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Mike Sigman wrote:
Well, even though I've exaggerated things in the classical manner, you need to take the below aspect into focus when you're talking about "groundpaths" and direction. Still, the picture should give you an idea why a linear description of groundpath/kokyu/jin can lead you off into a questionable direction.
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And I think that's something of what Mark was talking about because Dan works with the idea of complementary up-and-down spirals in both arms, both legs and the the body, where intent is not only going both in and out at the same time (infinitely) but is doing so in spirals.
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Mike Sigman wrote:
A linear representation of groundpath is actually only an incremental look at the vector-resultants:
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Yes, although we can draw a line from rear foot to point of contact, even through empty space, the path of force has to be through the nine crooked paths, doesn't it?
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Mike Sigman wrote:
Is a groundpath up or down? Suppose, in a static situation, the guy is pushing the elephant: is the push up or down? Look at the picture and imagine that the elephant is resting backward (but everything is static) onto the man's hand: is the push up or down?  |
I think this was what you wanted me to say when we were discussing the unbendable arm a long time ago. It's not just done with the arm, of course, but with an extension of the whole body. So it goes both ways.
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Mike Sigman wrote:
BTW... isn't that an interesting pattern to the collision of lines at the guy's middle?
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It's like a reel, isn't it? Haven't you discussed using the center with a kind of reeling motion? And wouldn't that reeling be happening in all directions (side to side as well as up and down)? And doesn't the big question remain "How do you do that?"
Thanks.
David