Subliminal Gestures and Martial Arts

 Part One: Subliminal Gestures ("SG" throughout the rest of the text.)
are not really so mystical as they may initially seem. Agreed, they are
not something found being taught in common dojos and studios. But, they
are out there, if you care to look hard enough, they are out there in a
large way. So much in fact that I bet you experienced one of them
without even knowing it! No kidding, more on this later as I explain the
effect and cause of a well executed SG. A truly well-timed (Timing is
everything) SG first catches the attention (Vision). The doorway to the
mind.

The mind is the key to the body. Now, it_s time to deceive the
adversary_s mind. An SG is a fake or feint, a misdirection or draw. The
SG is an exploiter of human psychology that has its roots embedded deep
into our "Survival DNA." So deeply that medical science is not fully
aware of what these hidden trigger mechanisms are capable of in life or
death situations.

An SG must pose a threat to the well being, a problem that must be
solved, an obstacle that must be overcame or something that leads their
mind to the wrong conclusion or position to where they are easily taken.
It will, for safety reasons, always be a part of an existing system.
Acting as an augmentation to that existing system or an auxillary
back-up system or method. But almost never do you see an SG operating by
itself. When you do, it_s a given the person doing it is one badassed
SOB! Think of a timed move which has as its main goal the surprise or
startling of the opponent (without touching them) and you have the basic
concept of the SG.

Theatrics are involved with the execution of an SG. So are body language
(position), facial expressions, direction of gaze and tonal inflections
of the voice. (Hell, even something as simple as a well-timed and placed
puff of air can be enough to augment an SG so that the opponent goes
crashing). An SG may be performed with the hands-arms,
legs-feet-footwork, fingers, eyes, weapons or clothing.

An SG must not touch the opponent. Once the SG makes physical contact
with something (hand, foot, etc.) then it must by nature, automatically
become either attack or defense. You may only touch the mind of the
adversary with this sort of weapon.

Homework

Think of some commonly experienced SGs and then compare them with some
I_ll provide you with in the next segment.



Subliminal Gestures Part II



Earlier I mentioned that some of you have probably already experienced
the effects of some sort of subliminal action and you just did not
recognize it. A classic example of this:

You are in your car at a stoplight. Fully stopped, unmoving and foot on
the brake. Other cars all about you. The vehicle next to you lets the
clutch out and rolls just a few inches backward. At that moment, in your
car, you are seized with the feeling of this movement you perceive. You
react, you push down on the brake but your car still seems to be
moving...whoa...whoa...whoa...but it_s all an illusion. The senses have
been tricked inadvertently. A well performed SG works off of the same
covert manipulation of the peripheral vision. If you have felt this
example (the car), then this should tell you, "Yes, this is a real
phenomenon." Now, take the concept and apply it.

More Homework



Some simple to grasp, easily found SGs are:

1. The action of tossing something toward the eyes or face.
2. Serpentine motion of any kind.
3. A backhand blow.
4. A lowering of the head and looking out the tops of the eyes.
5. Straightening or crouching the body.
6. Specific breathing patterns or breath related noises.
7. Making a "capturing" action with hands or arms.

SGs done in combination work well also, but that is a very advanced
level. The basic concepts above work on a man or beast & largely universal
in affect. Explore some! In installment III it gets stranger, get
some real tools to work with.



Subliminal Gestures III



Here is something you can experiment with. Be mature, give honest
feedback and train safely (intelligently). This is not a test of any
kind, it is a method to try these principles and concepts out. Then you
build upon this understanding. This is an academic exercise, train
together&do not compete.

Frame Shifting is a unique skill and it_s also a method to do a few
reality checks. In other words, if you_re asking if this stuff is really
workable or not, here is the check. Everything and everyone has to have
a start somewhere&somehow. And this start is as good as any to introduce
you to the general idea of what we are hunting for.

First, raise your hands (like a stick-up) and create a "visual
framework" as your Guard. The Great Mas Oyama actually advocated this
Kamae as one of the best! The two hands should be somewhat in front of
your facial/upper torso area. The idea is to make the opponent see
through this framework created by your arms. Yes, like a TV screen or
picture frame effect! (You have seen the Photographer(s) put their
thumbs together and hold up their hands to get a "picture-like" effect.
Just do the same on a larger scale with your arms and hands.) The
adversary sees you in this frame (Or on the TV, whichever analogy you
prefer). This is where the fun starts!

* Shift the "Frame."
* Shift the "Picture."
* Shift the "Frame and Picture," opposite directions.

OK, this is the picture&the "Frame" is the first step. Raise both hands
just like you were being stuck-up. Hold the hands in front of you
outstretched. Look at the opponent through this "Frame." This
unconsciously becomes his perceptual portal to you. You must remember
that all of this is happening very fast. The opponent must not be
touched, if you do, it becomes a physical parry (and the enemy can react
or recover from such a cue).

To shift the Frame you employ a quick, lateral jerk of the frame as he
punches. Always send the Frame in the direction of the body_s natural
curve (inward). He will miss you by mere inches if done correctly. First
passing by your ear. Learning this builds confidence. This leads to
further sophistication of the skill. Be ready to parry if the Shift
fails to draw them off target (your face). At that point&FIGHT!

To shift the Picture/Target means you leave the Frame still. It_s the
Target that shifts in a sideways manner, out of the Frame. You duck out.
They go through the Frame because they are visually bound to play that Line.

To shift Target and Frame in opposite directions is to employ both Frame
Shifting concepts. Leads and Draws are similar. Found in the Aiki Arts
more than other Arts, such techniques are unique in their benefits
offered to the Practitioner. Kali utilizes leads, palm leads to be
exact. Kali in fact teaches the empty hand fighting Guard not as a
Boxing Guard, but just like a Frame Shifting Guard&could it be? Yes, it
could, the higher adepts of Kali are also aware of this skill. (Nothing
mystical, just sound science at work). Again I advocate your using Stage
Magic as a study to enhance your knowledge of human psychology, illusion
and of skills such as Frame Shifting.

Subliminal Suggestions IV



Here is a progression formula for you to monkey around with. It_s
logical and produces multi-level results with sincere, controlled practice.

The three methods of using Subliminal Gestures:

1. Block with SG.
2. Block and SG.
3. SG and block.

Progression:

* Blocking.
* Blocking with Circle.
* Block with SG.
* SG only.
* SG with tonal inflection (scream in specific key and tone).
* Voice only, tones, Kiaijutsu.

Pumping forward motion with the hands cause imbalance and unsettles the
spirit.

Use in-computable circles to overload the CNS Survival Center.

The low growl immobilizes and stops, cause the opponent_s body to sink.

High, yipping screams cause the adversary to go upwards, sometimes they
flip in the air, fish-like.

SG:

* Foot placement.

* Circle.

* Steal the balance at all times.

* Overload the senses.

An SG can be hidden behind another movement (this may or may not touch,
either way it will play). This type of action creates a "Startle
Response" in the opponent. These SGs are directed to the vision-eyes,
but again do not touch unless they must. Whatever touches should be
punished, either by destroying it or controlling it.

You can find fertile ground to discover more applicable SG-like
movements in simple drills like Hubud-Lubud, most Traditional Kata and
in some types of Sword Play. Consider that all things have a light side
and a dark opposite (shadow). Please conceptualize the total yin side of
what you already know in the Martial Arts. If a blow normally hits hard,
then this yin type must not hit at all! OK, if an arm normally contacts
the opponent_s arm on the outside of the forearm&then it must, in the
yin phase lead the blow with the inside of the arm in a wave of
capturing energy, towing the blow behind in a vortex of invisible
energy. Like a very vigorous and controlled miss. Over-do the SG when
you use them, we need the bad guy to really see it for the gesture to
rack_em up deep in the mind-body-reaction-danger-vision zone like we
want. Can you use an SG on a pet during play? Where are circles in The
Big Picture of using magic, SGs and combat?

Subliminal Suggestions V: The Knife and More



The application of SGs in edged weapon combat is very profound. The
knife heightens the sense of danger, the threat doubles. The reactions
of the enemy are usually swift, coarse and sincere! This is because they
are fighting for their very life. Because of this state of high-alert,
the opponent can be faked even easier than before (as in the empty
handed fight mode). Yes, Subliminal Gestures (overt and covert) can fall
into the Realm of Enganyo (faking) just as easily as do any of the other
tricks and ploys from the SG Arsenal we discussed previously. Pete Kautz
and his ongoing studies at Alliance Martial Arts should have augmented
your grasp about this broad spectrum of study of that which seems to
defy the rules of the physical world and combat as most men know it.

The knife itself often becomes an almost hypnotic-like icon to the
adversary. In skilled hands the weaving actions employed are in effect
like that of the classic snake and bird example. Snakes can paralyze
their prey with gaze and intent. Powerful waves of subliminal command
energy are like a Bio-Microwave System which all creatures possess,
obviously some more than others, as in the snakes case. I have
personally seen Pit bulls hypnotize squirrels out of trees. Swaying, low
moaning, intense staring and random shifting of position to keep the
critter in their psychic Pit Bull sights. Pit Bulls not only bite one
hell of a lot harder than a normal K-9, they also have a lot of
intensity/psychic force about them. It is this aspect which makes them
frightening, people feel it radiating off of them. So I think that a
concentrated Warrior Mind is also capable of generating and projecting a
strong psychic force and intent too. This natural gift, this intent or
power (Kraft) should be used in conjunction with subliminal gestures,
fakes and magic. It adds belief to the combat deception-murder mix. When
you believe, you see, they believe too & every time. It starts with you.

Next:

Simple SG-based ploys you can try when using the knife.

* Knife x M/T Hand.

* Knife x Knife.

SG ideas for The Knife.

FIRST:

Here is one that is done almost as you would normally execute what is
called a "scissors" cut to the opponent_s limb/arm. Ideally you would do
this same motion but employ it as a high-speed lead. Taking care to have
distance and timing well in hand before the feathers fly. (You are
playing off of the peripheral vision-survival software in their head.
That, you see, is where the game really takes place.)

A more advanced version could run somewhat like this&

* If you are using larger blades apply the Beat to the inside line of
their blade.

* If you are using smaller blades, then snipe at the inside line of the
opponent_s hands in place of the Beat.

SECOND:

* As they try to either parry-beat or cut back at you, roll off of their
pressure. You have "motor set" them into a predictable pattern.
* Now as you roll away (disengage) with your blade, point in the same
direction with your empty, opposite hand.
* As you roll around to the outside line (To Guard) immediately and
smoothly point in the opposite direction with the empty/non-weapon
bearing hand. Your blade begins to wind away swiftly in the opposite
manner (If done right they will chase the empty hand in the direction
you point, with their blade hand&only for a moment. That is your window
of opportunity).
* This should launch you into a graceful and unstoppable in-Quartata
thrust to his inside line.

This may seem implausible to some. When you see it done to another it
appears to create a tornado like swirl of action/energy that "sucks" the
adversary_s attention away momentarily. Destroys his Guard and his will
to attack. Confusion. It leaves them ripe for a deceptive play at Arms.
It only takes a second and some good timing and the fight is won!
And&this level of SG is quite doable by almost anyone willing to
practice a little and invest in their future.

THIRD:

Some things are transferable and may be "passed along" to others & think
of yawning, one person in a car yawns and soon, everyone else is yawning
too! Nervousness is transferable too&can you think of a way that
"nervousness" can be spread to others? Confusion also passes between
people, groups and programs very easily. What are the dynamics of
confusion? How can such an element be applied covertly? Is this "Monkey
Wrenching" or something else? "Monkey Wrenching" is another name for a
type of illusion-terror & identifying and mastering the concept of
"Transferable Things" is not Monkey Wrenching, but in the same family.