cognitive impacts of learning to juggle
are not necessarily associated with the development of its skill level. This means that when ob-
serving an overall increase in brain mass, people having higher skill levels do not show greater
benefit than those having lower (relative to their individual experiences). The cognitive impacts
of learning to juggle are correlated to the amount of time a person spends engaged with the
activity, and not the individual level of skill which they develop in the process. This varies greatly
from our expectation of traditional sport, where similar levels of impact can take up to 3 to 4
times as long, since they do not stimulate states of global activation.

This strange condition of none associated skill level describes another unique quality about
juggling that perhaps makes it even more accessible than the transformation of its physical con-
ditions alone. It means that if you experience juggling for one hour, then you receive one hour
of its benefits regardless of personal skill or ability. This puts juggling in another accessible
category of activities like meditation and yoga, where similar properties can be observed. This
is because the outcomes of such experiences are relative to the states of mind that they produce
and not the means of action used to create them.

Juggling, when defined in classical terms of throwing and catching, has limited accessibility be-
cause of the level of technique it requires in order to access its experience. However, the action
used to express juggling does not relate to its condition of global activation, which, thereby,
makes it irrelevant to the creation of its experience. Meaning that we are free to change the ac-
tivity, in whatever way that we desire, so long as we preserve the order of its relationships with
space and time.

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CHAPTER 6

EDUCATION

EXPERIENTIAL VS. NONE EXPERIENTIAL LEARNING

If we understand juggling to be a positive tool for the rapid development of new communication
structures within the brain, and are aware that school systems around the world are currently
searching, specifically, for this type of intervention, then we should be asking ourselves: why is
it that juggling has not already become a more normalised part of mainstream education? This is
a critical question, because the conceptual benefits of learning how to juggle are not only well
known, but also highly desired by the rapidly changing needs of modern society.

There is no confusion or doubt over the unique benefits juggling has to offer, but there are
some concerns over its perceived levels of inaccessibility. Certainly, any school system would
be delighted to have their students benefit from the unique impacts of learning how to juggle.
However, because it is not considered accessible for everyone, it fails to meet the criteria for
universal implementation.

In society, the general perception of juggling is that it requires a lot of natural ability or talent,
and that it is not something everyone is able to do. This assumption reflects poorly on the acces-
sibility of juggling, and is not entirely untrue. This is because, historically, strict cultural interpre-
tations of its expression (throwing and catching) have, in fact, made the activity quite inaccessible
to a lot of people. Quantifying its value in this way discriminates against anyone not physically or
cognitively able to perform such action, which, based on the outcomes of our classical teaching
models, would suggest to include a majority of the people on the planet.

Yes, based on previous definitions of juggling, it has not always been accessible. But, this does
not mean that juggling itself is inaccessible, or that we are not able to improve upon its levels of
accessibility going forward.

When it comes to the misappropriation of learning models in terms of classical juggling educa-
tion, there are primarily three pillars of inaccessibility.

1. HOW WE CHOOSE TO DEFINE THE OUTCOMES OF ITS EXPERIENCES.

Juggling is not the condition of its action. Its outcomes reflect those of the relationships it allows
us to form with space and time. Thus, determining the values of its experience based on the
products of its personal expression is not only wrong, but also discriminatory. In doing so, we
produce an unnecessary level of challenge for being able to access the activity, and at the same
time institute a cultural misconception about what it means to juggle.

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2. WHERE WE CHOOSE TO DETERMINE THE START POINT OF ITS ACTIVITY.

Typically when we say that we are going to teach someone to juggle, what we really mean is that
we are going to teach them to do a 3-ball tossing cascade.

There is no particular reason why we must begin to learn to juggle using this activity; however,
at some point in our cultural history, it did become the standard model of most educational
practices.

While there are no shortage of people ready to defend this idea, with cultural claims of tradition
(as it always is, because it is the same way that it was taught to them) there are no real justifi-
cations for setting such absurdly high and inaccessible levels of entry for any new activity. This
would be like requiring all new students of music to begin by practicing Mozart on violin, instead
of something more reasonable like “Three Blind Mice,” on the recorder. It simply does not make
sense, if the true goal is to be able to share the activity with more people.

Considering how music and juggling both stimulate states of global activation and require simi-
lar capacities to be able to perform, it can be valuable for us to reflect on the ways that they differ
in terms of their accessibility.

Music, despite its similarities to juggling, is recognised as being highly inclusive and accessible
to everyone. The challenges of learning to play music are no less than those of learning how to
juggle; however music, unlike juggling, makes no attempt to predetermine its start point or limit
the possible values of its expression. One can begin to explore music through a variety of ways
and even produce their own unique forms of expression in the process.

Juggling, on the other hand, predetermines that its initial engagement can only be accessed
through the narrow interpretation of a 3-ball tossing cascade.

Obviously, if we choose to limit the possible forms of its expression and prevent the open ex-
ploration of its idea, then we should expect to see nothing less then the overall limitation of its
accessibility.

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3. THE MODEL OF LEARNING WE APPLY TO DEVELOP ITS CAPACITY.

The classical model of learning to juggle uses a process known as scaffolding. It works by taking
the outcome of a goal, let’s say the ability to jump 1-meter high, and divides it up into smaller
goals which then follow a linear path of progression, from point-A (start) to point-B (finish).

For developing a capacity to be able to jump 1-meter high, we would begin with a much smaller
goal, for example 20-centimetres. Following mastery of this skill, we would continue to develop
its capacity, incrementally, all the way until we reached a height of 1-meter.

What’s important to understand about this model is that although it works well for developing
linear capacities, like increasing the height of a jump, it is not the most appropriate way to teach
someone to juggle. This is because scaffolding is a linear model of learning, which requires the
experience of its own activity as part of the learning process.

A student that practices jumping is able to use scaffolding, because increasing the height of a
jump does not change the outcome of its experience. However, when we define the start point
of juggling as a 3-ball tossing cascade, we prohibit effective scaffolding because there is no
way to structure the experience of its activity into our personal process of learning how to do it.
Meaning, that a person is either juggling the 3-ball tossing cascade, or they are not, and there
is nothing in between.

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Not being able to experience something as part of its own learning process certainly makes it
more difficult to learn; however, juggling is not alone in this capacity. In fact, many traditional
sport activities embody this same quality of inaccessibility.

Take for example, the challenges of learning how to swim or ride a bicycle. Most people are able
to do at least one of these activities, and yet, they share this same quality with juggling of not
being able to be experienced as part of their own learning processes. If a person wanted to try
to ride a bicycle, but did not know how, they would fall over and probably receive some injuries.
In this same way, if they also wanted to try to swim, but were not yet able to do so, they would
experience drowning, instead.

Clearly, in these circumstances, the consequences of failure are much higher compared to the
risk of learning how to juggle; however, the nature of their inaccessibility remains the same. It is
not possible to experience swimming, without being able to swim, nor is it possible to experi-
ence bicycling without being able to bicycle; and yet, both of these activities are widely accessi-
ble to many people, whereas the experiences of traditional toss juggling are not.

This is because, for swimming and bicycling, we correctly apply a non-linear (experiential based)
model of learning, whereas for traditional toss juggling, we incorrectly apply a linear (non-expe-
rienced based) model of scaffolding. Applying linear scaffolding to the challenge of learning
a 3-ball tossing cascade transforms its experience into an outcome based model of learning.
Meaning that the experience of its activity becomes the outcome or reward of its own learning,
as opposed to being part of its developmental process.

To overcome these challenges, swimming and bicycling utilise a variety of simple low tech
solutions, which can enable sensory experience of their activities as part of their own learning
process. For bicycling, this includes things like the help of another person, to prevent us from
falling over.

Another way to provide this type of support is through the use of adaptive learning tools, such
as training wheels, which are intentionally designed to allow the experience of bicycling as part
of its own learning process.

20
For swimming, the same strategies of receiving support from another person and the use of
adaptive training tools, such as floatation devices, can also be applied.

Collectively, these solutions work together to provide as much sensory access to their own expe-
rience as part of the learning process.

Imagine how difficult and dangerous it would be if everyone had to try to learn to swim or ride
a bicycle without the use of adaptive training tools or the cooperation of another person. Far
fewer people would be able to overcome the barriers of this learning obstacle, and those who
did, would only have done so by risking their emotional and physical safety in the process. The
point, here, is that this is neither a healthy nor constructive way to develop any learning capacity;
let alone that of juggling.

In order to overcome these barriers, we must learn to emphasize the value of juggling’s expe-
rience over the cultural predeterminations of its expression. As we embark on this journey, we
will begin to move further and further away from our traditional understandings of what makes
something juggling. In doing so, we will need to redefine and establish a new set of parameters
by which to evaluate its experiences, and this is where the concept of Functional Juggling comes
into play.

21
CHAPTER 7

FUNCTIONAL JUGGLING

In the context of Functional Juggling, we will be applying a formula of solutions about juggling
to the transformation of its expressions.

What determines something about juggling to be functional, or not, is based on the intention of
its interaction and not that of its design. Interactions with juggling are considered to be functional
whenever there is an intention to develop something other than the expression of juggling itself.
A 3-ball tossing cascade, for example, could be considered both functional and nonfunctional,
depending on the context of its application. If the intention of its interaction is nothing more
than to cultivate the expression of its own experiences, we would not consider it to be functional.
However, if its intention was to serve as a source of rehabilitation for some preexisting condition,
like Parkinson’s disease, for example, this application would be functional.

The modified and adaptive representations of Functional Juggling most commonly associated
with its facilitation do not, in fact, hold any real relevance to the meaning of its terminology. This
is because Functional Juggling represents a philosophy of ideas about juggling, which are not
determined by the specific outcomes of its physical expression alone. It is not correct to think
of Functional Juggling as being something other than juggling, because Functional Juggling is
juggling, only with slightly different expectations for its outcomes. Although some apparatus
are specifically designed to be inclusive, it cannot be said that any activity which embodies the
experience of juggling is anything other than that, which also makes it juggling.

By describing our activity in this way, as a formula of its relationships, Functional Juggling allows
for the transformation of its expression, while still preserving the qualitative outcome of its per-
sonalised experience. This freedom of transformation is something about juggling which, to the
contrary of popular belief, determines it to be one of the most accessible activities anyone could
ever try to do in their life. It means that for whatever motion a person is able to produce, there
is always going to be a way to correspond that motion to the sequencing of a relationship with
space and time, and thus juggling can be created by anyone.

22
CHAPTER 8

BINARY FORMS

Assuming our perspective is that of the human condition, there are several preliminary charac-
terizations that can be made about our experience with space and time.

For starters, the human body and brain are binary, meaning that they consist of two halves: a left
side and a right side. Each side is symmetric and mirrors that of the other, with the left side of
the brain controlling the right side of the body, and vice versa.

This division of binary symmetry establishes a boundary by which all possible human interactions
with space and time can occur. It means that no matter what, we are only ever able to process
our experiences as being either left-sided, right-sided, both-sided, or no-sided.

Sensory information that is received from one side of the body, will always be processed first in
its correspondent side of the brain. In order to operate as a single state of consciousness, each
side of the brain must be able to communicate and receive information from that of the other.

Applying this dichotomy to the anatomy of our brain requires some discussion of a specific
region, known as the corpus callosum. This structure is responsible for communicating infor-
mation, back-and-forth, between the two cerebral hemispheres of our brain. Without proper
functioning of this region, each hemisphere would not be able to communicate with the other,
and our ability to coordinate binary interactions with space and time would not be possible.

23
Whenever something is experienced by the right side of the body, like a juggling throw, for ex-
ample, sensory information about its experience is communicated first to its correspondent side
of the brain. Now, depending on the outcome of this throw, information about its experience will
need to be communicated in either one of two directions: laterally or bilaterally.

If the intention of the throw was for it to be exchanged from one side of the body to the other,
then sensory information about its experience would also need to be transferred from one side
of the brain into the other.

This communication structure is referred to as being bilateral, because it relates to an exchange

of cognitive information between separate sides of the brain.

Alternatively, if the throw’s intention was for it to remain on the same side of the body, then less
information about its experience would need to be communicated between sides. Since this
communication structure relates to one side of the body more than the other, we refer to it as
being lateral.

24
This dichotomy between the relationships of lateral and bilateral interactions with space and time
establishes the most fundamental principle by which all solutions of juggling can ever be formed.

25
CHAPTER 9

THEORY OF PROCESS FORMATIONS

(COMPONENTS)
The theory of process formations is a matrix based equation that combines and formulates the
total possible outcomes of our binary interactions with space and time. This concept relates to
juggling because when applied to its formula of anti-entropic sequencing, there are only a limit-
ed number of ways to structure the outcomes of its conditional values.

Confined within the parameters of our bilateral four dimensional experience, there are only three
universal conditions by which all interactions with reality must conform: space, time, and signal.
Each factor includes its own set of binary outcomes, which are formulated together to construct
the sequencing relationships of the theory of process formations.

SPACE

Our sequencing relationship with spatial information can be classified as being either lateral or
bilateral.

A lateral sequencing relationship with space means that its information is not required to be
communicated between the two cerebral hemispheres of our brain. This occurs whenever there
is an interaction on one side of the body that does not affect the experience of the other. For
example, the tossing and catching of a ball, to and from the same hand.

26
Alternatively, bilateral sequencing relationships with space do require that their information be
communicated between the hemispheres of our brain. Bilateral interactions are produced when-
ever information from one side of the body directly affects the experience of the other.

There are several ways to trigger and subcategories these types of interactions, based on the
structure of their relationship with space. This includes sequencing factors that relate to the ex-
change of objects, locations, and geometries.

OBJECT EXCHANGE

Exchanging an object from one side of the body to the other means that information about its
experience must also be communicated, bilaterally, from one side of the brain into the other.
Take, for example, the tossing and catching of a ball back-and-forth between two hands.

In this situation, the outcome of the toss directly affects the future experience of the other side,
and thus information about its experience must be sequenced bilaterally as well.

LOCATION EXCHANGE

Sensory processing of spatial information is divided along the same lines as our binary experi-
ence. Meaning that, in addition to the division of our physical form, we also process space itself
as being either left-sided or right-sided, relative to our position within it.

Any time one side of the body wants to interact with space on its opposite side, information
about its experience needs to be communicated bilaterally as well. A very simple example of this
would be the crossing of an arm from one side of the body to the other.

GEOMETRIC EXCHANGE

The bilateral geometric exchange of spatial information is slightly stranger to explain than other
sequencing relationships. This is because it does not pertain to any real transference of material
between space itself, but rather the comparison of its geometry over time.

27
Geometric exchanges of spatial information occur whenever we interact with a sequence of
asymmetrically reflective conditions. Meaning that when the geometry of our interactions are
asymmetrically reflective (over time), comparative information about their experiences will need
to be communicated bilaterally as well.

COMBINED EXCHANGE

Any relationship with space can be sequenced individually, or combined together, in order to
form a more complex state of its interaction.

Two or more conditions of any bilateral values, such as the exchange of locations and objects,
can be combined to form new levels of sequencing challenge. For example the tossing and
catching of a ball between two hands, while the arms are crossed on opposite sides of the body.

The more bilateral sequencing that occurs, within a limited period of time, the more demand-
ing its experience becomes. The most complex sequencing relationship that we can form with
spatial information is one that includes all three states of its bilateral sequencing conditions. For
example the classical pattern known as “Mills Mess,” which combines the bilateral sequencing
of objects, locations, and geometries, all within the same activity.

28
TIME

Our sequencing relationship with time can be classified as being either synchronous or asyn-
chronous.

A synchronous relationship with time means that its frequency of interaction is mirrored or
shared between the two sides of our brain. This occurs whenever interactions are initiated from
both sides, simultaneously, such as the lateral tossing and catching of two balls at the same time.

For every binary interaction with space, the brain must be able to sequence a relationship
between the timing of its own two sides. Synchronous relationships with time consolidate the
frequency of their interaction, so less information about their experiences needs to be commu-
nicated as often.

An asynchronous relationship with time means that its frequency of interaction must always al-
ternate, back-and-forth, between the two cerebral hemispheres of our brain. An example of this
would be the same lateral tossing and catching of two balls, but at different times.

29
Asynchronous relationships with time do not consolidate the frequency of their interactions, and
therefore, require more bilateral sequencing tasks to occur.

SIGNAL

Our sequencing relationship with signal can be classified as being either associated or dis-
associated. It is important to note that the sequencing conditions of signal do not affect the
structural outcomes of their interactions with space and time.

Signal can be thought of as the technical means by which we choose to manage the interaction of
our experience with juggling. For every movement we are able to produce with the body, there
is a correspondent signal inside of our brain, which relates to the performance of its interaction.

Associated relationships with signals occur whenever both sides of the body express identical
relationships to space. An example of this would be the tossing of a ball between two hands,
while using an identical technique to manage the expression of both sides.

Disassociated relationships with signals occur whenever one side of the body experiences a
different interaction with space than the other. An example of this would be the similar tossing
of a ball back-and-forth between two hands, but with the use of a different motor control function
on either side.

In this situation, the sequencing signals are not always the same, and thus they have a potential
to interfere with the other one’s communication. This makes processing disassociated formations
extremely more complex and difficult to manage, than those of associated.

30
CHAPTER 10

THEORY OF PROCESS FORMATIONS

(ASSEMBLY)
When formulating the equations of the process formations, it is important to separate the cate-
gories of associated from disassociated.

Associated formations are easier to sequence than disassociated, but neither affect the structural
outcomes of their interactions with space and time.

Here we see, for the first time, our principle matrix of the theory of process formations, which
excludes the condition of signal as a way to simplify its equation. The matrix itself is very simple
to understand, with the x-axis representing its possible outcomes for space, and the y-axis repre-
senting its possible outcomes for time.

Formulating the combined values of these conditions produces a result of four possible out-
comes: Synchronous Lateral, Asynchronous Lateral, Synchronous Bilateral, and Asynchronous
Bilateral.

31
SYNCHRONOUS LATERAL

Synchronous Lateral Formations require that the timing of their interactions be the same, and
that their relationship to space be divided. An example of this would be the tossing and catching
of two balls simultaneously, straight up-and-down, from both sides.

In this situation, each sequencing value shares a similar relationship to that of all others, and thus
its communication can be consolidated into a single frequency of information.

ASYNCHRONOUS LATERAL

Asynchronous Lateral Formations require that the timing of their interactions be different, and
that their relationship to space be divided. An example of this would be the tossing and catching
of two balls straight up-and-down, one after the other, in alternating rhythm.

Changing the value of time from synchronous to asynchronous, means quadrupling the total
amount of bilateral communication signals needed to process its condition. This is because for
every interaction on one side of the body an additional sequence of bilateral communication is
needed, so that both sides can be aware of changes to their position in space, over time.

SYNCHRONOUS BILATERAL

Synchronous Bilateral Formations require that the timing of their interactions be the same,
and that their relationship to space be shared. An example of this would be the simultaneous
tossing and catching of two balls, between hands, from opposite sides.

32
In this situation we can say, again, that the relationship with time is simplified because of its
synchronised tempo; however, the complexity of its bilateral relationship to space represents an
overall higher level of sequencing challenge.

ASYNCHRONOUS BILATERAL

Asynchronous Bilateral Formations require that the timing of their interactions be different,
and that their relationship to space be shared. An example of this would be the tossing and
catching of two balls, one after the other, in between sides.

In this situation the transference of information that relates to the conditions of both time and
space, must be sequenced bilaterally. This particular example, of Asynchronous Bilateral For-
mation, is also recognized as being the 2-ball variation of the 3-ball tossing cascade, which is
traditionally thought to be one of the first activities that any student of juggling should be able
to learn.

Considering how Asynchronous Bilateral interactions require the highest level of sequencing
capacity, out of any other associated formation, it is curious as to why it would ever become the
standardised start point of any teaching model.

33
DISASSOCIATED

As mentioned earlier, the binary outcomes of signal do not affect the sequencing of their rela-
tionship to space and time.

Disassociated formations are identical to those of associated formations, with the only differ-
ence being in the asymmetry of their signals. Any equation of associated formation can also be
sequenced as disassociated, simply by using more than one type of motor control technique to
manage the outcomes of both sides.

In this situation, each signal represents a different frequency of information which cannot be
consolidated or processed simultaneously.

LISTED FORMATIONS

Now that we have established the conditions of space, time, and signal, as the primary ingre-
dients of juggling, and have identified all of the possible outcomes of their binary solutions, we
are ready to construct our final model of the theory of process formations.

34
CHAPTER 11

ARRANGEMENTS

With the theory of process formations firmly in place, we are now ready to construct the physi-
cal means by which we will learn to manage the outcomes of its experiences. To do this requires
careful consideration of all the possible ways that our binary forms are able to interact with or-
bital events in space and time.

In order to be orbital, each event must be able to travel back-and-forth between at least two
points in space. Under the principle that juggling is intended to be “managed,” at least one of
these points must be connected to the interactions of a juggler. Based on this outcome, we can
deduce that there are only three ways to structure the arrangements of our interactions with
orbital events: solo, social, and mixed.

SOLO ARRANGEMENTS

Solo arrangements structure their interactions within a closed system of experience. Meaning
that their events are managed, and thereby experienced, exclusively by one person. Since the
activity is managed independently, all of its sensory information is both produced and processed
by the same individual. The tossing of a ball back-and-forth, between two hands, is a good exam-
ple of this type of interaction.

Another equal representation would be to roll the same ball back-and-forth across the surface of
a table.

Notice how changing the outcome of the orbit does not affect the value of its relationship to
space and time, only the means of its interaction.

SOCIAL ARRANGEMENTS

Social Arrangements structure their interactions within shared systems of experience. Mean-
ing that their interactions with orbital events are experienced collectively by two or more people.

35
This could include examples such as passing any amount of objects back-and-forth between any
number of jugglers. It does not matter what action is used to exchange these objects, it only
matters that their relationship to us is orbital.

Commonly, we refer to this type of arrangement as “pass juggling”, and typically it is not some-
thing that we introduce until after developing a higher level capacity for individualised activities.
This makes a lot of sense, because having to be aware of both someone else and ourselves, at
the same time, is obviously more challenging than just having to be aware of ourselves. Howev-
er, if managed appropriately, social arrangements can be a very effective means for facilitating
juggling.

36
MIXED ARRANGEMENTS

Mixed Arrangements structure their interactions within a combined system of experiences.

Meaning that some of their interactions are managed individually, while others are managed in
cooperation. Basically, it forms a combination between the two styles of solo and social arrange-
ments.

A classic example of this would be something known as a “4-Beat” passing pattern between two
jugglers.

In this situation, the jugglers exchange only one object with each other, for every three objects
they exchange with themselves. Something that is challenging, and yet also helpful, about this
type of arrangement is that it requires us to divide our attention between different points of
incoming information. Although this requires higher capacity in the context of traditional toss
juggling, if we are willing to modify the mechanics of its activity, then utilising this type of ar-
rangement can be a supportive means for facilitation juggling activity as well.

37
CHAPTER 12

SPATIAL SEQUENCING MAPS

By reflecting on the interactions of our binary form, we can establish that any sequenced con-
dition of space, time, or signal will always be processed as being either left-sided, right-sided,
both-sided, or no-sided.

Applying this condition to the structure of our relationship with orbital events, allows us to con-
struct what we call a spatial sequencing map of our interactions. This includes determining the
minimum amount of spatial reference points which are needed to sequence the entire spectrum
of our binary relationships with space and time.

In order to stimulate these desired conditions, we must be able to interact with at least two-points
of spatial information: one from each side of the body.

38
In addition to two bilateral points of interaction, another centralised point of information is need-
ed to be able to mark the midline separation between the two sides of our binary experiences.

Combinations of these initial three points are enough to sequence most interactions with jug-
gling; however, they do not provide enough opportunity, on their own, to formulate the entire
spectrum of our possible relationships with space and time. To achieve this condition, an addi-
tional two points of interaction must be added: one to either side of the body.

This creates a total of five sequencing points, with one positioned directly in the centre, and two
more positioned on either side of the midline.

Most commonly, for facilitation, these points are arranged in a horizontal plane, in order to make
their interaction more accessible. However, it is equally imaginable to arrange them in any order
of height (y), depth (z), or width (x).

39
Although it is possible, and encouraged, to produce many different arrangements of these se-
quencing points, it still remains good practice to introduce new sequencing experiences along
no more than one axis of interaction at a time.

Spatial sequencing maps are intended to indicate where and when our interactions will occur,
but do not determine anything about the manner in which they should be expressed.

The Juggle Board is one way to represent the concepts of a five point spatial sequencing map;
however, it is not the only way we have to manifest such environments. Although we will be
working exclusively with this device to model and develop our introductory understanding of
Functional Juggling, it is important to note that the concepts themselves are not exclusive to the
apparatus, but rather intended to be transferable.

40
CHAPTER 13

PROP SWAP NOTATION

Propswap is an ordered system of notation that allows us to describe the different sequencing
activities of Functional Juggling. It derives its grammatical influence from the classical model of
siteswap notation, which is the mathematical language of juggling. Knowledge of siteswap is
not required in order to understand propswap, however, it can be helpful to grasp the basic
concepts of both systems. In general, siteswap seeks to calculate the order of its events in time,
whereas propswap acts to identify the location of events in space. Propswap is intended to create
another universal language of juggling that can be shared and described, without any additional
need for its translation.

There are, literally, limitless ways to construct the environments of Functional Juggling; however,
for the purpose of its explanation we will be focusing our investigation around the use of one
prop in particular: the Juggle Board. Possession of a Juggle Board is not required to be able to
learn how to apply the sequencing relationships of propswap notation, however, it is strongly
recommended that you either produce or acquire an equivalent means of its interaction. Juggle
Boards can be purchased from independent sellers, or manufactured personally in a variety of
ways from repurposed materials and the use of open source design documents. More informa-
tion about both these options can be found online at www.QuatProps.net.

INTEGER VALUES

Our system of notation begins with the assigning of integers to each of the locations, within one
of our five point spatial sequencing maps. Notation is written in the form of either numbers or
letters, depending on the orientation of its interaction.

ARRANGEMENTS

As described earlier, there are three possible ways to structure our interactions with orbital
events: solo, social, and mixed. Each arrangement can be categorised and labeled based on
the orientation of its interaction, which is said to be either forward or horizontal. For forward
orientation a series of numbers (1-5) is used to notate each location within its spatial sequencing
map, and for horizontal orientation a system of letters (A-E) is applied instead. This allows each
orientation to be easily recognisable, from that of the other, while still sharing the same system
of notation.

41
As illustrated here, forward arrangements can be said to organise themselves perpendicular to
our x axis, whereas horizontal arrangements are organised parallel to it instead. Both arrange-
ments can be engaged either individually or socially, but in general, horizontal arrangements
are used more to facilitate solo interactions, whereas forward arrangements are more accom-
modating for social. The spatial sequencing map of a forward arrangement activity is numbered
1-to-5, with the first of its integers being located at the centre, and each of its proceeding values
alternating sides from that point forward.

4 2 1 3 5

For horizontal arrangements, locations are identified by the use of letters A through E instead.
Each letter is arranged in ascending order from bottom-to-top, starting with A at the bottom, and
ending with E at the top. Horizontal arrangements, unlike that of forward, represent two possible
points of interactions: one for each side of the body.

E
D
Left Right
C
Side Side
B
A
TIME

Reading notation follows the same principle as reading a timeline, because the order in which its
integers appear, is the same order in which they occur in time. Each integer, within its series of
notation, represents a different beat in time, and every beat assumes to alternate from one side
of the body to the other.

We refer to this kind of relationship as being asynchronous and it is the default structure of all
notation.

42
EMPTY BEATS

There is one other integer that applies to the notation of both arrangements and that is the value
of zero. Zeros are used to indicate the skipping of one beat in time, or in other words, whenever
one side of the body interacts more than once before changing sides. This form of notation is
more advanced and not something that is often used in general facilitations as it tends to require
verbal communication to be able to explain.

PERIODS

The period of notation is the amount of integers which are included in one full, non-repeating,
segment of its sequence. Meaning the amount of integers before it repeats itself again. The
period of a notation can sometimes be different to the cycling of its own interactions, as not all
sequences are said to be symmetrically balanced in time.

Periods have the possibility to be either even or odd, depending on how many integers they in-
clude. Even period notations require only one repetition of their segment in order to complete
their cycle, whereas odd period notations require multiple.

This difference can be observed more clearly in the following examples of 23 and 231.

Example: 23

Example: 231

Notice here, how in the example of 23, each integer remains fixed to one side of the body;
whereas, in the example of 231, each integer alternates from one side to the other. This means
that odd period activities will always require bilateral sequencing as a natural part of their inter-
action; whereas even periods are assumed to be lateral, unless they are notated otherwise.

Because of this, an asterisk symbol is sometimes used to mark the end of odd period notations,
just as a way to draw attention to the hidden complexities of their interaction. For example the
notation of 231, might also appear as 231* in certain training settings. Unlike the use of other
symbols, this indication does not change anything about the notation itself, but does remind us
about its advanced level of challenge.

43
START POSITIONS

The side of the body that initiates notation is always assumed to be lateral, unless otherwise no-
tated. Meaning that the side of the body which is closest to the first integer of a notation, is the
same side that accepts its interaction.

Forward arrangements can be thought of as having a relationship with space that is either
left-sided or right-sided, with the centre point of its interaction being neutral to both sides.

For horizontal arrangements, each integer represents one sequencing point for either side
of the body, so we are not able to determine its start position simply by the order of its notation
alone. We resolve this issue by applying the settings of asynchronous time, and lateral initiation,
from the start. This allows horizontal notations to be set according to either side of the body, so
long as the ordered laws of its notation are preserved.

44
STATES OF ORBITAL INTERACTION

There are no specified ways to interact with Functional Juggling, or the environment of the Juggle
Board itself, so any means of interaction is considered acceptable. Regardless of this expressive
diversity, however, there are a limited number of ways in which we are able to structure the out-
comes of any of our interactions with orbital events in space and time.

We categorise the order of these relationships as being either fixed-state, open-state, or

mixed-state, based on the dimensional parameters of their interaction.

FIXED-STATE
Fixed-state interactions represent a form of relationship with orbital events in which their
pathway through space is arranged directly in between two points. Meaning that their
orbits are linear and follow a single path of motion, as they travel back-and-forth, in both
directions. This results in an extreme simplification of their interaction, as the only thing
required to manage their experience is a single point of contact with an opposing force
of motion.

This makes management of their activity much easier to process, as each event is contained
within its own region of space, and, therefore, not able to interfere with the motion or vi-
sual processing of any other.

In the context of working with the Juggle Board, we will be using very specific hand posi-
tioning to describe the management of its activities, however, do not forget that any means
of accomplishing the same goal is always considered acceptable.

OPEN-STATE
Open-state notations describe a form of relationship with orbital events in which their
pathway through space includes multiple dimensions of interaction. Meaning that their
orbits are non-linear and follow a progressive path of forward motion through space.

45
In these situations, orbits are able to complete their entire revolution without having to
crossover any of their previously visited locations in space. This allows multiple events to be
sequenced per each location, as the incoming pathway of orbits do not interfere with the
outgoing directions of their interaction. Obviously, this increases the overall sequencing
challenge of the activity, and creates additional mechanical demands such as the need to
grasp and release objects from one location to another, however, as always, any means of
accomplishing the same goal is still considered acceptable.

MIXED-STATE
Mixed-state notations describe a form of relationship with orbital events in which the
outcomes of both fixed and open-state interactions are mixed together to form a single se-
quence of activity. Meaning that some points of interaction will be managed as fixed-state,
while others will be managed as open.

Both forms of interaction require separate cognitive signals to be able to perform, and this
is what creates our condition of disassociated formations. Although interesting and fun
to explore, these types of interactions rank among some of the most challenging bilateral
sequencing relationships that we are able to form. As such, it is not considered necessary
for all participants to reach this level of sequencing capacity, as it extends far beyond what
we generally expect from most high functioning individuals.

Additionally, it is not possible to consistently communicate the intentions of these types of

activities, without the need for verbal and/or visual communication strategies. Since not
everyone is equally equipped to process such information in the same way, we do not
consider these types of notation to be universally accessible for everyone. Still, there is a
time and place for everything, and mixed-state notations are a quick and easy way to dra-
matically increase the complexity of any juggling activity.

46
CHAPTER 13

FIXED STATE NOTATION

The rules to remember when applying fixed-state notations are that its interactions follow a time-
line of alternating motion from side-to-side, and that its events are assumed to initiate laterally.

ASYNCHRONOUS LATERAL

Asynchronous lateral is the default state of any notation, which is written without the use of
additional grammar. Meaning that its notation is represented by the simple series of its integers
alone. Asynchronous notation is pronounced and read one digit at a time, and not as a whole
value.

So, the notation 2345, for example would be expressed as two three four five; and not as two
thousand three hundred and forty-five.

Whenever an integer appears within a series of notation, it indicates that some form of inter-
action with its location should occur at that time. In the context of the Juggle Board, we express
this kind of relationship by the rolling of balls back-and-forth, in between two points. This can
be achieved by exchanging objects between two partners, or by raising one side of the Juggle
Board slightly higher than the other, so that each ball is able to roll back to us on its own.

For the purpose of explaining notations, we will be using two dimensional diagrams to represent
the interactions of each sequencing step. Illustrated diagrams are intended to be intuitive, and
serve as an extension to the existing language of propswap notation.

47
EXAMPLES

Forward Asynchronous Lateral, 2345

Horizontal Asynchronous Lateral: ABC

SYNCHRONOUS LATERAL NOTATION

Synchronous lateral notations describe sequences in which both sides of the body engage
simultaneously, but do not exchange spatial information in between sides. To indicate this type
of interaction enclosed parentheses are placed around combined sets of integers, such (23) or
(AB). When placed inside parentheses, we read each value collectively, rather than individually,
as in the way that we do with asynchronous notations. So, instead of reading the integers of (23)
separately, as two and three, we express their value as being twenty-three in order to communi-
cate their shared relationship with time.

This system of combination does not apply to the reading of horizontal notations, as it is more
complicated to pronounce the combined expressions of letters than it is numbers. Still, when
expressing the synchronous values of horizontal notations, a brief pause should be taken in be-
tween the expressions of shared letters, just as a way to help emphasize their separations in time.

EXAMPLES

Forward Synchronous Lateral, (23)(45)

48
Horizontal Synchronous Lateral, (AB)(CD)

ASYNCHRONOUS BILATERAL NOTATION

Asynchronous bilateral notations describe sequences in which every beat alternates from side-
to-side, and each beat crosses or exchanges its spatial information, bilaterally, from one side to
the other. This type of notation is indicated by the use of an x symbol followed by a period (x.),
placed prior to the start of its notation. In general the x symbol is used to instruct the changing
of our relationship with space, from lateral to bilateral or vice versa.

Since the presumed relationship with time is asynchronous, crossing or reversing the first integer
of its interaction will cause the rest of its sequence to be inverted as well. As the periodic seg-
ment of each notation is intended to repeat, the punctuation of a period is used to indicate that
x notation should only be applied once, from the start.

EXAMPLES

Forward Asynchronous Bilateral, x.2345

Horizontal Asynchronous Bilateral, x.ABC

49
SYNCHRONOUS BILATERAL NOTATION

Synchronous bilateral notations describe sequences in which both sides of the body engage
simultaneously, while also exchanging and sharing spatial information about their experiences
between sides. This type of situation requires slightly more complex notation to be able to com-
municate, as there are numerous ways to structure the potential outcomes of its interactions. For
example, simply indicating that a synchronous notation should be performed bilaterally, does not
communicate which of its sides should be positioned, above or below, that of the other.

Synchronous bilateral notation is written with the same parenthetical enclosures as its synchro-
nous lateral counterpart. The x symbols, which are used to indicate the crossing or uncrossing
of notations, are placed inside parenthesis as well. An x at the beginning of a notation indicates
that its interaction should be performed bilaterally; however, an additional x positioned at the
end of the same notation, would require its interaction to change or revert back to its previous
condition.

There are several ways to structure the outcomes of these types of interactions, however, for the
purpose of universal facilitation there is only one form of its behaviour which can truly be said to
be accessible for everyone. This has a lot more to do with the communication of its ideas, then
it actually does with the complexity of its motor control movements.

As mentioned earlier, it is important to be able to indicate which side of the body is positioned
above or below that of the other. This indication is achieved by the specific ordering of integers,
within their individual sets of parentheses. The general idea is that whichever integer appears
first, is always assumed to be positioned above that of the other. So for example, the notation
of (x23) indicates that the side of the body which is responsible for managing the 2, should be
positioned above that of the 3. Whereas in the example of (x32), it is the 3 which is positioned
above that of the 2.

As a way to draw further attention to which side of the body is positioned above that of the other,
a discrepancy of yellow colouring is used to indicate which of the sides is intended to be on top.

50
EXAMPLES

Forward Synchronous Bilateral, (x23x)(x54x)

Horizontal Synchronous Bilateral, (xBAx)(xDCx)

Here we see a form of synchronous bilateral notation which represents its highest level of se-
quencing challenge. As stated before, this type of relationship is the one most commonly used in
facilitation, as it can be explained with the least amount of communication. Each x within its own
series of synchronous notation indicates the individual crossing or uncrossing of our relationship
with space. Meaning that whichever side of the body is positioned above that of the other, will
always alternate from one beat to the next.

There are several other ways to order these types of interactions which are not often used in fa-
cilitation, but that we have illustrated for you below.

EXAMPLES

Forward Synchronous Bilateral, (x23)(45)

51
Horizontal Synchronous Bilateral, (xBA)(DC)

Forward Synchronous Bilateral, (x23)(x45)

Horizontal Synchronous Bilateral, (xBA)(xDC)

Forward Synchronous Bilateral, (x23)(45x)(x32)(54x)

Horizontal Synchronous Bilateral, (xBA)(DCx)

52
ZERO BEAT NOTATIONS

As described earlier, there is one integer value which applies to both arrangements of the Juggle
Board. The appearance of a zero, within either system of notation, indicates that one side of the
body will skip its turn, and that the other side will go twice. This form of interaction is difficult to
communicate without the use of verbal instruction, as it requires us to deviate from the default
relationship of asynchronous time. For this reason, you will not find this kind of activity within the
primary structures of our facilitation compositions.

EXAMPLES

Forward Asynchronous Lateral, 204305

Horizontal Asynchronous Lateral, A0B0C

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CHAPTER 15

OPEN STATE NOTATION

READING AND WRITING OPEN-STATE NOTATION

Open-state notation describes a form of interaction that starts in one location and ends in
another. This means that each of its events must be notated with two integers: one to indicate
where it begins, and another to show us where it ends. We notate this type of relationship by the
use of brackets and a dash mark, placed in between the different values of each notation. The
first integer indicates the start position of its interaction, and the second integer tells us where it
should go. Thus, a notation of [2~4], for example, would indicate that a ball which arrives in the
2 position, should be lifted and exchanged into the position of the 4.

Open-state interactions allow us to overlap their orbital pathways, which means that we are able
to increase or decrease the total amount of objects used to facilitate each notation. A notation
that is sequenced with four objects, therefore, can also be sequenced with six, eight, or any
other multiple of two for that matter.

For the sake of clarity, we will be using four and three ball examples in most of our illustrations,
however, in the first two examples we have included two illustrations of six and five ball variations
as well.

EXAMPLES

Forward Asynchronous Lateral, [2~4][3~5]

with 4-balls

Forward Synchronous Lateral, [23~45]

with 6-balls

54
Horizontal Asynchronous Lateral, [A~B][B~A][C~B][B~C]
with 4-Balls

Horizontal Asynchronous Lateral, [A~B][B~A][C~B][B~C]

with 6-Balls

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CHAPTER 16

MIXED STATE NOTATION

READING AND WRITING OPEN-STATE NOTATION

Mixed-state notation represents a form of interaction that combines the activities of both fixed
and open-state together. There is nothing different about mixed-state notation from that of fixed-
state or open-state, only that it combines the grammar of both systems.

A minimum level of intention is required in order to be able to manage these forms of activities,
so we do not consider them universally accessible for everyone. Technically, there is a way to
notate these systems of dissociated play, however, the complexity of their interactions make them
easier to explore through experience and experimentation rather than notation.

This being said, here are few examples of mixed-state illustration to give an initial idea of how the
relationships can be applied and the ways in which their notations are written.

EXAMPLES

Forward Asynchronous Lateral, 2[3~5]4[3~5]

Forward Asynchronous Lateral, [2~4]3[2~4]5

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Forward Asynchronous Lateral, 4[1~3][1~2]5

Forward Asynchronous Lateral, 4[1~2][1~3]5

57
CHAPTER 17

PRIMARY COMPOSITION

The primary composition is a notated order of activities which is particularly designed to facil-
itate the fullest spectrum of our associated relationships with space and time. Its development
is based on the theory of process formations, and it is intended to be facilitated in its entirety,
without any interruption. This allows us to construct continuous rhythms of social engagement,
which is a critical component towards our ability to deliver facilitations nonverbally.

Another intention of the composition is to structure the cognitive outcomes of its developments,
so that they occur most naturally and without resistance. This is a task which involves the cal-
culation and ordering of all possible neurological sequencing outcomes, in reference to their
geometrical forms in space and time. Based on this principle, each pattern of notation can be
deconstructed and developed within the compartmentalised frameworks of synchronous lateral,
asynchronous lateral, synchronous bilateral, and asynchronous bilateral.

The primary composition utilises a structure of five base patterns, which are meant to represent
the widest possible range of our binary sequencing relationships. With the exception of pattern
five, these activities are notated and discussed in terms of their base formation, which is said to
be synchronous lateral. Each pattern is specifically chosen and organised for its ability to stimu-
late and/or encourage different forms of spatial sequencing relationships to occur.

Patterns are identified and discussed in terms of their number, which we assign in the ascending
order of their complexity.

Pattern-1, (23)(45)

Pattern-1 represents the most simplified form of any relationship with juggling, and it is compara-
ble to that of what we would call a “4-ball synchronous columns” pattern. In this situation, each
side of the body moves in opposite directions, from that of the other, which produces a form of
reflected symmetry that allows us to consolidate the sequencing of its information.

58
Pattern-2, (23)(41)(23)(15)

Pattern-2 includes an additional two beats of interaction, and is intended to encourage equal
amounts of spatial sharing between both sides of the body. In this situation, the distance between
sides does not change, and both sides of the body move in the same directions, at the same
times.

Pattern-3, (43)(25)

Pattern-3 is another sequence of activity in which interactions change their locations in space, but
not their distances apart. Sequencing of this activity is very similar to that of Pattern-1, but with the
structure of its composition being asymmetrically reflective. This causes more of its experiential
information to be processed bilaterally, as the brain attempts to make comparisons between the
geometries of both sides.

Pattern-4, (42)(35)

The relationship of Pattern-4 mirrors that of Pattern-3, but with less distance between sides, and
greater levels of bilateral sequencing involved. In this situation, one side of the body is always
required to cross over into the space of the other. Technically, this makes its formation bilateral;
however, due to the effects of its geometry, our senses actually interpret its experience as being
lateral.

59
Pattern-5, 42135*

Pattern-5 represents a unique state of sequencing activity in which both sides of the body interact
with each location. This causes its sequence to alternate between forms of lateral and bilateral
interactions, as each beat is constantly required to change from one side of the body to the other.

It is important to be aware that Pattern-5 is an odd period notation, and thus, includes two revo-
lutions of its period prior to completing its entire sequence of events.

NOTATIONAL TRANSFORMATIONS

With this selection of base patterns in place, we are now ready to analyse the transformations of
each notation’s relationship to that of the theory of process formations.

Technically, there are a total of eight sequencing relationships which can be formed within the
structure of each notation. These include both their associated and dissociated forms of interac-
tion with space and time.

Signal conditions do not affect the outcomes of patterns, as they only relate to our comparison
of their information between sides. What this means, is that we consider the conditions of space
and time separately from that of signal, and categorize their interactions based on the following
outcomes alone: synchronous, asynchronous, lateral, and bilateral. Synthesis of each of these
potentials indicates that despite Juggling’s perceived complexities, there are, in fact, only four
possible ways to structure the binary outcomes of its interaction.

Assuming that the condition of signal is that of associated, the following diagram deconstructs
and illustrates the primary transformations of all base notations, based on their relationship to the
theory of process formations.

60
Pattern-5 is not included in this diagram, as its notation is automatically inclusive of all potential
relationships with space and time.

CONSTRUCTING AND FACILITATING

Not every variation, of every pattern, needs to appear within the structure of our primary com-
position. This is because the goal of facilitation is to develop the highest level of sequencing
capacity, within the fewest amount of steps possible. As the relationships of patterns progress,
from one formation to another, the structure of their events in space and time do not change;
only the outcomes of their interactions with us. This repetition produces a conditioning effect, in
which each variation of notation acts to reinforce the sequencing behaviour of the next.

Notations are intended to be repeated for however long a participant needs to be able to devel-
op their sequencing capacity of it. The only exception to this rule is in what we call a transition
beat, which is performed only once, as a way to convert the sequencing of one notation into
another. Transition beats are not often used in facilitation, as most patterns are able to be se-
quenced, from one to the other, without the need for extra notation. Whenever transition beats
do appear, however, their condition is notated by the use of a small letter t placed in front of its
own notation.

The primary composition includes three sections of facilitation, which are choreographed and
designed to culminate in the expression of an independently managed 5-object cascade. This is
achieved through a process of personalised facilitation and the use of very specific sequencing
compositions, which take into account the widest range of needs, for the most amount of people.
Each section of the composition is intended to develop a different set of functional capacities,
and should be facilitated, as much as possible, without pause. A good way to begin practicing
the composition, is to start by breaking it down into smaller sections first. This can be done by
concentrating on specific groups of notation which are already deconstructed, in order of their
formations.

There is a lot that can be said about the facilitation techniques of Functional Juggling, and how
they apply to the delivery of our primary composition. These methods will be discussed more in
the following chapter, however, there are two strategies which everyone should be aware of from
the start. This includes the management of hand positioning and tempo.

HAND POSITIONING

Hand positioning refers to the manner in which facilitators interact with their objects. The
best strategy for this is to relax our hands, as much as possible, with the fingertips extended
and resting on top, and the thumbs placed behind.

61
This provides the highest level of technical control, and also increases the ability of our
bodies to process and receive more sensory feedback information from each interaction.
In order for this concept to apply, it is necessary that we make contact with objects while
they are still in motion.

TEMPO

Tempo relates to the rate at which events occur in relationship to each other. This can also
be thought of as rhythm, and it is a critical component of our ability to transmit information,
and maintain engagement, without disruption.

There are many rates of tempo which can be applied to the interactions of Functional Jug-
gling, however, for the sake of it facilitation we are primarily concerned with maintaining
what we refer to as “balanced” or “harmonised” tempo. This is a state of interaction in
which all of the forces between partners are said to be completely equal. We exercise this
tempo by releasing and receiving our objects at the same time, and with the same amount
of force, as our participant.

This creates a situation in which there are no sequencing gaps or overlaps between the
processing of events.

Balanced tempos are also responsible for encouraging the stimulation of mirror neurons
inside of another person’s brain. Essentially, by imitating the frequency of our partner’s
behaviour first, we influence them to want to copy us back; and, this is where our commu-
nication strategy with them begins.

62
 A good way to practice this idea is to try facilitating a few basic patterns with your eyes
closed, and to use your sense of touch to gain more information about the other person’s
experiences. Ultimately, this level of facilitation takes time and practice to achieve, and can
only be gained through trial, error, and many shared experiences with many different kinds
of people.

COMPOSITION

The primary composition is a radically effective means of developing a person’s sequencing

capacity, well beyond what is required to manage the expression of a 3-ball tossing cascade.
Given the impacts of such an experience, we highly encourage you to take your time, and work
carefully, in developing mastery of its materials.

Below, you will find the notational lists of all three sections or the primary composition. Remem-
ber to break down sections into smaller components, of only a few notations at a time, when first
practicing their activity. Another good way to think about the composition is to imagine it in the
same way as learning a dance, because, essentially, that is what it is.

Please take your time, now, to carefully review and practice each section of the primary compo-
sition before moving on to the following chapter about its facilitation techniques.

63
CHAPTER 18

SENSORY FACILITATION

Now that you have some experience with the primary composition, we are ready to explore more
of its facilitation techniques.

Management of Functional Juggling takes a different approach to learning than other methods,
because it requires us to take a more active role in the self regulation of each person’s sensory
and emotional experience with juggling. We achieve this state of relationship by entering into
what we call a shared system of tactile and rhythmic play with each participant. As mentioned in
the last chapter, this is a process that involves careful attention to tempo and receptive hand posi-
tioning, to be able to receive and process more information about each participant’s experience.

Essentially, as objects travel through space, they also carry tactile sensory information about our
interactions with them. Individually, these sources of information do not tell us much about an-
other person’s experience, however, when sequenced together in rapid succession, they begin
to form a sense of what we refer to as frequency. Frequency can be thought of as the ratio or
balance of forces between the sequencing of events, and it is primarily what allows us to be able
to process and communicate information during our facilitations.

Whenever facilitating Functional Juggling, it is very important that we learn to imitate the natural
frequencies of our participant’s behaviours. In doing so, we create a relationship of balanced
tempo with them, and allow each person to determine, or set, whatever level of challenge they
are most comfortable with from the start. By harmonising the frequencies of such interactions,
we enter a stage of facilitation in which we are subconsciously able to influence and guide the
sequencing behaviours of others. This is because there is a natural tendency of the body to want
to imitate the sensory feedback information of its environment, whenever engaged in rhythmic
activity.

The three conditions which influence our perception of frequency the most are those of force,
time, and distance. Obviously, increasing the amount of force applied to an object will decrease
the amount of time it takes to travel a certain distance; however, this direct style of communi-
cation is not always the best way to influence another person’s behaviour. This is because by
amplifying the force of our interactions, we introduce larger amounts of energy into the activity,
which can also cause over stimulation or even unmanageable levels of anxiety for some people.

64
The way that we counteract this influence during facilitations is to make use of the distance be-
tween us and the other person. Learning to reduce the amounts of force we use, in proportion to
the distance that events must travel, allows us to neutralise the energy levels of an activity while
still progressing the frequencies of its interactions.

65
PACKETING

Packeting is a technique designed to assist in the transitioning of relationships between synchro-

nous and asynchronous time. It is very common for a lot of people to struggle with making this
change, and often they will not respond to the influences of frequency alone. In this situation it
is necessary to apply the technique of packeting, which takes the relationship of time from one
condition, and gradually transitions it into that of another, without having to stop or interrupt its
facilitation.

Anytime a person fails to respond to a sequence of asynchronous time, it means that they are
struggling to process its condition. Packeting solves this problem by reinforcing and returning to
the synchronous variation of its notation. From this point, a strategy of incremental change is ap-
plied to manage the transitioning of our relationship back to that of asynchronous. This involves
a technique in which the frequencies of both sides are gradually separated, further and further
apart, over time. Managing packeting in this way avoids interruption to the activity and maintains
constant engagement, while transitioning from one capacity development to the next.

1 2

3 4

5 6

66
Another added benefit to this method, is that students are often unaware of its intention, or that
they are even being influenced by it at all. From their perspective they are simply responding to
a seemingly never-ending series of events, with no clear objective in sight other than to interact.
This lack of expectation inevitably influences people to behave more naturally, and to become
more explorative within the process of their own learning. Another way to think about this strate-
gy is that we want to avoid a student’s awareness of being instructed, so that they can engage in
a style of learning which is more similar to play.

GESTURE AND SOUND

Speaking instruction during facilitation is not encouraged, and should be avoided as much as
possible. This has a lot to do with the psychology of learning, because as soon as we commu-
nicate the intention of an activity, we also create an expectation for its performance as well.
Learning occurs best when it takes place in an environment of play, and this is the intention of
our facilitation.

Gesture and sound are great alternatives to speaking, and they communicate just as well, if not
better, than anything else. These techniques can be applied during facilitation, however, learn-
ing to manage them, in addition to our own sequencing tasks, will require more practice of the
primary composition first.

During delivery of the primary composition, there are two moments of its interaction in which
the frequency of engagement must be interrupted in order to communicate the next stage of its
behaviour. This occurs for the first time during the introduction of synchronous bilateral activity,
as the crossing and uncrossing of arms is a slightly more complex relationship to explain without
the use of gesture.

67
Another occurrence of this strategy is during the introduction of our open-state activity. Here, the
form of interaction changes dramatically from what it was before, and there are no intuitive ways
to guide the transition of its behaviour without the use of gesture.

1 2

3 4

Keep in mind, that the frequency of engagement also equates to the emotional experience of
another person’s interaction with us as well. Frequencies of greater amplitude are interpreted as
expressions of anxiety or stress, whereas those of lower magnification are considered to indicate
a sense of fear or self-consciousness. As facilitators, it is important that we take responsibility
for regulating the emotional outcomes of each participant’s experience with juggling, and this is
something we achieve through complete manipulation of the activity itself.

FLOW STATE STIMULATION

As discussed earlier, our experience of juggling can be defined by the state of mind which it
produces: global activation.

68
The behaviours of our brain and sensations of our body during a state of global activation are
very similar, and associated to the experiences of what we would call a flow state. During a pe-
riod of flow, a person’s body and mind will give up resistance to the influences of their environ-
ment as they begin to process and interact with it more and more, as an extension of themselves.
Flow state is not some form of magic or mythological interpretation of science; it is a real thing,
and it has a dramatic effect on the way we are able to learn, process, and store new information.
Although this is going to sound like a shocking claim, it is actually the intention of all facilitations
to be able to trigger this exact state of mind. The experience of juggling cannot exist without a
state of global activation, and global activation is a byproduct of flow. Thus, if we want our par-
ticipants to experience juggling, we will need to activate some level of this stimulation for them.

There is a formula to this kind of relationship with reality which is already built-in to the structure
of our facilitation techniques during the primary composition. You could actually skip this part
entirely, and still be able to stimulate global activation during your facilitation, without even
knowing it. This is one of the greatest possible outcomes of a student’s experience with juggling,
because it means that they have entered a different state of mind which exhibits zero resistance
to the sensory feedback information of its environment. Under such conditions, we notice that
students progress at much faster rates than before, and this is something you will certainly notice
in your own facilitations as well.

Activation of flow state can be recognised as the instant a person’s frequency becomes complete-
ly harmonised with the interactions of their environment. This is detected in facilitation through
the tactile sense of objects, which helps us to paint a picture of the other person’s experience. At
certain moments of progression during facilitation, you will notice a tightening of tension in the
other person’s body as the rate of frequency increases. In order to stimulate flow, it is necessary
that we learn to challenge this resistance in our participant’s behaviour as much as possible, but
without allowing them to actually fail or lose control. This is a concept which relates to an educa-
tional model known as the Zone of Proximal Development (ZPD). ZPD can be thought of as the
distance between what a person is able to do now, and what they could, potentially, be able to
do next.

69
Generally, when we plot this theory into a graph of its expected developments over time, we end
up with a relationship that resembles the expected outcomes of linear scaffolding.

However, when applied in the context of uninterrupted constant engagement of peak perfor-
mance activity, as is the case with the primary composition, the stimulation of a flow state be-
comes inevitable and the outcomes of the learning curve begin to resemble that of the following
instead.

As facilitators our goal and responsibility is to be able to manage and regulate the precise level
of every challenge, so that it fits within the highest limits of a person’s ZPD. Too much challenge,
and a student will experience failure, which leads to higher levels of anxiety and the production
of stress hormones such as adrenalin inside of the brain. Alternatively, as students struggle to
manage their activity, but are not actually permitted to fail due to the adaptations of facilitation
techniques, they are also constantly being met with a positive sense of their own achievement.
This causes the brain to release dopamine, which in combination with adrenalin, produces

70
the necessary precursors for any experience of flow. The longer we maintain these conditions
without interruption, and the higher their level of challenge becomes, the more likely it is that a
person will experience flow, and thus global activation as well.

SOLO SOCIAL ACTIVITY

The primary composition begins with two sections of forward arrangement activity, which both
involve the exchanging of objects back-and-forth between us and a participant. This gives us
the ability to communicate physically with other people, and to influence the emotional stress
levels of their experience during each facilitation. However, when transitioning from forward to
horizontal arrangements, we lose this form of connection, and must begin to rely on alternative
methods of communication instead.

One of the ways to do this is to structure a system of play that we refer to as solo social activity,
which is intended to transition the tactile communication styles of forward arrangements, into
the socially driven ones of horizontal. To begin this, we position the Juggle Board horizontally,
so that participants can experience the sensation of rolling a ball back-and-forth, to-and-from,
themselves.

As students initiate this relationship with their object, we want to try to imitate the frequency of
their behaviour from our side of the table as well. In doing so, we consciously and subconscious-
ly encourage them to want to copy us, and this is where our new style of communication with
them begins.

71
Initially, it is common for participants to want to be looking down at their hands rather than up at
us, so before we are able to influence their behaviour socially, we will need to gain some level
of eye contact from them first. We trigger this response by applying an opening sequence of
behaviours which are intentionally designed to encourage more social interaction, establish the
principles of play, and develop consistent eye contact with each of our participants.

Since the focus of most people’s attention is downward, during the start of this activity we must
begin by entering their personal field of vision. We do this by placing our hands in line with their
ball, but on opposite sides of its interaction, so that while one side manages the ball, the other
side manages an interaction with us instead.

1 2

72
The idea is for participants to want to make contact with our bodies in between the sequencing
of their interactions with the ball. This does not always happen immediately, and there are some
people who will require additional encouragement before they are willing to respond. Once
accepted, however, a student’s brain will continue to want to harmonise the sensory influences
of its environment, which now also includes us.

From this level of engagement, we can begin to move our hands away from the participant’s
field of vision, and up towards our face, as a way to gain eye contact with them. Eye contact is
the solution to our communication strategy and once we achieve its outcome we can begin to
influence each other’s behaviour socially.

The idea of the activity is to encourage participants to want to explore more sequencing relation-
ships with their environment, and for them to develop more social and emotional connections
with us in the process. Facilitators should begin by making small and obvious suggestions of
their behaviour first, such as the touching of different parts of our bodies and faces.

73
From here, larger and more complex sequencing motions can be communicated and applied in
an infinite amount of ways. Basically, any form of action we want our students to perform, can
now be communicated simply by doing it ourselves. This leads to a very creative and playful
process of learning, in which participants are encouraged to make their own suggestions as well.

Another area of this activity includes the integration of functional objects, which increases the
sequencing potential of our interactions and encourages more complex relationships to be ex-
plored. Any object which can be passed back-and-forth, between the hands of our participant,
is considered a suitable item for this portion of the activity. Our preference is to start with a jug-
gling ring, or some other object of similar size and shape, as it represents numerous forms of
symmetry and is quite easy for our bodies to interact with.

74
Ultimately, the purpose of this activity is to develop independent sequencing capacity, while
simultaneously encouraging social play. This form of facilitation is particularly helpful when
working with nonverbal participants, as its communication strategies are easily transferable into
other situations as well.

Although seemingly simple in structure, solo social activity should never be underestimated for
its potential to animate and diversify the movements of another person’s body.

SUPPORTING INDEPENDENCE

The ability to experience juggling independently is the ultimate goal of every facilitation, and
the culminating challenge of our primary composition. By the time students reach this level of
their facilitation, they have already been prepared for all of the sequencing challenges which
are about to come next. In fact, the sequencing relationships of horizontal activity are far less
complex, and easier to manage, than those of forward arrangements. The difference in this sit-
uation, however, is that participants are now required to manage all of the influences of sensory
information on their own. This has a tendency to lead to large levels of stress and hyperactivity
for many participants, because the tactile inaccuracies of their own behaviours can now begin
to influence them back.

75
The best way to support this period of adjustment is to encourage students to stay calm and take
their time in learning to process each step of the way. Additional influences, such as gesture and
sound, are also helpful in communicating the initial behaviours of new sequences. However, it
is important to understand that all of the sensory information which a student now needs to con-
tinue their process of learning is completely included within the experience of the activity itself.
Importantly, what this means is that once a participant demonstrates the ability to sequence their
activity independently (even if done so poorly), then the job of the facilitator is over. The only
thing which is left to focus on now is our ongoing emotional support of their personal learning
process. Generally, this comes in the form of verbal encouragement and positive reinforcement
of their effort.

In some extreme situations, when participants exhibit particularly high levels of anxiety, it is a
good idea to engage them in one of the following activities:

STATIC INTERACTIONS

One of the first strategies for reducing anxiety and improving our student’s relationship
with the frequencies of their environment is to allow each ball to come to a complete stop
prior to attempting to sequence it again. This causes the frequency of its interactions to
slow down, and removes our responsibility for having to harmonise with the sensory feed-
back information of its motion.

FORWARD INCLINES

Another way to encourage this type of behaviour is to play with the Juggle Board on an
inclined plane. This is a helpful way for facilitators to practice and develop their own pro-
ficiencies with the primary composition as well.

76
Playing with the Juggle Board on an inclined plane allows us to influence the frequencies
of its interactions based on the degree of its elevation. Smaller inclines result in softer
and lower rates of interactions, whereas steeper inclines require more force and produce
higher levels of stress.

ABSENCE OF VISION

One of the biggest challenges in learning to accept our relationship with juggling is being
able to communicate with it well. A great activity for developing this capacity is to have
them perform the same exercises, but with their eyes closed. This encourages more sen-
sory processing of tactile information, and forces participants to want to slow down their
behaviour. In a lot of ways, this exercise can be thought of as its own form of meditation,
and we encourage all facilitators to explore its experiences as well.

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CHAPTER 19

FUNCTIONAL TRANSFORMATIONS

We have now reached the culminating point of our applicable theories about Functional Juggling.
The goal of this journey has led us to a place where juggling can no longer be determined by the
outcomes of its expressions alone. The formula we use to construct our experience of juggling
can be described as it was in the third chapter: a managed anti-entropic sequence of orbital
events, harmonised by space and time. This is the equation that we use to make the experience
of juggling accessible for everyone. It establishes a limited order to the nature and structure of
the relationships that we are able to form in partnership with the frequencies of our own reality.
It should be said, in truth, that this definition of juggling is not exclusive to the creation of its
activity alone, and that it also applies more broadly to many other forms of experiences such as
music and dance, for example. In fact, juggling appears to be part of an ancient group of univer-
sal activities which have all withstood the test of time and rely on the same formulas of interaction
to produce their unique states of mind.

It goes even deeper than this, however, because the formulas used to produce such experiences
are nothing more than a personalised projection of the universe itself. Essentially, we are the
dust of stars, and within this dust hides the secret mathematics which govern the creation of
everything, including ourselves. It goes to reason, therefore, that it would be a natural tendency
of conscious matter to want to express and experience itself in relation to the formulas of its own
creation.

Certainly, these ideas about juggling are starting to sound a little strange, and some of you might
be thinking, at what chapter did we take a turn into crazy town? The good news is that in order to
apply the outcomes and benefits of these theories, one does not need to understand or relate to
the technical origins of their solutions. The formulas required to produce juggling have already
been described and modelled for us, here, by the theory of process formations and our concept
of spatial sequencing maps. All that is left to do now is examine the where, how, and why to
integrate functionality into our existing frameworks of juggling.

SOLO SOCIAL TRANSFORMATIONS

We introduced the activity of solo social transformations in the previous chapter about sensory
facilitation techniques. One of the greatest benefits of this activity is that it has an ability to be
adapted and modified seamlessly without interruption or the need for verbal communication.
This makes it a highly effective tool for generating time on task and repetition with whatever mo-
tor control movement or social behaviour we want our participants to practice.

By replacing the second object of this activity with something of functional value, such as a hair
brush or sun glasses, for example, we transform the outcomes of its benefit into something much
more than juggling itself.

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Aside from its repetitious value, solo social activity allows us to engage participants in playful
explorations of diverse sequencing movements, with a wide variety of objects.

In terms of pure clinical benefits, the outcomes of this activity produce the potential for up to 60
repetitions per minute (assuming a participant is not overly limited by other barriers). This may
not seem like a lot, but it definitely adds up over time; often exceeding 600 repetitions per every
ten minute facilitation while simultaneously developing bilateral sequencing capacities, stimulat-
ing global activation, and enhancing social and emotional communication skills.

Without wanting to shame any other industries or boast too much about the effectiveness of this
approach, it is very important that we recognise the unparalleled benefits and impacts that this
type of engagement has to offer. Solo social activity is one of the most effective means of activat-
ing another person's body, through the use of juggling, and if there is only one activity that you
remember from this book, we strongly hope that it will be this one.

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NOTATIONAL TRANSFORMATIONS

Notational transformations are the application of spatial sequencing maps, such as the one used
to construct our environment of the Juggle Board. Sequencing maps create the structure of our
interactions with space and time, and notational transformations apply the relationships of the
theory of process formations to them. This can be thought of in the same way as transitioning
from juggling balls, to rings, to clubs.

Spatial sequencing maps and the theory of process formations simply extends the spectrum of
juggling, so that there are now more ways for different types of people to begin to access its
experiences. Just like with solo social activity, the only requirement to be able to transform spatial
sequencing maps is an ability to integrate other objects.

Two classical examples of this include the use of cups of water and crayons.

By replacing the action of rolling a ball with that of pouring cups of water or drawing with
crayons, we transform the beneficial outcomes of these activities into completely new fields of
therapeutic application. All of the sequencing materials of propswap notation and the primary
composition are completely transferable regardless of the objects or movements we use to create
them.

This being said, however, there are some forms of sensory interaction with juggling that are
considered to be more naturally pleasing than others. This includes anything with a harmonic
motion value, such as the sensations of swinging, bouncing, spinning, rolling, throwing, or even
balancing.

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It is a common thought to assume that the relationships we form with juggling will have some-
thing to do with gravity, and this is an idea which seems to have shaped a lot of our misunder-
standings about it. Gravity is the curvature of spacetime and as objects travel through it, they
carry and absorb information about its existence. Objects at rest do not reflect as much sensory
information about their spacetime experiences as do objects which remain in motion. Motion
through space equates to energy and energy produces frequency, which is what creates the
harmonics of our relationship to juggling.

Many adaptations of Functional Juggling, such as the examples above, do not require harmoni-
sation of their experiences with space and time. We refer to these types of interactions as being
static, and although they do not represent an authentic relationship to juggling, we are still able
to utilise their experiences as a way to diversify the functionality of many activities.

Static interactions are often incorporated or mixed into other forms of engagement, such as solo
social activity, which includes its own sense of harmonic influence due to the rolling of its ball
back-and-forth through space.

There are literally endless combinations and structures to these forms of functional and social
interactions with juggling, however, ultimately whatever we choose to modify about our experi-
ences, will depend on the intentions of our facilitation.

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INTENTIONAL DESIGN

Understanding that our sensory relationship to juggling can be formed by any means of motion
is a pretty big idea, with a lot of implications. The only problem with realising that juggling can
be made out of anything, is that as we begin to take responsibility for designing its experiences,
we end up in a situation, ironically, of having too many options to start with.

It is absolutely possible to discover new forms of juggling through exploration and play, and we
often do this ourselves; however, as both artists and facilitators, we should be able to design with
more specific intention as well. Designing juggling around the capabilities of each participant’s
needs, as opposed to their limitations, is one of the fastest and most intuitive ways we have for
creating its experiences. This is because for whatever motion a person is able to produce, there
will always be a way to connect that motion to a personalised expression of their relationship to
space and time.

Take, for example, a person who does not have arms, or someone with the ability to grasp and re-
lease but not the capacity to roll or throw. Under such conditions, we would traditionally assume
that such individuals would not be able to access the experience of juggling, however, in doing
so we would be terribly wrong. The only thing required to stimulate juggling is a relationship
of signals between the two cognitive hemispheres of our brain, which can be activated by any
forms of motion from either side of the body. From this perspective a person with no arms could
replace their means of interaction with that of using their legs instead.

And a person who is not able to roll or throw, could still produce their experience of juggling by
any other means of interaction they are able to perform.

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Designing juggling around the personal needs of individual participants makes it a relatively
straightforward process. Basically, it is only a matter of determining what actions a person is able
to produce and then using those actions to create juggling with them.

Another way to go about this process is to consider which specific capacity developments we
want our experiences of juggling to be able to develop first. This is an approach that begins to
highlight the many new directions of cross disciplinary applications which we are now able to
explore through juggling.

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Literally any capacity that requires repetition and time on task to be able to develop, can be inte-
grated into an activity of Functional Juggling.

The true impacts of this statement are hard to rationalise and we expect that it will take many
years before we are fully able to understand all of the potential applications of juggling. In the
meantime, we invite every member of our growing community to participate with us in the ex-
pansion and exploration of these ideas, so that together we can continue to make juggling more
accessible, for everyone.

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CHAPTER 20

THE FUTURE
Understanding the reality that juggling is one of the most beneficial and accessible activities that
anyone could ever try to do is a rather unprecedented notion to accept.

Juggling has been around for a very long time, and during that time it has changed very little.
Historically, juggling has always been viewed through the external lens of its physical factors,
and not by that of its personal relationships to space and time. This has led to a lot of confusion,
debate, and misunderstanding, about what it actually means to juggle.

The contents and theories of this book are intended to challenge every preconception society
has ever held about juggling. In doing so, there is a high probability that we are going to make
some people angry. Being angry does not equate to being right, and we want to assure those of
you who are experiencing such vitriol responses, that Functional Juggling is not here to take any-
thing away from you or anybody else. Much to the contrary of this idea, Functional Juggling only
serves to expand the existing spectrum of juggling as a way to increase its overall accessibility,
and invite more people into its community.

Inevitably, this philosophy about juggling will only cause its industry to grow and reach new
levels of appreciation within society. We sincerely envision a world in which the opportunity to
learn how to juggle is as accessible as learning how to ride a bicycle or swim. In the context of
such a world, we imagine that there will be more jugglers doing and creating more things with
juggling, and we consider this to be a good thing.

As you may be aware, everything created and produced by the Quat Props community of func-
tional jugglers is considered to be open source. This is a decision which directly defies the long-
standing culture of professional juggling, which claims that people who discover ideas should
possess ownership over those ideas, and that if anyone else wants to use them, they must receive
permission first. Obviously, we strongly object to this limited perspective of materialism and have
no problem with offending anyone in the process, as we view such opinions to be antiquated,
misguided, and universally untrue. Anyone who disagrees or would like further explanation as
to why we hold this truth to be so self evident, can refer to Carl Sagan’s famous essay entitled
“A Pale Blue Dot.”

Going forward it is important to understand that we are proposing to change the face and future
of juggling for everyone. We recognise that this dream is not small, and this is precisely why we
never imagined we could accomplish it alone. In order to manifest such realities it is going to
take a lot of sharing and creativity from a lot of thoughtful and inspiring people, and this is where
everyones’ personal responsibility comes into play.

Our expectation in sharing the concepts of Functional Juggling is to inspire people to think more
boldly about their own interpretations of the idea, and to provide a framework by which to begin
to explore. It is not our goal to define the future of juggling for everyone, but rather to invite
everyone to redefine it for themselves.

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CHAPTER 21

GETTING INVOLVED

EQUIPMENT

As made clear by the concepts of Functional Juggling, specialised equipment is not required for
the creation of its activities. The true idea of its practice is to be able to improvise juggling under
any setting or circumstance so that we may better deliver its benefits to a wider range of people.
This being said, there are several commercial options, as well as open source documents, which
are available online to assist you in accessing and/or better understanding the primary tools of
Functional Juggling.

It is important to note that Quat Props has no financial agreements with any of the manufacturers
or distributors of the tools and equipment which we are responsible for imagining. This refusal to
accept financial partnership is what allows us to maintain our independence and to be able to in-
fluence market growth, without the risk of bias due to personal interest. We consider this form of
sharing to very much be a symbiotic relationship, as the ideas which we are creating require the
accessibility of specialised tools and training equipment in order to be practiced and applied.

Currently, there are only two formal distributors of Functional Juggling equipment, which in-
cludes Play Juggle from Italy and Cabeza de Martillo from Chile. We expect more distributors
to join this list in the coming years as the market for these forms of apparatus only continues to
grow, and we maintain our collaborative support for any manufacturer who wishes to enter the
market. This being said, special thanks and recognition is in order for the personal contributions
of Davide Cattaneo of Play Juggle, and Raul Oliva of Cabeza de Martillo.

Davide Cattaneo was the first producer to approach the project with the idea of manufacturing
easily available, high quality, and affordable commercial models of Quat Props primary appara-
tus: the Juggle Board. Davide brought decades of experience, innovation, and professionalism
into the design process of Functional Juggling apparatus, and worked closely with us over a pe-
riod of two years to ensure the highest possible quality of their first commercial model.

Raul Oliva played another significant role in the development and evolution of these ideas,
with his more recent collaborative contribution of the modularly designed generation 2.0 Juggle
Board.

Both of these individuals are responsible for imagining and introducing new forms of interaction
with juggling, and we wish to thank them for their meaningful contributions to our community.

Play Juggle: https://www.playjuggling.com/

Cabeza De Martillo: https://cabezademartillo.cl/

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The world is a very big place and shipping from either of these locations is not always a good op-
tion depending on where you live. In these situations, we recommend that you contact whichever
circus equipment distributor already best services your local area, and encourage them to want
to start to fabricate for themselves. Our community remains open to supporting any such interest
and we seek no financial contribution in exchange, so it is very easy for us to assist anyone who
wants to produce.

For those who are not interested in this option or would prefer the experience of constructing
equipment for themselves, there are many ways to go about this process. The Quat Props website
has several resource documents related to self fabrication of Juggle Board like apparatus, which
can be constructed from a variety of materials. Additional information, such as video tutorials,
can also be found on our YouTube channel, and we highly recommend that everyone investigate
these resources as well.

The exact measurements of self constructed props can, and usually do, vary from one region to
the next as material dimensions are not the same in all parts of the world. For this reason mea-
surements should not be interpreted as literal instructions, but rather as guides. One of the most
popular and accessible means for improvising the environment of a Juggle Board is through the
use of PVC plumbing pipe. These materials are easily available and relatively affordable (espe-
cially if recycled), and require no serious training or technical ability to be able to construct.
Special thanks to Amy Elise Cohen of Circus Culture in Ithaca, New York, for her contribution of
this great idea, which has played a critical role in our ability to share Functional Juggling globally.

COMMUNITY

Over the course of its development Quat Props has formed a large community around the idea
of using juggling as a tool for social change. This collaborative group of diverse thinkers has led
to the creation of what we now refer to as the Quat Props Collective. Members of this community
are positioned around the world and possess the necessary training and knowledge to mentor
the growth of Functional Juggling within their localised regions.

If you are someone interested in developing Functional Juggling further or want to find out how
you can become more involved in its community, then you should start by contacting your near-
est Collective member (www.quatprops.net/collective). All Collective members have received in
depth personalised training and mentorship from either Craig Quat, the inventor of Functional
Juggling, or Lapo Botteri, his first apprentice and leader of the European Collective community.

CLOSING STATEMENT

Throughout the duration of this book I have been speaking on behalf of myself, Craig Quat, and
the global community of leaders which has emerged around the ideas that I am sharing with
you now. In absolute honesty and truth, I do not feel responsible for the creation of these ideas,
although they do technically come from my mind.

The body of work presented here represents a decade of traveling and collaborating with com-
munities of artists, educators, and free thinkers from around the world. There is no way that I
could have ever imagined all of this material on my own, and I wouldn’t have been able to share
it that way either.

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I would love to thank everyone who has participated in this journey with me and humbly dedicate
the accomplishments of this book to all of the inspiring people whom I’ve ever had the honour
to call my friends.

Cheers to everyone and I’ll see you down the road.

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 Circoscopio - 1er Encoentro de Circo Social Inclusivo
Carmelo, Uruguay - Dec. 2019

“Internationally known as an innovator in the theory and practice of inclusive juggling, Craig
Quat grew up attending a social circus after-school program. When, as a teenager, he started
volunteering in the same program, teaching juggling and chess, “I fell in love with the rush of
teaching,” he says. But it wasn’t until... 2010… that he was able to focus his calling. He saw a
video on YouTube called Spark, in which master juggler Michael Karas juggles using an array
of props and devices like a set of PVC pipes rotating around a fixed frame, and, says Quat, “it
changed my life.”

Starting with his own version of Karas’s “pipes,” repurposed for educational use rather than per-
formance, Quat is now a master of adaptive, or functional juggling, using creatively designed
frames and other props to make juggling accessible to anyone willing to give it a go. He firmly
rejects the notion that juggling is a skill reserved for an exclusive set of performers… Rather than
an activity defined by the tossing of objects into the air, Quat would prefer the world see juggling
as, in his words, “a managed anti-entropic sequence of orbital events harmonized by
space and time.”

Bayne M., December 11, 2018

CIRCUS TALK

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