{"id":36,"date":"2015-06-24T15:41:28","date_gmt":"2015-06-24T13:41:28","guid":{"rendered":"https:\/\/troposfera.xyz\/company\/?post_type=labs&p=36"},"modified":"2026-05-21T18:04:59","modified_gmt":"2026-05-21T16:04:59","slug":"diabolo-siteswap","status":"publish","type":"labs","link":"https:\/\/troposfera.xyz\/en\/labs\/diabolo-siteswap\/","title":{"rendered":"Diabolo Siteswap"},"content":{"rendered":"\n

When I say Diabolo Siteswap<\/strong>, I start from siteswap as a shared juggling language: a transpositional notation that defines the time of return until the next throw. A sequence describes a temporal structure, and from there different physical readings can be built.<\/p>\n\n\n\n

What interests me in this lab is expanding this framework, because diabolo\u2014as I practice it\u2014doesn\u2019t end with crossed throws. In some notations (such as Diabology<\/strong>), the values 2, 4, 6, 8 are interpreted directly as crossed throws. For me, this shifts the problem too much: it simplifies the language at the cost of losing parallel throws<\/strong> and patterns where a diabolo can go out and return to the same hand<\/strong>.<\/p>\n\n\n\n

The proposal I make explicitly considers both hands<\/strong> and incorporates time on the string<\/strong> into the notation. The string comes in as a controlled surface (retention, impulse, return), which makes it possible to describe double-channel patterns, parallel patterns, and combinations where hand roles and returns are not left implicit.<\/p>\n\n\n\n

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\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
[52]3122[3F2]22<\/figcaption><\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
53F13F \u2248 42 in Diabology<\/figcaption><\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
3D Leaders<\/figcaption><\/figure>\n\n\n\n
\"4\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Passing<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

In practice, I keep siteswap as a temporal structure and add a layer to indicate hand roles and returns via the string. I use F<\/strong> to mark these returns (in line with forced bounce<\/em>), allowing me to distinguish types of retention (dwell<\/em>) on the string.<\/p>\n\n\n\n

With this base, I can write patterns more faithfully, compare variants, and build progressions toward more complex material.<\/p>\n\n\n\n

In diabolo, there are already siteswap applications based on the \u201cone-handed juggling\u201d model: one throw per beat, regular rhythm, and numbers as flight time\/height. It\u2019s a useful base for describing aerial carousels and many combinations.<\/p>\n\n\n\n

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Writing to understand and play<\/p>\n\n\n\n

What we want to achieve with Diabolo Siteswap<\/h2>\n<\/div>\n\n\n\n
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Shared language<\/h3>\n\n\n\n

Sharing a language to connect the diabolo community with other juggling arts.<\/p>\n<\/div>\n\n\n\n

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New doors<\/h3>\n\n\n\n

Opening new ways to document and expand the limits of diabolo tricks.<\/p>\n<\/div>\n\n\n\n

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Describing complexity<\/h3>\n\n\n\n

Developing a notation that reflects the true complexity of modern diabolo play.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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In motion<\/p>\n\n\n\n

Siteswap applied to diabolo<\/h2>\n<\/div>\n\n\n\n
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