In

Working in the Space Part 2

In ancient times, this spatial intelligence was a primal survival sense. Science shows that 150,000 years ago man made discoveries and demonstrated a creative intelligence. The ability to deduce that footprints would lead to an animal Last House on the Left a human trait developed during this period.

The utilisation of creative intelligence to link a pole to a flint tool to invent a spear is another example. You need to demonstrate an ability to recognise multidimensional factors of an object. Then have online auto insurance quote ability to transform or to recognise a transformation of one object into another. The ability to couple two concepts together requires a capacity to conjure up mental imagery and then to transform that imagery.

Leonardo Da Vinci made a prototype for lock gates based on the principle of an archway. This shape proved to be stronger and more reliable than straight gates. This principle is still used today.

Mathematicians or logicians begin an experiment or process with the parts and build into a whole by synthesis. The creative or curious brain begins by observing the whole and arrive at the parts by analysis. This process is dominated by a preoccupation with wholes rather than the parts. With patterns not pieces and similarities rather than differences. (In The Minds Eye, p39).

Triune or complete brain activity requires training however and many people need to understand that visual modes of thought are an important factor in understanding learning.

Nature seems to be very orderly if we look for evidence of differences in the many species. Science tells us however, that the evolution of the universe is based on Chaos. Scientists describe chaos as the sensitivity to generate extremely different end results, because of extremely small differences in the starting process. If you cannot notice the similarities, in a pattern you fail to understand its form.

Dr. Hatsumi never shows a technique in the same way but will begin from the same place. This is known as Henka, variation of the technique
(a way of altering slightly the technique to generate a very different outcome.

This way of expressing movement inside a behaviour is a clue to the way Hatsumis body-mind processes are working.

Hatsumis movement and techniques are often described as being extra ordinary. He explains that we must learn to do ordinary things extra ordinarily well. Extra in Latin means Acadlwhdliwpk the English interpretation means additional. The Greek para means beyond hence para normal beyond normal.

This explanation describes that Hatsumi utilises all of his senses beyond normal, rather than having an extra sense. These ordinary senses and qualities are inherent in all of us.

Picture Shin Shin Shin Gata painted for me by Hatsumi

SHIN GI TAI ICHI

Movement coupled with a triune brain mentality produces an open fluid non-linear behaviour. From a zero or a balanced neutral position, it should be possible to move in eight directions.

Kuri Happo
Eight secret methods from zero.

This describes the potential for eight directional movements in three-dimensional space from one point. In the martial system, the basis of Dr. Hatsumis budo is the kata or form of movement known as the Kihon Happo, (basic steps or roots of the system in eight directions).

From these basic steps, Henka or variations are developed to form an infinitesimal potential for further technique development. These movements from neutral to the eight directions build into body-mind pathways to form techniques. The bodily positions are known as Kamae and are equally an attitude of mind as well as a posture or body physiology.

The body forms itself into action constantly organising and reorganising itself motorically and cognitively to keep in form

Spuybrock L. Motor Geometry p 165 (Architecture and Science)

Kamae movements are coupled together to form into techniques and then disassemble in a flow. This flow has the quality of an Amobius strip.

(An Amobius strip has no beginning or end)
This natural flowing movement becomes a walk is known as Aruki and has inside all the aforementioned qualities. Inside the Aruki, walking patterns of Budo are all the elemental physiologies in movement expression. Ninja exploit the Kamae of Tai Jutsu and practice walking in a way, which leaves no opening. (Hatsumi p118)

This whole methodology was attuned to nature working in natural surrounding. Hatsumi describes this as a divine connection or attunement, the very space you are in also holds a Kamae. (P119)

Within the martial aspect of the training, the Aruki walking can be classified into three ways:

SABAKE a decisive or action step

SHIRABE an explorative step

MOGURI an evasive step

These three ways and their Henka variations allowed for a variety of steps inside of your walk. Including these three ways of moving into your walk will develop better balance and co-ordination. When the body has the competence to move in any direction, forward, back and diagonal, it develops a more global sense of where we are in three-dimensional space.

MODELLING

Modelling is a very important resource in learning a physical skill. Physical skills require the knowledge from the brain, to connect with the body in one congruent and co-ordinated action. This is known as a Physco (relates to the brain), motor (relates to nerves and tissues) skill.

When learning a subject especially a physical art, its important that we develop a feel for the task or practice of the art. We can have knowledge in our head of what we want to do, but the body might not have the developed neural pathways, so the skill is said to be a cognizant understanding existing primarily as information held in the brain. Developing neural pathways and tissue communication, we can bring our body into the act. This brings it to our kinaesthetic physical level or psychomotor level.

Visualising an act mentally has been proven to help in the learning of the psychomotor level of physical feel. There are two ways to visualise an act or movement. In the first, you can visualise yourself acting out the scenario as if on a TV screen. This is known as a disassociated visualisation and does not carry a very strong physical feel.

In the second way of visualising, you imagine from the inside that you are performing the task. Everything around is seen from your own eyes as you perform the act. This is known as an associated level of learning and includes attitude and heartfelt emotions.

When visualising a task of learning with our heads and our hearts, we develop a body feel for the motor skills necessary for the physical act. When we have an associated body feel, your bones, muscles and tissues feel in place or in balance. In Japanese arts, this is natural posture or Kamae is known as Shizen or neutral body pose. From this position, any movement in any direction or omni directional is possible with total body agreement. The global feeling in the body engaged in this posture or physiology is known as proprioception.

Proprioception is the sensory feedback system that feeds back information to the central nervous system. Sensory receptors known as proprioceptors are located in muscles, joints and tendons.

The central nervous system spatially organises the information from the various co-ordinated parts around the body. This coupling of information and body behaviour is a synesthesia of spatial body sense and its ability to move as one unit. The body is suspended in a network of soft tissues and bands of fascia. The motor geometry of the body constantly aware globally of limb movement or body shape change. The alteration in tension as the body moves is monitored and maintained via neural feedback to the bodys intelligence or feeling.

Our bodies operate out of proprioceptive information all the time. Our feet are richly innervated with nerve endings that tell the brain where we are standing and the physical qualities of the surface that we are standing on. So heat, shape, consistency, angle and stability of a surface would all be registered as information and adjusted to orthoevra and physiologically.

This feeling becomes second nature to us or as an unconscious competence so that to take a step is effortless and totally co-ordinated by the whole body. To gain an appreciation of how well developed these pathways are, try this simple task. Stand on a wobble board with someone holding your shoulders for stability and then close your eyes and start balancing. You will soon find that without the visual sense in the balancing act and the new information coming from the feet to the head for adaption, we become unstable.

Dr. Hatsumi constantly remarks in his budo sessions that all the techniques come from your walk. But he does not mean walk in the Western sense, being a series of linear sequential steps. In Japanese terms, walk or Aruki is a multi directional or non-linear ability of the body to move in harmony and with a sense of Proprioception. Therefore, to walk in a way that integrates our feelings, we can develop techniques and skills at an unconscious level of competence invoked by the automatism of walking.

In this way, any physical movement is acted out simultaneously on a cognitive brain level, an affective heart level and the psychomotor, physical body as a whole. This kind of moving is described by Hatsumi as being meditation on the move.
[quote]
.............. There must be a balance of movement and non movement

Dr. Hatsumi

Once you find your Space then you will also find your some-how happy from the inside - out
Dennis Bartram

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posted by liygg @ 6:52 AM