Many of the martial arts, like Kung Fu are nothing more than fiction. Pop somebody up the nose with a palm and bone shards will spear into his brain and kill him, except there is not any bone in the nose, its all cartilage. And all those old legends , a lot of them are good for not much more than washing the hog, if you feel like washing the hog.

But, there is a certain science that has proven applicable in the realm of the martial arts. This is the science of how to apply concepts of geometrical energy potentials. I discovered this field while consumed by a book series called the Lensmen Series.

I suppose the first time it burst upon me was when E. E. Smith, the author, described spacemen fighting a wild battle on the hull of a space ship. The spacers were hooking their feet under hand grips so they would not fly off into space when they struck somebody. They were anchoring themselves so they could apply force, and not have that very same force act against them.

Soon I was totally immersed in a universe where weapons created incredible geometries of force. A death ray gave forth a mattering splattering beam, and it could be deflected by a well built shield. And if a shield could deflect that beam, then another shield used like a disk could slice the first shield apart.

Soon I was seeing entire fleets of space ships creating their own particular brand of strategy. Armies of space ships would form globes around other armies, and cones of spaceships would swallow globes of entire armies. Each time a geometry was described, my mind struggled to imagine the wave of new concepts.

Then, shock of shocks, fleets of space rockets gave way to the exercising of mental powers. Those same rods and globes and cones and shields, made real in the extreme of space combat, became the stuff of minds battling minds. How do you shift your awareness through the grid of another mentality, especially when that mentality is utterly alien?

And, ultimately, having read the series of books, I began extending those outer space alien mind warfare strategies to my chosen field of the martial arts. I sank my weight into deep horse stances so I would not fly away from the projection of my own force. I described cones with the movements of my limbs, and went after globes of fists as they flew out of space at me.

When I tell people about what has inspired me in the martial arts, in my study of karate and kung fu and shaolin and such, they generally think I am a bit crazy, or they know I am a genius. Reading sci fi so as to use weird concepts in the arts martial, who would have ever imagined? Yet, both fields are art, and should not art be brandishing creativity and expression and beams of force and mind to mind conflicts?

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When I began studying the martial arts, it was a brand of karate much like kenpo, I was taken by the concept of one punch one kill. The idea that you could kill an attacker with one punch was absolutely fabulous! And that you could actually kill somebody with a karate strike, well, that was more than just a birthday party, you know?

Then, along came kung fu and the concept of the death touch, the idea of killing merely by touching with the fingers. Man, now this was something that was right up my alley, and I know it does not speak well of my maturity, but, man! To actually just touch someone,just put a finger on them, and have them drop dead, yowza kabowza!

We trained hard in our desire to make these killing philosophies a reality. We did our ritualistic dances and endless calisthenics and techniques and spent endless hours punching the bag. Oddly, the more violent we practiced in the training hall, the more peaceful we were once we left the training hall.

Finally, age caught up with me, over forty years in the arts, and, finally, and I began to realize the truth of this one punch, or even one touch, kill ability. I discovered that it was not in the development of muscles. No matter how hard, strong and fast my body became, you see, there was a missing element.

The missing element was the simple fact of Intention. Intention is the will to do something, the desire to make something happen. Consider it an invisible line between the having a concept , and and the accomplished reality of that thought.

Watch a fight between two UFC gladiators, they pulverize each other for a few rounds, and nobody falls down. The moment one is rendered unconscious, however, you have seen the first real punch of the fight. The other punches were just trying to be punches, but not achieving. They were generated by thought, but the line of intention was to weak to enable them to reach completion, reality, actuality.

So, how do you reach the ability of the dim mak death strike of karate legend and kung fu mysticism? Do not make your arm tight when you strike, for tense muscles slow the intention, lock it up, stop it from reaching the reality. Forget that the opponent is real and in front of you, and thrust your fist, or place your finger, through the space of his body.

Now, this is the truth , this bit of knowledge, and perhaps you can find training methods that will help you implement this knowledge. The odd thing is that when you finally come to realize the reality of this strike, you will not have the lack of compassion to use it, and you will find that the ability you earned translates into methods of living that are far superior than just killing. In the martial arts it is the knowledge behind the technique that is important, the technique is just a way to journey to your true self.

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I was in the army last century, stuck with drab duty and endless quantities of time in which to imagine. I was supposed to go to another country where I would be afforded the opportunity to kill people. This was not a task I was looking forward to.

One night I fell into a conversation with a young fellow of quick imagination, and he asked me if I have ever read Lao Tse. I told him I hadn’t heard of the book and asked him what it was about. He revaled to me that it was…The Way.

Actually, I had come across the concept of The Way in the course of my martial arts study. I had read of the concept, talked it over with fellow students, and dealt with it in light manner . Oddly, though I had been involved in the martial arts for a couple of years, I had no idea that there was a book written expressly about The Way.

Not long after that I found a copy of the book and began to delve into it. I dwelt upon the passages, translated the ancient Chinese terminology into terms I understood as best I was able. I was to find that the mere reading of the book, which is not a sizable volume, was a journey in itself.

There is no back without front, there is no low without high, translated into the most amazing dichotomy I had ever imagined. Oddly, I found that these concepts, front and back, high and low, were extremely useful when it came to fighting. Indeed, as the years passed I was to find that the mere consideration of this dichomoty, even in the middle of chaotic freestyle, brought order and advantage of a sizable nature.

My favorite passage of the book has always been, Do nothing until nothing is left undone, as it is positively enlightening. I would trade upon the forks of my life for the chance to utilize this strategy. Eventually, the forms done ten thousand times, I began to experience bits and elements of truth, and my art would actually engage in the effortless principles that go towards making up the True Art.

Not every time would I be able to make the concepts of The Way function in my real life actions, but the contest was in The Way, and this contest brought me out of the box, undid the normal way of thinking, and enabled me to actually be a seeker in action, and the whims of my youthful desire began to manifest. Emotions became a joy, age became a relaxation, and and still The Way nudges me hither and yon. My form transmogrifies to the lilt of this ancient rhyme, and another world beckons unceasingly.

A perfect world, where the realization that The Way is merely the unceasing time before me has opened up before me. A world where those obsessed with such things as political intrigue and the power of the dollar fall sick by the wayside and envy me my youth and good health. A world where human beings exist, outside the range of transgressions and judgment, this is The Path of The True Art that has opened up and accepted me.

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Sad to say, the martial arts are passed along by what I call the Stringular Method. This method is an incredibly inefficient methods of imparting data, and is actually on the level of Monkey see monkey do. This method is so slow that it can actually stop the transmission of data from teacher to student, yet it is used in every martial arts, from MMA to wudan.

To understand the significance of what I have just told you, we must define the types of learning, and put them in a proper order. To do this will enable a student to learn at a much increased rate. Ultimately, there are other things to be considered, but this factor, the categorization of learning methods, is of vital importance.

The first category of learning I have called The Simple Datum Method. An animal is hungry, sees a grape, eats the grape, feeds in data as to the future and proper dispensation of grapes. Sadly, many people learn only on this level throughout the third world countries of the world.

The second category of learning I have called the Stringular Method, and it is the memorization of random strings of data. This is the fashion by which youngsters are schooled in countries lacking adequate methods of education. This is the method used to teach in the martial arts, and, truth be told, it is Monkey See Monkey Do.

The third category of learning I have called the Mosaic Method, and this is the method used to achieve enlightenment, such as it is. Simply, a person memorizes enough random strings of data to perceive a mental image. The image may be all messed in a variety of incredible ways, but it has been filled in enough for the person to envision, and thus he actually learns.

The fourth category of learning I have called The Linear Method. The Linear Method utilizes the memorization of strings of logical data, and it was used to instruct children in modern society up to recent times. Unfortunately, the method, even when it proved workable , ended with children, and advanced methods of learning were never developed.

The fifth category of learning I have called Matrixing. In this method the data is input in linear fashion, on a grid, until a mosaic, not slanted nor twisted , is arrived at. This is an amazingly efficient method of transmitting data, and people who have experienced Matrixing begin to input by strings of logical mosaics, or matrices.

Animal to child to adult, thinking about to intuition, the learning methods evolve . There are many ways to consider the far reaching effects of what I have discovered in the field of education. The most important thing to be considered, however, is that the effects of Matrixing, profound and enlightening. are best achieved through a practice of the martial arts, specifically of matrixed martial arts.

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How would you like to learn Ultimate Fighting Championships from Queen Elizabeth? Or maybe a good solid class in Uechi Ryu Karate from William J. Clinton? No…well, how about, I have got it…Hung Gar Shaolin Kung Fu as taught by Nancy Pelosi!

You may think my humor is not quite there, but there is a dark underbelly to all this. When the government takes over private business, you see, it tends to destroy, corrupt and confound that business. And I am talking about any business run by any government.

Kung Fu, for instance, been around for thousands of years, has been spreading long life, health, good physical conditioning, and some of the most excellent darned self-defense one could imagine. Then along came Chairman Mao, and Kung Fu was dragged out and decapitated. The method utilized for that decapitation of the one of the greatest arts the world has ever known was called The Cultural Revolution.

Chairman Mao, during the Cultural Revolution, decided to cure society of elements that were harmful to society. Thus, people were carted off, never to return, to the tune of 70,000,000 strong. If you were fast of intellect, had any talent, or stood above in any manner, you were murdered.

If you were a school teacher, wore a wig, or had written a book, you were murdered. If you spoke out against Mao or played the violin, you were murdered. If you knew Kung Fu, you were definitely out of there.

Once the Revolution was over, the country began to remake itself in the image of Chairman Mao. Funny thing, as China tried to catch up with a world still cursed by talent and intelligence, it discovered that people would pay good money for this thing called Kung Fu. Unfortunately, Kung Fu was dead and buried.

So, what does a government do when it has killed off an entire art form, and then found that it needs that art form? Simple, you gather together a number of of coaches and have them make up some Kung Fu. So they brought together some coaches, the ones who had not known enough Kung Fu to be carted off and killed during the revolution, read any manuals that survived the book burnings, and made up some Kung Fu!

And they made double sure that the Gung Fu did not have anything that could actually be used in it. You do not want people able to actually have a Shaolin Kung Fu that works. Heck, if they had that they might actually want to have a (choke) Great Revolution!

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Freestyle, whether it is the brute force in the octagon , or the well guided darts of classical karate, such as Shotokan or Uechi Ryu is a staple of martial arts training. A black belt cannot be considered a black belt, after all, unless he can use techniques of freestyle to reduce the mugger. Even in the Mixed Martial Arts training, a good base of classical karate freestyle goes a long way towards helping a fighter adapt to usable ring concepts.

That all said, I should advise the reader that one should have polished his classical forms if he wishes to make the following strategies work. I know many people have given up form training, but form teaches control of the body, and of the mind, on an intimate level. And while the purpose of freestyle is to destroy somebody, control is what defines the true art.

The first thing one must understand is how to prepare the body to enter the fight. This is the position one puts the body in when fighting another fighter. The idea is to understand and adjust the structure of the body so that one has proper angle of the leg and therefore pushing muscles, max traction with the feet, and the correct turn of the hip so that max weight can be moved with minimum effort.

Another thing that should be done is to make sure your eyes are on your opponent. The truth is that you cannot fight what you cannot face. Do not look at the whole body, or focus the eyes in a general manner, look at the eyes of your opponent and know that you are perceiving through the windows to a mans soul, and therefore will, with dedicated practice, be able to see the generation of thought, and what the intended technique is going to be.

Lift the arms and aim them towards the shoulders of your opponent. Your opponent will have to confront the arms if he wishes to close with you, and that means he no longer has a straight line potential. If he goes around your arms, that results in you having the straight line potential.

If you wish to know what your opponent is going to do before he does it, widen the arms slightly and give him an alley down which to strike, or tighten them slightly so he will have to go around to strike. There may be a slight loss of advantage, but now you know exactly what he is going to do. Predicting an opponents actions is is a sure way to win the game.

Balance the body so that he does not know if the attack is going to come from high or low or right or left. Turning the shoulders so he will not know which side you will attack with makes you unpredictable. Not letting the opponent know which foot you are standing on, and which is going to be used for kicking is a tremendous advantage

Now, admitted, the techniques and strategy I have spoken of here are suited to the gunfighter mode of touch tournaments. Still, whether you are facing Anderson Silva in the octagon, or the rival school in a friendly square off, or the gun wielding home invader, these techniques will hold true, and will open the door to further awareness. Whether you are practicing a traditional karate method, like shotokan, or a more modern method like Kenpo, or even partaking in a brutal mixed martial arts championship, these tactics will train you to win the fight.

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This is going to be, for some, an upsetting article on tai chi chuan. I have never taken instruction in the art of taiji, you see, but my tai chi is the best. I do not mean to be self serving, but let us see if you can find fault with me after you have seen how I came up with my tai chi.

I began learning tai chi out of a book, Modified Tai Chi for Health by Lee Ying Arng, back in 1976. Every night I spent hours going over the form, trying to figure out how to apply it, trying to figure out the meaning. And, to behonest, it did not mean much.

So I found books by Chen Man Ching, and I went over the tai chi of Chen and Yang and Wu and Sun, but they all spoke this odd stuff that did not make sense. Then, a stroke smarts and frustration, I began doing my Karate, I had near ten years experience in Kang Duk Won karate, and this tai chi thing started to resolve. I was using good, old karate power to feed the form, and it worked, and then I was able to translate karate power into Tai Chi power.

More important, I was throwing out all the mysticism and bushwah philosophy I read in the books and using something called physics. The martial arts, you see, as transmitted with eastern methodology, are learned through the memorization of random strings of data. In physics you look for a reason, and you find a logic, and you look for a concept.

Now, ancient tales claim tai chi was created in a dream by san feng after he watched a fight between a crane and a snake. Or, it was created by an old, retired general in a village who wanted to make up games for the children. Neither of these concepts can be proven, but we cannot just discount them out of hand.

Maybe the general in Chen village could not execute the martial arts the way they should be done, and maybe he actually came up with something unique. And the vision of the snake and the crane, though I am a true believer in physics I would not speak ill of visions, for visions are the dreams and inspiration of the human race. Still, whether rehabilitation of the broken warrior, or the stuff of dreams, tai chi does not make sense without the application of physics.

So I want you to find a book on physics. Make it a simple book, with big, simple illustrations. It would really help if you found a simple one describing a motor.

Now, go over that book, and make lists of the terms are the same as in tai chi chuan. Rooting is grounding, what are these things called leads, where is the generator, and so on. Do that, and when the deep bowels of your tai chi start to reposition, do not come complaining to me.

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The concepts of yang to yin, hard to soft, Shaolin to Wudan, striking to grappling have been with us a long time. Many people have compared the argument to the yin yang turning over and over. In the end, however, there is no conflict between the two principles, merely a progression, an evolution if you will, of art within individual.

A child starts out with kung fu style hard arts. Heads out to the trophy windowed dojo and has fantastic contest with the other kids. Generalknowledge is attained, and the beginnings of the martial path are laid out.

As the child grows older and more mature, he might come across a Wudan style art, like pa kua chang, or tai chi chuan. He begins to realize that there is more to art than beating people up, and that there might actually be something to learn here. He begins to look at concepts, principles, and understand them in relation to his life.

As the child further matures, his youthful strength wanes, and he begins looking for easier ways to do things. Maybe he is beset by injury, maybe the muscles are just not working as well as they can, whatever, he starts relying on technique as opposed to brute force. And, he has started the endless journey into the True Art.

The True Art is based upon intelligence, and intelligence is had by looking at things and seeing the differences. A punch is not all there is, and can he look at guiding with flow, manipulating with intelligence? Or is he just going to planted in violence, a grown man relying only on force?

Thus, he begins searching for easier ways to move, a way to move that will not tax the body, and rely only upon the muscles. He explores Wudan style arts seriously now, searching for the key to effortless movement. And, even if because of age and injury, he finds those effortless techniques.

Yet, would not it be smarter for the student to just search for the softer arts from the start? The answer, most people are surprised tolearn, is no. For a man to truly learn the softer arts he must learn the harder arts, he must have something to gauge it against so that he might truly think and learn.

Yet, how much hard art must a man learn before he becomes intelligent? I hold forth that he should learn three or four years of karate, or at least a year of matrixed karate, or, if he does not like Karate, then a matrix influenced art like Shaolin Kung Fu, the Shaolin Butterfly would be one very good art. To make the leap to the intelligent techniques of the Wudan, or similar arts one must see both sides of the spectrum, this is the only way for the dog to cross the field.

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Mixed Martial Arts gladiators circling the octagon, searching for the chance, and, BAM, somebody is punched out. The shrieking crowd, the price of the ticket, the cost of good brewski, it is all worth it if you can see a good knock out. What most people do not realize is that a good knock out, given a little thought and hard work, is actually easy.

More than three decades ago, in Kang Duk Won Karate my sensei explained that A tight fist is a heavy fist. Man, that was a stunner info that was worth it! Just curl the fingers together, fix them in place with a thick thumb, and, zingo bingo, you have yourself an stone shattering fist.

The trick , of course, is to be totally relaxed before, and to be totally empty after. This is the idea of focus, and if you understand it you can knock an opponent all the way out. Hard to do it the way they put fists in gloves before a fight, but there it is.

imagine it like this, a radar station is scanning the open skies for incoming targets, it is scanning, and what would happen if the radar screen suddenly filled up with static? The radar operator would not be able to perceive the incoming targets for all the static. So when you make yourself loose and empty, and make your fist totally relaxed, you are trying to get rid of the static, make it so you can see what is going on around you.

Then, without the tension of your muscles holding you back, you can better find the path of an incoming fist, the angry emotion, the guiding intention of the attacker, your fist will move faster because it is empty, and it will hit harder when it becomes tight. Muscular tension will slow down your motion and your fist, and that fist will fly fast and true, and your radar will better help it find the target. The moment of fistal collision and your hand gets tight, and that increases the weight of it, making it hard enough to knock somebody into dreamland.

So there are two things a fighter in the UFC ring, or just a guy out on the mean streets must do if he is going to have real knock out power. The first thing to be done is to be loosey goosey empty, not trapped because of his own muscular tension. This frees the inner radar to find those incoming targets, and enables the MMA fighter to move faster because he does not think of himself as heavy.

The second thing is to make the fist tight upon striking , and loosen it immediately afterwards. This is real millisecond stuff here, but it does the trick like nobodys business. The energy concentrates, the power focuses in the moment, and that which was empty and quick suddenly becomes able to knock out anybody.

If you are an MMA fighter or just a fellow who likes watching it on the tube, think about the physics I have described here, and figure out how to use them. Empty/full is actually a well worn concept from traditional Karate, and it is used extensively in the ancient Shaolin types of kung fu like or Choy Lee Fut or Hung Gar. Emptiness and focus, these are the keys that will lay them out and close their eyes!

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Shaolin is one of the oldest martial arts on the planet. It was brought from India by a fellow named Bodhidharma, and has been credited with being inspirational to martial artists the world over. Interestingly, Shaolin eventually became an internal style of martial art at Wudan Mountain.

I know there will be those who disagree with what I say here, but I hold to it, as I have seen students go through the evolution of hard to soft, and the evolution of art from Shaolin to Wudan mirrors what I have seen students go through. Indeed, as students peel layers off the art, so they peel off layers of unawaress, and attain the truly miraculous.

The student new to Shaolin learns to explode energy from the tan tan, to spread that energy throughout his body and make his body like a rock. Arms become iron windmills, stances attach him permanently to the planet. This, however, is all based on exploding energy within the the body.

As a student explores the various martial arts he will come across the concept of drawing in energy. The act of guiding a punch, instead of just bashing a block into it, increases awareness of the concept of absorbing energy, instead of just putting it out. This progression of art often begins with Shaolin, begins the transition with a softer art like Wing Chun Kung Fu, and goes whole body with a Wudan art like Tai Chi Chuan.

If the student studies a hard art, and does so with intelligence , he will eventually evolve into the soft. The fact of growing older, of the body no longer being able to handle the hard arts, will draw the student onward into the softer arts. He will develop his punch so that he does not undergo neck injuries, he will learn to use his legs so his hips do not have problems, and he will naturally evolve his art from hard to soft.

As these progressions of art and age occur, students learn to use their minds and their bodies with less and less effort, and and they are surprised to learn that the things they gained in the hard arts grow even greater. Instead of forcing energy through bodies no longer strong enough to handle it, they guide the energy with less effort, and focus it. Thus, awareness becomes a growing factor, and the blinders come off.

Instead of exploding energy brutally through their bodies, the students learn to guide and manipulate energy within their awareness . They learn to move energy easier and naturally as they become more aware. They learn that the body energy they were so proud of when they were young and robust was only a hint of things to come.

Finally, they make the change from hard to soft, from inner to outer, from internal to external, and the Shaolin adept becomes the Wudan sage. Instead of using violent art, the Wudan master moves with an opponent, drawing in the energy of the attack and transforming as he wishes. Yet, though there is wisdom in the Gung Fu of the Wudang variety, there is no disdain for the hard, for the true sage knows the need for his early Shaolin training, he knows the benefit of understanding energy on hard levels if the student is to make the transition to the softer Wudan intelligence.

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