... I deffinately agree with untwisting making the pattern not a crosser, but going along the diagonal, like in 0:44 your arms dont really untwist...so is that still not a crosser? ...
There is certainly a moment where my arms are in a 1st-degree crossed position, which is the transition point to a huggy crosser. But if I have to slap a name on this, it is a type or 4-beat 180 mill (as opposed to 180 weave) that is "offset".
Basically there is an overarching category of same-direction patterns that involve cross-overs, where the arms are twisting and untwisting. This includes turning, "180-weaves", fountains (with cross-overs, not buzzsaw), etc... Most people focus on split-same and neglect together-same, but I digress. Many people just slap the name 'weave' on all of these.
On the other hand Arashi coined the term 'spider' (as opposed to butterfly) waaaaayyyy back in the day to talk about this over-arching category of patterns. I would have to confim with him if he includes together-same cross-overs under 'spiders', but let's focus on split-same.
In my mind, 'spider' has sub categories 'weave' and mill' (as in windmill, watermill, shoulder-mill, hip-mill, corkscrew, etc)... I won't go over the subtle differences between weave and mill here, but they are distinct *EDIT* oops, I went into it bellow
. People tend to call weaves that turn back and forth 180 weaves, and mills that turn back and forth waist wraps... or I guess shoulder wraps if you do it over your shoulders... but they are all spiders.
Some longer sequence patterns can involve both weave and mill components.
As was defined on spherculism.net {RIP}, one can have an "offset weave". 'Offset' means you repeat a pattern that has the same number of beats and cross-overs as the simple symmetric one, but you do less arm twisting on one side, and more on the other to compensate and keep the beats consistant. A good example would be to offset a 3-beat weave, which normally has a 1st-degree twist on each side of the crossover. A common offset version would be 2nd-degree twist on one side and 0-degree on the other... in other words half a 5-beat and half a 2-beat. A slightly crazier version would be 3rd-degree <-> 1st-degree, AKA half a 7-beat & the pre-untwisted half of a 3-beat... which never reaches 0 degrees of twist.
Sooooo, in the video, I was doing an offset version of an old waist-warp/shoulder-wrap, which originally goes from 0-degree to 1st-degree and back on each side of the body. However, I have offset it so that it uses 2nd-degree and 1st-degree twists, never untwisting fully to 0... but since there is twisting and untwisting between degrees os arm crossing, it is not a crosser.
Of course this is because my definition of a (huggy) crosser is a 2-beat reel that has been offset to 1st-degree. An UTA cross is a 2-beat mill that has been offset to 1st-degree.
Here we gooooo------------------------
It just dawned on me that I have never defined the the distinctions as clearly as I am thinking of it now so, her comes some more:
Weave: wheel-plane spider, both poi's cross-points aim in the same direction, the torso is not contained in the twist.
Mill: horizon-plane or wall-plane spider, both poi's cross-points aim in the same direction, the torso is not contained in the twist.
Gremlin (named by Fire Groove): wheel-plane spider, each poi's cross-point aims in a different direction (ie front/back), the torso IS contained in the twist. {Some people call this a wheel-plane meltdown, but I like having a distinct name because it illustrates a distint sub-set in the spider hierarchy.}
Reel & Meltdown: wall-plane spider, each poi's cross-point aims in a different direction (ie left-side/right-side), the torso IS contained in the twist. {A meltdown is a 4-beat reel that is twisting and untwisting between degrees, but your body is in the middle and being twisted around. Also, horizon-plane should be possible.}
It is important to note that the difference between 2-beat gremlin and 2-beat reel, or 2-beat weave and 2-beat mill is subtle, and may seem trivial. It is a quarter turn with fixed planes in terms of body orientation, but in terms of how your arms twist in your shoulder socket, and therefore how much more twisting potential you have, it does make a difference. This becomes non-trivial once you start dealing with higher degrees of twist.
The orientation of shoulder girdle to the cross-point plane is also a defining factor. I now believe this is actually what defines "wheel-plane" or "wall-plane" spinning. This is what dictates how you will have to twist your arms in the shoulder sockets (essentially the full range of motion for degree of twist originates in the shoulder socket). By shifting your shoulders orientation to the cross-point plane, you dictate a subtle 'offset' of degrees in the shoulders, which is subtle in the wrists and can go unnoticed. This precipitates the apparent difference between wall-plane and wheel-plane.
If you abstract a human body from the picture, then we can simply say:
With even beat spiders the leading and chasing poi never changes, but with odd beat spiders leading and chasing poi changes on each side of a cross-over.
It is only when we look at the human body doing the twisting that we can differentiate if the twists made by the arms are symmetric or offset.
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