The Gaia hypothesis

The Gaia hypothesis, also known as Gaia theory or Gaia principle, proposes that all organisms and their inorganic surroundings on Earth are closely integrated to form a single and self-regulating complex system, maintaining the conditions for life on the planet.

The scientific investigation of the Gaia hypothesis focuses on observing how the biosphere and the evolution of life forms contribute to the stability of global temperature, ocean salinity, oxygen in the atmosphere and other factors of habitability in a preferred homeostasis. The Gaia hypothesis was formulated by the chemist James Lovelock and co-developed by the microbiologist Lynn Margulis in the 1970s. Initially received with hostility by the scientific community, it is now studied in the disciplines of geophysiology and Earth system science, and some of its principles have been adopted in fields like biogeochemistry and systems ecology. This ecological hypothesis has also inspired analogies and various interpretations in social sciences, politics, and religion under a vague philosophy and movement.

Técnicas básicas

Las técnicas generalmente se dividen en OMOTE (IRIMI) y URA (TENKAN). Pueden ser practicadas como TACHIWAZA, SUWARIWAZA o HANMIHANDACHI. Además se pueden practicar de manera básica (KIHON) o fluida (KI NO NAGARE).


* DAI IKKYO
* DAI NIKKYO
* DAI SANKYO
* DAI YONKYO
* DAI GOKYO
* SHIHONAGE
* IRIMINAGE
* KOTEGAESHI
* KAITENNAGE
* KOSHINAGE
* TENCHINAGE
* JUJINAGE
* KOKYUNAGE
* KIRI OTOSHI
* KIRIAGE
* HENKAWAZA

Mental control

Entrenamiento militar con bayoneta

En el proceso de indoctrinamiento militar el entrenamiento con bayoneta es escencial por su caracteristicas de inmediatez con el asesinar y luchar en condiciones de vida o muerte.

Muy distinto del entrenamiento de los responsables de realizar asesinatos masivos como pilotos, donde se abstrae el proceso de matar y se usan eufemismos sin carga emotiva para referirse al proceso de masacrar personas.

The Marine Corps Martial Arts Bayonet System

Every Marine is a rifleman.

This is the enduring credo of the United States Marine Corps. Whether it has become more ideal than reality in recent years is not as important as the concept behind it: Every Marine is a combat Marine; every Marine is trained for combat.

Recently, the Marine Corps has been engaged in developing a new close combat program, the Marine Corps Martial Arts. A major portion of the new program is a revamped bayonet system. Working with the ICS, the developers of the program have derived the new bayonet system from previous, proven bayonet systems, research into spear use around the world, and input from those with modern real world experience in close combat and bayonet fighting.

The aim of system is twofold. First, there is the goal of developing the capability within individual Marines to effectively use the bayonet to dominate in close personal combat. In spite of a tendency among many to claim that there is no need for the bayonet in modern warfare with modern weapons, vast amounts of anecdotal evidence proves otherwise. From World War II through Korea to Vietnam, from the Falklands to Somalia, infantry troops have time and again had to resort to this oldest of weapons. There is no argument that the bayonet is the deciding factor on the modern battlefield, but in too many cases to list it has been (and will be again) the deciding factor for individuals on who lives or dies. The Marine bayonet system is designed to ensure that it is the Marine who dominates.

Secondly, though not in importance, is the fact that there is growing evidence that bayonet and close combat training is the most effective means of training the Marine with the combat mindset necessary for success on the battlefield, whether with bayonet at 20 feet or fire at 200 meters.

Due to the both the nature of the weapon and the time restraints in training, the basic premise of the Marine Corps bayonet system to "keep it simple," and is aimed entirely at bayonet combat; there is no fencing, sparring, or concepts of lengthy exchanges of blows in this system. Following the geometric principle of "the shortest distance between two points is a straight line," the emphasis on the weapon's use is in the thrust. Slashes and butt strokes are used secondarily, and mainly in situations where the Marine is "tied up" with an opponent. Even here, the slash or butt stroke is mainly used to regain the distance from which a killing thrust can be delivered. An important consideration in the ascendancy of the thrust over the slash or butt stroke is the type of military apparel and armor worn in modern combat. In tests conducted with the various types of strikes, only the bayonet thrust was found to effectively penetrate the modern armor vest worn by most troops today. Even simple web gear and helmets were found to be fairly effective at preventing disabling wounds from the slash or butt stroke.

The Training System

In learning to use the bayonet, the Marine is first taught the basic posture, commonly called the "basic warrior stance" by the Marines (the ICS "stalking posture"). The Marine is taught to effectively and firmly tie to the weapon to the body, by locking the rear hand to the hip/waist area. The Marine is taught to thrust the weapon by using the force of the body and rear hand/arm. The front arm is used to control the length of extension and direction of the point. The weapon and arms should not be overextended. The power of the thrust comes from the body, and is extended through and by the arms. One of the most important elements for the Marine to learn is the ability to keep his arms and weapon strongly tied to the body.

After basic thrusting practice the Marine is taught to move with the weapon. This is an important element, as moving with the weapon is 2/3 of bayonet fight.

Initially the Marine practices the basics of movement and thrusting as a solo exercise, using either a real weapon or wooden rifle-bayonets similar to the Japanese mokuju used in the Japanese bayonet fighting system, jukendo. However, very quickly, the Marine is introduced to adversary training, where the main training tool is the mokuju.

Training against an adversary is where the Marine learns the most important elements in the combat against an enemy. Working with an adversary (usually an instructor), the Marine and his opponent will start roughly 20 feet apart. Generally, for the first attack, the adversary will close on the Marine to make a slash attack to either side of the Marine's weapon. As the adversary lifts his weapon for the slash, the Marine must initiate his thrust attack, beating his opponent to "the punch." In this exercise, the Marine is taught to not react to the adversary's weapon, but to carry through his own attack. At the same time, he experiences how much more effective in range and power the thrust is over the slash. A similar drill is done with the adversary initiating a butt stroke attack.

After gaining some competence and confidence thrusting against a slash or butt stroke, the Marine then learns to work against a thrust. Again starting at around 20 feet apart, the instructor-adversary and the Marine will start towards each other. At the appropriate distance, the adversary will initiate a thrust attack to a pre-designated side of the Marine's weapon. Here the Marine, again must learn to ignore the adversary's weapon, and concentrate on making an effective thrust with his own. It is important for the Marine to learn to avoid the tendency to unnecessarily "block" or "parry" the adversary's weapon, but only use enough disrupting movement of his own weapon against his adversary's to create an opening for him to carry his own thrust home. Here, it is vital that the instructor help bring the student along in learning to have full intent in carrying through his attack. In this regard, those in charge of the Marine Corps Martial Arts program are going to great lengths to ensure that the instructors understand that their jobs are not to prove how good they are, but to develop the capability of their student Marines.

The average Marine quickly develops to the point where he can be brought to the next level of training. At the next level, the Marine is introduced to working with a partner against single and then multiple opponents. Due to the immense amount of teamwork training Marines do in their normal training, they generally excel in this area.

After the initial two-man team training, the Marines begin training in four-man teams (similar to their normal fire team configuration). Here they can work both the basics of individual bayonet combat along with team tactics. In this training the Marine team will face opposition from two up to six adversaries. Even though the emphasis at this stage is on team work combat, the Marines are periodically forced to engage at the individual level again to maintain their individual competence.

The Marine Corps Martial Arts program is still its infancy, but has come a long way in a short while. In particular, the bayonet system portion of the training, arguably the most likely to be utilized component, has reached a high level of development and acceptance.

The technical curriculum of Iwama Aikido

After examining the structure and organisation of a number of technical curricula from other Japanese Martial Arts, I realised that the Aikido Curriculum is arranged, from basic to advanced, in a completely different and unique way to these other arts. There are no secret techniques in Aikido, nor does it draw any distinction between Shoden, Chuden, Hiden and Okuden levels of teaching that the Koryu (Classical) arts do. Instead, Aikido techniques are graded from basic to advanced by levels of technical complexity, both in taijutsu (hand-techniques) and bukiwaza (weapons). While probably not as extensive as the curriculum of Daito Ryu Aiki Jujutsu or other Koryu arts, Iwama Aikido does retain a large number of techniques as compared to other styles of Aikido.


Techniques are divided into three main groups, Aiki Tai-jutsu (body techniques, or empty-hand), Aiki Ken jutsu (sword techniques) and Aiki Jo jutsu (stick techniques). These three major groupings of techniques are inter-related through the innovative concept of Riai that O-Sensei developed during the Iwama period. There are also a number of supplementary groups of techniques, such as Tanto-dori (knife-taking), and Tenugui waza (techniques with a hand towel) both of which are included within tai-jutsu, Juken-dori (bayonetted rifle disarming), which are absorbed into Aiki Jo Jutsu, and Shuriken Jutsu (blade throwing), which was taught separately to uchi-deshi of Saito Sensei and probably did not play a role in O-Sensei's concept of Riai.

Finally there is a collection of movements which fall outside the categorisation of the above groups, but which are essential to all, and they are everyday movements such as rolling etc, which for lack of a better term I call Kyotsu Waza, common techniques shared by all.

A. Aiki Tai-jutsu

• Categorisation method 1.
  This categorisation method shows techniques listed both in progressive order of technical difficulty, within labelled sections that describe each step of an attack/defense movement.
  
  Techniques are named, when applicable, according to the following classification:
  a) Posture,
  b) Directional Aspect - Attack,
  c) Type of attack,
  d) Technique being executed,
  e) Directional Aspect - Defense,
  f) Method of finishing.
  
  Many combinations of these classifications are not possible, due to the nature of the movement of some techniques, however this categorisaion method is a simple and practical way of defining more than 1,000 techniques.
  
  
  
  
  1. Posture - 3 possible combinations of postures that attacker and defender can take
     
     
     
     1. Suwari Waza - both seated
     
     
     2. Hanmi Handachi - nage seated, uke standing
     
     
     3. Tachi Waza - both standing
     
     Suwari Waza is regarded as basic training, because it teaches basic principles of body movement, while helping to physically develop the hips and rest of body. Even though it is more difficult to perform than in standing position, it learned first in order to impart the correct principles of movement early in the course of learning.
  
  
  2. Directional Aspect - Attack - 2 possible directions from which an attack may come.
     
     
     
     1. Mae Waza - frontal attacks (including from side)
     
     
     2. Ushiro Waza - rear attacks
        Although Ushiro Waza techniques are essentially a repeat of all the frontal attacks, it is regarded as more advanced because of the added complexity of dealing with the opponent gripping from the rear. Attacks from the side can be adapted to become frontla attacks by a simple turn of the body. They are all grouped together because they are within the field of view, whereas attacks to the rear are outside the field of view, and so are treated separately to frontal and side attacks.
  
  
  3. Type of Attack - 24 different attacks, upon which the full range of possible attacks are based
     
     
     
     1. Shomen-uchi - palm strike to centre-line, raising
     
     
     2. Shomen-uchi-komi - edge of the hand strike to centreline from above
     
     
     3. Yokomen-uchi - edge of hand strike to side of body
     
     
     4. Katate-dori - wrist being grabbed by one hand of attacker
     
     
     5. Sode-dori - cuff below / shirt at elbow grabbed by one hand of attacker
     
     
     6. Sode-guchi-dori - inside cuff held
     
     
     7. Kata-dori - one shoulder grabbed by one hand of attacker
     
     
     8. Muna-dori - one hand grab/strike to centre-line, chest level
     
     
     9. Kosa-dori - wrist grabbed in reverse grip by one hand of attacker
     
     
     10. Tsuki - punch to centre line
     
     
     11. Ryote-dori - both wrists grabbed by both hands of attacker
     
     
     12. Ryo-sode-dori - both elbows grabbed by both hands of attacker
     
     
     13. Ryo-kata-dori - both shoulders grabbed by both hands of attacker
     
     
     14. Ryo-muna-dori - two-handed grab to centre-line, chest level
     
     
     15. Morote-dori - both attackers hands grab one arm
     
     
     16. Kata-dori/shomen-uchi (or tsuki) - shoulder grab and strike with other hand
     
     
     17. Muna-dori/shomen-uchi (or tsuki) - chest grab and strike with other hand
     
     
     18. Ushiro-eri-dori - neck lapel gripped by one hand from behind
     
     
     19. Ushiro-ryo-kata-dori - shoulders grabbed by attacker from behind
     
     
     20. Ushiro-ryote-dori - both wrists grabbed from behind
     
     
     21. Ushiro-eri/katate-dori - neck lapel and wrist grabbed from behind
     
     
     22. Ushiro-katate-muna-dori - wrist/collar at front grabbed from behind
     
     
     23. Ni-nin/san-nin gake - 2 or more persons grabbing
     
     
     24. Geri - variations on hand techniques against a variety of kicks
     
     These attacks are listed in order of progressive difficulty, as well as in order of basic principles being imparted through the training with such attacks. The attacks themselves are not absolute, and the list is not exhaustive, however, these 24 attacks define the full range of possible attacking movements that could be encountered by the Aikido-ka, according to the principles of "Takemusu Aiki".
  
  
  
  4. Technique being executed - 6 core techniques, with a further 4 regarded as variations of these techniques, and a further 3 regarded as specialised techniques.
     
     
     
     1. Ikkyo kara Rokkyo - 1st teaching to 6th teaching
     
     
     2. Shiho Nage - four directional throw
     
     
     3. Kote-gaeshi - wrist turning
     
     
     4. Irimi nage - entering throw
     
     
     5. Kokyu Nage - abdominal breath power throw
     
     
     6. Koshi Nage - hip throw
     
     Ikkyo kara Rokkyo refers to all the elbow taking techniques, Ikkyo, Nikyo, Sankyo, Yonkyo, Gokyo and Rokkyo, which are themselves ordered in a progression of technical complexity. Rokkyo was previously labelled as a separate technique: "hiji-katame", but now appears to be regarded as a progression from Ikkyo. The following techniques have their own classification, but are technically regarded as being variations of the above Movements
     
     
     
     
     1. Kaiten Nage - rotary throw (variation of sankyo)
     
     
     2. Tenchi Nage - "heaven and earth throw" (mixture of irimi & kokyu nage)
     
     
     3. Ganseki Otoshi - big rock drop (variation of irimi nage)
     
     
     4. Sumi Otoshi - corner drop (vaitaion of kokyu nage)
     
     
     5. Juji Nage - cross-shaped or cross-twine throw (specialised technique)
     
     
     6. Kubi Nage - neck throw (specialised technique)
     
     
     7. Aiki Nage - throwing with energy (specialised technique)
  
  
  
  5. Directional Aspect - Defense - 2 possible directions the defender can move against the attackers force
     
     
     
     1. Omote - entering across the front
     
     
     2. Ura - turning to the rear
     
     This directional aspect is the movement of the defender against the attacker, as opposd to the above, which is a movement of the attacker against the defender. Omote and Ura are treated as being equally as important, rather like two sides of the coin.
  
  
  
  6. Method of Finishing the techniques - 4 methods of dealing with the attacker.
     
     
     
     1. Nuke - escaping
     
     
     2. Atemi - striking
     
     
     3. Nage - throwing
     
     
     4. Katame, or Osae - pinning, or controling
     
     These finishes are listed in order of progressive difficulty, however it is Nage and Katame that is usually practiced, because if one in proficient in these, Nuke and Atemi are readily apparent. To make matters clearer, a technique name can be generated by following the path of movement through the above categories, from the beginning of the movement to the end, as seen in the chart below.
  
  For example, to classify a technique where you are attacked from the front by a standing attacker while you are seated, with a grip to your wrist, whereby you perform the 4 directional throw to their rear, finishing with a pin, the technique would be called "Mae hanmi handachi katate-dori shiho-nage, katame". If the technique was practiced as a solid exercise (see below), then you would add "kihon" at the end.





• Categorisation Method 2.
  This categorisation method defines the above techniques in a particular training method according to the type of martial principles being taught. Certain of the above techniques can be regarded as teaching basic principles, while others only appear in special circumstances, and all of the above techniques can be defined in terms of one of these training methods.
  
  
  
  
  1. Kihon Waza - basic techniques
  
  
  2. Henka Waza - variation of basic techniques
  
  
  3. Oyo Waza - applied techniques
  
  
  4. Sutemi Waza - sacrifice techniques
  
  
  5. Kaeshi Waza - reversal, or counter techniques
  
  
  6. Iko Waza - techniques to deal with counter techniques
  
  
  7. Jiyu Waza - free techniques
  
  These methods are listed in order of progressive difficulty and complexity, which is consistent with an increasing depth of martial principle.


• Categorisation Method 3.
  This categorisation method defines the level of intensity in physical movement and amount of intention in the mind of both the attacker and the defender when performing the movements.
  
  
  
  
  1. Ko Tai - "hard body" or solid,
  
  
  2. Ju Tai - "soft body" or flexible,
  
  
  3. Ryu Tai - "flowing body"
  
  
  4. Ki Tai - "energy body"
  
  This list shows the training method in order of progressive difficulty, which is consistent with an increasing development in performance. Ko Tai and Ju tai have come to be known as "Kihon" and "Ki-no-nagare" respectively, while Ryu Tai and Ki Tai have become grouped together to form what is known as "Ki-musubi". A distinction should be made between Ryu Tai and Ki Tai however, as Ki Tai is performed with the same physical movement as Ryu Tai, but with the most intense level of intention that borders on fully-intended attack.

B. Aiki Ken Jutsu.

1. Ken Suburi - 7 techniques - basic cuts and steps from ken kamae, starting from right hanmi


2. Suburi Awase - 7 techniques, as above, but in conjunction with a partner


3. Happo giri - 5 techniques - 8 directional cut from ken kamae


4. Ken awase - 7 techniques - sword blending patterns with a partner, each with several variations


5. Ki-musubi-no-tachi 1 technique - a 3 step pattern to practice awase, and introduce kumi-tachi)


6. Kumi-tachi - 25 techniques, with partner, 5 kihon, each with 2 set sword and 2 set body variations, further variations


7. Tachi-dori - 10 Techniques - sword disarming


8. Ken/Tai Jutsu No Riai - 10? techniques, with 2 partners, showing relationship between sword and body movement


9. Tanren Uchi - supplemental training, heavy striking


10. Suburito Keiko -supplemental training with a heavy sword

C. Aiki Jo Jutsu

1. Jo Suburi - 20 techniques, basic strikes and blocks


2. Roku no jo - 3 techniques, a 6 step combination of suburi that condenses to 4 step, with variations


3. Tenkan Waza - 6 techniques, 180 and 360 deg. turning movements based on suburi


4. Sanjuichi-no-Jo - 31 step kata


5. Jusan-no-Jo - 13 step kata


6. Jo Awase - 8 techniques, stick blending patterns with a partner


7. Kumi-Jo - 10 techniques, applied techniques with a partner


8. Sanjuichi-no-Kumi-Jo - partner practice to the 31 step kata (kata bunkai)


9. Jusan-no-jo Awase - partner practice to the 13 step kata (kata bunkai)


10. Jo Dori - 11 techniques, stick disarming


11. Jo/Tai Jutsu No Riai, or Jo Nage - 10 techniques, throwing attacker who grabs stick


12. Ken-Jo-no Riai (or Ken-Tai Jo) - 10? techniques, stick defence against sword

D. Tanto Dori
a) Tanto Dori - 10 techniques, disarming knife, based upon Tai-jutsu

E. Tenugui Waza
These techniques utilise the traditional Japanese cotton hand-towel (tenugui), and involve trapping the attackers arm and throwing. They are based upon taijutsu movements and are performed rarely, usually in a Demonstration setting. It is possible they derived from manriki-gusari (double weighted chain weapon) arts of the 19th Century and earlier.

F. Juken Dori
These are pre-War bayonetted rifle techniques that the founder trained in and taught while in the army, and have become absorbed into the Jo-Jutsu curriculum, however they still appear occasionally in Demonstration settings.

G. Shuriken Jutsu
While O-Sensei is not known to have studied, or even mentioned Shuriken Jutsu, the founder's teacher Sokaku Takeda and Morihiro Saito Sensei both were masters of this art, Negishi Ryu Shuriken Jutsu. Saito Sensei taught Shuriken to uchi-deshi after they had signed a "keppan" or oath of sincerity.

F. Kyotsu Waza
These are not really techniques as such, but movements and understandings that students need to learn to enable safe participation in traditional Japanese dojo life. Kyotsu means "shared by all" and simply refers to the common sense things that one should know when ina dojo.
a) Shikko - moving around while kneeling
b) Ukemi - falls, rolls, and high falls (tobu-ukemi)
c) Osoji - cleaning
d) Rei - Etiquette

G. Kuden
Kuden is the oral teachings and written material produced by O-Sensei over his almost 70 year martial career. It consists of calligraphy, poems, oral teachings, poems and writings, all of which contain further information and detail about the art the the founder taught. It is not all collected and kept in a single place, rather, it is spread out over private collections, reproductions in publications, on display in dojo around the world, and held in the memories of the remaining students of O-Sensei and their deshi.

Aikido 3D

La idea de aplicar las técnicas de los videojuegos a la creación de material didáctico se nos puede ocurrir a muchos pero hace falta disciplina para llevarla bien a la práctica.




Solo he visto el demo en el sitio pero Aikido 3D se ve como un trabajo serio e interesante. Cuando estuve en Filadelfia fui un día al dojo de Donovan y me pareció una buena persona y asumo que el material es bueno.

El equipo de producción tambien tiene material de TKD con campeones olimpicos.

El CD vale 55 dólares y se puede bajar el material directamente de Internet

養神館合気道

養神館合気道