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Reflections on

it is difficult to understand why one of the basic techniques of Aikido, the concept of Irimi-Tenkan. Like the fundamental principles governing the art, understanding can be done at different levels, in our own way despite the Way We try here to see a little more clearly and provide partial answers on-Tenkan Irimi

Irimi concept

is a word that has the word "hairu" which means to enter and the name "my" meaning body or flesh . The term is then, and can not be more clear, literally that: "enter the body." The most obvious image is to be found on the side of sumo. It is manifested by the sumotori to enter with all his weight, front, on the adversary, without considering the question of whether the amount of aggression must be complete at that time. It is therefore an attack in the purest sense.

Irimi correctly is experienced moving toward the other, in a straight line, without trying to dodge anything. Often judged as aggressive, this concept is not to the extent that you send a atemi in motion. Practicing, and taking further steps in his investigation, he realizes that make Irimi requires integrating concepts, such as distance and driving time to find "ma-ai" and "de-ai" in order to enter the time fair, ie, when the opponent begins to develop his attack. Suddenly, Irimi becomes a movement that goes to override attack and abort from the outset the intention of the adversary. This is not then an aggressive attack technique, but a positive technique (in all senses of the word) that brings peace without violence.

In Irimi the concept of straight line is essential. Beginners are reluctant to comply with this straight line as it is paradoxical to its own security. Indeed, the fact that straight forward is the best resource to take the attack of Uke. But we must pass that way for several reasons. First to respect the slogan. And secondly, to discover potentially the danger that awaits us, being beaten. It then develops a fatalistic kind of feeling (I can hit, but I go right, abandon) that leads to a sense of sacrifice. That sense is important to learn to forget, put aside the fears, not to think about yourself and your fears mentally clear. You can then progress to a stage where Irimi is freer, more spontaneous and thoughtless parasites. Suddenly, Irimi is open to all concepts that can transform this technique in a militant phase to one that brings peace. Irimi and the straight line are thus key to evolve in their martial arts practice.

Irimi concept involves yet another concept, that of the disturbance by the action. If you enter Irimi-atemi, it is clear that it disturbs the other brutally putting out of action. If you enter Irimi with good timing, it brings peace, disturbing uke without harm, what is best for him and more complex to perform by Nague. In both cases, we can clearly say that the movement is yang Irimi, in the sense that energy is projected to the other.

now crossed some Irimi in daily life. You see two kids hitting an animal with a stick. This situation is cruel and physically intervene to get the stick from the hands of children, interposing to protect the animal (even at the risk of being beaten), and speaks with the children. It is a way to make Irimi-atemi. But if you are anticipating children, calmly but firmly intercepts before commenting on the damage and reason with them, is making Irimi, which brings peace canceling the movement before the onset of violence.

Tenkan The notion of

Tenkan How to understand then? The first character of the word leads to the concept of return, while the second indicates the fact of investing, to replace. Tenkan, depending on the context and out of Aikido, leads to conversion, exchange, invest to move from one situation to another, or even evade / dodge. It examines what bothers void and replaced by anything else. It also uses the term "change of ideas" (kibun-tenkan) or "change talk", etc. Tenkan also used in expressions like "turning point", "where things point range," a situation reversed. " All this tells us about the idea that takes the word about this technique.

Tenkan usually show as a dodge. Beginners physically interpret this technique as a leak and you see them out too on the side, while putting at risk because of poor management of the distance. Too great a distance allows Nague Uke counterattack, then a shorter distance makes it harder (but not impossible) to an effective attack. Tenko is a dodge. That means it is a conscious choice and not a delivery worked unconscious other to escape. That already makes all the difference. Also, a Tenkan done too quickly can dodge the attack, it suffices for the attacker to redirect their efforts towards the new position of Nague. Tenkan work is then carried back on "ma-ai and-ai." The classical explanation, that is to say that Tenkan performed when compared to late Uke attack is true insofar as it is actually overwhelmed by the other, or where the situation is not addressed. That is the worst condition for Tenkan, since it only delays the problem a second. In contrast, a Tenkan where they control all the concepts mentioned above, is to move quietly, with precision and clarity. That translates to the attacker and the feeling of passing through the image of another without touching .

In Tenkan, the concept of control of the body is even more important that Irimi. In Irimi enters straight, that does not require many neurons and nerve impulses to arrive. Tenkan, eludes not only a shift of feet, but also and especially of the hips, trunk, shoulder, while taking care of the head. It is also necessary to make this move without leaving Uke if not, does not make the connection (Ai) with him for a smooth technique.

militantly spoken Tenkan movement played on a spiral effect to the interior, shift on itself. You can then clearly speak of yin movement as the direction towards which brings the power is to one.

Irimi disturbs If Uke, Tenkan it does for passing the motion. That does not mean Tenkan is the only one able to bring harmony. It is a harmony yin, while proposing Irimi yang harmony.

In everyday life, can be transferred to Tenkan as these two examples. In a row to get a train ticket, a person is pushed to move faster, then you, when it occurs one of these thrusts, made a turn to avoid too much abuse. Tenkan made a person, which is sudden. Instead, he sees a person in a hurry to catch your train and you are expected to need to move quickly, running to pass up. He was ahead with recognition and You did not suffer the situation. This is the Tenkan controlled.

Irimi and Tenkan

can say then that at some level of mastery that controls movement and Tenkan Irimi, the explanation linear stipulates that if the other has you can place a Irimi or if delay is necessary to make Tenkan makes no sense.

The founding principle of Aikido is expressed in its name (Ai Ki Do). Failure to find a way to unite and harmonize accordingly. If you think that harmony is the balance between Yin and Yang, then quite naturally the concept of Irimi-Tenkan takes all its meaning. From this perspective one understands better why Irimi-Tenkan is assumed as one of the pillars of Aikido. Irimi represents the historical basis of combat, which can be summarized by "getting into the lion's den." It is the basis even of martial arts. These arts evolved in the process of inner development, one of whose symbols is Tenkan, which can be summarized by "after you, I beg you."

Technically, Irimi-Tenkan results a projection (Yang) to Uke, then a shift of dodge (Yin) involving or absorbed Uke. A technique often does not stop there (could, as could be stopped no matter what your state), but turns out to a movement that projects Uke yang or destabilize it, to get back out on a movement that controls yin with a key or a control against himself.

Irimi-Tenkan therefore represents the beginning and end of the technique, but each of them can also be the beginning or end. There is no clearly defined role and which is the movement of one and the other that give it life to art. You can pass the Yin and Yang Yin and Yang within and within Tenkan Irimi. Work is within them that can then receive the balance with the adversary, only to harmonize with the exterior (to the other) and inside (in itself).

original Note: Aikidoka magazine - France

thank Diego Re for me to get this document


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