Generally Zen describes the freedom of bodily movement as "stillness in motion" (dōchū no sei) and is contrasted with "motion in stillness".
Eventually, they each lean against the back wall of the stage revealing how movement is still perceptible in stillness.
The odd fluttering leaf or a passing moped are the only movements in the stillness.
His characters seem to exist both in and out of time: "I like that play between movement and stillness in the novel".
Movement and stillness in equal measure, it's a song seemingly descended from the folk-inflected electronic sounds of early Four Tet.
The purpose of this research is to study the role of some movement and stillness elements in the development of Iranian-Islamic cities to make optimal satisfaction in human.
Hence, in this research, first, the concepts of movement and stillness and its components in Iranian-Islamic architecture have been expressed.
As in stanza one, movement and stillness interact; note for instance the contrast between Time's ferrying and the "sailless sea" – a sea suggesting the terrible "painted ocean" of Coleridge's stranded Ancient Mariner.
This cut, which is in a way doubled by the angled roof that runs along the top of the wall and seems to cut it off, is most evident in the contrast between movement and stillness.
