Josh Waitzkin

That's a word I don't, like shame. It's not shame. It's like when it becomes just like a breath pattern, like we lose, we put ourselves on the line, we lose. We go at it. We study it. We study how. We study about what.

That's a word I don't, like shame. It's not shame. It's like when it becomes just like a breath pattern, like we lose, we put ourselves on the line, we lose. We go at it. We study it. We study how. We study about what.

The other thing that's incredible to me is that when you study your losses, when you go up against what you're calling, like that's a beautiful image, like the shadow of the lighthouse, right? Yeah. The interconnectedness of the technical, the psychological, and the thematic is so powerful in the learning process.

The other thing that's incredible to me is that when you study your losses, when you go up against what you're calling, like that's a beautiful image, like the shadow of the lighthouse, right? Yeah. The interconnectedness of the technical, the psychological, and the thematic is so powerful in the learning process.

The other thing that's incredible to me is that when you study your losses, when you go up against what you're calling, like that's a beautiful image, like the shadow of the lighthouse, right? Yeah. The interconnectedness of the technical, the psychological, and the thematic is so powerful in the learning process.

Almost every technical mistake that we make in an art, if we're pushing ourselves to our limits, if we're like, if you and I are like around the same level and we're competing in something where we're about in anything, like any technical mistake I made will have a psychological dimension because I most likely, my technical weakness was

Almost every technical mistake that we make in an art, if we're pushing ourselves to our limits, if we're like, if you and I are like around the same level and we're competing in something where we're about in anything, like any technical mistake I made will have a psychological dimension because I most likely, my technical weakness was

Almost every technical mistake that we make in an art, if we're pushing ourselves to our limits, if we're like, if you and I are like around the same level and we're competing in something where we're about in anything, like any technical mistake I made will have a psychological dimension because I most likely, my technical weakness was

emerged because I was so psychologically pressured that I wasn't able to solve the technical position, right? Or if I make a psychological error, it's often because I was a little technically out of my water. And so it put extra pressure on my psyche that then you were able to exploit, right? And every technical... Mistake is local, right? But there's themes.

emerged because I was so psychologically pressured that I wasn't able to solve the technical position, right? Or if I make a psychological error, it's often because I was a little technically out of my water. And so it put extra pressure on my psyche that then you were able to exploit, right? And every technical... Mistake is local, right? But there's themes.

emerged because I was so psychologically pressured that I wasn't able to solve the technical position, right? Or if I make a psychological error, it's often because I was a little technically out of my water. And so it put extra pressure on my psyche that then you were able to exploit, right? And every technical... Mistake is local, right? But there's themes.

There's like a theme that houses hundreds of those technical manifestations. So if we are always thinking about the technical, the thematic, the psychological, and we have what I call a six-dimensional introspective process, right? And we're looking at all of these, the interconnectedness of those different parts of the human experience of an art or anything else.

There's like a theme that houses hundreds of those technical manifestations. So if we are always thinking about the technical, the thematic, the psychological, and we have what I call a six-dimensional introspective process, right? And we're looking at all of these, the interconnectedness of those different parts of the human experience of an art or anything else.

There's like a theme that houses hundreds of those technical manifestations. So if we are always thinking about the technical, the thematic, the psychological, and we have what I call a six-dimensional introspective process, right? And we're looking at all of these, the interconnectedness of those different parts of the human experience of an art or anything else.

then the growth curve is incredibly explosive because we recognize – we make a technical mistake and we learn the theme. We take on the theme that houses that one but also houses dozens of others. And so as we turn that theme into a strength, into a power zone, then that technical mistake goes away but as do the other manifestations of that theme.

then the growth curve is incredibly explosive because we recognize – we make a technical mistake and we learn the theme. We take on the theme that houses that one but also houses dozens of others. And so as we turn that theme into a strength, into a power zone, then that technical mistake goes away but as do the other manifestations of that theme.

then the growth curve is incredibly explosive because we recognize – we make a technical mistake and we learn the theme. We take on the theme that houses that one but also houses dozens of others. And so as we turn that theme into a strength, into a power zone, then that technical mistake goes away but as do the other manifestations of that theme.

And if we're also studying the psychological weakness that allowed that technical weakness to manifest, to like unearth itself, then that psychological dimension becomes something that we take on. And then we're studying thematic interconnectedness as a way of life. Because then that lesson we learned through that chest, like I made a subtle chest mistake, but that connects to my love life.

And if we're also studying the psychological weakness that allowed that technical weakness to manifest, to like unearth itself, then that psychological dimension becomes something that we take on. And then we're studying thematic interconnectedness as a way of life. Because then that lesson we learned through that chest, like I made a subtle chest mistake, but that connects to my love life.

And if we're also studying the psychological weakness that allowed that technical weakness to manifest, to like unearth itself, then that psychological dimension becomes something that we take on. And then we're studying thematic interconnectedness as a way of life. Because then that lesson we learned through that chest, like I made a subtle chest mistake, but that connects to my love life.