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Popular, Psychology
Watson's Theory of Behaviourism
January 5, 2021 By Bianka 0 comments
J.B. Watson was an American psychologist best known for coding and popularizing a school of psychology called Behaviourism. Unlike the "original" freudian psychology which explored the unconscious, emotional and other intangible concepts, Watson proposed that psychology should study observable behaviours measurable through scientific method. He is best known for demonstrating this through the Little Albert experiment and the "dozen healthy infants quote". His compelling theory however fell short of success in practice as Watson himself experienced . While Watson's practice and legacy have been hotly debated for decades now, he remains among the most influential psychologists of the 20th century. Read on to see why!
Wow, what a great video. So much detail! I've been trying to study psychology but haven't found many good sources…until now! Thanks for posting, your channel is great! 🙂
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John B Watson famously claimed that if he were to be given a dozen healthy infants, he could shape them into anything; doctors, lawyers, artists, beggars, or thieves, regardless of their background or genetic predispositions. First, he completed experiments with 8-month old Albert and later, he applied his theory when raising his own children. In essence, he applied the scientific method to human psychology which he called behaviorism.
The Little Albert Experiment
With the 'Little Albert' Experiment, Watson used the method of classical conditioning to program a baby to be afraid of a lab rat. Earlier, Pavlov demonstrated how conditioning can trigger biological responses that are inherited genetically. Watson hypothesized that we can also instill new behaviors that were not inherited.
To conduct the experiment, Watson and his assistant Rosalie Rayner, placed the boy in a room where a white rat was allowed to roam around. First, the boy showed no fear. Then, Rayner struck a steel bar with a hammer, every time Albert reached out to touch the rat, scaring Albert and causing him to cry. Eventually, Albert tried to get away from the rat, illustrating that he had been conditioned to fear the rat. Weeks later, Albert showed distress towards any furry object, showing that his conditioning had not only been sustained but also generalized.
Watson assumed that our behavior is either a reflex evoked by a stimulus, or a consequence of our individual history of earlier exposure to reinforcements and punishments paired with our current motivational states and stimuli.
Watson vs. Freud
Unlike Freud and Jung, he was not interested in thoughts or the mind, because, in his opinion, the analysis of actions and reactions was the only way to apply the scientific method to psychology and get objective insight into human behavior. He thought of psychology as an objective branch of natural science: "Its goal, the prediction, and control of behavior." Like his fellow behaviorists, he believed that intelligence, temperament, and personality are determined by the environment in which the child is raised.
The Psychological Care of Infant and Child
Watson published "The Psychological Care of Infant and Child". In his book, he advised parents not to touch their children too often and keep an emotional distance so as not to spoil them. Playing with children, he warned, would interrupt their routines. A happy child doesn't cry or seek attention.
His book became a bestseller and soon other scientists of his time advised against showing affection. Some western governments started to hand out leaflets advising that parents should stop kissing their children. Parents developed the idea that children should be left to sit quietly during the day. At night they should be left crying alone until they fall asleep, a method called "sleep training".
Watson's life and family
Watson, who had a difficult childhood, wanted to be a good father and applied his methods to his four children, John, Mary, James, and William. Unfortunately, things didn't turn out as planned. John complained throughout his entire life about intolerable headaches and died early in his 50s. Mary developed a drinking problem and attempted suicide, like her brother James. William took his own life at age 40.
Watson allegedly admitted that he regretted writing about child-rearing as he realized he didn't know enough about it to do so. Towards the end of his life, he became reclusive and prior to his death in 1958, he burned all of his recent papers.
John Broadus Watson -Wikipedia biography
Behaviorism – overview on Wikipedia
The Little Albert experiment – detailed overview on YouTube
John B. Watson's advice on child rearing: Some historical context – overview from the Behavioral Development Bulletin
The long dark night of behaviorism– find out what happened to Watson's descendants at Robot think
Training for sleep training– The sad history of sleep training by Paper Pinecone
Dig Deeper!
Sapolsky's theory of behavioural biology – by Sprouts
Operant conditioning- by Sprouts
Classroom exercise
Watson was convinced that the kind of nurturing we receive can determine our life path, claiming that he could turn an infant into any man he wishes. In his own family though, depression and bad habits were passed on from generation to generation.
Does this happen due to genetic predispositions or is it the effect of a child's unfortunate upbringing? Can one really understand a person when just observing their behaviour? Discuss with your students and share your favoutirte answers with us!
To fuel your discussion, go through our video on Sapolsky's theory of behavioral biology. For more practical examples that you can try yourself, check out how Behaviourism developed into Operant Conditioning.
behaviorismconditioninglittle albertparentingwatson
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The TAPA Trade Series is Taking Off!
Win 1 of 2 Full Passes to the OCFF Conference and Gala Dinner!
2012 TAPA Fundraising Raffle Winners Announced!
Buy Time on Our LCD Screens And Promote your 2012/2013 Season!
Announcing a New Partnership with TheatreBooks!
Our ongoing professional development series continues via the TAPA Trade Series. Last month we began with the annual First Aid Workshop (sold-out) and we continue this month with no less than three (3!) workshops. Be sure to read Alexis' section in the Communique this month for full details.
There are numerous conferences coming up and TAPA is pleased to be a partner in the 25th Annual CAPACOA conference "The Culture of Place", January 23 – 26, 2013 here in Toronto. CAPACOA expects to see over 250 presenting organizations, artistic companies, artist managers and agents from across Canada and the United States convene for national face-to-face business, networking and professional development opportunities. It is a destination for leaders from the sector – both established and emerging. CAPACOA will announce its 2013 conference programming in the fall with information regarding panels, keynote speakers and performances. TAPA member companies will have an opportunity to register for showcase performances specifically for CAPACOA. More information about registration to follow soon.. TAPA is also providing box office services for the CAPACOA conference and working to secure show listings from the TAPA membership. If you are interested in providing tickets to your show for CAPACOA delegates please contact Scott for more information.
Another conference that TAPA is pleased to promote is the OCFF Conference. We are pleased to offer a pair of passes from a generous donation by TICKETPRO. Would you like to attend the 26th Annual OCFF Conference and Gala Dinner? Would you like to attend for free?
If yes answer the following question and email your answer to Alexis by 12:00noon on Wednesday October 10, 2012.
What was the name of the conference that TAPA hosted In April 2012?
The first two correct answers will receive the conference passes.
Want to learn more about TAPA's programs and services? Are you a new TAPA Member? Are you a new employee of a TAPA Member company? Come to a October Members Meeting.
RSVP to Alexis at least 2 days prior to the meeting you wish to attend.
TAPA Board Member Jim Roe witnessed the draw which was conducted at the TAPA offices on Tuesday September 4, 2012.
The beginning of the 2012/2013 season is here and we have plenty of local theatre, dance and opera lovers, tourists and families visiting the T.O.TIX Booth looking for something to see. Now is the time to advertise your show at Yonge Dundas Square on the T.O.TIX LCD Screens and get noticed.
Rates for as low as $100.00 per week! Please contact Bill van Heerden, Sales Manager at T.O.TIX, at billvh@tapa.ca to book your screens now.
Location: All orientation sessions will take place at the TAPA offices located at 215 Spadina Ave, Suite 210 (Press 2R on the elevator). Please RSVP to Alexis Da Silva-Powell, Corporate Partnerships and Membership Manager at alexisdsp@tapa.ca.
Register all of your shows for the coming season as soon as you can! Remember that Dora registration forms must be submitted 21 days (3 weeks) before your show opens. After this final Orientation Session (on Wednesday October 17 1:00pm to 2:30pm), the 21 day deadline will be strictly enforced with no exceptions.
hipTIX is pleased to announce a new partnership with TheatreBooks. As you know, during my frequent in-school outreach visits, students are encouraged to sign up for the bi-weekly hipTIX newsletter. Beginning this month, one lucky draw winner pulled from the previous month's sign-ups will win a pair of Canadian plays, generously provided by TheatreBooks. In addition, the draw winner will receive a pair of complimentary tickets to one of either Tarragon Theatre, Theatre Passe Muraille or Factory Theatre's shows on a rotating monthly basis. Monthly winners will be announced via the communique as well as the hipTIX newsletter, Facebook and Twitter feeds. Keep an eye out for September's winner soon!
The TAPA Advocacy Committee has been working hard to prepare for Arts Day at the City on Tuesday November 13, 2012. Throughout the day, arts leaders and advocates will be meeting with city councilors to relay this year's arts message As part of Arts Day at the City we will be presenting the TAPA Stats Report Phase 3 in the Council Chambers at City Hall at 10:30am.
We hope to see you all at the presentation; in the meantime, if you would like to meet with a City Councilor, please contact Jacoba.
What is The Theatre Centre?
The Theatre Centre is an arts incubator located in the Toronto's West Queen West neighbourhood.
Our programming challenges the definitions of theatrical performance by embracing music, dance, visual art and new media. We work to emphasize artistic process over product, to nurture artistic agitators, invest in ideas and to champion new work and new ways of working. It is important for us to foster a culture of innovation by embracing risk and questioning traditional notions of failure and success.
This fall we will present Boblo (November 22-December 2), a theatre piece inspired by memories of an amusement park of the same name in the middle of the Detroit River. Created by Erin Brandenburg and Andrew Penner, Boblo has been developed in Residency at The Theatre Centre since 2010. Co-produced by The Theatre Centre and Kitchenband Productions, this ghost story in a rock concert setting will be a treat. We have been able to watch Boblo develop from an idea to a production – it is a brilliant example of what we do, and what we value most.
This fall we begin renovations on a new permanent home inside the historic Carnegie Library building at 1115 Queen St. West. Just steps from the Great Hall, the space that housed The Theatre Centre for the past decade, and the temporary Pop-Up space we are in now, this neighbourhood landmark will be transformed into a community and live arts hub.
This project will be truly transformative for the company, the local neighbourhood, and the artistic community that thrives here. Led by current General & Artistic Director Franco Boni, our board and staff have worked tirelessly to be able to make this dream a reality. After 33 years of a nomadic existence, we are thrilled to finally have a permanent home. It has been a years-long journey that tells a compelling story about the kind of city that Toronto aspires to be: innovative, diverse, collaborative and inclusive.
We kick-off the renovation with a Groundbreaking Ceremony on October 11, 2012 at 11am – please join us to celebrate this wonderful occasion on the steps of the Carnegie Library building at 1115 Queen West.


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Various implementations described herein are directed to providing standard cell architecture layout design. A request to activate a grid is received. A request to place at least one edge of a shape at a particular location on the grid is received from an input device. The at least one edge of the shape is automatically placed in an allowed location based on pre-defined rules.
1. A method for providing standard cell architecture layout design, the method comprising: receiving a request to activate a grid; receiving, from an input device, a request to place at least one edge of a shape at a location on the grid; and automatically placing the at least one edge of the shape in a pre-defined area of the grid when the location of the request is within a threshold position of the pre-defined area.
2. The method of claim 1, further comprising receiving a user selection of the shape before activating the grid.
3. The method of claim 2, further comprising: copying the shape; and placing the copied shape on the grid.
4. The method of claim 3, wherein edges of the shape are placed in pre-defined positions within the pre-defined area.
5. The method of claim 2, further comprising moving the shape from a first location to the pre-defined area.
6. The method of claim 5, wherein moving the shape from the first location to the pre-defined area comprises placing edges of the shape in pre-defined positions within the pre-defined area.
7. The method of claim 1, wherein pre-defined rules for automatically placing the at least one edge of the shape in a pre-defined area of the grid are based on a standard cell architecture.
8. The method of claim 7, wherein the pre-defined rules include pre-defined grid coordinates.
9. The method of claim 8, further comprising applying coordinates defined in the pre-defined grid coordinates to each shape.
10. The method of claim 7, wherein the grid allows for stretching each edge of the shape to a plurality of allowed positions.
11. The method of claim 1, wherein the shape is a new shape that is created and placed on the grid.
12. The method of claim 11, further comprising selecting a layer of the grid when the new shape is created.
13. The method of claim 12, further comprising placing edges of the new shape in pre-defined positions within the pre-defined area.
14. The method of claim 1, further comprising displaying only one or more allowed positions for the shape.
15. The method of claim 1, wherein the pre-defined area is based on pre-defined rules described in an architecture file.
16. The method of claim 15, wherein grid values are included in the architecture file.
17. The method of claim 16, wherein the grid values include centering attributes for different layers of the grid.
18. The method of claim 16, wherein the grid values include edge attributes for the shape.
19. A non-transitory computer-readable medium having stored thereon a plurality of computer-executable instructions which, when executed by a computer, cause the computer to: receive a request to activate a grid; receive, from an input device, a request to place at least one edge of a shape at a location on the grid; and automatically place the at least one edge of the shape in a pre-defined area of the grid when the location of the request is within a threshold position of the pre-defined area.
20. A device, comprising: a computer system having a processor and a memory having stored thereon a plurality of executable instructions which, when executed by the processor, cause the processor to: receive a request to activate a grid; receive, from an input device, a request to place at least one edge of a shape at a location on the grid; and automatically place the at least one edge of the shape in a pre-defined area of the grid when the location of the request is within a threshold position of the pre-defined area.
 As technology has advanced, tools have been created to automatically generate integrated circuit layouts based on a pattern for simple standard cells. Usually, a first set of cells is done by hand. The process for creating this first set of cells can be time consuming. Even after the first set of cells is created, the need for a manual layout may continue to be present throughout the development of a project. A manual layout may also be needed even later for very specific cells.
 Prior art tools also allow for placement of shapes on layers, however, these tools cannot be used on all shapes, are based only on a regular pitch grid (nanometer grid position), do not work with discrete values, and are based only on foundry rules. Further, prior art tools that are based on nanometer grid positions allow the designer to move items to improper positions, which will produce errors that will not be found until other design checks are applied.
 Implementations of various techniques are described herein with reference to the accompanying drawings. It should be understood, however, that the accompanying drawings illustrate only the various implementations described herein and are not meant to limit the scope of various techniques described herein.
 FIG. 1 illustrates a virtual grid for a via in accordance with various implementations described herein.
 FIG. 2 illustrates moving a shape from one rail to another on a horizontal metal (M1) layer in accordance with various implementations described herein.
 FIG. 3 illustrates moving a shape from one position to another on a horizontal layer in accordance with various implementations described herein.
 FIG. 4 illustrates stretching a shape from one position to another in accordance with various implementations described herein.
 FIG. 5 illustrates stretching a shape from one position to another in accordance with various implementations described herein.
 FIG. 6 illustrates stretching a shape from one position to another in accordance with various implementations described herein.
 FIG. 7 illustrates a grid for a horizontal metal (M1) layer in accordance with various implementations described herein.
 FIG. 8 illustrates a grid for a is layer in accordance with various implementations described herein.
 FIG. 9 illustrates a grid for a horizontal metal (M1) and via layer in accordance with various implementations described herein.
 FIG. 10 illustrates a via copy and paste operation in accordance with various implementations described herein.
 FIG. 11 illustrates a via copy and paste operation in accordance with various implementations described herein.
 FIG. 12 illustrates a via copy and paste operation in accordance with various implementations described herein.
 FIG. 13 illustrates a metal copy and paste operation in accordance with various implementations described herein.
 FIG. 14 illustrates a metal copy and paste operation in accordance with various implementations described herein.
 FIG. 15 illustrates a metal copy and paste operation in accordance with various implementations described herein.
 FIG. 16 illustrates a metal copy and paste operation in accordance with various implementations described herein.
 FIG. 17 illustrates a metal stretch operation in accordance with various implementations described herein.
 FIG. 18 illustrates a metal stretch operation in accordance with various implementations described herein.
 FIG. 19 illustrates a metal stretch operation in accordance with various implementations described herein.
 FIG. 20 illustrates a method for providing standard cell architecture layout design in accordance with various implementations described herein.
 FIG. 21 illustrates a method for providing standard cell architecture layout design in accordance with various implementations described herein.
 FIG. 22 illustrates example pre-defined coordinates for layers in a standard cell architecture.
 FIG. 23 illustrates computer system for providing standard cell architecture layout design in accordance with various implementations described herein.
 The present disclosure provides a tool that optimizes and accelerates manual layout development. On new nodes, standard cell architectures are defined. The standard cell architectures include grid base layouts. The grid based layouts are mainly composed of rectangular shapes and define a very limited number of possible positions for the shapes. Rules are created in the layout development tool that propose architecture positions instead of a nanometer grid position. This layout development tool could be integrated with a computer-aided design (CAD) tool and the rules could be adjustable on the fly.
 The present tool provides the ability to create, copy, move, or stretch a shape from one allowed position to another, removing all of the intermediate positions so that there is no need to measure each time to verify whether foundry design rules or architecture rules are satisfied. Thus, instead of creating/copying/moving/stretching a shape based on a nanometer grid (with possibly hundreds of different positions), there is instead a low number of clear positions for each layer.
 The grid values include centering attributes for different layers, e.g., via, pin, Y value of horizontal metal. The grid values also include edge attributes for the various shapes, e.g., X value of horizontal metal. The values allowed for each layer are stored in an architecture file. The architecture file may be easily and quickly accessed to provide time savings to the layout designer.
 In one implementation, the present tool receives a request to move, create, or stretch a shape. When the shape is moved within to the vicinity of a proper position (based on the architectural rules), the shape is automatically snapped to a proper position. The tool does not show all of the possible positions. In one implementation, the tool only shows the proper place or position where the shape should be placed.
 The tool determines where to snap using pre-defined grid coordinates or rules, e.g., grid positions, for each shape. These pre-defined grid coordinates control the various options for each shape. Grid coordinates are activated for each shape editing option, e.g., create, move, copy, and stretch. The tool will not allow a designer to place a shape anyplace that does not conform to the pre-defined grid positions.
 The pre-defined rules are based on the standard cell architecture. By creating pre-defined rules based on the architecture, it is not possible to move, copy, create, or stretch a shape in a position that does not conform to the pre-defined grid coordinates. For example, in a metal layer, based on the standard cell architecture, the metal layer has fixed positions that cannot change. Every position is defined for every shape that is to be applied to this layer. If a designer desires to move a via on the metal layer, this via will only snap to positions defined for that shape in the pre-defined grid coordinates.
 The pre-defined grid coordinates (left, right, bottom, top, and/or center) are saved in a file, e.g., an architecture file. These pre-defined grid coordinates are based on architectural rules for the different layers of the standard cell. The possible coordinates from the given (x, y) positions defined in the pre-defined grid are applied to each shape. The pre-defined grid coordinates provide a way to describe each shape and the possible coordinates for each shape.
 A standard cell architecture normally has a plurality of layers. Standard cell architectures may also have different sizes. Standard cell architectures may have different sizes. The architecture size is determined by the number of metal pieces, e.g., tracks, that can go across the height. For example, 10 tracks that are 36 nm apart determine a 360 nm size standard cell architecture. As another example, 10 tracks that are 42 nm apart determine the 420 nm size standard cell architecture. The architecture is customized based on the foundry rules. The goal is to define an architecture that is as small as possible and still meets foundry rules. The pre-defined grid coordinates are based on the fixed positions of the layers in the architecture. The pre-defined snap on positions are based on the fixed positions of the layers in the architecture and the pre-defined grid coordinates.
 Most layers of a standard cell architecture have fixed positions. In one implementation, the fixed positions can be updated or modified when the architecture changes. Once the fixed positions are modified, the shapes can be modified to meet, e.g., snap into, the new fixed positions.
 When the standard cell architecture is created and is determined to be correct after performing the appropriate checks, e.g., no design rule check (DRC) errors, the architecture can be described in terms of shape coordinates. The size and position of shapes to be placed on layers within the architecture are based on the predefined grid (e.g., (x, y)) coordinates. Using the predefined grid coordinates, each shape is able to automatically be placed, i.e., snapped, into the proper position.
 In one implementationhe present design tool forces a designer to only go from one allowed position to another when a layer or shape is being moved, stretched, copied, or created. This eliminates the need to measure shapes and positions of the shapes each time to verify whether foundry design rules or architecture rules have been followed. In one implementation, the architecture file is created manually or generated based on a first layout containing all possible positions for all layers. The file should be humanly readable and easy to modify to be used for another purpose, for example deriving the architecture to another one in the same process.
 Various implementations of a design tool that provides the ability to layout various shapes on layers of a standard cell architecture will now be described in reference to FIGS. 1-22.
 FIG. 1 illustrates a virtual grid for a via in accordance with various implementations described herein. The virtual grid shows allowed positions 102, 104, 106, 108. When a via 110 is being moved, the design tool only proposes the allowed position.
 FIG. 2 illustrates moving a shape from one rail to another on a horizontal metal (M1) layer in accordance with various implementations described herein. In this implementation, metal 206 is moved from one rail 204 to an adjacent rail 202.
 FIG. 3 illustrates moving a shape 302 from one position to another on a horizontal layer in accordance with various implementations described herein. If the shape 302 is not the proper size for the location 304 to which the shape is being moved, the shaped is resized to fit its new position based on the closest possible edges.
 FIG. 4, FIG. 5 and FIG. 6 illustrate stretching a shape from one position to another in accordance with various implementations described herein. FIG. 4 illustrates possible left positions 402, 404 and right positions 406, 408, 410 for a shape. FIG. 5 illustrates possible right positions 502, 504, 506 for a shape. FIG. 6 illustrates possible vertical positions 602, 604, 606 for a shape.
 When shapes are moved horizontally, both the left and right side of the shape should be snapped into the pre-defined positions. When stretching to the right side, the shape should snap to the closest "right side" allowed position. There is a differentiation between the edges of a shape. Having a different set of allowed positions provides better efficiency when stretching the right side or the left side of a horizontal layer or shape. This same efficiency is provided for top and bottom positions of a vertical layer or shape.
 FIG. 7 illustrates an example of a grid for a horizontal metal (M1). In this implementation, there are three identical M1 rails. Each rail has an allowed top position and bottom position, allowed left positions, and allowed right positions. Elements 702, 704, 706, 708 show the left allowed positions for metal on one of the M1 rails. Elements 710, 712, 714, 716 show the right allowed positions on metal for one of the M1 rails. Elements 718, 720 show the top and bottom allowed positions on one of the M1 rails.
 FIG. 8 illustrates an example of a grid for via layer. In this example, positions for allowed vias are shown.
 FIG. 9 illustrates an example of a grid for a horizontal metal (M1) and via layer. In this example, a combination of allowed positions for metal and vias is shown. In other words, FIG. 9 illustrates a combination of the elements shown on FIG. 7 and FIG. 8. The grid shown in FIG. 9 is used to illustrate various example shapes and how these example shapes can be moved, copied, and/or stretched as shown in FIGS. 10-19.
 FIG. 10, FIG. 11 and FIG. 12 illustrate an example of a via copy and paste operation in accordance with various implementations described herein. In FIG. 10, via shape 1004 is copied from via shape 1002 located at one via position of the bottom M1 rail. Via shape 1004 is going to be moved, e.g., pasted, to via 1006. In FIG. 11, via shape 1004 is placed near via 1006 of the middle M1 rail. In FIG. 12, when via shape 1004 is placed within a threshold or approximate position (defined by the pre-defined grid rules) of via 1006, via shape 1004 snaps into place. When an existing via shape is copied and the copied via shape is moved, for example, using an input device, to an allowed position, the via shape is automatically snapped into place in the new location. The via shape is placed in the correct location when, for example, the layout designer uses the input device to drop the via shape into place.
 FIG. 13, FIG. 14, FIG. 15 and FIG. 16 illustrate an example of a metal copy and paste operation in accordance with various implementations described herein. FIG. 13 illustrates a metal shape placed in the top M1 rail. FIG. 14 shows a copy operation of the metal 1302 in the top M1 rail. In FIG. 14, metal shape 1402 is copied from via shape 1302. Metal shape 1402 is to be moved, e.g., pasted, to a location on the middle M1 rail. In FIG. 15, metal shape 1402 is placed near a location of the middle M1 rail. In FIG. 16, when metal shape 1402 is placed within a threshold or approximate position (defined by the pre-defined grid rules) of an allowed position on the middle M1 rail, metal shape 1402 snaps into place. When an existing metal shape is copied and the copied metal shape is moved, for example, using an input device, to a new place, the metal shape is automatically resized in both width and length to fit the closest boundaries in order to snap into place in the new location. The metal shape is placed in the correct location when, for example, the layout designer uses the input device to drop the metal shape into place.
 FIG. 17 illustrates an example of a metal stretch operation in accordance with various implementations described herein. During a stretch operation the designer selects an edge of the metal shape to stretch in the "x" direction. A stretch operation is similar to a paste operation in that during the process of stretching the metal shape, the edge being moved by the designer is automatically placed in the next allowable position. FIG. 18 illustrates an intermediate position during the stretching of metal shape 1402. In FIG. 18, the left edge of metal shape 1402 has been stretched close to, i.e., within a certain distance of, an allowable position. FIG. 19 illustrates the metal shape 1402 being stretched to a pre-defined left allowable position 1902. Once the left edge of metal shape 1402 is stretched to a threshold or approximate position near left allowable position 1902, the left side of metal shape 1402 automatically snaps into place or, for example, can snap into place upon receiving an indication from an input device being used by the designer.
 FIG. 20 illustrates a method 2000 for providing standard cell architecture layout design in accordance with various implementations described herein. In one implementation, method 2000 may be performed by a computing system. It should be understood that while method 2000 indicates a particular order of execution of operations, in some implementations, certain portions of the operations might be executed in a different order. Further, in some implementations, additional operations or steps may be added to method 2000. Likewise, some operations or steps may be omitted.
 At block 2005 a grid is activated. At block 2010, a request to place at least an edge of a shape at a particular location on the grid is received from an input device. This input is configured to place the at least one edge of the shape in an approximate location. At block 2020, the at least one edge of the shape is automatically placed in an allowed location based on pre-defined rules of the standard cell architecture. An example of the pre-defined grid coordinates or rules is described below in FIG. 22.
 Method 200 is configured to determine where to place i.e., snap, the at least one edge of the shape, using pre-defined grid coordinates or rules, e.g., grid positions, for each shape. These pre-defined grid coordinates control the various options for each shape. Grid coordinates are activated for each shape option, e.g., create, move, copy, and stretch. Method 200 is configured to prevent a designer to place a shape anyplace that does not conform to the pre-defined grid positions.
 The pre-defined rules may be based on the standard cell architecture. By creating pre-defined rules based on the architecture, it is not possible to move, copy, create, or stretch a shape in a position that does not conform to the pre-defined grid coordinates. For example, in a metal layer, based on the standard cell architecture, the metal layer has fixed positions that cannot change. Every position is defined for every shape that is to be applied to this layer. If a designer desires to move a via on the metal layer, this via will only snap to positions defined for that shape in the pre-defined grid coordinates.
 The pre-defined grid coordinates (left, right, bottom, top and/or center) are saved in an architecture file. These pre-defined grid coordinates are based on architectural rules for the different layers of the standard cell. The possible coordinates from the given (x, y) positions defined in the pre-defined grid are applied to each shape. The pre-defined grid coordinates provide a way to describe each shape and the possible coordinates for each shape. The pre-defined grid coordinates are not mandatory for all layers. In one implementation, the pre-defined grid coordinates are applied to a subset of the layers.
 The architecture is customized based on the foundry rules. The goal of layout design is to define an architecture that is as small as possible and still meets foundry rules. The pre-defined grid coordinates are based on the fixed positions of the layers in the architecture. The pre-defined snap on positions are based on the fixed positions of the layers in the architecture and the pre-defined grid coordinates.
 In one implementation, user selection of the shape is received before activating the grid. This user shape selection is meant to perform a move, copy, and/or stretch on existing shapes.
 In another implementation, a shape is copied and the copied shape is placed on the grid. Edges of the shape are placed, i.e., snapped, in a closest allowed position of the allowed location.
 In yet another implementation, a shape is moved from a first location to the allowed location. When a shape is moved, edges of the shape are placed in a closest allowed position of the allowed location.
 In still another implementation, the at least one edge of the shape is stretched. The shape may be stretched vertically and/or horizontally. The grid allows for stretching of each edge of the shape to a plurality of allowed positions.
 In one implementation, the shape is a new shape that is created and placed on the grid. An active layer of the grid is selected when the new shape is created. The active layer is the layer that will be used when creating a new shape. Edges of the shape are placed in a closest allowed position of the allowed location.
 In yet another implementation, the grid is displayed to a designer. Only one or more proper positions for the shape are displayed to the designer. Displaying the proper positions in this manner helps prevent errors in layout design.
 In still another implementation, the allowed location based on the pre-defined rules is described in an architectural file. The grid values are included in the architectural file. The grid values include centering attributes for different layers of the architecture. The grid values also include edge attributes for the shape.
 FIG. 21 illustrates an implementation of a method for providing standard cell architecture layout design in accordance with various implementations described herein. In one implementation, method 2100 may be performed by a computing system. It should be understood that while method 2100 indicates a particular order of execution of operations, in some implementations, certain portions of the operations might be executed in a different order. Further, in some implementations, additional operations or steps may be added to method 2100. Likewise, some operations or steps may be omitted.
 At block 2105, a user, e.g., layout designer, shape selection is received. Shape selection by the user can also include selecting an edge of a shape.
 At block 2110, a layer grid is activated. In one implementation, the grid can be displayed.
 At block 2115, a user requests to move the shape. The user may also request to stretch, copy, or create a shape. When a user decides to create an object, there is no shape selection at block 2105. The active layer is taken into account for grid selection. The edges of the shape are snapped to the closest allowed position if this closest allowed position is different than the edge location for any of the edges. In the case of a move or copy operation, the shape is resized to have edges snap to the closest position in the same manner as the create operation.
 At block 2120, a user moves a mouse cursor to an approximate location. At block 2125, the shape is instantly snapped to an allowed location, e.g., placed within a pre-defined allowable area of an allowed location. The allowed locations are described in an architectural file.
 FIG. 22 illustrates example pre-defined coordinates for layers in a standard cell architecture. The architecture example shown in FIG. 22 has a cell height of 400 nm.
 The coordinates can be the center of the shape or the edges of the shape. These coordinates can be a relative value or an absolute value.
 Elements on which the architecture can be based are cell height and architecture pitch. The cell height value is not used in this example, however, it can be useful to determine layer positions relative to the cell height. The architecture pitch is the distance between two transistor gates in a horizontal direction. Most "x" coordinates may be relative to the pitch value.
 In the present example, the distance between V+ and V-, i.e., the cell height, is 400 nm. The cell pitch is 80 nm. There are three pitches shown in this example, e.g., with boundaries at 80, 160, and 240 nanometers, respectively.
 FIG. 22 also illustrates five M1 rails. Each M1 rail is defined using "y" coordinate couples. There is one rail for each power net (V+ and V-) at the bottom 2210 and top of the cell 2205. The rails for each power net are 100 nm wide. The coordinates for each power net are (-50 50) and (350 450). The other three M1 rails (the rails between the top and bottom rails) are 20 nm wide and are located at the following coordinates (100 120), (190 210), and (280 300).
 In this example, one predefined left edge position 2215 is defined for each pitch on the M1 rails at coordinates (100 120), (190 210), and (280 300). This left edge position is located 20 nm from the left edge of each pitch along the x-axis. For example, for each of the M1 rails, there is a left edge for each pitch, e.g., at 0 nm, 80 nm and 160 nm. As such, for the M1 rails that are not power nets, the predefined left edge position for each pitch is 20 nm, 100 nm, and 180 nm.
 Two defined right edge positions 2220 are defined for each pitch on the M1 rails at coordinates (100 120), (190 210), and (280 300). Each defined right edge position is located 50 nm and 70 nm, respectively from the left edge of each pitch. As such, a first right edge of each pitch is defined along the x-axis at 50 nm, 130 nm, 210 nm, respectively. A second right edge of each pitch is defined along the x-axis at 70 nm, 150 nm, and 230 nm, respectively.
 In this example, vias are the same size, e.g., 20 nm, on each side, however, this is not a requirement. Other via sizes and shapes can be utilized. There are two defined positions 2225 per pitch for vias. Possible pre-defined positions for vias in this example are placed along the x-axis at 30 nm or 40 nm measured from the left edge of the pitch to the center of the via. Thus, in this example, possible pre-defined positions for the vias for each pitch on the M1 rails at coordinates (100 120), (190 210), and (280 300) are 30 nm, 40 nm, 110 nm, 120 nm, 190 nm, and 200 nm.
 FIG. 23 illustrates a computing system 2300 in accordance with implementations of various techniques described herein. The computing system 2300 may include a central processing unit (CPU) 2330, a system memory 2326, a graphics processing unit (GPU) 2331 and a system bus 2328 that couples various system components including the system memory 2326 to the CPU 2330. Although only one CPU 2330 is illustrated in FIG. 23, it should be understood that in some implementations the computing system 2300 may include more than one CPU 2330.
 The CPU 2330 may include a microprocessor, a microcontroller, a processor, a programmable integrated circuit, or a combination thereof. The CPU 2330 can comprise an off-the-shelf processor such as a Reduced Instruction Set Computer (RISC), or a Microprocessor without Interlocked Pipeline Stages (MIPS) processor, or a combination thereof. The CPU 2330 may also include a proprietary processor.
 The GPU 2331 may be a microprocessor specifically designed to manipulate and implement computer graphics. The CPU 2330 may offload work to the GPU 2331. The GPU 2331 may have its own graphics memory, and/or may have access to a portion of the system memory 2326. As with the CPU 2330, the GPU 2331 may include one or more processing units, and each processing unit may include one or more cores.
 The CPU 2330 may provide output data to a GPU 2331. The GPU 2331 may generate graphical user interfaces that present the output data. The GPU 2331 may also provide objects, such as menus, in the graphical user interface. A user may provide inputs by interacting with the objects. The GPU 2331 may receive the inputs from interaction with the objects and provide the inputs to the CPU 2330. A video adapter 2332 may be provided to convert graphical data into signals for a monitor 2334. The monitor 2334 includes a screen 2305. In certain implementations, the screen 2305 may be sensitive to touching by a finger. In other implementations, the screen 2305 may be sensitive to the body heat from the finger, a stylus, or responsive to a mouse. Additionally, in certain implementations, the screen may have the capability of displaying more than one plan position indicator (PPI).
 The system bus 2328 may be any of several types of bus structures, including a memory bus or memory controller, a peripheral bus, and a local bus using any of a variety of bus architectures. By way of example, and not limitation, such architectures include Industry Standard Architecture (ISA) bus, Micro Channel Architecture (MCA) bus, Enhanced ISA (EISA) bus, Video Electronics Standards Association (VESA) local bus, and Peripheral Component Interconnect (PCI) bus also known as Mezzanine bus. The system memory 2326 may include a read only memory (ROM) 2312 and a random access memory (RAM) 2316. A basic input/output system (BIOS) 2314, containing the basic routines that help transfer information between elements within the computing system 2300, such as during start-up, may be stored in the ROM 2312.
 The computing system 2300 may further include a hard disk drive interface 2336 for reading from and writing to a hard disk 2350, a memory card reader 2352 for reading from and writing to a removable memory card 2356, and an optical disk drive 2354 for reading from and writing to a removable optical disk 2358, such as a CD ROM or other optical media. The hard disk 2350, the memory card reader 2352, and the optical disk drive 2354 may be connected to the system bus 2328 by a hard disk drive interface 2336, a memory card reader interface 2338, and an optical drive interface 2340, respectively. The drives and their associated computer-readable media may provide nonvolatile storage of computer-readable instructions, data structures, program modules and other data for the computing system 2300.
 Although the computing system 2300 is described herein as having a hard disk, a removable memory card 2356 and a removable optical disk 2358, it should be appreciated by those skilled in the art that the computing system 2300 may also include other types of computer-readable media that may be accessed by a computer. For example, such computer-readable media may include computer storage media and communication media. Computer storage media may include volatile and non-volatile, and removable and non-removable media implemented in any method or technology for storage of information, such as computer-readable instructions, data structures, program modules or other data. Computer storage media may further include RAM, ROM, erasable programmable read-only memory (EPROM), electrically erasable programmable read-only memory (EEPROM), flash memory or other solid state memory technology, CD-ROM, digital versatile disks (DVD), or other optical storage, magnetic cassettes, magnetic tape, magnetic disk storage or other magnetic storage devices, or any other medium which can be used to store the desired information and which can be accessed by the computing system 2300. Communication media may embody computer readable instructions, data structures, program modules or other data in a modulated data signal, such as a carrier wave or other transport mechanism and may include any information delivery media. The term "modulated data signal" may mean a signal that has one or more of its characteristics set or changed in such a manner as to encode information in the signal. By way of example, and not limitation, communication media may include wired media such as a wired network or direct-wired connection, and wireless media such as acoustic, RF, infrared and other wireless media. The computing system 2300 may also include a host adapter 2333 that connects to a storage device 2335 via a small computer system interface (SCSI) bus, a Fiber Channel bus, an eSATA bus, or using any other applicable computer bus interface.
 The computing system 2300 can also be connected to a router 2364 to establish a wide area network (WAN) 2366 with one or more remote computers 2374. The router 2364 may be connected to the system bus 2328 via a network interface 2344. The remote computers 2374 can also include hard disks 2372 that store application programs 2370.
 In another implementation, the computing system 2300 may also connect to the remote computers 2374 via local area network (LAN) 2376 or the WAN 2366. When using a LAN networking environment, the computing system 2300 may be connected to the LAN 2376 through the network interface or adapter 2344. The LAN 2376 may be implemented via a wired connection or a wireless connection. The LAN 2376 may be implemented using Wi-Fi.TM. technology, cellular technology, Bluetooth.TM. technology, satellite technology, or any other implementation known to those skilled in the art. The network interface 2344 may also utilize remote access technologies (e.g., Remote Access Service (RAS), Virtual Private Networking (VPN), Secure Socket Layer (SSL), Layer 6 Tunneling (L2T), or any other suitable protocol). These remote access technologies may be implemented in connection with the remote computers 2374. It will be appreciated that the network connections shown are exemplary and other means of establishing a communications link between the computer systems may be used.
 A number of program modules may be stored on the hard disk 2350, memory card 2356, optical disk 2358, ROM 2312 or RAM 2316, including an operating system 2318, one or more application programs 2320, and program data 2324. In certain implementations, the hard disk 2350 may store a database system. The database system could include, for example, recorded points. The application programs 2320 may include various mobile applications ("apps") and other applications configured to perform various methods and techniques described herein. The operating system 2318 may be any suitable operating system that may control the operation of a networked personal or server computer.
 A user may enter commands and information into the computing system 2300 through input devices such as buttons 2362, which may be physical buttons, virtual buttons, or combinations thereof. Other input devices may include a microphone, a mouse, or the like (not shown). These and other input devices may be connected to the CPU 2330 through a serial port interface 2342 coupled to system bus 2328, but may be connected by other interfaces, such as a parallel port, game port or a universal serial bus (USB).
 In one implementation, the one or more application programs 2320 or 2370 stored in the computer-readable media can include a plurality of instructions that when executed by a processing unit, such as a CPU 2330, cause the computing system to perform any of the techniques, or portions thereof, that are described herein.
 The layout tool of the present disclosure provides fast rules coding and allows rule changes on the fly. In addition, the present tool includes a switch functionality that may be used to easily disable/enable the tool.
 The present disclosure provides several advantages:  Efficiency may be increased on manual layout design. There is no need to check the x or y value of a shape while modifying. There is no need to use a ruler. Checking the position of the layer can be done visually with no need to zoom to be more precise when drawing.  Layout consistency may be provided. Because the layout is on a grid, a cleaner and repetitive layout is provided across a library.  It becomes easier to derive a whole library of shapes, and the number of possible patterns is reduced.  Errors may be reduced. Situations that can cause an error become readily apparent, for example, when there is a gap between two consecutive positions for each layer.  Learning time may be reduced for layout designers that are new to a project.
 Described herein are implementations of various technologies for providing standard cell architecture layout design. A request to activate a grid is received. A request to place at least one edge of a shape at a particular location on the grid is received from an input device. The at least one edge of the shape is automatically placed in an allowed location based on pre-defined rules.
 Described herein is also a non-transitory computer-readable medium having stored thereon a plurality of computer-executable instructions which, when executed by a computer, cause the computer to: receive a request to activate a grid, receive a request to place at least one edge of a shape at a particular location on the grid from an input device, and automatically place the at least one edge of the shape in an allowed location based on pre-defined rules.
 Described herein is also a device, including a computer system having a processor and memory having stored thereon a plurality of executable instructions which, when executed by the processor, cause the processor to: receive a request to activate a grid, receive a request to place at least one edge of a shape at a particular location on the grid from an input device, and automatically place the at least one edge of the shape in an allowed location based on pre-defined rules.
 In one implementation, a user selection of the shape is received before activating the grid. The shape can be copied and placed on the grid. Edges of the shape can be placed in a pre-defined position within the allowed location. The shape can be moved from a first location to the allowed location. Moving the shape from the first location to the allowed location can include placing edges of the shape in a pre-defined position within the allowed location.
 In another implementation, the pre-defined rules are based on a standard cell architecture. The pre-defined rules can include pre-defined grid coordinates. Coordinates defined in the pre-defined grid coordinates can be applied to each shape. The grid allows for stretching of each edge of the shape to a plurality of allowed positions.
 In yet another implementation, the shape is a new shape that is created and placed on the grid. A layer of the grid is selected when the new shape is created. Edges of the new shape can be placed in a pre-defined position within the allowed location.
 In again another implementation, one or more allowed positions are displayed for the shape.
 In a further implementation, the allowed location based on the pre-defined rules is described in an architecture file. Grid values can be included in the architecture file. The grid values can include centering attributes for different layers of the grid. The grid values can include edge attributes for the shape.
 The discussion of the present disclosure is directed to certain specific implementations. It should be understood that the discussion of the present disclosure is provided for the purpose of enabling a person with ordinary skill in the art to make and use any subject matter defined herein by the subject matter of the claims.
 It should be intended that the subject matter of the claims not be limited to the implementations and illustrations provided herein, but include modified forms of those implementations including portions of the implementations and combinations of elements of different implementations within the scope of the claims. It should be appreciated that in the development of any such implementation, as in any engineering or design project, numerous implementation-specific decisions should be made to achieve a developers' specific goals, such as compliance with system-related and business related constraints, which may vary from one implementation to another. Moreover, it should be appreciated that such a development effort maybe complex and time consuming, but would nevertheless be a routine undertaking of design, fabrication, and manufacture for those of ordinary skill having benefit of this disclosure. Nothing in this application should be considered critical or essential to the claimed subject matter unless explicitly indicated as being "critical" or "essential."
 Reference has been made in detail to various implementations, examples of which are illustrated in the accompanying drawings and figures. In the following detailed description, numerous specific details are set forth to provide a thorough understanding of the present disclosure. However, the present disclosure may be practiced without these specific details. In other instances, well-known methods, procedures, components, circuits and networks have not been described in detail so as not to unnecessarily obscure aspects of the embodiments.
 It should also be understood that, although the terms first, second, etc. may be used herein to describe various elements, these elements should not be limited by these terms. These terms are only used to distinguish one element from another. For example, a first object or step could be termed a second object or step, and, similarly, a second object or step could be termed a first object or step, without departing from the scope of the invention. The first object or step, and the second object or step, are both objects or steps, respectively, but they are not to be considered the same object or step.
 The terminology used in the description of the present disclosure herein is for the purpose of describing particular implementations and is not intended to limit the present disclosure. As used in the description of the present disclosure and appended claims, the singular forms "a," "an," and "the" are intended to include the plural forms as well, unless the context clearly indicates otherwise. The term "and/or" as used herein refers to and encompasses any and all possible combinations of one or more of the associated listed items. The terms "includes," "including," "comprises," and/or "comprising," when used in this specification, specify a presence of stated features, integers, steps, operations, elements, and/or components, but do not preclude the presence or addition of one or more other features, integers, steps, operations, elements, components and/or groups thereof.
 As used herein, the term "if" may be construed to mean "when" or "upon" or "in response to determining" or "in response to detecting," depending on the context. Similarly, the phrase "if it is determined" or "if [a stated condition or event] is detected" may be construed to mean "upon determining" or "in response to determining" or "upon detecting [the stated condition or event]" or "in response to detecting [the stated condition or event]," depending on the context. As used herein, the terms "up" and "down"; "upper" and "lower"; "upwardly" and "downwardly"; "below" and "above"; and other similar terms indicating relative positions above or below a given point or element may be used in connection with some implementations of various technologies described herein.
 While the foregoing is directed to implementations of various techniques described herein, other and further implementations may be devised without departing from the basic scope thereof, which may be determined by the claims that follow.


Relationships Matter. The opportunity to connect in a very personal way to the people is one defining mark of small towns. Relationships are the most important element in ministry. Small towns increase this opportunity.
Inclusion in Community Events. Small town pastors get opportunities to pastor the entire community by being invited to key community events. This could mean being invited to emcee the fundraiser of a local civic club, or being asked to say the opening prayer at an event celebrating the town's heritage.
The Numbers-Game Means Little. If your church is in a big city the temptation to judge your effectiveness by mega-church standards may prove painfully real. In a small town, the pressure to give into such temptation is less, because reality simply won't allow it. If there are only 10,000 people in your county, odds are your church will never worship thousands, or even hundreds. Pressure exists on small town pastors to "reach young families," but nobody expects them to pastor a mega church.
Churches Tend to Function More Like Family Than Corporations. Face-to-face conversations and trust are more important than policy manuals and rules. The family culture in rural churches simply is not possible in all large urban churches, but that doesn't means it's not desirable. The sense of community in a small town adds to the feeling that everyone at church is part of one extended family.
Being Surrounded by Nature Has its Perks. Small towns have lakes, rivers, mountains, valleys, fields, forests, sky, and ocean all around. The sights, smells, and sounds of city life give way to star filled night skies, rustling trees, and singing birds. If you connect with God through nature, a small town church may be the place to serve!
Rural Values Are Admired By Everyone. Hard work, honesty, community, service, authenticity, loving God, family, and patriotism are all imagined as small town values. Of course, people in cities can hold the same values, but there's just something about that rural mystique, attracting us all to a more simple life- with fewer gray areas. When surveyed most people say they would prefer to live in a rural place over the city. Even if our small towns don't have all the jobs of the future, people will live in them anyways because of their love for best the ideals of rural living, and that says something.
It Often Costs Less To Live In Small Towns. It seems the cost of living is on the rise no matter where you look. Duke Divinity did a study a few years ago, which you can read about here, that found small town ministers make less than urban ministers, and much less than suburban ministers. At first, this sounds depressing, but when one considers the difference in the cost of downtown or suburban living, paired with longer commutes, more expensive produce and meat, and skyrocketing property taxes, small town pastors may need to count their blessings.
Parts of the Bible Make More Sense In A Small Town. Most of the ancient world was agrarian. All those parables about wheat and grain, grapes and vineyards, fishing and boating, make more sense when you live near where all those things still occur. Passages where tribalism and family feuds come into play come to life when the Hatfields and McCoys still live in the county. You get the picture.
Unique Architecture. Open country and small town churches were often built completely by volunteers, and usually show the character of the town/county they situate in. Some of the most beautiful churches in the country exist in small towns. For evidence, just check out Rock beneath the Sand: Country Churches in Texas (Texas A&M University Press, 2003).
I have ministered in big town now I pastor achurch in rural community.It is real what it is.Ineed more.
As a small town pastor in Northern MN, I agree and and thankful to the calling of God to a rural community.
Keep it up, Paul! I'm sure God is using you in a mighty way!


There is an increasing number of online craft marketplaces, such as Etsy, Amazon's Handmade, Artfire, and many other specialist sites. Selling online is a viable proposition for anyone with access to the internet. No technical skills are required to set up an online store within these online handmade marketplaces. Starting a store on Etsy is relatively quick and easy to do. But, you will need to work hard at taking top-notch photos of your cards, crafting superb product descriptions, and learning about search engine optimization and keywords to really get your online business off the ground. Don't worry if this sounds daunting, the Etsy seller's handbook is a fabulous source of information and will help you get started.


text:
The Body Speaks: Dance/Movement Therapy Creates Movement Toward Eating Disorders Recovery
By Susan Kleinman, BC-DMT, NCC, CEDS
"Movement never lies. It is a barometer telling the state of the soul's weather to all who can read it." – Martha Graham 1
When the body speaks but the mind is not listening, conflict is created. Movement toward Eating Disorders recovery requires connection to one's body. Individuals with eating disorders, however, ignore the experience of living in their bodies and often attempt to hide their authentic selves by putting on a "false front," numbing their emotions. Patients' tendencies to control and conceal bodily-felt experiences and connections with inner feeling states create a challenging dilemma for therapists.
Challenging the Dilemma
Movement defines us from the first kick in our mother's womb until our final breath. We participate in a dance of life, communicating through our bodies long before we learn to speak using verbal language.2 Agnes De Mille quoted the famous modern dancer, Martha Graham saying, "There is a vitality, a life-force, an energy, a quickening that is translated through you into action and because there is only one of you in all of time, this expression is unique, and if you block it, it will never exist through any other medium and be lost."3
Historically, therapists have always attempted to assist their patients in experiencing feelings through innovative means: Jung planted creative therapeutic seeds with his active imagination in relation to dance, art, and music; Wilhelm Reich theorized about energy which led to the development of bioenergetic analysis; Jacob Moreno, best known for creating group therapy and psychodrama, developed training methods which were sustained and passed on by countless clinicians; and Harry Stack Sullivan and Frieda Fromm Reichmann each influenced Marian Chace, known as the mother of dance/movement therapy.4 Chace said simply of her philosophy, "Somewhere in any emotional experience, the body enters."5
The Transformative Power of Working on a Body Level
Many individuals with eating disorders describe the experience of being in their bodies as disembodied, as if living with a stranger or an enemy.6 Patients' ways of being in their bodies and their willingness to access their own unconscious material are part of their sense of self and play an important role in terms of the degree to which they will be able to heal.
Over fifteen years ago, Lewis, Amini, and Lannon, acknowledged the importance of embodied therapy. They said:
"When a person starts therapy, he isn't beginning a pale conversation; he is stepping into a somatic state of relatedness. Evolution has sculpted mammals into their present form: they become attuned to one another's evocative signals and alter the structure of one another's nervous systems. Psychotherapy's transformative power comes from engaging and directing these ancient mechanisms. Therapy is a living embodiment of limbic process as corporeal as digestion or respiration."7
Dance/movement therapy (DMT) provides a medium for patients to re-claim authentic connection with themselves in both actions and words. This can lead to long-lasting change associated with the ability to sustain recovery.
Dance/Movement Therapy
Dance/movement therapists weave together dialogues that facilitate transformation of everyday movements into expressive communication.8 This process opens a pathway to re-establish connection with the body by experiencing and expressing feelings and identifying how emerging awarenesses parallel and reflect unique behavioral patterns. These experiences are explored through both nonverbal and verbal reflection.9
An example of an experience in an individual Dance/Movement therapy session follows:
C. and I, together, created a movement phrase. Through C.'s choice of movements, we focused on how she repeatedly and unconsciously corrected her body placement by straightening her slumped position. Exploration of this habitual movement cue revealed it related to C.'s need to please others by "standing up straight to look pretty." She acknowledged that she couldn't sustain this false stance in her life behind this mask.
This insightful connection between C.'s expressive movements and the parallels in her life provided valuable information for C. to explore further in her primary and family therapy sessions. Most important, because C. was able to bring both her mind and body equally into the therapeutic frame, she eliminated the option to return to her default mode when she felt vulnerable.
Dance/Movement Therapy Concepts
When faced with difficult therapeutic situations, therapists often look to external techniques or modalities to determine their responses, rather than trusting their own sense of self. According to Daniel Siegel, "Responding to the patient's nonverbal signals, including tone of voice, facial expressions, eye gaze, and bodily motion, can reveal the otherwise hidden shifts in states of mind. Resonating with these expressions of primary emotions requires that the therapist feel the feelings, not merely understand them conceptually."10
Three concepts that underlie the process of Dance/Movement Therapy are rhythmic synchrony, kinesthetic awareness, and kinesthetic empathy.
Understanding and practicing the use of these concepts can help clinicians discover and trust their innate ability to 'attend' empathically, respond authentically, and translate non-verbal experiences into cognitive insights.11,12
Use of these concepts also can lead clinicians to access their own creative process and to recognize that "all they need is within them now." This same concept can be passed on to their patients.
Rhythmic Synchrony manifests in the clinicians' ability to attune to their patients. When clinicians are in synchrony with their patients they are more attuned to their clients' emotions. They are also more likely to understand and address the distress that lies beneath the patients' anxieties and resistance.
Kinesthetic Awareness represents the individual's ability to experience one's own feelings and sensations inwardly. If one is detached from listening to one's own body, it is likely that others will respond with the same degree of detachment in their relationship.
Kinesthetic Empathy is the ability, on a body level, to understand what others are feeling. This has significant relevance to the therapeutic relationship and the journey patients and clinicians undertake together.
The following case of M. provides an example of how one can embrace and integrate these concepts into recovery.
M. was diagnosed with anorexia nervosa. In addition, she experienced severe anxiety, the result of an extensive trauma history. In residential care, she presented as quiet and passive. She described herself as "fat" and "disgusting." Her frightened demeanor, evidenced by the light, barely connected way in which she quickly whizzed through space and the tiny voice she used when speaking, spoke to the manner in which she experienced living in her body. By her own admission, she was constantly trying to get away from herself and was, in fact, a runner. She had difficulty tolerating being in any situation for extended periods of time. Our first session lasted only 20 minutes. As our relationship grew, she was able to sustain 50-minute sessions. On one particular day, she seemed more anxious than usual. She picked at her cuticle, shook her leg repeatedly, and jumped whenever she heard a noise. I asked her what it meant to her to be grounded. She explained, "I think grounding makes everything around me smaller and more dense." In decoding this perception further, she went on, "It makes me concentrate, focus, and slow down, but this can be scary for me." We attempted a variety of techniques including breathing to make it safer for her to embody feeling grounded by walking side by side and slowly pacing in one direction and then another in rhythmic synchrony. However, these movements were not terribly effective. Noting the two large chairs nearby, I thought that perhaps it would be helpful to push a chair, like a walker. M. indicated that she was willing to try. Together we pushed our chairs forward at the same time in a type of dance, moving forward, back, turning, etc. M. became calmer and exclaimed, "something clicked in my brain!" Although unable to understand exactly what it was that had "clicked," M. did understand she felt calmer, the chatter in her brain lessoned, and her nervousness diminished. Several days later, we met again and repeated the experience with the chairs. She informed me that it DID indeed help her again get in rhythm with herself and she felt more at ease. M. learned a specific form of grounding, unique to her, that was critical in her ability to integrate the technique of grounding into her life. She felt more understood, both by herself and in our therapeutic relationship as a result of our expressive work together. Because she felt less vulnerable, M. revealed several issues with which she also wanted help.
The last several weeks we met, we worked reviewing, repeating, and exploring her soon-to-be transition home. We practiced walking together, guiding our chairs, and exploring how she could practice this after discharge. I heard from her weeks later. "I am home and still trying to adjust. I went to Target and thought about you as I pushed the shopping cart. That helped me relax and concentrate on our experience of pushing the chairs instead of focusing on the people around me and feeling anxious. Trying so hard to use the tools you gave me."
By its very nature, an eating disorder blocks patients' vitality by shutting down their natural life forces. The use of Dance/Movement Therapy provides a powerful medium to reclaim those life forces through both actions and words, often leading to long-lasting changes needed to sustain recovery. Inviting individuals with eating disorders to be the "choreographers" of their own lives, encourages them to discover their unique, natural movements that are so integral to the expression and embodiment of their authentic selves.13
Susan Kleinman, a board certified dance/movement therapist, National Certified Counselor, and Certified Eating Disorder Specialist, is Creative Arts Therapies Supervisor and Dance/Movement Therapist for The Renfrew Center. Ms. Kleinman is a trustee of the Marian Chace Foundation, Past President of the American Dance Therapy Association, and a past Chair of The National Coalition for Creative Arts Therapies. She has published extensively, presented widely, and is the recipient of the 2011 Sierra Tucson South Florida award for Humility, honoring her for her dedication to serving as an advocate for others. She has also received the American Dance Therapy Association's 2013 Lifetime Achievement Award, and The International Association of Eating Disorders Professional's 2014 Spirit of iaedp award. Her work is featured in the documentary entitled Expressing Disorder: Journey to Recovery.
1 Graham, M. (1991). Blood Memory. New York: Doubleday, p.4.
2 Kleinman, S. (February, 1994). Submission for the Record, Statement of The American Dance Therapy Association to the Sub-committee on Ways and Means, House of Representatives Hearing on The Congressional Budget Office's Analysis of the President's Health Care Reform Proposal, Volume X11, President's Health Care Reform Proposals: Impact on Providers and Consumers, Part 3 of 3. Serial 103–91, Washington, DC: US Government Printing Office, pp.70-74.
3 De Mille, A. (1952). Dance to the piper. Boston, MA: Little, Brown, p.335.
4 Ressler, A. and Kleinman, S. (2012). Experiential and somatopsychic
approaches to body image change. In Cash, T. (Ed.), Encyclopedia of body image and human appearance: Vol. 1. A-F Waltham, MA: Academic Press, pp.418-424.
5 Sandel, S., Chaiklin, S., and Lohn, A. (Eds.) 1993. Foundations of Dance/Movement therapy: The Life and work of Marian Chace. Columbia, MD. American Dance Therapy Association, p.327.
6 Kleinman, S. and Hall, T. (2006). Dance/Movement Therapy: A Method for Embodying Emotions. The Renfrew Center Foundation Healing Through Relationship Series: Contributions to Eating Disorder Theory and Treatment Volume 1: Fostering
Body-Mind Integration. Philadelphia, PA, pp. 2–19.
7 Lewis, T., Amini, F., and Lannon, R. (2000). A General Theory of Love. New York: Vintage Books. p. 168.
8 Kleinman, S. (2014). Dance/Movement Therapy in the Treatment of Eating Disorders: Re-claiming Authentic Connection with the Self. http://www.eatingdisorderhope.com/recovery/self-help-tools-skills-tips/dancemovement-therapy-in-the-treatment-of-eating-disorders-re-claiming-authentic-connection-with-the-self
9 Kleinman, S. (2015). Becoming whole again: Dance/Movement Therapy for Individuals with Eating Disorders. In Chaiklin, S. and Wengrower, H. (Eds), The Art and Science of Dance/Movement Therapy: Life is Dance, 2nd edition. New York and London: Routledge, pp.139-158.
10 Siegel, D. J. (1999). The Developing Mind. New York: The Guilford Press, p.290.
11 Ressler, A., Kleinman, S., and Mott, E. (2010). The Use of Holistic Methods to Integrate the Shattered Self. In Maine, M., McGilley, B.H., and Bunnell, D.W. (Eds.), Treatment of Eating Disorders: Bridging the Research Practice Gap (London: Academic Press, pp.404-425.
12 Kleinman, S. (2015). Becoming Whole Again: Dance/Movement Therapy for Individuals with Eating Disorders. In Chaiklin, S. and Wengrower, H. (Eds). The Art and Science of Dance/Movement Therapy: Life is Dance, 2nd edition. New York and London: Routledge, pp. 139-158.
13 Kleinman, S., and Hall, T. (2006). Dance/Movement Therapy: A Method for Embodying Emotions. The Renfrew Center Foundation Healing Through Relationship Series: Contributions to Eating Disorder Theory and Treatment Volume 1: Fostering
Body-Mind Integration. Philadelphia, PA (pp. 2–19).
Audrey Albert King
I found this article to be a valuable contribution to the existing ED literature, and an eye opening look into dance/movement therapy and the treatment of eating disorders. When an individual can gain insight into one's own thought patterns and behavior, and then make meaningful connections, treatment can be more effective. "She felt more understood, both by herself and in our therapeutic relationship…" I really appreciate this sentence because it speaks to the concepts mentioned in the article and often enhances the quality of the relationship that exists with a dance/movement therapist.
Leslie Kassal
I receive this article with joy, as well as yearning.
I had the supreme honor and privilege of working with Susan Kleinman decades ago, in the early 1970's. At that time, I was not being treated for eating dis-order, although surely, even then, I was entrenched in its hell.
As I am, still, decades later.
I would love to have recommendations for Dance/Movement Therapy where I currently am living – Baltimore City, Maryland.
I am still living with eating disorder, as well as mental illness. I am better, more integrated than perhaps I have been, but reading Susan's writing here reminds me how much work I still have left to do.
Thank you, Gurze, and thank you, Susan.
Leslie Kassal, with all my heart

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redpajama_set_name: RedPajamaWikipedia


Somerville Cambridge Elder Services (SCES) runs a volunteer spiritual caregiving program. After 50 hours of training, volunteers are matched with seniors to offer support for spiritual well-being while aging. Rachel Guaraldi, SCES Spiritual Care Coordinator, will speak on this program after services on Saturday June 20. A light kiddush will be served. You are welcome to join us to learn about this interesting program at 12:30 PM, or you can come to Shabbat services as well at 10:00 AM.