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RhythmArts
RoyWilliams
R.W.~1
R.W.~2
R.W.~3
R.W.~4
R.W.~5
R.W.~6
Gallerys
R.W.~7
R.W.~8
R.W.~9
R.W.~10
R.W.~11 Mary
Williams
M.Mary~1
M.Mary~2
M.Mary~3
M.Mary~4
M.Mary~5
Bruce
Lee Convention
Videos
& DVDs
Ins.1~Balance
Ins.2~Timing
Ins.3~Rhythm
Ins.4~Tempo LissajousDoRyu:
Lisso~Seminars
RoyChux
WeaponsComp
HaloAuraArts Weapons:
2-SOctChux
2-SRoundChux
RhythmArts
RoyWilliams
R.W.~1
R.W.~2
R.W.~3
R.W.~4
R.W.~5
R.W.~6
Gallerys
R.W.~7
R.W.~8
R.W.~9
R.W.~10
R.W.~11 Mary
Williams
M.Mary~1
M.Mary~2
M.Mary~3
M.Mary~4
M.Mary~5
Bruce
Lee Convention
Videos
& DVDs
Ins.1~Balance
Ins.2~Timing
Ins.3~Rhythm
Ins.4~Tempo LissajousDoRyu:
Lisso~Seminars
RoyChux
WeaponsComp
HaloAuraArts Weapons:
2-SOctChux
2-SRoundChux |
The
Academy of Roivarius Arts
&
Sciences of Kinetics, est;
1972:  
Temporado~Lissajous~Rojous Ryu.
The
study of penchaku motion by Roy Williams.
By
observing the indicative possibilities of the penchaku as an object.
The penchaku's
imperative properties of weight, mass & balance index were revealed,
they
are the three accentual Golden Rules of "parallel gravity".
His
study of tempo~ratio~patterns,
slightly different "rotating
elliptical bands"
or
frequencies evolution's, are observed.
The tempo of the ratio is artfully exercised
and appropriately named, The Arts of Temporado & Lissajoudo.
A demonstration
of these rotations can be perfromed with a
mechanically
suspended pendulum device, a (penchaku).
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Lissaroy's
Rings
The
"Rojous Rings ~ Roys Rings"
One’s task is to implicate the mechanical motion of the instrument, the object
is to obtain
Synchronicity,
a (tempo~ratio / time~phase
/ duo~balance) simultaneity.
The balance of time & space and mind & body, become an instrument,
evolving as a
"harmonic wave of flowing
symmetry".
The curves produced, depend on
the frequency of the ratios,
enabling patterns to be compared with each other.
Rojou: & Lissajous
patterns are also traced by a point which executes
two independent harmonic
motions that are in perpendicular directions to each other, the frequencies of
the mobius~motion being the ratio of two small integers, (1/1,
1/2, 1/3, 2/3).
This ratio-lissajous frequency
or phase measurement represents the signature pattern the
(Rojous Bands ~
harmonic ratios).
They can now be demonstrated
as patterns of mobius~motion.
The ratios can be traced out, with the "photon~penchaku".
The Rojous bands are
mathematically the same ratios that appeared when
"Jules
A. Lissajous" traced the light reflected from
vibrating tuning forks
set~at right angles to each other, his "singing
flames" of the "Lissajous-figures".
Master Williams named his system, Lissajous Do Ryu
after J.A. Lissajous.
It is performed with ratio patterns as phase~centric~rings.
The art of Lissajous Do Ryu evolved from Master
Williams art of "Temporado"
"tempo~ratio~art"~
as it is performed by conducting the penchaku-(pendulous balanced nunchaku), along
with the positioned angular attitude of the "eaulers’angles". |
Roy Williams
Initiated the first Weapons Competition
in the S.E. / USA ~ 1973.
The first S.E. & Atlanta ~ Weapons Champion ~
1973.
The first Battle
of Atlanta ~ Weapons Champion ~ 1974.
The
first P.K.A.
~ Weapons World Champion 1974 ~ 1975.
The first P.K.A.
~ World Broadcast
Perfomance ~ Ted Turner TNN
1977.
Jules
A. LISSAJOUS
Born: 4 March 1822 in Versailles,
France
Died: 24 June 1880 in Plombières, FranceJules
Lissajous entered the École Normale Supérieure in 1841.
Afterwards
he became professor of mathematics at the Lycée Saint-Louis.
In 1850
he was awarded a doctorate for a thesis on vibrating bars using
Chladni's
sand pattern method to determine nodal positions.
Lissajous
was awarded the Lacaze Prizein
1873 for his work on the optical observation of vibration.
In 1874 Lissajous
became rector of the Academy at Chambéry,
then in 1875 he was appointed
rector of the Academy at Besançon.
Lissajous was interested in waves
and developed an optical method for
studying vibrations. At first he studied
waves produced by a tuning fork in
contact with water. In 1855 he described
a way of studying acoustic
vibrations by reflecting a light beam from a mirror
attached to a vibrating
object onto a screen. He obtained Lissajous figures
by successively reflecting
light from mirrors on two tuning forks vibrating
at right angles. The curves are only seen because of persistence of vision in
the human eye. Lissajous studied beats seen when his tuning forks had slightly
different frequencies. |
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