[1] Sally Dean, “Amerta Movement and Somatic Costume,” in Sarah Whatley, Natalie Garrett Brown, Kirsty Alexander, eds., Attending to movement: Somatic Perspectives on Living in this World (Devon, UK: Triarchy Press, 2015). [2] Moshe Feldenkrais, Awareness Through Movement; Health Exercises for Personal Growth, 1st ed. (New York, USA: Harper & Row, 1972). [3] Karin Rosenkranz and John Rothwell, “The Effect of Sensory Input and At­ tention on the Sensorimotor Organization of the Hand Area of the Human Motor Cortex,” Journal of Physiology 561, No. 1 (November 2004), pp. 307-320. [4] Richard Shusterman, Body Consciousness: A Philosophy of Mindfulness and Somaesthetics, (Cambridge; New York: Cambridge Univ. Press, 2008), p. 1. [5] Frank Wildman, The Busy Person’s Guide to Easier Movement: 50 Ways to Achieve a Healthy, Happy, Pain-Free and Intelligent Body, 3rd revised ed. (Berke­ ley, USA: Feldenkrais Movement Institute, 2006). Educational strategies used in the Feldenkrais Method for developing body awareness To increase kinesthetic and proprioceptive sensitivity, first reduce muscular activation in the extensors of the torso by lying down horizontal [2, 5]. Create a learning environment that affords safe, distraction-free somatic attentiveness. To increase sensitivity to vibrotactile stimulation, reduce muscular activation in the extensor muscles of the back by supporting the torso through clothing, furniture, or other apparatuses (Figure 1). In addition, Haplós should be used in a quiet room. Start with movements of the torso (pelvis- spine-neck), which will likely stimulate movement and sensation in the more distal parts. Apply vibrotactile stimuli on the midline of the back with emphasis on the upper thoracic spine, since it is a part of the user that they usually do not get to touch and explore themselves. Increase the student’s ability to perceive subtle differences in kinesthetic and proprioceptive stimuli by moving just enough that they notice the movement. Facilitate self-curiosity and playful self- exploration in the student so that they can attend to their experiences in a value-free way Repeat a movement several times in order to notice differences in sensation as well as when there is a gaps in their kinesthetic awareness Strength and duration of vibrotactile stimulation should be just to enough to draw attention to the vibrated body part. Space vibrotactile motors just at the threshold of two-point tactile discrimination on the torso (2-3 cm) (Figure 2) Present Haplós not as a therapeutic tool but as a playful device. Make the patterns interesting to attend to by programming them to be “musical”—e.g., finding the balance between repetition and variation. Take advantage of the user’s ability to gradually identify and anticipate elements in a pattern by playing a pattern more than once before moving on to a new pattern, in order to train the user to uniquely distinguish the motors from each other Ask the student to start with a simple movement, advance to more complex variations of that movement, and then revisit the initial movement in order to find the ease of movement Ask the student to move always within the limits of comfort and ease, resting whenever they feel tired or when they feel their attention waning, promoting reorganization in the sensorimotor cortex Take advantage of the bilateral symmetry of the body by moving only one side at a time to create differences in sensations that can be compared across midsagittal plane (a “one- sided lesson”) [2, 5] Stimulate the user’s skin with structured patterns of vibrotactile stimuli that progress from the simple to the complex, before returning to the initial simple pattern. Provide users the option to create and change patterns on the fly (Figure 3), and to silence the motors at any time in order not to overstimulate the user. Apply the vibrotactile stimuli on only one side of the torso (see Figure 4). Related design principles for the technical specifications for an