Rome was built on codes of conduct. Conduct is not simply a derivative of being with many. It is itself a source of joy and power, and civilization is built on this. The fact that many people come together in great cities has to do with their wish to exalt themselves as much as it has with economic convenience. The two are always related. Man spends his time, an ape does not treat it as consciously and purposefully.
Our conflicting approaches (rather than the presented acts and observations which do not conflict) is, I think a matte of a general overestimation of the survival aspect and underestimation of the selection aspect.
By the logic of evolution, an organism only needs to survive as long as it takes to procreate. Whether it survives long does not matter, is not a benefit at all if this does not lead to procreation. So we're looking at fitness indicators, which is the basis on which organisms are selected for sex.
Sauwelios wrote an excellent post on fitness indicators and their apparent lack of practical use.
"Let's begin with the example of the peacock. The peacock's tail--or, more precisely, his train--has no survival value. In fact, it makes him much more prone to attracting the attention of predators. And it costs an enormous amount of energy to grow a splendid train. That energy could have been used to grow survival benefits, for instance for wings with which he could fly higher and longer, or for legs with which he could run faster. Of course, this is not a choice, it's genetic. What a peacock parading his splendid train in effect tells peahens is that he has been able to survive even while being so ostentatiously wasteful: compare the amount of money spent on fireworks for New Year's Eve.
Humans have several such fitness indicators. One that can be seen directly is women's breasts. These mostly consist of fat, which in no way furthers women's ability to produce nutritious milk; a flat-chested woman and one with a D-cup may be equally capable of this. For most of human history, being fat was a fitness indicator, because only the rich, or those who had abundant access to food, could be. By growing breasts, a woman directly associates that abundance with child-rearing.
Humans also have fitness indicators that cannot be seen directly. These are most importantly their large and complex brains--much larger and more complex than would be necessary for mere survival, and enormously costly energy-wise--and their "big hearts"--which are also located in their brains, and not in the blood-pumping muscles in their chests. As these cannot be seen directly, they must display themselves through great feats of creativity and intelligence and great gestures of magnanimity and sympathy." [source thread]
Mans ways fighting must have developed as fitness indicators at the same time as ways to survive. It must have functioned as an elements of attraction, a ways to be selected. This is the second essential criterium of natural selection - the capacity to be selected, to be valued. We need both survival (capacity to value in terms of self-value, to continue to exist) and selection (capacity to be valued in terms of someones self-value, existence to others.
Gender : Posts : 21890 Join date : 2009-08-24 Age : 53 Location : Flux
The human brain has become its own worse enemy. In more austere (natural) environments where uncertainty, anxiety/fear, necessitated a level of awareness that exceeded that of other species - as the specialized trait of the human species - the brain's high costs of development and maintenance were worth paying.
The brain's success made its powers superfluous - leisure, resulting in ennui, being the result. Schopenhauer describes the human condition as oscillating between anxiety/fear and ennui...both different kinds of stresses - one external in origin (brain projecting possibilities - need focusing on object/objectives), and the other internal (brain unable to discharge excess energies due to a lack of an object/objective).
The latter become what we call libidinal energies, evolving in the human species as sexual desire. Later it developed into the artistic disposition: in the absence of a focus, an object/objective, the mind creates and projects one. The difference between internally produced and externally produced needs can be perceived here in relation to the nervous system. One is a product of lack, seeking completion outward, and the other of excess, seeking to discharge itself....the latter being the byproduct of the former. Once more success producing the conditions of its own degradation. If the organisms' struggles to appropriate energies, to maintain itself, are successful, it accumulates superfluous energies which then pressure it to be expelled. The last is what Nietzsche called overflowing.
The process is direction, using the neural network. One integrates external resources - including data - the other discharges the appropriated resources, either in the form of unusable toxins (excrement), or in the form of excess energies organized into cells, energies, ideas, abstractions etc. In the first case the movement is inward; in the second it is outward. Lack absorbs, accumulates, and then overflows if it is successful with its integrations and their application.
The brain, as a tool, proved to be so successful, and flexible, compared to other specialized forms of survival, that it produced the conditions of its own superfluity (mechanization, institutionalization, ritualization, order (predictable, repetitive patterns of interactivity, and so on. The result was ennui. A huge brain with no application. Art, imagination, are ways of expelling all this excess brain-power - evolved to serve as a tool within more uncertain, challenging environmental conditions.
It's why feminization becomes the new idea(l), and why nihilism (Modernity) becomes the most effective form of social harmonization.
_________________ γνῶθι σεαυτόν μηδέν άγαν
Lyssa Har Har Harr
Gender : Posts : 9031 Join date : 2012-03-01 Location : The Cockpit
Not sure what happened to my old boxing thread; will have to create another one at some time.
This video was recorded about a little less than a year ago. It's on my old youtube channel.
I train all out, nothing held back. On the heavy bag, during the last 20 seconds of each round, I let my hands go entirely; I put every ounce of power, strength, and speed into my punches. Berserker rage.
It doesn't look pretty, but it gets the job done.
The main thing I emphasize in my training is ferocity, intensity.
All or nothing.
Gender : Posts : 968 Join date : 2013-01-04 Location : MA
Erik, the shark, like a cold predator attacking restlessly - pouncing on a prey, qucikly striking and moving back to sum up the damage done. Good luck in your boxing, it is a good way to increase self control and humble yourself.
Rigo is a great technical fighter. Excellent foot-work; seems like he glides.
Perpetual, did you watch the GGG vs Monroe Jr fight? Monroe Jr trained at my gym for many years; I sparred with him numerous times. My trainer was the cut-man for him in that fight, but, unfortunately, he did not win...he TKO quitted...
It's crazy, because Monroe Jr is actually a really good fighter; but GGG made him look amateurish, which just goes to show how insanely good GGG is as a fighter.
And Erik " The Shark " eh? Haha I like it.
My boxing nickname is " Hurricane ".
Gender : Posts : 968 Join date : 2013-01-04 Location : MA
"Kuji-kiri (Cutting the nine syllables) The related practice of making nine cuts— five horizontal and four vertical, alternating — in the air or palm of a hand with the finger or on paper with a brush is known as kujikiri, nine syllable cuts. Kuji-kiri is explained in Shugendo texts, quite correctly, as a preparatory ritual of protection, to cut off demonic influences and their inki (vital substance) (Waterhouse, 1996). In Japanese folk-magic and onmyodo, the nine cuts are often made over writing or a picture, to gain control of the object named or pictured. Thus, a sailor wishing to be protected from drowning might write them over the kanji for "sea" or "water". The Fuju shu does not spell out every ritual in detail. However, in several of the kuji-kiri rituals it is spelled out that the strokes are made alternately horizontal and then vertical: five horizontal and four vertical for men; and four horizontal and five vertical for woman. A modern Japanese text labeled kuji Dia Marishi-Ten hiju/大摩利子天秘授 (Nine syllables of the Tactics of the Great Goddess of Light (Marishi-Ten)) says that five horizontal slashes are made while reciting the yo-syllables: rin, toh, kai, retsu, zen, which spells (come, fight, ready, line up, in front) first. These are to be followed by four vertical slashes while reciting the in-syllables: pyo, sha, jin, zai which spells (warriors, one formation, take position). The document gives no other information as to why this arrangement is used."
"The Kuji-in were created from the gesture of both the hands. The left hand Taizokai represents a receptive valence, and the right hand Kongokai conveys an emitter valence. The Kuji Kiri performed with the right hand are to emphasize the cut of the ignorance of the Maya (illusion) (that is the deceptive sensory world) through the Sword of the Wisdom. In this way, according to the belief system of Shingon Mikkyo, one would come to create an opening in the daily world that would allow oneself to reach various states of consciousness. Derived from the Taoist dualism, Jaho could be seen as Yin, and Kobudera as Yang."
Such finger-meditations do not only create a mental grid in that "filter" sort of way that is made to receive somethings and block/attack others, or a physical grid that makes your breath[Qi/Chi] accumulate at certain points upon your fist, but the practise of folding-and-holding also allow you to be dexterous with your fingers like a magician, for instance is able to hide a coin between his finger-slits and balance it beneath his downward palm. The stealth of the Ninja is no different from the magician's need to be immensely dexterous and quick moving with his fingers that reveal and conceal weapons - that include invisible breath [qi/chi].
Certain grids/shapes are also known to trigger emotions/anxieties and psyche out the other. Like a code conceals and communicates only to the one who gets or meant to get the secret, the inter-locked "grid" is like a personal security lock.
Illusion [Maya] is cut by Illusion [Metis].
The Kuji-kuri is a set of designer scissors to cut through the veils.
Ashida Kim wrote:
"Probably the most ancient technique for disabling an enemy is blinding him, temporarily or permanently. Perhaps the tactic that best serves to illustrate this point is the art of throwing dirt in the eyes of an opponent. In motion pictures this is sometimes done by the villain and is considered to be an unfair or dirty trick- but, what is more unfair than being beaten to death? In fact this method probably developed when a smaller combatant was thrown to the ground by a larger one and found his hands full of earth as a natural course of events. In his rage and frustration, hurling this virtually weightless substance at an on rushing foe might well have been a reflex or an act of desperation, unlikely to have any effect. Still, who can deflect a handful of sand? At the very least, the attacker will blink instinctively and therefore provide an opportunity for the defender to escape.
This is where the Art of Invisibility begins.
Far from being futile, such a defense is the single most effective non-violent method or disappearing ever devised. Depending on the composition of the powder or dust used to blind an attacker, injury may range anywhere from momentary discomfort to permanent blindness.
The ancient Ninja of the Black Dragon School carried their blinding powders in specially constructed containers ready for instant use. These were called Hai Lan, or “black eggs.” They were made by poking a small hole in both ends of an egg and then blowing into the shell so that the contents are forced out the other end. In this way the raw egg could be extracted without breaking the shell. The egg would then be very fragile, so one had to be careful.
With a razor or sharp knife open one of the blowholes a bit more widely and plug the hole at the other end with a small bit of wax. Let the shell dry completely. Fill the eggshell with your secret blinding formula. Each ryu (school) had its own formula. This may be the ash of a particular type of tree indigenous to the tribal area of the clan, finely ground bone chips, salt, dry bleach, beach sand, or any similar material. Exotic compounds included certain weeds and alkaloid plants that produce a sparkling effect when reacting with the water from tears. Various peppers can produce blindness; even the metal filings from a sharpened sword could be included to scratch the cornea and thereby inflict more permanent damage.
Seal the eggshell with homemade glue or wax. The Ninja of old had several formulae for this, but today commercially available adhesives are more than adequate. Once dry, the eggshell becomes a perfect container for a handful of dust and is easily hidden in the hand. It is too fragile to carry in a pocket, but, because of this fragility it will easily spill its contents just when needed.
The Hai Lan can be hardened somewhat by painting it with several thick coats of lacquer or black paint. A little bit of experimentation will determine how much is needed. You are now armed with one of the most ancient and secret of all Ninja weapons- the Black Egg.
At this juncture a special word should be said about the practice of “hiding in the shadows.” While this may seem to belong properly to the category of camouflage, it is also part of the manufacture of Black Eggs or Ninja Dust Bombs.
The Ninja discovered that the lighter the material that composed the contents of these eggs, the longer it was likely to hang in the air and be an effective barrier to vision. Some experimentation proved that ashes and dust were the two best substances to make a simple powder for this purpose. Being frugal and not wishing to waste anything, the humble Ninja did not throw away the ashes from his fire, anymore than he discarded the contents of the egg. He ate that egg to give him strength and turned the shell into a weapon filled with those ashes. Likewise, in his housecleaning, scuttling about his dwelling, or busily sweeping as a servant to some lord, the Ninja was also collecting ammunition for his blinding powder devices. Since dust was often found in corners, under stairs, and above doorways, one engaged in cleaning would naturally become familiar with those places and so be better able to conceal himself in their shadows, should the need arise. Also, when watching an enemy in preparation for an ambush, collecting sand, sifting dust or sand between the fingers serves to calm the mind by giving the hands something to do.
Thus, hiding in the shadows is more than just a technique of Inpo (the art of stealing in or hiding). It is also a meditation on stillness and silence and part of the practice for later skills that involve collecting and cultivating Qi, the vital life-force of the universe that surrounds and pervades all things.
Two methods of delivering the Ninja Dust Bomb against an opponent present themselves automatically. One is to crush the egg in the hand and throw the contents into the enemy’s face using any one of a great variety of flinging techniques, many of which are seen in Shuriken-Jitsu, named for the spikes and star shaped multi-pointed throwing blades for which the Ninja are famous. Range is, of course, limited. Owing to the lightness of the tiny particulate matter and missiles involved. The practice method for this technique is to throw a dry washcloth at a head sized target or partner. This will fly about as well and as far as a handful of dust, and so provides good training and evaluation for the student without making a dusty or cloudy mess.
The third method is the basis for the myth that Ninja had grenades that exploded on impact and created a cloud of smoke in which they could vanish. Given the crude gunpowder of the era and the natural aversion to carrying something that might blow up in your pocket should you fall on it, the Ninja practiced throwing the dust bombs against the ceiling so that powder would rain down forming a curtain behind which they might disappear. To the untrained eye this has the same effect of throwing something on the floor and having it explode upward. Any ancient exploding devices to create smoke were necessarily detonated by primitive fuses rather than impact.
Like many things that first seem amazing, when the explanation is known, they are quite simple. That is what makes it “magic.”
In Kuji Kiri, the finger-knitting positions of Ninja meditation, the eighth position is one in which all the fingers are extended wide to symbolize “control of the elements of Nature,” a signal to others in the clan of awareness of the Five Elements. In a moment you will signal this, unarmed, to the aggressor in such a way that he cannot mistake the message.
As he steps forward to grab you, deflect his arm by raising both of your arms upward from the shoulder, bending the knees to lower the hips and head defensively and aim the backs of your wrists at his face. Through depth perception, his eyes will see the ends of your arms and judge the danger presented as they come into range. They will seem quite far away, so most people will react slowly to the threat.
Flick the fingertips of both hands upward into his face to make him blink by touching his eyelashes. Again, this elicits an involuntary blink response. Of course, that would be an ideal application. Barring that, any proximity of the fingertips to within two inches of his eyes is sufficient to cause the blink response. What he would see, if his eyes were open, would be both palms and outstretched fingers in his face; and that would be all. You would thus be hidden behind you open palms. Such that he cannot see you have ducked down and bent your knees.
Swing behind him with your left leg and wrap your left arm around his throat to choke him. Hold his head while you press your fist against the base of his skull. Hold your right bicep in your left hand to form a Lock around his neck. This is a secure hold from Greco-Roman Wrestling. The pressure produces temporary blindness through trauma to the primary cerebral cortex of the brain, which controls all vision. Cut off the blood supply and darkness envelops the victim. After pressure is released, impaired vision will last as long as the pressure was applied to produce the effect.
This is also the position for applying the Japanese Sleeperhold, performed by using your right palm to push the enemy’s head forward so that his throat is pressed into the “V” of your left elbow, cutting off the flow of blood to the head by constricting the carotid arteries on both sides of his neck.
When the enemy passes out, you have become invisible.
Let’s say you have managed to “disappear.” What will you do now? Well, usually you must hide. That requires patience. So, the Ninja developed the
Exercise of Stillness, how to sit and breathe quietly while waiting for pursuit to end. To pass the time, they practiced Kuji Kiri, the Japanese version of Qi Gong or breathing exercises, to calm the mind and heal the body.
The Body is the vessel that holds the spirit. That is why it represents the Earth Element.
The Breath is the spirit. Many cultures believe that an infant is not alive until it takes its first breath. At that time, it is believed, the spirit enters the body, bringing with it all the knowledge required to exist in an Air environment instead of a water filled one.
The Mind is the will, that binds them together.
The fist step is to draw air into the vessel, then to extract from it the essence required to sustain the body. Just as the digestive system extracts nutrients from food, the lungs extract oxygen from the air. Before one can learn to be a “fire-breathing dragon” one must first earn about Fire and Breathing. To accomplish this, the ancients have provided a series of exercises that act both on the conscious and the subconscious levels.
The Greeks called the vital life-force pneuma. The Hindus refer to it as prana. The Chinese call it qi, the Japanese ki. By whatever name, it is not only the molecules of nitrogen, hydrogen, and oxygen that make up our air, but also the electrical potential that holds the atoms together.
Sit in the Half Lotus Posture, or Adept’s Pose. The right leg is folded beneath the body to sit on the heel. The left leg is folded with the left foot resting on the right thigh. Touching the middle fingertips to the thumbs connects the psychic channels in the arms and prevents energy leaking out of the palms. This is the first of the mudra, or finger- knitting positions of Kuji Kiri.
Inhale slowly and deeply through the nose, filling the lungs from bottom to top, like pouring water into a glass. This is the first breathing exercise of Kuji Kiri. It is called Deep Breathing. Most people only use the upper third of their lungs for respiration. Draw the air deep into the Tan T’ien, the One Point two inches below the navel, the center of gravity and balance of the physical body, the Golden Stove in Chinese medicine and Ninja Alchemy. This is called “kindling the fire.” Note that the lower belly expands as you breathe in and contracts as you breathe out. This is the same lower belly we have said many times should be tightened just as one charges the enemy in combat.
Symbolically, the Golden Stove will “cook” the Juice of Jade, described in the Book of Water, until the “steam’ rises to the Mysterious Chamber of the head to enlighten the Mind.
Exhale slowly and completely through the mouth by gently compressing the lower belly, expelling all impurities and negative emotions from the body. This is the first relaxation exercise. It is called “sighing,” a natural stress-relieving technique instinctively known to all.
The first form to be studied is called Natural Breathing. Most people breathe with their lungs, usually with the upper chest alone. To do so is to limit the amount of lung area available for oxygen exchange. The ancients have taught us to “breathe with the belly.” Inhale slowly and deeply letting the lower abdomen, below the belt, expand as if filling with air. This opens the lower lobes of the lungs so more oxygen can permeate the blood. Then let the belly deflate as the exhalation is made. One should repeat this for at least twenty minutes at the beginning and end of each meditation session. For the beginner, however, three or four repetitions are enough to start with lest you hyperventilate.
This exercise will calm the mind, heal the body and improve the digestion. It is sometimes helpful to visualize clean, pure air coming into the body and impurities or negative emotions being gently expelled. Listen to the sound of your respiration and gradually make it slow, soft and silent so it cannot be heard, even by yourself. Then you can hide effectively. you are now armed with Qi, what martial artists call inner strength.
For them, and now for you, Qi is drawn into the Tan T’ien, below the belt, compressed and directed to the fist, forging it into a deadly weapon. Or, it is channeled to some other part of the body to make it impervious to injury or heal a wound. Or, in the case of the Ninja Fire Breathing Dragon Technique, it is used to propel a fireball at a target. This is the first step in developing that technique. It cannot be omitted.
This is a test of Qi Gong, breath control. When you can put out the candle with a single puff at arm’s length you will have learned the technique. There is no way the enemy can block it or prevent himself from blinking. At that instant, MOVE!
Decide whether to jerk away from his grasp or seize him in a painful wristlock while inhaling, but don’t be indecisive-it can be fatal.
Advanced practice for this technique is to put the candle at eye level. Begin by blowing gently until you can see the effects of your breath on the flame. You should be able to make it move back and forth as you inhale and exhale from about three feet away. When you can do that, bend it toward you and away by will alone. Do this for a while, then blow it out in a single puff. Gradually move farther back until you can snuff it out from about three feet away. Blowing out a candle at eye level is quite different from blowing down onto a table.
Do not strain. Do not sputter. Do not try to go beyond arm’s length. The technique can be done from greater distances, but then one tends to whistle or spit unintentionally.
Of course, no discussion would be complete without raising the spectre of an even more distasteful and revolting sort of halotoctic attack- projectile vomiting. This technique is born of great mental distress and, without a doubt, life-and-death situations are stressful. Everyone gets “butterflies in their stomach” when nervous; before stepping on stage, for example. This is a manifestation of the reflex required to master the rather obscure and relatively unknown art of voluntary regurgitation.
Harry Houdini is said to have learned this trick from an old Chinese man while working in carnivals and dime museums. He used it to hide his tools and lockpicks from even the most stringent search. The training method is to tie a small round piece of potato to a string and endeavor to swallow it far enough down the esophagus to make it invisible, then retrieve it by using retro-peristalsis, the reverse muscle contractions that constitute swallowing. If lost, the potato and string will simply be digested. The purpose of the string, of course, is to pull the potato back up the throat the first few times so it won’t be swallowed, until you get the knack of regurgitating at will and not from too deeply in the stomach. This technique enables one to overcome the gag reflex in the throat.
The next step is to practice with an egg. When you are confident of being able to conceal and retrieve a boiled or raw egg in practice. Begin using a Hai Lan, Black Egg, that holds your secret tools. Again, there is no problem if the practice eggs are lost, they are simply digested, but, don’t eat too many at once.
It is also possible to regurgitate spontaneously without prior training merely by being sufficiently terrified. Recruits do it in basic training all the time as a fear reaction to verbal intimidation.
Like many legends about Harry Houdini, this one may or may not be true. But, the method certainly sounds as if it would work and does exist historically. It is yet another example of a technique that trains the Ninja to have conscious control over many autonomic reflexes. One must first control the body, then the mind, then the spirit will soar. As before, one must consider these things in order to understand that there is always a way to achieve a goal, no matter how strange or improbable it may be.
There is a branch of martial arts known and studied by only a few called Haraki. It is a Japanese word, composed of the ideograms for Hara or Tan T’ien, the center of gravity of the physical body and Ki, their term for Qi, previously discussed and defined.
Haraki involves training oneself to draw in air, collect it and cultivate it in the center (inhaling breath), then transmit it with a shout, known in Karate as a Kiai or spirit- shout (exhaling breath). The effect is to tighten the belly so you can charge. It is a cry, a scream, a yell of total commitment. Not at all like the mere grunts of so many other martial arts schools. The warrior puts all his strength and energy into one powerful finishing or deciding blow. It is a strong exhalation from the belly just as a strike is delivered. It is often seen and properly performed in Tamieshiwara, or breaking demonstrations. Here the students shatter boards or bricks with their bare hands. As indicated in the Book of Earth, such a shout can be included in the execution of various vanishing or misdirection techniques.
In the martial arts, military training, and law enforcement, the value of a deep commanding voice is well recognized and documented. Just as the hypnotic voice will be important to the material covered in the Book of Air. Many a dispute has been settled by a firm tone and a steady timbre, and verbal orders in the field that drive young men into direct gunfire are the result of a programmed response initiated in basic training.
The relationship of this to water is that sound waves can be seen on water, making an invisible phenomenon visible. Thus, the Water element is associated with sound and sound waves.
The effectiveness in combat of the Kiai is well documented. It can “freeze” an opponent in mid-step, startle him enough to make him jump out of his stance, or make him blink. The Kiai is all that is required.
The range of the Kiai is somewhat more extended that the Blow-In-The-Face technique, since the operating factor is sound rather than mere air. Some schools believe that all things are merely vibrating at different speeds. Solids are the slowest, then liquids, then air, fire, and finally wood. Within these are the vibrational planes of light and sound, each of which has a range above and below that which is perceptible to humans. Infrared rays are too long to be visible to the human eye. But, are so active that they break down chemical bonds. There exists sounds that are too low of a wavelength to be heard but that can be felt on the skin, and whistles of so high a pitch that only dogs can hear them.
Thus, sound is also a force that can be used as a weapon to temporarily blind an opponent.
The meditation practice for Haraki is known as Reverse Breathing. To perform this, let the belly contract as you inhale and expand as you exhale, the reverse of Natural Breathing. This is the mechanism whereby Qi is refined in the lower belly. It is essential that both of these methods of breath control be practiced and learned well.
In a purely hydraulic way, such manipulations of the mental state will produce unconscious tension in certain parts of the body and this will pump or shunt blood to other parts. In Yoga, sitting in the Full Lotus Pose soon puts the legs to sleep by restricting circulation, at least in the early stages. In so doing, the blood is allowed to collect at the base of the spine. By tensing the belly, this excess can be pumped to the brain, symbolically “letting the steam rise” in Qi Gong. When coupled with the nervous impulses that must necessarily accompany such an event, and mental imagery that reinforces the process, one can stimulate the powers of the mind. Or, so it is said.
In the Full Lotus Pose a certain amount of this blood has accumulated at the base of the spine, ready for the Sacral Pump, pulling in on the lower belly in rhythm with the heartbeat to push this oxygen rich blood to the brain.
In Reverse Breathing, this blood floods over the brain, enriching and stimulating the entire organ. Unlike other parts of the body, the brain does not have an extensive network of capillaries to supply blood. Instead, it is essentially bathed in cerebro-spinal fluid while floating in the shallow brainpan of the skull. So, the effect for the user is often like “lighting up the sky” or as in the Zen texts, “opening of the thousand petal lotus.” A symbol for the cortical surface of the brain.Practice “shouting out a candle” by assuming a Horse Stance at arm’s length from the target. Inhale slowly and deeply, filling the lungs from bottom to top.
Exhale forcibly, from the belly shouting a one syllable command word, using the diaphragm to direct the sound at the flame. Tighten the belly as you shout. Virtually any explosive sound can be used for this Kiai. “Ha!” “Fish!” Even “KIAI!” itself. Or, a recognizable word such as “Stop!” “No!” or “Wait!” can be employed. All of these words or syllables are “plosive” in that they expel air from the lungs to produce the sound. The sound used in meditation “Om...” on the other hand is made by closing the mouth and humming, this has a calming effect, which is why it is used for meditation rather than combat.
Practice Haraki by assuming a firm Horse Stance at arm’s length from the candle. Clench the fists around the thumbs and set them on the hips. Concentrate the Qi and focus on the candle.
Without moving, exhale forcefully from the belly making NO SOUND. Direct the exhalation at the flame and extinguish it as before. This time using the “silent Kiai. Compare the posture and facial expression in this technique and the previous exercise. It will be seen that in the former, chest compression expels the air and sound, while the second uses a forceful compression of the belly to direct silent sound waves toward the target." [The Invisible Fist]
Just read this, I didn't know this lift was rare in his weightclass:
" Russian-Greco-Roman wrestler named Alexander Karelin, the greatest Greco-Roman champion of all time. The Karelin lift, which was named after Karelin himself, involved a technique where you lifted an opponent who lays flat off the ground and slam him. This moved existed before Karelin but only for the lower weight classes, Karelin was the only man, at 6ft4 and 280 lbs who had the strength to body weight ratio to achieve this feat at heavyweight, regularly tossing 260+lb men through the air. "
Lyssa Har Har Harr
Gender : Posts : 9031 Join date : 2012-03-01 Location : The Cockpit
"Ninja are taught that if the enemy is angry (Fire) one can fan the flames of that anger and cause him to over-commit to his attack or even become so enraged that he is unable to attack, by using taunts that play on his fears. This is considered an application of the Wind Element (intellect) to Fire (anger). Conversely, one can extinguish the flames by using Water (emotion) by appealing to the enemy’s self-interest, or through expressions of sympathy and support with the counsel of patience. This gives the aggressor a way out with dignity- the path of least resistance. This system is known as the Five Feelings and Five Desires of HsiMenJitsu and is, like everything else, based on the Five Elements." [The Invisible Fist]
Ashida Kim wrote:
"Just as the atmosphere of the Earth is held around the planet by electromagnetic and gravitational forces, so too are the charged particles that are the products of respiration. There is an “aura” of gaseous particles around the body. This is analogus to the scent that surrounds humans and is perceptible primarily to dogs, with their more highly developed sense of smell. In some cases a malodorous smell can even be detected by the normal human nose as well.
If all this is true, then why not an electromagnetic field as well? Certainly the minuscule particles possess some charge. Simply by being composed of atoms made of electrons, protons, and neutrons. If we accept that nerve impulses, although produced by chemical interaction, are essentially electrical in nature, then it logically follows that they too must produce some inductive field that extends beyond the physical nerve itself. Every other electrical current produces such a field.
Without a doubt then, there IS an aura, and it is perceptible to some gifted or skilled people. It is alterable according to respiration and mood.
The purpose of the mental exercise that follows is to fill that aura with charged particles released through normal respiration but more highly charged by breathing so that the sphere of influence (aura) becomes opaque, like a clear glass filled with smoke. The effect is to render the user invisible to himself, which generates the body language and mental attitude to render himself invisible to others.
There is an inherent difficulty when employing this method. Namely, if one cannot see one’s hands or feet, there is a tendency to bump into things and knock them over. For this reason the Ninja train in blindfold techniques. Those that arise spontaneously are very similar to those used by the blind. It may seem paradoxical that moving as if you were blind would contribute to making you invisible to others. But, the psychological effect of diminishing your ego to the point where you can’t even see your own hand allows you to focus all your attention on those other people and remain out of their line of sight. Also, because of this intense concentration, you (like a blind man) would develop more highly sensitive applications of your other senses.
Form the Silent Way Mudra by placing your index finger to your lips with your little finger extended and the middle and ring fingers curled into the palm. Inhale and draw air into the Golden Stove. Circulate it eighty-one times using the Nine Breaths.
Imagine a vapor being expelled on each exhalation, descending to form the mist or fog that settles about the body and then begins to rise and evaporate, spreading itself upon the wind. Imagine the cloud becoming more dense as it fills the auric egg- the electromagnetic field of the body. Imagine becoming part of the cloud as it surrounds the body completely, obscuring the form from view. Imagine the body becoming lighter and lighter until it is carried away with the dissipating mist. So that the form vanishes completely and cannot be seen.
The aborigines of Australia have a great lore regarding this dream-time when you are sitting as still as a lizard on a rock and become invisible to the universe that is well worth investigating. The essence, however, is to link memory to imagination. Then one can visualize or imagine the outcome of any scenario or the solution to any puzzle. It will be presented to you in terms and symbols completely understandable, some of which are archetypal and some of which are personal.
One can move about slowly when surrounded by the Mist or Cloud, and so perform acts of the Will invisibly. Chinese sages say that the secret of invisibility is sitting so still that you go unnoticed by the passage of nature. In meditation, the initial stages of practice, this movement is known as the internal work, the healing and detoxifying of the body by collecting, cultivating and circulating the life-force, Qi. In a physical sense, moving about means to “ride the wind”-that is to say, let yourself move so slowly and quietly and spontaneously in response to the actions or line of sight of others that you become “one with nature,” part of the background that is overlooked- invisible. This enables the Ninja to not be seen and not attract attention until he is ready to “step out of the mist” and suddenly appear to the enemy. Silence is the key. When you can breathe so slowly and deeply that you cannot hear yourself, then you can move slowly and quietly enough to be invisible. You will also have developed the patience needed to do so.
Slowness is of major importance. Think of how movement inside a real cloud would disturb the gaseous mist and threaten to expose an arm or hand to view. Practice moving in water or imagine that you are doing so to elicit the necessary visual imagery.
Any attack made while invisible has a fifty percent better chance of success and does twice the damage since the opponent is unprepared and has no chance to defend himself or steel himself against the impact. Naturally, any such aggressive behavior negates the concentration required to remain invisible, thus breaking the “spell” and making the magician visible. This is why invisible actions are always more subtle and employ very little force. In Tai Chi Chuan it is said that a “force of a thousand pounds can be deflected by four ounces.” And, in Pa Kua Chang it is taught that “to affect the lives of men, one must be outside the circle that presses them.” Both of these principles are part of the Invisible Fist philosophy. The greatest warrior prevails without throwing a single punch. It is, of course, not necessary to merely sit and enjoy the sensation of relaxation and solitude. While in this state it is possible to effect the self healing of old wounds and injuries merely by thinking them well." [The Invisible Fist]
“Khridoli [is an] ancient Georgian word which means wisdom to defeat [an] enemy which is stronger than you,” explains Giorgi Avsajanishvili, an instructor at the Khridoli National Academy, who also teaches hand-to-hand combat to the Georgian Army under the employ of the National Ministry of Defense. “It includes fighting in five directions: Khardiorda [wrestling], Rkena: a mix of judo, Jiu Jitsu, Sambo and grappling… Krivi [boxing], Farikaoba [fencing]. The fifth is archery.”
Gender : Posts : 1827 Join date : 2009-08-24 Age : 33 Location : Ireland
Power translates to speed for the most part in martial arts.
Conor won because he took a calculated risk. He seized the moment in a daring way. Focus and well prepared for his opponent. He was willing to take the hit to the face to get in his knockout punch. Who knows, without the provocations, it may would have ended differently.
Gender : Posts : 1827 Join date : 2009-08-24 Age : 33 Location : Ireland
Great content in here. I'm currently into Kyokushin Karate. I've been a practitioner off and on for about 8 years. It's a very outwardly hierarchical and there's a very strict adherence to it's customs. (Constant displays of respect to your superiors by acknowledging them with OSU and a bow.) I'm half-Japanese (Half-White American) so I have no real problems adjusting since it's very natural to me.
The training in Kyokushin Karate is regimented into a beginning warm-up of stretches and repetitions of striking the air to get the body prepared for padwork, condition training, forms and/or sparring.
The sparring/fighting/game in Kyokushin Karate is known as "Knockdown" - The rules do not allow grabbing, punching to the face, groin strokes or side kicks to the knee joint. The game is played at the highest levels without padding and with bareknuckles. It's most commonly in the format of a Tournament system. The object of the Game is to either knock your opponent out, win by points (scoring a knockdown), dominate your opponent with strikes or in the case of a spirited draw - tameshiwari (board breaking) and weight difference are used to decide who will proceed.
There's a certain quality of mental and physical toughness that's cultivated in Kyokushin. You can clearly see what I'm talking about if you ever meet a practitioner.