Well that's that. So the objective here is to start from static. Ok we can do that.
Now, atemi here is not what you would call a physical strike. What I mean by atemi here is that before contact, I intent to touch/take uke's center. Atemi of the mind if you will.
I don't see how I can do the bounce from funakogi undo without moving at all. Not unless I can generate energy from the mind alone to move uke back physically. The closest is ateru but even that requires movement on my part to begin with. The only difference is, it does not use physical strength really to move uke.
As for the pull, I think it would work out easier since uke is pushing in. The idea i'm trying to get here is to collapse/dissipate the energy thus uke's ki comes into that vacuum and results in him coming to you naturally without force.
Stand facing a wall. Reach out with both hands, palm outboard, thumb down, find the place to stand where you can touch the fingertips to the wall at the limit of extension. Stand up straight at maximum reach. Now just turn your hands palm up. Your fingertips are now 3-4 inches from the wall still fully extended -- but shorter.
If you reverse this, while uke is holding your wrists, his arms do a similar torque conversion extension -- creating about 6-8 inches of cumulative displacement or -- as we like to call it-- kuzushi
. My arm just rotated around its own longitudinal axis -- reversing its torsional shear stress. It is the same torque conversion in a punch -- atemi is the right mode of thinking. Also called asagao
(in both extension and retraction). Variations and alternations abound but thems the basic mechanics of the upper body in aiki.
Now as with all things that involve mass and motion, if I have greater relative
velocity in the motion I require less total movement of the mass for the same effect, and if I catch him zigging when I am zagging -- for a very small instant I am going many times faster relative to him
(like two cars passing on the road head-on) than the fairly slow absolute rotation rate of my hand. If I do that on a right-angle plane to his action I have zero relative motion in his plane of reference
but an arbitrarily large and uncompensated change in his plane of action. Juuji.
As with head-on cars, the maximum relative velocity is reached when we are located 90 degrees from one another relative to our common line of travel. When speaking of converting torque, however, cyclic rotation in timing (cyclic motion -- like funetori
, or tekubi furi
) is equivalent to linear or rotational movement in space. That maximum is when our two opposed rotations are 90 degrees relative to one another -- in space or in rhythm
Additionally, it so happens that furitama
is at the resonance frequency of the human body. Resonance causes sympathetic undamped vibrations throughout the body at the same amplitude of the input. This maximally uncompensated offset pulse at resonance finds ANY structurally vulnerable joint and induces a compensating rotation, creating a progressive buckle, and a collapse of the structure.
This interaction precisely done even at small amplitude results in very sharp torque reversal in him (even if very small in amplitude), and happens to trigger some nifty spinal reflex arcs in the limbs designed to protect the body from sudden uncontrolled torques that can cause such collapses. The action over-compensates the body's own recovery mechanism.
Rhythm is the lock to the body, and furitama is the key. The movements of cyclic shearing mechanisms like this-- if sharp and precise are exceedingly small -- kind of like the edge of the sword -- but the large and miniscule movements are the same
though different in appearance.