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Old 09-18-2006, 03:37 AM   #31
Dojo: Shodokan
Location: London, UK
Join Date: Jun 2003
Posts: 52
Re: What is Weight Transfer(Taijuuidou)??

the testerone-competitive monster tends to jump in and starts the "me-bad" dynamic
I can see where you're probably coming from, but I reckon the competitive element can be managed, especially if the session isn't "technique" based. I find the main time things get counter-productive is when someone doesn't really get the point of a particular exercise - ie doesn't know what they are training or why they are doing it, and consequently the point is missed. Nothing wrong with being competitive in the right environment, so long as the "proper" rules or principles or whatever are being observed. FWIW I reckon the mindset that is suggested by the term "testosterone-competitive monster" can be seen in any kind of practise (hard or soft), and is only one of a few mindsets that can be detrimental to learning.
...j?ji ( ?? ) is the cross-shape or sign of the cross (for those so inclined). It is a symbol, a physical principle, a template for technique and spiritual basis for contemplation of practice. As kanji, ? juu not only means "cross" and "ten" but also "whole" or "complete." As a symbolic image in Japan, the horizontal symbolizes Earth, and the vertical symbolizes Heaven, i.e. -- tenchi, the union of heaven and earth at the center.
Oh. Haven't numerous threads discussed this recently? ie, about aikido being kokyu-based etc? That would then make sense if Ueshiba said his art was "jujido".

It is another means of depicting in-yo with the dynamic elements of the opposed eight powers (bagua) built in.
Excuse my ignorance again. Do you have a quick list of the 8 powers you're talking about?

As a physical principle, juji depicts the action of perpendicular component forces. In motion in a linear plane, perpendicular forces resolve to linear diagonal forces in proportion to magnitude of the two components. Judo in contrast focuses on using or creating an offsetting pair of opposed forces (a couple) to initiate rotation.
I'd question the generalisation of principles used in judo, but I understand vector forces and couples. I recall Statics 101, and if pushed could probably do a reasonable interpretation of a free-body diagram
In an already rotational or vibrational frame, force perpendicular to the rotational or vibrational plane have resulting perpendicular forces that are not linear, because of the inherent angular momentum, the resultant force depends on where along the radius of rotation/vibration the output is taken.
Ok, I'm keeping up - but bearing in mind we are only at the stage of talking free-body-diagram, not interaction of people yet.
The fact of that momentum also allows the sytem to absorb a great deal of energy withou out readily perceptible change.
mmm, not sure about this, but not too worried just now.
Juji in aikido presupposes that there is an existing rotational or vibrational energy to receive and gyroscopically transform a single input force into perpendicular output at a variable scale of radial amplification. That vibration or energy is ki no kokyu, or if you prefer the technical description, the physical application of the principle of virtual work on an instantaneously and infintesimally rotating body (at each joint rotational articualtion in turn and ultlimately at the collective rotational center of mass (tanden).
Sorry, this is getting a little quasi-technical now... I think I'm beginning to get lost. BTW - "Virtual work"?

As a template for technique, heaven and earth are joined statically by their intersection at the center, and thus the center is arrived at by moving directly along the line. The conduit for kokyu tanden is established by feeling of that angle "lock" where the components of force are all cancelled in one dimension, leaving a complete freedom of movement there.
Is this saying that its likely uke is only manifesting their force in 2 directions (eg x&y), leaving the third (z) "unguarded" and available for manipulation ("complete freedom of movement")? If so, what happens if direction z isn't where tori wants to put their power? Sounds a bit simplistic to me - maybe I've reduced it too far...

The vertical dimension and the horizontal dimension of the figure are also joined dynamically by the fact that one becomes the other by simple rotation. Thus, the center is arrived at by spiral motion. The proof is left as an exercise for the class ...
Mmm. Bit lost here.

As a spiritual contemplation, well, here you go:
O-Sensei wrote:
The spiritual essence
of heaven and earth
congeals as the source of our Path.
The peace and happiness of the world
is linked to Heaven's Floating Bridge.
Ah! (ironically?) this makes a lot more sense from a purely technical perspective, after having done a even only just a bit of reading and exploration recently.

But anyway, the description of juji was originally at my request to the statement of:
Prompting connection is aiki -- but provoking resistance is not aiki. The difference is in the application of juji +. A fine line perhaps, but a definite line nevertheless
Based at what I'm guessing Ueshiba's "juji" is from the above doka, I'm guessing its kinda irrelevant whether we have made "just" connection or crossed over into "resistance". By the manifest of *juji* (insert you preferred term here, harvested from a couple of recent threads), then tori should be able to control their partner.

I'm half-thinking I may now be talking cross-purposes, but anyhow: By saying that when working with resistance, if it gets too much, then its "just resistance, not connection" I get the impression that the focus moves from the connection bit into the technique bit. eg "My technique didn't work because you resisted (my technique) too much". This kind of analysis risks glossing over the aspect of how to actually deal with resistance, and what it can tell you about a partner's energy/force/etc, and instead rushes into the "technique" side of things, which IMHO can be a road with many dead ends.

These are just thoughts of mine, in progress, btw.


Dave Findlay
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