Showing posts with label Martial Arts. Show all posts
Showing posts with label Martial Arts. Show all posts

Monday, December 22, 2014

Third person knowledge and the first person knowing



What you find below is my two posts in the online Wittgenstein course that Lois Holzman of the East Side Institute (http://eastsideinstitute.org/) in New York coordinated.


You may find them interesting if you're interested in the issue of mind and body in our action.




November 24, 2014


Hi, everyone.  This is Yosuke in Hiroshima, Japan. 
Please forgive me for making a new thread because I really don’t know which thread I should choose. 
The following is my (rather long, forgive me again) response after I read the first four chapters of the Overweight Brain and Monk’s essay.


IMPROVISATIONAL CONVERSATION

I'd like to tell you first of all that I really love the method of improvisational conversation that is summarized below.  This is what my mentors did and I'm always trying to conduct my classes in university in this way.

> 
Fred's questions were never about knowing. He didn't ask, "What do we know about that?" He asked, "What did we see? What did we do? What can we build? What can we create? What can we organize? How can we grow?" As a therapist, he asked clients how he could be of help; he didn't-he couldn't possibly-know. They'd have to create their helping relationship and the help. And so began an improvisational conversation. As a teacher and trainer, he asked students how he might be of help to them learning whatever they had come to learn; he didn't-he couldn't possibly-know. They'd have to create the environment to learn and the learning. And so began an improvisational conversation. As a community and political organizer, he asked the community what they should do in response to a specific situation; he didn't-he couldn't possibly-know. They'd have to discover that together. And so began an improvisational conversation.
> 

So with this spirit of improvisational conversation, I'm going to write below my thoughts that emerged, inspired by the first four chapters of the Overweight Brain and Monk's essay.


THE THIRD PERSON KNOWLEDGE

I concur with the critical stance that is expressed in the quotation below and in Monk's essay on scientism, toward the (ab)use of 'scientific knowledge' in the areas where its application is not appropriate.

> 
Knowledge became “king” with the birth of the scientific era and it helped humankind accomplish incredible things, many of which have been of invaluable benefit (extending life, curing disease, advancing agriculture, sharing information, discovering and preserving cultures…the list almost never ends). But the depth and breadth of scientific and technological discovery has come with a price, which is that “knowing” has become ideological. An ideology is a worldview, a way of looking at things, a set of ideas that underlies beliefs and understandings and guides actions --that’s become “how things are” so we’re usually not even aware of it. The knowing ideology is simply this: human life and growth, solutions to social problems, and world progress require and depend on knowing.
> 

However, as I'll elaborate later, I'd like to retain the use of the words like 'to know' and 'knowing.'  What we need to abandon is the ideological scientism, not the word 'to know' altogether.  It is, then, a good idea probably to distinguish different aspects of knowing.  In fact, Wittgenstein wrote in Section 78 of Philosophical Investigation as follows:

> 
Compare knowing and saying:
how many meters high Mont Blanc is –
how the word “game” is used –
how a clarinet sounds.
Someone who is surprised that one can know something and not be able to say it is perhaps thinking of a case like the first.  Certainly not of one like the third.
> 

I’d like to describe the aspect of knowing that is the target of the criticism of scientism as the third person knowledge, and distinguish it from the aspect of knowing that we use in our creative behaviors, which I call the first person knowing.


THE THIRD PERSON KNOWLEDGE

The third person knowledge is a typical form of knowledge in science.  This is ‘objective’ knowledge that is attained and confirmed by the ‘neutral’ observers.  The ‘neutral’ or ‘objective’ observers are not real persons who are embodied and contextualized in specific ways, but the ideal notion of the third person that we conceptualize.  They have no body living in nowhere (They are indeed nobody and nowhere man). 

However, because of this idealization, the third person knowledge has abstract generalizability and has the widest scope of application among types of knowledge we have.  It is not the truth, though.  The truth, as imagined in the image of the omniscient, omnipotent, and omnipresent God, does not need to be applied.  It is just here, there and everywhere.  The knowledge of science is not this ultimate truth.  It has its limited area of application (and margin of errors).  Scientism, then, is probably a mistake to regard the third person knowledge as truth.

One of the most useful features of the third person knowledge of science is its claim of liner causality.  The linear causality is a great way of approximation to predict, plan or make things, and the products of the approximation is generally hailed as the achievement of ‘science and technology.’  Sure enough, science and technology are not truth, and therefore things can ‘go wrong’, contradicting our third person knowledge, but usually we comfortably leave our lives on approximated safety of the gigantic structure that we call an airplane in our flight.  Our idealized conception of the linear causality is great to that extent, at least.

A great thing that happened to the third person knowledge since the 20 century is that it began to be applied to itself and became self-critical.  One of the basic achievements of that self-reference is the theory of complexity.  It is found that the linear causality can only be assumed when we limit the system of operations.  Only when we conceptualize a very simple, bounded system in which things happen and interact, do we predict according to the linear causality (and disregard the ‘aberration’ that discords with the linear causality).

But the world we live in and are interested in is not that simple.  It is an evolving complex system that keeps changing.  As Vygotsky says in Fred’s play (see below), even when we tap dance, we’re not talking about a simple system where the first move of the right foot causes another part of the body.  In tap dance (I’m not a dancer myself.  Please pardon me if I make a stupid description), different parts of the body (including the brain) interact with each other, and if you think you've picked up the part that moves first among others, it is only because you've limited the area of attention and observation (after all, our consciousness is not powerful enough to capture the multitude of interactions in our body at one time).  And as you move, the interactions multiply and the dancing body (including the brain, again) self-organizes itself (autopoiesis, as Luhmann call the process).  (Incidentally, there’s no part of the body that moves first in martial arts, either.  If you pick up one part and move it deliberately, the movement will be unnatural, redundant and too slow to be called the movement of martial arts.)

> 
Vygotsky: Aha! To me nothing moves first. Everything moves at once; the body -- not just the feet --taps. Our obsession with stages --with what comes first-- distorts history where there is no beginning and no end.
> 

But let’s suppose there’s a super, super computer that identifies the billions of interactions of your dance.  It gives you a (huge) report of what you did as you danced.  Would this third person knowledge help you (or anybody else) dance better?  ‘It must!’ someone may say, ‘It is scientific, objective descriptions of what you actually did.  How can it NOT be helpful when it is scientific and objective!?’  To counter-argue with someone like this, I should probably have to introduce another term, the first person knowing, to explain how what you know as you do something (as the first person) is qualitatively different from what you know as you observe something (as the third person).


THE FIRST PERSON KNOWING

When you do something, you apparently know something, or at least this is how we use the words like ‘do’ and ‘know.’  But that knowledge or knowing (to emphasize the difference, I say ‘knowing’ for the knowledge of the first person, following the way Michael Polanyi used the term ‘tacit knowing.’) is embodied in your body, unlike the third person knowledge that is disembodied (and decontextualized).  So the talk of your first person knowledge must involve the conditions of your body (emotions and feelings as well as all other things that happen in your body), that are affected by the environment (context) in which your body live.

It’s not just that your mind is not powerful enough to deal with a great amount of information that the super, super computer gives you, but that the third person knowledge of the super, super computer is disembodied and decontextualized, and for that reason qualitatively different from your first person knowing.

On top of that, there is not a predetermined boundary of your action.  You’re an evolving system that interacts with your environment (including other people) and the environment (i.e., something that is not you which affects you) will change as you act.  The boundary of your action of the past may temporarily be described as such, but you keep changing as long as you live.  You’ll never know what you’ll do until you do it, and you keep doing something new all the time.

Take the case of the description of language.  We have the third person knowledge of language in the form of school grammar and scientific linguistics.  But it is decontextualized and disembodied knowledge, and it describes the idealized concept of language (Competence or I-language for Chomsky, for example), not the actual language you use in your body at a particular moment with particular persons in a particular context.  School grammar or scientific linguistics is certainly a type of knowledge (the third person knowledge), but it is not your first person knowledge.  If we mean the first person knowing by the expression ‘understanding’, the following Wittgensteinean passage from the Overweight Brain concurs with what I’m trying to say in this essay.

> 
How we understand what language is has everything to do with how we use language, how we talk to ourselves and to one another, and --and this may surprise you-- how we think and what we think about.
> 


HOW CAN THE THIRD PERSON KNOWLEDGE HELP OUR ACTION?

Does the third person knowledge NOT help us in our action at all?  As a teacher-educator in the field of teaching English as a foreign language, and a clumsy learner of martial arts, this is a very crucial question.  Our common sense tells us that that the third person knowledge can be of some help in a limited way, but if you begin to rely on it, it may be abused by your belief of (a mild version of) scientism and harmful.  It is important to realized the third person knowledge in whatever form is not only qualitatively different from your first person knowing, but also an extremely reduced version of knowledge in terms of quantity, disembodiement and decontextualization.  Knowing the limit of the third person knowledge (which seems brilliant and indeed is very useful in dealing with impersonal objects) is essential when you deal with the knowledge (or rather, knowing) concerning your action.

I should write in detail, but my time is running up, so let me just quote from Dewey’s Democracy and Education, a master piece written about one hundred years ago.

Dewey who values thinking in experience is critical of knowledge and theory.  For Dewey, thinking in experience is about the future that is coming, whereas knowledge and theory is about the past that is gone and fixed.

> 
Hence the deluge of half-observations, of verbal ideas, and unassimilated "knowledge" which afflicts the world. An ounce of experience is better than a ton of theory simply because it is only in experience that any theory has vital and verifiable significance. An experience, a very humble experience, is capable of generating and carrying any amount of theory (or intellectual content), but a theory apart from an experience cannot be definitely grasped even as theory. It tends to become a mere verbal formula, a set of catchwords used to render thinking, or genuine theorizing, unnecessary and impossible. Because of our education we use words, thinking they are ideas, to dispose of questions, the disposal being in reality simply such an obscuring of perception as prevents us from seeing any longer the difficulty. (Dewey, 1916. pp. 138-139)
> 

Knowledge and theory, then, becomes useful only when it is regarded as a small hypothesis that may potentially be relevant in a new situation.  You may want to turn your (mostly unsayable) first person knowledge into a kind of third person knowledge, but that may be more harmful than helpful for future action of yours and others’, for the third person knowledge is of the past and the future may be very different from the past (and you may not be what you used to be).

> 
While all thinking results in knowledge, ultimately the value of knowledge is subordinate to its use in thinking. For we live not in a settled and finished world, but in one which is going on, and where our main task is prospective, and where retrospect -- and all knowledge as distinct from thought is retrospect -- is of value in the solidity, security, and fertility it affords our dealings with the future. (Dewey, 1916. pp. 145-146)
> 

Probably I should have finished this small essay not with Dewey’s passage that is not very easy to read, but with Michael Polayni’s that is more readable.  But I didn't have time to find the book in my office or the time to write my original argument.  Yet, as I said at the beginning, this is part of my improvisational conversation, and I didn't mean it to be a piece of writing that finishes all the arguments in the future (no one should be arrogant to try to write such a thing).  So, unable to find a clever sentence to finish this essay, I just say, that’s all for now.

Thank you.


Yosuke






November 25, 2014


Hi, Steve, Jim, Yuji (or Moro-san, as we'd say in Japanese), and Paola

Thank you for your comments which improvised my thoughts further.


AUTOPOIESIS

My understanding of autopoiesis is through Luhmann who expanded the theory of Maturana and Varela.  What the concept amounts to, I'd say, is the claim that all you are, do, and experience is only made by you, not by other things, which Luhmann describes as the environment.

Jim said:
> 
 Our senses function as they do in relation to material reality and yet they do not transmit to us through our nervous systems what we take to be actual reality. As best as I can determine (I'm not a biologist) what we get is a bio-chemical response to reality, not reality itself.
> 

As you read this passage now, the understanding that you construct is based on your prior denotations and connotations that you've associated with words, phrases, ideas and whatever that come with this passage. The standardized dictionaries may give you an idea that as long as the same words are shared between you and me, the same ideas must be shared as well.  Wittgenstein rejected this notion, and Luhmann may say that because the words are not the 'input' (i.e., something that comes straight to you as a material) but the 'perturbation' (i.e., something that may trigger some reactions in you but does not have direct control of you), the claim that the 'same ideas' will be reproduced in you as a reader is most unlikely.

On top of that, you experience a lot as you read.  The room may be rather cold, and you may be hungry, slightly irritated by frequent phone calls, worrying about the meeting you’re to have in an hour.  All these things affect your reading.  It’s not surprising at all that you react quite differently to the same text on different occasions.  Your cognition and action cannot be separated from the conditions of your history, body, context and other things that make you.

In this sense, my first person knowing could only be known by me in my body (including the brain), my environment and my history.  But I only say that it 'could be known' because this knowing can only be theoretically assumed.  As soon as I know what I know, that knowing changes 'I', and the knowing becomes something of the past.  The first person knowing, or maybe knowing in general, is always in the process of recursion.

So, in terms of embodiment, embedding in time and space, history, and process in me, my first person knowing is not accessible to anyone else either in the form of the third person knowledge or in other forms.


HOW THE FIRST KNOWING OF A MASTER AFFECTS THE DISCIPLES

Yuji's question in this regard is very interesting for me.
> 
My question is how first person knowledge is related to this socialness of knowing.
> 
Apparently there is such a relationship as master/disciple or teacher/student, as distinct from information transmitter/information receptor (as in machine). A master (or a teacher) does influence the disciples (or students) and let them develop in a way that is not conceivable without the master (or teacher).  We assume that there's a 'social' relation between the master and her disciples.

But first of all, we have to remember that there's no direct transfer of knowledge from the master to the disciple (or from a person to another, in general) because we're autopoietic beings (autopoiesis systems).  What even the best master can do is to affect you, not mold you as he or she wishes -- if you're a teacher or a parent, I assume you know what I mean.  A disciple can only become what he can become.  As Dewey said, a teacher can educate somebody only indirectly by means of the environment. What a teacher can do is to arrange the environment (including the teacher him/herself) for the students.

Yet, this does not mean that there's nothing a master can do to better influence the disciples.  In traditional settings, a master and the disciples spend most of their time together, and the disciples learn the way of life (or the form of life, as Wittgenstein would say) of the master.  At the same time, the master learns how the disciples perceive, feel, think and act.  They probably become more similar than before by spending time together.

A general principle (or tenet) a master gives occasionally to the disciple makes the best advantage of the experience of living together and learning who they are with each other.  The master and disciples probably become similar enough as to make communication between without much trouble.

In martial arts, occasional teaching from mouth to ear ('kuden' 「口伝」) is preferred to systematic teaching of the third person knowledge.  A master prefers to teach verbally only when an appropriate occasion emerges for that teaching.  The oral teaching is more effective than teaching according to a predetermined curriculum because the embodiment, embedding in time and place, histories and processes, all these elements that are essential in the first person knowing, can become asymptotic (closer than anything else, but not identical) between them.

Teaching the third person knowledge, typically through books, often disregards embodiment, embedding in time and space, histories and processes -- if only for brevity, I may describe them altogether as 'contingent elements'--.  A lesson learned from a book can misguide a reader because of the lack of similarities of the contingent elements.  A lesson to be taught should be selected by a teacher who is familiar with the contingent elements of the student.


CAN KNOWLEDGE BE PRIVATE?

As I've written so far, I found Paola's comment.
> 
Is this "first person knowledge” then, as Yuji is describing it, a ‘private’ knowledge? In either case, how can ‘knowing’ be private if we are social beings? I like the Russian offer better. Another example of how meaning changes in different languages....
> 

As Paola says in the last sentence, this is probably a matter of how different persons use the same language differently.  But I may defend my use of the terms by saying that whereas the first person knowing (I prefer 'knowing' to 'knowledge' for the first person knowing, as I want to emphasize that it is more of a process than of a product) may be 'private' in that it is only accessible to the first person alone, the third person knowledge is not private but public.  (Some of you may recall Wittgenstein's argument about 'private language' here and you’re absolutely right).

The third person knowledge about objects can be transmitted quite easily and that is why science and technology have drastically changed the surface of the earth over the last few centuries.  The third person knowledge as a product can be transferred, stored, added, and combined quite objectively.  We test its validity by experiments that are publicly observable.

But if you want to apply the third person knowledge to your personal skills, you need to adapt it as your contingent elements demand.  This is where a good teacher comes in.  A good teacher is someone who understands not only the third person knowledge, but also the students (their style of the first person knowing).  But a good teacher can only 'help.'  In order to acquire the first person knowing, the student must change him/herself to create a new self that accommodates the first person knowing.

To change our perspective, let's think how we build the third person knowledge.  It was of course not given by God once and for all.  We all started from our first person knowing.  Attempting to convey the first person knowing to other people, people have invented ways of expressing the first knowing, sophisticated language use, and increased its generalization and abstraction.  The print culture which enabled communication between people in different time and place promoted the generalization and abstraction, and our verbal behavior changed so much as to produce a lot of the third person knowledge, and it led the prosperity of science and technology of modern times.

To sum, the first person knowing is private, but, as Dewey says, it can be communicated (but not directly transferred).  It may further turn into the third person knowledge when it achieves sufficient generalization and abstraction, but then it becomes so remote from the first person knowing.  In other words, the first person knowing can become social, although it is inherently private.  The first person knowing can be socially communicated, but as it is inherently private, it cannot be directly transmitted as in the case of the third person knowledge.


Well, that's all for now.  Thank you.

Yosuke

Saturday, July 7, 2012

Do not let mind mind mind (Yes, deconstruction is what Zen is about)




What follows is an essay related to my presentation "SLA and Budo (Martial Arts): Extended, embodied cognition and practical implications for ELT" on July 8, 2012 at JALT Matsuyama.  The presentation is a revised version of my JALT Hiroshima Talk "Comparing Foreign Language Communication to Budo (Martial Arts)"; Arguments of "Movement of Budo (martial arts) and Luhmann's systems theory" are added).  The slides and handout for JALT Matsuyama talk is available below:




***

Do not let mind mind mind (Yes, deconstruction is what Zen is about)


Zen master Takuan left a verse on mind:

心こそ心迷わす心なれ
心に心 心許すな

A literal translation would be as follows:

Mind is the mind that confuses mind
Do not let mind mind mind

Apparently, this is meant to be deliberately bewildering to read  (Advise that implanted deconstruction in itself, as is often the case with Zen master's writings).

To clarify, I introduce the distinction between conscious mind and nonconscious mind. (For consciousness and nonconsciousness, please see my post on Damasio).

Conscious mind is the mind that confuses nonconscious mind
Do not let conscious mind mind nonconscious mind

This advice is quite valid from neuroscientific understanding that most of what we do is the result of nonconscious mind and that consciousness is what emerges out of nonconsciousness when nonconsciousness find a situation difficult to deal with.

However, consciousness can be divided into two types: core consciousness and extended consciousness.  Takuan's verse is particularly true with extended consciousness, which is beyond 'here and now' that the subject is experiencing.  Core consciousness, on the other hand, is the awareness that the subject is feeling emotions, and it may be a good interface between the world and the body.

Many Budo writings say negative functions of extended consciousness in performance.  But some also say that even core consciousness works negatively when it is fixated on a particular object.

Here are some examples. (To see the sources, please see the slides above)

"An arrow shooter shoots precisely when he is not conscious of shooting and shoots with an everyday mind." 
" The man of the Way is like a mirror, and he contains nothing in his body-mind and is clear; his mind is empty but lacks nothing. " 
"If your mind loses its balance by thinking, you hear but not listen, and look but not see.  It is because you have an object in your mind.  The object is an object to think about.  If the object leaves, then your mind becomes the empty mind and fulfills its purpose when necessary." 
"If your mind loses its balance by thinking, you hear but not listen, and look but not see.  It is because you have an object in your mind.  The object is an object to think about.  If the object leaves, then your mind becomes the empty mind and fulfills its purpose when necessary. However, if your learned problems go away from you mind, you unlearn everything you have learned, and when you do the skill, your performance will be fluent.  Your performance is not against what you have learned, and it accords with what you have learned without you being consciousness of it."



From these arguments, we may argue as follows:

(1) You don't need extended consciousness to perform well. 
(2) You may not even need too much core consciousness, for it is just an alert system for irregular patterns. 
(3) Nonconsciousness creates core consciousness to help itself to perform in a difficult situation. 
(4) Core consciousness invites (from autobiographical memory) extended consciousness to help itself in a very difficult situation.

To describe what is being taught to us (the content of instruction), I further introduce the concept of imported extended consciousness.  Imported extended consciousness is different from ordinary consciousness because it does not emerge from the mind/body of the subject; it is given from outside in the form of instruction by a teacher, for example.

Then we may argue as follows:

(5) Consciousness, either core or extended, does NOT create nonconsciousness, particularly imported extended consciousness! 
(6) Put your imported extended consciousness aside when you perform. 
(7) Imported extended consciousness is only helpful for reflective deliberation.

In a Japanese book on pedagogical grammar to which I contributed one chapter, I made a distinction between embodied grammar (grammar that constitutes language in the mind/body of a language user) and articulated grammar (linguistically expressed meta-description of embodied grammar).  I argued that pedagogical grammar is to be designed as a device to help the nonconcious mind/body of language learners to develop embodied grammar of the target language in it.  It seems that this argument of mine is quite congruent with the Budo sayings above.

My general belief is that the wisdom of Budo meets science and post-modernism.  I hope I can further explore the old tradition of my country from new perspectives.




Monday, April 30, 2012

Movement of Budo (martial arts) and Luhmann's systems theory




1 Introduction


I participated in the 3 day seminar (April 20-22, 2012) by Akira HINO, a master of Budo (=Japanese martial arts), who has been collaborating with William Forsythe, the choreographer of The Forsythe Company.

Below is part of what I thought I learned in the seminar, which I hope is not so mistaken. Or it is rather an attempt to interpret one Budo movement that was taught through the framework of Niklas Luhmann's systems theory. I don't pretend that I have mastered the movement to the level that Hino sensei requires, nor do I claim that my view below represents Hino sensei's Budo sufficiently.

Yet, I contend that a Budo movement can be understood as communication between two persons mediated by the body, that is usually considered two separate and independent bodies but rather should be considered integrated as one body communication system. I further argue that this communication between two persons mediated by one integrated body system is rather like linguistic communication, that is usually regarded as information transmission between two persons but rather should be regarded as one integrated communication system mediated by language.

The point where two bodies (in Budo) or two persons (in linguistic communication) becomes one body communication system or one linguistic communication system depends upon the condition of the interface between the two bodies or persons. As long as the interface is free of surface resistance (in Budo) or sense of irrelevance (in linguistic communication), two bodies or persons that are usually regarded as separate and independent becomes one communication system, which cannot be fully accountable by the sum of the two entities. I believe that the operation of communications systems are well explained among others by Luhmann's systems theory


2 How is Budo movement different from the standard movement?

What is Budo movement? In this section, I give a general account of Budo movement from the viewpoints of the antagonist and the protagonist, before I introduce a specific Budo movement that I analyze in the following section.


2.1 From the antagonist

Unlike standard movements performed by ordinary people, Budo movements are irresistible or unpredictable for the antagonist (=attacker). A big antagonist who overpowers a standard movement of the protagonist (=your Non-Budo movement) cannot even resist the power produced by a Budo movement; the power is different in quality and overwhelming for the antagonist. A quick antagonist who can move faster than the protagonist cannot predict a Budo movement; the protagonist moves earlier, if not faster, before the antagonist notices it, or even when a Budo movement is slow and clearly visible (as in the case of the Budo movement I'll introduce later), the antagonist loses the sense of control and cannot counteract, for the movement is different in quality and the antagonist cannot conceptualize how it will develop.

2.2 From the protagonist

Budo movements are also felt differently in quality for the protagonist (=you as a Budo practitioner). Although you have a master plan of conquring the attack of the antagonist to protect yourself, you don't yourself plan or know the specific moves of a Budo movement. A Budo movement is not conscious use of muscle powers (as is the case in a standard movement) but an autopoietic movement of the whole body, with or without your reflective awareness. Although a Budo movement is achieved, at least partially, by your body that is integrated as one body communication system with the body of the antagonist through the interface, a Budo movement is not your action in the usual sense that you have used your free will to consciously move the parts of your body. A Budo movement is not produced by your planned action, but by the internal logic of the whole integrated body. The body (of the two persons) moves in integration on its own with or without your clear awareness (the antagonist can only have confused awareness of being moved against his will).


3. How do you embody the Budo movement of an untwisting arm?


Now that I have described Budo movements in general, I'll introduce one Budo movement that was taught in the seminar (and which I can somehow manage to perform myself). The Budo movement is for a situation where you have your right arm, for example, twisted to the limit by the antagonist (attacker). In the seminar, you are supposed to keep other parts of the body unmoved for the sake of the exercise (i.e., your right arm is twisted and your right shoulder is put upward and forward, but otherwise you keep your stature unmoved and do not bend your knees or other parts).

If you try to untwist your right arm to escape from the holding in a standard way of conscious use of your muscle power, you cannot escape usually. Even if you're much bigger than the antagonist, you feel a lot of tension and friction, as does the antagonist.

However, if you do the Budo movement, you just untwist the arm effortlessly (you don't feel any tension and friction, and you're very calm in mind and body), and the attacker cannot resist, loses the sense of control and had to be turned around as long as he holds your arm firmly.

But how is it possible? Here are five points that I believe I learned.


3.1 Feel the line


As the Budo movement involves no conscious, intentional use of the muscles, you must not use your consciousness to plan or intend anything. Use your consciousness only to feel (Yes, Bruce Lee was right when he said "Don't think. Feel"). First, feel the line of the sensation of being twisted, between the gripped point of your right arm (or wrist) and the left shoulder (or near it) where the sensation ends. If you're tense, you can't feel the line; you only feel the friction at the gripped point and tension in various parts of your body. You need to be relaxed to accept the twist to feel the line.


3.2 Leave (or keep) the interface as it is

As you feel the line, you also have to feel the arm (or wrist) as is gripped and twisted. Feel just as it is. Feel the pressures, tensions, heat, moisture and all sorts of information from the antagonist and do nothing against them. Just feel.

Do not resist or try to change the situation. If you do, you change the state of the interface (the gripped part), and the change is immediately detected by the antagonist who will adjust the grip and hold you all the more firmly. Keep the interface as it is. As the Budo movement develops later, leave it as it is -- for me "To keep the interface as it is" is a better instruction when I first feel the sensation, and "To leave the interface as it is" is better when I let the Budo development develop.

The change of the interface is a sign that you've used your consciousness to resist intentionally. As the Budo movement is never achieved if you use consciousness in a conventionally, keeping the interface as it is is a very important indicator of the Budo movement. You may use your consciousness to feel, but never use it to think or plan.

Here I should probably introduce two different types of consciousness according to neuroscientists. Antonio Damasio, for example, distinguishes the core consciousness and the extended consciousness (See my articles on Self comes to mind and The feeling of what happens). These two types of consciousness roughly(*) correspond with the primary consciousness and the higher-order consciousness (See my articles Wider than the sky and 'Consciousness as a process that is entailed by molecular interactions').

(*)In this article, I disregard the minor difference between Damasion's terms and Edelman's for the sake of the argument.

Core consciousness (or primary consciousness) is conscious awareness of the change of the body state. Extended consciousness (or higher-order consciousness) is extended from core consciousness in that it goes beyond 'here and now' of core consciousness and recalls backwards or plan heads, and it is higher than primary consciousness of simple awareness in that it describes its status by symbols (usually language).

 In ordinary expressions, 'feeling the sensation of the body' is probably for core consciousness (primary consciousness) and 'thinking with words on the basis of the sensation of the body' is for extended consciousness (or higher-order consciousness). So, when Bruce Lee says "Don't think. Feel," for example, he means that you should not use extended consciousness/higher-order consciousness, but just use core consciousness/primary consciousness. In other words, you should not neglect, but focus on your 'here and now' with the antagonist. Thinking about what to do with words is too slow and limited in information (words can only capture an extremely tiny part of the phenomenon). If you feel and are are true to the changes of the body, your movement is immediate and you respond to all sorts of changes your body (not your extended/higher-order consciousness) detects.

 

Figure 1: Damasio's theory of consciousness and self

Back to the Budo movement in Hino sensei's seminar, when you keep (or leave) the interface as it is, you only use core consciousness/primary consciousness just to feel. You should not, however, use extended consciousness/higher-order consciousness to think what you should to resist and how. If you do, your movement departs from Budo and becomes just conventional, which can be outpowered by the antagonist.


3.3 Let the line untwist itself from the furthest end


Now that you feel the line and the interface, you begin to let the line you feel untwist itself gradually from the furthest end (your left shoulder) and keep the interface unchanged. Again, you have to focus on the sensation of the point of the line as it gradually untwist itself.

The line is the image of your twisted body. As your body is twisted by the antagonist and transformed into a very unnatural state, the body tries to restore itself to regain the natural position. Because what constitutes your body is complex connections of multitudes of units (muscles, fascia, bones, cells and all sorts of things), untwisting movements are very diverse. Each movement may be not very powerful, but the combination of all movements are. In addition, because the power is not uni-directional (think of a robot-like movement of your body with your conscious plan), but ever-changing, multi-directional beyond the recognition of you and the antagonist, you don't know how your body will move as it untwist itself, nor does the antagonist consciously think how he can resist.

So, you just let your body do its job. You use your core consciousness/primary consciousness to feel the line and the interface so as not to let your extended consciousness/higher-order consciousness do other counter-effective things (for example, recalling your past conventional movement and thinking to apply it to this situation). You just observe the body (the integrated body communication system of your body and the antagonist's) and keep the interface as it is, for it is the sign that your extended consciousness/higher-order consciousness is not doing a wrong thing.


3.4 No intentional moves


As the twisted body untwist itself, your elbow drops and bends, and your palm turns upwards. You may think it is advantageous to drop your elbow or turn rotate your arm deliberately, but don't, as it is a conventional, conscious use of muscles. If you've been training Aikido, you may think that it is advantageous , which it is, to step forward and turn to the antagonist to use the weight of your body for resistance, but you're advised not to do so, because this is an exercise to learn a Budo movement, a non-conscious move of the body with your conscious monitor, not just to untwist the arm. If you haven't learnt Budo at all, do not ever try to move intentionally, for it will be outpowered by the antagonist who are in a better position (i.e. he's twisted your arm already).


3.5 No intentional power


This point is the other side of the previous point, which is a confirmation of the first three points of this Budo movement. Do not try to use your intentional power (which you want to turn to your intentional move). "Keep the interface as it is" is important here as well, for as soon as you try to use your intentional power, the state of the interface changes and the antagonist will notice it immediately.

One further exercise of this Budo movement, is you have your right arm twisted by a first antagonist and have your left arm held by a second antagonist. The job of the first antagonist is to stop the untwisting (the same as the original exercise), but the job of the second antagonist is to detect the change of the interface. If he notices any change in the interface of your left arm and his hand, he slaps your left arm with the other hand. The change of the interface is a sign that you're beginning to use your intentional power, and he let you know that by the slap.

If you keep these five points, you may probably be able to do this Budo movement in some way or other within 10 minutes or so. (But remember: this is only one elementary movements. You cannot of course be a master of Budo in 10 minutes!)

As you learn to do this Budo movement yourself, you may wonder: Who's the agent of this Budo movement? In this Budo movement, you don't have the usual sense of your agency, for you don't (and can't) use your conscious, free will to move your body. Rather, your body moves. But it's not that your body moves alone; your body moves only in relation to the body of the antagonist, and you have to keep (not disconnect) the relation by observing the interface. So, it's not that your body moves against the body of the antagonist, either. Rather your body moves with the body of the antagonist.

So if there's anything like the center of this movement , it's not your free will or your body. It is not the free will or the body of the antagonist, either. It is rather the integration of the two bodies (to constitute one body communication system). It is the maintenance of the body communication system (as is known by the same interface state) that makes further communication of the Budo movement. Bodies per se do not communicate in a Budo movement (nor does two conscious minds). It is communication of the bodies that makes communication of the Budo movements: communication between two persons mediated by one integrated body system.

 Here, we're reminded of Luhmann's provocative words: people do not communicate; communication communicates. I'll briefly introduce Luhmann's systems theory below in the belief that the theory is a good framework to understand Budo movements as body communication (and also to understand linguistic communication, as well)(**).

 (**) With the limit of my academic competency, I cannot claim with absolute confidence that I'm offering here the 'correct' understanding of Luhmann's systems theory, although Luhmann himself might probably laugh at the suggestion of the 'correct' understanding. Those who are interested in Luhmann's theory are advised to read his own works. (Original German worksand English translations).



4 Luhmann's systems theory


4.1 The standard ideas of linguistic communication and the individual


In order to explain Luhmann's systems theory as a framework to understand communication, let's confirm our conventional view of linguistic communication, a proto-type of communication.

Our conventional view is influenced much by the code model of communication by Shannon and Weaver. Communication is regarded as the transmission of information from the sender (encoder) to the receiver (decoder). The sender and the receiver are two separate individuals that are only connected through the channel of transmission. The information is a neutral code, used in all sorts of context in the same way. In linguistic communication, the sender and the receiver are two separate and independent persons as the individual. The information is encoded by the sender into a language and is decoded by the receiver. Communication is deemed successful when the identical information is transmitted, unaffected by encoding,  channel, or decoding. Communicative competence is mostly attributed to individual psychological ability, and communication is considered the result of the simple sum of individual psychological abilities of the two individuals. A study of communication, it is further assumed, is to be a study of the mind of an independent person.


4.2 The three systems that are involved in linguistic communication


Luhmann's systems theory does not regard an individual person as the basic unit of linguistic communication. Linguistic communication is dependent upon individual persons, but it is not the simple sum of performance or psychological ability of each person, and therefore, an individual person is not considered the basic unit of linguistic communication.

An individual person is to be further analyzed, according to Luhmann. What we usually regard as a 'person' has two aspects: biological and psychological.

Natural scientists are mostly concerned with the biological aspect of a person. They regard a person as a biological or physiological system, and now even psychiatrist may prefer pharmacological treatments to existential therapy. (Personally I'm interested in Harry Stack Sullivan whose theory of psychiatry is based on interpersonal relationship. But I'm not sure whether his theory is cherished by the majority of psychiatrists now when The Diagnostic and Statistical Manual of Mental Disorders (DSM) seems to rule psychiatry.

The other aspect of a person, the psychological aspect, is kept mostly for non-scientific scholars of humanities, or simply ordinary people. Although naturalism is quite strong, complete reduction of consciousness to physical phenomena is not shared by all researchers, and the nature of consciousness remains as a hard problem.

In his systems theory, Luhmann distinguishes three types of system: Life systems (organisms), psychic systems, and social systems. For the sake of argument, I'll paraphrase the three systems as biological systems, consciousness systems, and communication systems respectively, without, I hope, distorting Luhmann's theory. I'll take the issue of linguistic communication by humans, and use a human body as an example of biological systems, a conscious mind (both core/primary consciousness and extended/higher-order consciousness) as that of psychic systems, and linguistic communication as that of social systems.

One reason why Luhmann distinguishes these systems is that the three systems are autopoietic (self-organizing; only a self can create itself) respectively. For example, although linguistic communication depends upon human bodies and human consciousnesses, communication cannot be reduced, as I'll explain later, to the sum of the individual conscious states or the states of the individual human bodies. It is only communication that creates further communication; human consciousnesses or human bodies alone cannot create communication -- only communication can create communication, and in this sense, communication is autopoietic.

Likewise, only your consciousness can create your new consciousness; your biological states must be translated into your conscious state to form new consciousness; development in linguistic communication must also be translated into your conscious state. Consciousness depends upon and gets affected by a human body, and it also gets affected by and may even need linguistic communication (at least as far as the development of extended/higher-order consciousness is concerned). But consciousness is not neither the state of the body nor the state of linguistic communication. In order to form consciousness, you simply need a state of consciousness. A state of consciousness may be a translation from the body state or the communication state, but it needs to be a conscious state itself. A consciousness system is autopoietic in itself.

Also, only your body can make your body. You cannot obtain the strong muscles of a lion by eating its meat. You must digest it (i.e., transform the meat into the units that can interact within your body system. You have to make the meat of the lion part of yourself if you want to obtain strong muscles like a lion's (of course, you need to exercise as well). So our human body as a biological system is also autopoietic in its own way.


4.2.1 Biological system (life system or organism)


Our biological system is our human body. It is a physiological system that the mainstream Western medical science deals with. It is a basis of a consciousness system, which is a basis of a linguistic communication system. It may be affected by a consciousness system or a linguistic communication system, but it is only a biological system itself that makes itself.


4.2.2 Consciousness system (psychic system)

Our consciousness system is our human consciousness (some non-human animals have core/primary consciouseness and even (non-linguistic) extended/higher-order consciousness, but we don't deal with them here). Consciousness requires our body, as Damasio, for example, explains, but consciousness is not just an expression of the current body state. When you find and read a writing and changes your mind, your consciousness was affected not just by the body state but also by the paper outside your body. As media ecology (Wikipedia and my blog articles) explains, media influence our being, and we are beings with the extended mind and the world now contains so many technologies that enables advance use of extended/higher-order consciousness.

So I believe it is quite reasonable to assume that humans are not just biological systems; humans are consciousness systems as well that self-organize new consciousness from the past consciousness. In order to understand humans, you need at least both biological and psychological aspects (you also need communication aspect, as I hope will be clear later). Humans are not just a consciousness system, either; consciousness needs the functions of the biological system where it is embodied. You need to understand the functions of our body to understand consciousness.


4.2.3 Communication system (social system)


A linguistic communication, as an example of a communication system, requires (at least) two conscious minds, which further require two human bodies. Figure 2 below summarizes the interaction of the three autopoietic systems.

Figure 2: The interaction between biological, consciousness, and communication systems.

I'll explain more about the communication system in the next section by introducing theories of pragmatics.



5 Linguistic communication explained by pragmatics and Relevance Theory


Let's review theories of pragmatics and see how Luhmann's theory is compatible with them.


5.1 Speaker's meaning may not be known to the speaker herself


The theory of pragmatics tells that 'meaning' contains literal meaning (conventional dictionary meaning) and speaker's meaning (the meaning that the speaker intended besides what the literal meaning is assumed to convey). One of the examples most often used is an utterance "It's hot", with its literal meaning 'THE TEMPERATURE IS HIGH' and its speaker's meaning 'PLEASE OPEN THE WINDOW', and we assume that the literal meaning and the speaker's meaning are shared between the speaker and the listener.

But situations are more complicated in the real world communication. The speaker's meaning is often interpreted in a way that the speaker did not intend. Even the literal meaning is often not shared completely, and the listener may focus on different aspects of the denotation and connotation of the word that the speaker did not exactly mean.

Communication does not always work as you intend. You may have your own logic that you believe should be applied in linguistic communication, but your logic is not necessarily the logic of the communication. Neither you nor your interlocutor controls communication completely. Communication may work and develop beyond the anticipation of the participants (This is a reason why humans should not be regarded as the basic unit of linguistic communication). Linguistic communication, as it were, has its own life and logic and it creates itself in its own way, beyond the control of the participants; it is an autopoietic system. (As I write this essay with my conscious mind and my biological body, both extended by Information Communication Technology, I never know what communication this essay will bring).

To take a simpler example of interactive communication between the two persons in the same time-space, neither participants knows or controls the development of linguistic communication, although, in a sense, the linguistic communication is constituted by the utterances of the two as the results of their biological and conscious systems. Like your interlocutor, you are quite aware of what you're saying, but consciousness is not sufficient, either yours or your interlocutor's, or even both of them, to make linguistic communication. The words and phrases you use may have denotations, connotations or associations that you're not currently aware of, and they may influence the development of communication.

The linguistic communication is now a new autopoietic system. You are not the agent of the linguistic communication system in the way you are the agent of your consciousness system (even in the consciousness system, you may not be a complete agent in the sense the term "free will" suggests, but let's not talk about this here). 'You', either as a consciousness system, a biological system or whatever it may mean, are involved in linguistic communication, but you're never the master of it. In fact, no human beings, either alone or combined, are the master of linguistic communication. If there's a master of linguistic communication -- a debatable proposition --, it is linguistic communication itself that is the master of linguistic communication.


5.2 The sense of relevance as the interface condition of linguistic communication


But if linguistic communication is an autopoietic system on its own, beyond its participants (human beings), when does the utterances from two separate persons becomes a linguistic communication system as an autopoieteic system? How do we know when some sentences are not just a random collection of linguistic productions but an instance of linguistic communication? In other words, what makes communication communication?

My answer now is that the sense of relevance is the interface condition of linguistic communication. That is, as long as either side of participants (preferably, both sides) believes that relevance is kept in their linguistic interaction, the linguistic interaction makes communication.

The term 'relevance' is of course from the Relevance Theory. All participants expect (often unknowingly) that utterances that they process must be worthy of processing (must be 'relevant'), and that other participants must be behaving according to this principle. When you listen to an ambiguous utterance, you're motivated to choose the meaning that seems the most relevant to you. When your interlocutor looks you in the eye and says something that is not very clear in meaning, you're motivated to seek for whatever relevance it may have. (For further information on Relevance Theory, see Dan Sperber's online resource (http://www.dan.sperber.fr/?p=93).



6 Communication mediated by language and communication mediated by the body

So keeping the sense of relevance unbroken and ceasing to believe that you're the agent of linguistic communication are the conditions to make and keep linguistic communication. But doesn't this sound like the Budo movement as a communication system?

I certainly believe it does. More than that, I believe both linguistic communication and body communication of Budo can be generalized and categorized as instances of the communication system in general.

If you want to work on other person through the body (as in the case of a self-defense in Budo), you should not just move your body as you wish. Rather, you should make your body integrated with the body of the other person. You can do so if you focus on the interface of the two bodies, and keep it unaffected by your plan or thought (the use of extended/higher-order consciousness); you just let your body respond, not your free will (another use of extended/higher-order consciousness). Then it works. (Really, it is "it", not you, that works and I claim this "it" is a communication system of two persons mediated by the body).

Likewise, if you want to work on other person through language, you should not just say what you want to say. Rather you should integrate your utterances with the utterances of the other person. You can do so if you focus on the sense of relevance and keep that interface undestroyed by not imposing your own logic or not refusing to find relevance in the utterances of the other. Let the words, both the other's and yours, be the master of linguistic communication, not your own wishes. Let the words mean what they mean both in the senses of literal meaning and speaker's meaning.  Don't resist with words by imposing your own wishes.  Do nothing against the words, do everything with the words.

 When you listen, don't impose and stick to your version of the literal meaning and your own interpretation of the speaker's meaning. Hear the words as they develop in communication. When you speak, don't just assume that your utterances will always understood as you intended, not just in the speaker's meaning but also in the literal meaning. As you speak, take a good look at the facial expression and other body expressions of your interlocutor to see the sense of relevance is kept between him and you. Always make your best efforts to keep the sense of relevance, and just use words only as long as the sense of relevance is not destroyed. And then, I'd argue, it works; a communication system mediated by the body, 'linguistic communciation' as we call it, works.

Luhmann's systems theory explains both body communication (Budo movements) and linguistic communication by distinguishing the consciousness system and the communication system. Budo movements and linguistic communication work best when the participants use their consciousness only to observe the interface of their communication and avoid much use of their own free will. The point is let the body or the words do their own job, not your wishes, for sometimes their job is beyond the imagination of your wishes. The body and the words have more capacity than you think.

As I'm about to finish this essay, I now begin to wonder whether I've imposed my own wishes too much as I wrote. Did I respond to the words I wrote as I kept writing? Or rather, did I just humbly observe how my words responded to each other to develop writing while keeping relevance? Did I try sufficiently to suppress my ego so that it didn't distort communication?

Pat Metheny says that you have to be a good listener of your own music as you play. You may have to be a good reader of your words when you write. I now wonder if I was a good reader of my words in this essay.



Related post:
Comparing Foreign Language Communication to Budo (Martial Arts)
http://yosukeyanase.blogspot.jp/2012/03/comparing-foreign-language.html

Saturday, March 10, 2012

Comparing Foreign Language Communication to Budo (Martial Arts)




This is supplementary material for my presentation at JALT Hiroshima Chapter on March 11, 2012.



To download the slides, click here.

To download the handout, click here.





Comparing Foreign Language Communication
to Budo (Martial Arts)




1 Introduction







2 Contrasting modern sports and traditional Budo




■平常心 (everyday mind)

道とは何たる事を云ぞととへば、常の心を道と云也とこたへられたり。実に至極の事なり。心の病皆さって、常の心に成て、病と交りて病なき也。世法の上に引合ていはば、弓射る時に弓射るとおもふ心あらば、弓前(ゆみさき)みだれて定るべからず。太刀つかふ時、太刀つかふ心あらば、太刀前定るべからず。物を書時、物かく心あらば、筆定るべからず。琴を引とも、琴をひく心あらば、曲乱るべし。弓射る人は、弓射る心をわすれて、何事もせざる時の常の心(しん)にて弓を射ば、弓定るべし。太刀つかふも、馬にのるも、太刀つかはず、馬のらず、物かかず、琴ひかず、一切やめて、何をもなす事なき常の心(しん)にて、よろづをする時、よろづの事、難なくするするとゆく也。道とて何ににても、一筋是ぞとて胸にをかば、道にあらず。胸に何事もなき人が道者也。胸には何事もなくして、又何事成共なせば、やすやすと成也。鏡の常にすんで、何のかたちもなき故に、むかふ物のかたち、何にてもうつりて明(あきらか)なるがごとし。道者の胸の内は、鏡のごとくにして、何もなくして明なる故に、無心にして一切の事一もかく事なし。是只平常心也。此平常心をもって一切の事をなす人、是を名人と云也。(柳生但馬守平 「殺人刀(せつにんとう)」『兵法家伝書』 西山・渡辺・郡司 (1972, 320-321))

What is the Way? It is an everyday mind. This definition is quite reasonable. You are free from sickness when your mind ceases to worry about it and becomes an everyday mind that coexists with it. To take other examples in our life, you cannot shoot an arrow precisely if you are conscious of shooting; you cannot wield a sword precisely if you are conscious of wielding; you cannot write calligraphy precisely if you are conscious of writing; you cannot play the Koto (Japanese harp) precisely if you are conscious of playing. An arrow shooter shoots precisely when he is not conscious of shooting and shoots with an everyday mind. Whether it is about a sword or a horse, you do not use a sword, ride a horse, write calligraphy, or play the Koto. Stop doing anything with consciousness and do with an everyday mind which you have when you don't do anything in particular. You'll then be able to do it without any trouble. If you are obsessed with one thing, you are not on the Way. The man of the Way is one without any problems in his body-mind. If you do something without any problems in your body-mind, you can do it quite easily. It is like a clear mirror that reflects anything because it has no image on its own. The man of the Way is like a mirror, and he contains nothing in his body-mind and is clear; his mind is empty but lacks nothing. It is just an everyday mind. He who does everything with this everyday mind is a Master.


■有心無心 (saturated mind and empty mind)

有心之心無心之心と申す事の候。有心の心と申すは妄心と同じ事にて、有心とはアルコココロと読む文字にて候。何事にても一方へ思ひ詰る所あり、心に思ふ事ありて分別思案が生じる程に有心の心と申し候。
無心の心と申すは右の本心と同じ事にて固まり定まりたることなく分別も思案も何れも無き時の心、総身に広ごりて全体に行き渡る心を無心の心と申すなり。どつこにも置かぬ心なり。石か木の様にてはなし、留る所なき無心を申すなり。
留まれば心に物があり留まる所なければ心に何も無し。心に何もなきを無心の心と申し、又は無心無念と申し候。此の無心の心に能くなりぬれば一事に止(とどま)らず一事に欠かず、常に水の湛へたるやうにして此の身に在りて用の向ふ時出て叶ふなり。一所に定り留りたる心は自由に働かぬなり。車の輪も堅からぬにより廻るなり。一所つまりたれば廻るまじきなり。心も一事に定まれば働かぬものなり。心中に何ぞ思ふ事あれば人の云ふ事をも聞きながら聞こえざるなり。思ふ事に心が留まるゆゑなり。心が其思ふ事に在りて一方へかたより、一方へかたよれば物を聞けども聞えず、見れども見えざるなり。是れ心に物ある故なり。あるとは思う事があるなり。此の有る物を去れば心無心にて只用の時ばかり働きて其用に当る。此心にある物を去らんと思ふ心が又心中の有る物となる。思はざれば独り去りて自(おの)ずから無心となる。常にかくすれば何時とはなく独り其位へ行くなり。(沢庵禅師 『不動智神妙録』吉田 (1968, 101-102))

This is about a saturated mind and an empty mind. The saturated mind is the same as an delusional mind, and it means that it has something in it. Whatever it is about, it is obsessed with one thing; it has something in it and produces analysis and ideas.
The empty mind is the same as the true mind that I explained before and never fixated or attached. It has no analysis or ideas. It is extended into all parts of the body. It is not placed in any particular place. It is not like a stone or a tree, though. It just never gets captured. If a mind is captured, then it has an object in it; if not, it has nothing. A mind with nothing in it is the empty mind, and it is sometimes called the empty mind with no consciousness. If your mind becomes the empty mind, you don't get captured by anything, and fail in nothing; You are like full water and you are at any place where you are needed. A mind that is captured by one thing is not free. Wheels of a cart move around because they are not fixated. If they are stuck at one point, they don't move around. A mind does not work if it is fixated at one thing. If you have something to think about in your mind, you hear but not listen. It is because your mind is captured by what there is in it. If your mind loses its balance by thinking, you hear but not listen, and look but not see. It is because you have an object in your mind. The object is an object to think about. If the object leaves, then your mind becomes the empty mind and fulfills its purpose when necessary. However, if you are obsessed with throwing the object away, then that conscious intention becomes an object in your mind. If you don't think, the object leaves in itself and your mind becomes empty. If you are always like this, you will become a man of an empty mind before you know it.


■心は水中の月に似たり、形は鏡上の影の如し (a mind is like the moon on the water, and its shape is like an image on the mirror)

心は水中の月に似たり、形は鏡上の影の如し
右の句を兵法に取り用る心持は、水には月のかげをやどす物也。鏡には身のかげをやどす物也。人の心の物にうつる事は、月の水にうつるごとく也。いかにもすみやかにうつる物也。神妙剣の座を水にたとへ、わが心を月にたとへ、心を神妙剣の座へうつしべし。心がうつれば、身が神妙剣の座へうつる也。心がゆけば、身がゆくなり。心に身はしたがふ物也。又、鏡をば神妙剣の座にたとへ、わが身をかげのごとくに神妙剣の座へうつせと云心に、此句を用る也。手足を神妙剣の座にはづすなと云義也。月の水にかげをうつすは、いかにもすみやかなる物也。はるばる高き天にあれども、雲がのくといなや、はや水にかげがさす也。高天からそろそろと連々にくだりてうつる物にあらず。目まぢ一せぬうちに、はやうつるなり。人の心の物にうつる事、月の水にうつるがごとくすみやなかと云たとへなり。
(中略)
我心を月のごとく場へうつすべし。心がゆけば身がゆく程、立あふてより、鏡にかげのうつるごとく、場へ身をうつすべし。
(柳生但馬守平 「活人刀(かつにんとう)」『兵法家伝書』 西山・渡辺・郡司 (1972, 329-330))

A mind is like the moon in the water, and its shape is like an image on the mirror. -- When you apply this expression to the martial arts, remember that the water reflects an image of the moon and that the mirror reflects an image of a body. Just like an image of the moon is reflected on the water, a person's mind is reflected on an object [= the body]. It is reflected immediately. Compare the divinely exquisite art of the sword to the water, and your mind to the moon. Get your mind to the state of the art. As your mind gets there, your body will get there, too. As your mind moves, your body moves, too. Your body supersedes your mind. Also, compare the divinely exquisite art of the sword to the mirror, and get your body to the state of the art just like an image. Keep your limbs in the state. The moon gets its image reflected on the water quite immediately. Although it is high in the heaven, once the clouds go away, it gets its image reflected with no delay. It is not that it gradually descends on to the water to get its image reflected. After a blink, you find that the image is already there. Just like the moon is reflected on the water, your mind should be reflected on an object.
...
Get your mind to the situation like the moon. As your body supersedes your mind, you see the opponent and get your body to the situation just like an image on the mirror.

■水月 (the moon on the water)

何をか水月といふ。
曰く、流儀によりて色々義理を付けていへども、畢竟無心自然の応用を水と月と相うつる所にたとへたる者なり。広沢の池にて仙洞 [=崇徳上皇] の御製に、


うつるとも月おもわずうつすとも水おもはぬ広沢の池


此御歌の心にて、無心自然の応用を悟るべし。又一輪の明月天にかかって、万川(ばんせん)各々一月の具ふるがごとし。光を分(わかち)て水にあたふるにはあらず。水なければ影なし。亦(また)水を得てはじめて月に影あるにあらず。万川にうつる時も一水に移らざるときも、月において加損なし。又水の大小をゑらぶことなし。是を以て心体の妙用を悟るべし。水の清濁を以て語るは末なり。然ども月は形色あり。心には形色なし。其形色あつて見やすき者をかりて形色なきもの譬(たとえ)とす。一切のたとへみなしかり。譬に執して心を鑿(さく)する [=まどわす] ことなかれ。(佚斎樗山(いっさいちょざん)『天狗芸術論』吉田 (1968, 230))

What is the moon on the water?
Although different schools of martial arts explain in their own way, it is eventually a metaphor about the natural application of the empty mind. At the pond of Hirosawa, Emperor Sutoku made a poem:


"The moon does not think
that it will be reflected on the water,
nor does the water think
that it will reflect the moon:
This is at the pond of Hirosawa."


You should understand the natural application of the empty mind from this poem. It is also like the moon in the heaven is reflected on tens of thousands of rivers. It is not that the light of the moon is divided. If there is no water, there is no image. It is not, either, that the moon has its light only when there is water. The moon is not more or less than itself, whether it is reflected on tens of thousands of rivers, or it is not reflected at all. The moon has no preference of the size of the water. You should realize the exquisite use of the mind and body from these examples. Whether the water is clean or not is not very important. However, you should note that although the moon has its own shape the mind has none. The moon is chosen in the metaphor to compare the shapeless to the shaped. All metaphors are like this. Do not get troubled by getting obsessed with a particular metaphor.


■敵の来るに随て応用無礙自在なり (You have no plan, and you are free to move as he attacks you)

剣術を以て語らば、剣戟(けんげき) [=武器] を執(とり)て敵に向かう。湛然として悪むこともなく惧(おそ)るることもなく、とやせんかくやと思ふ念もなき中(うち)より、敵の来(きた)るに随(したがひ)て応用無礙自在なり。形はうごくといへども心は静の体をうしなはず、しづかなりといへども動の用を欠かず。鏡体静かにして物なく、万象来(きたり)移るにまかせて其形をあらはすといへども、去る時は影を留むることなし。水月のたとへに同じ。心体の霊明もまたかくのごとし。(佚斎樗山(いっさいちょざん)『天狗芸術論』吉田 (1968, 228))

In the art of the sword, you take the sword and face your opponent. Your mind is unaffected. You don't hate or fear him. You have no plan, and you are free to move as he attacks you. Your body moves but your mind is calm. Although it is calm, it is perfect for movement. It is like a mirror that is motionless and contains nothing in it. Many things get reflected on it, but when they leave, no image is left. This is like the moon on the water.


■私心 (egocentric mind)

然ども初より執するところの一念捨てがたき者なり。学術芸術とも只この私心をさへ去れば、天下我を動かす者なくして応用無礙自在なり。私心は金銀財貨情慾偽巧の類のみにあらず、不善にあらずといえども一念わずかに執する所あれば則私心なり。少しく執すれば少しく心体をふさぎ、大いに執すれば大いに心体をふさぐ。(佚斎樗山(いっさいちょざん)『天狗芸術論』吉田 (1968, 220))

It is no easy to throw away your obsession that has been in your mind from the start. This is true in science and art, and if you abandon your egocentric mind, no one in this world can control you and you are free in applying yourself to anything. An egocentric mind is not necessarily about money, lust or deception. When your mind is even slightly obsessed with one thing, even if it is not a wrong thing, your mind becomes egocentric. With a small obsession, your mind and body is affected on a small scale. With a big obsession , your mind and body is affected on a large scale.


■筋肉の機能 (function of muscle)

意識と筋肉とをもった人間が、からだの動きにおいて犯す最大の誤りは、動きの主動力が筋肉の緊張収縮だと思いこんで(意識)いることだ。筋肉の収縮力の主な役割は動きの主動力をつくり出すことではなく、動きのきっかけをつくり出すこと(平衡関係を崩すこと)、動きを収めること(新しい平衡関係へと導くこと)、増幅・調整することなのだ。更に大切なことは、他の部分から伝えられてきた情報(エネルギー・重さ)を受け取り、筋肉自体を導管・導線として次の部分に伝える。その間に適切な増幅・調整をするという仕事なのだ。この情報(重さ・エネルギー)の受容・伝導の能力の重大さを気づいていないこと、したがって、その能力の訓練をしていないことが大変重大な問題なのだ。(野口 1977, 224)

The most serious mistake that humans have about body movements is that they believe that body movements are primarily generated by conscious contractions because they have consciousness and muscle. An important function of muscle is not to generate the main power of body movements, but to trigger the start a movement (to lose balance), to control it (to create new balance), and to increase and adjust it. More importantly, muscle receives information (energy and gravity) that is transmitted from other parts of the body, and further transmits it as a conduit or channel. The serious mistake is that humans do not understand the significance of this reception and transmission of information (energy and gravity) and that they do not train themselves in this capacity.


■三つの先 (Three types of preemptive moves)

三つの先(せん)、一つは我方より敵へかかるせん、けん(懸)の先と云也。亦一つは敵より我方へかかる時の先、是はたい(待)の先と云也。又一つは我もかかり、敵もかかりあふ時の先、躰々(たいたい)の先と云。是三つの先より外はなし。先の次第を以(もって)、はや勝事を得る物なれば、先と云事兵法の第一也。此先の子細様々ありといへども、其時の理を先とし、敵の心を見、我兵法の智恵を以て勝事なれば、こまやかに書わくる事にあらず。(宮本武蔵「火之巻」『五輪書』西山・渡辺・郡司 (1972, 376))

There are three types in preemptive moves. One is a preemptive move from me to the opponent, and it is called the active preemptive move. Another is an preemptive move when the opponent is to strike me, and it is called the reactive preemptive move. The last is a preemptive move when both the opponent and I are to strike each other, and it is called the interactive preemptive move. There is no other type in preemptive moves. As a preemptive move is the decisive factor in victory, it is the most crucial in martial arts. There are many details in a preemptive move, but as it is up to the Logos of the moment and you need to see the mind of the opponent and use the wisdom of martial arts to win, I just cannot specify a preemptive move.


■勝機を未撃に知る (know the moment of victory before a strike)

其中間刻苦精思する凡そ二十年、然れども未だ安心の地に至るを得ず。ここにおいて鋭意進取して剣道明眼の人を四方に索(もと)むるに絶て其人に遭はず。偶(たまた)ま一刀流浅利又七郎と云う者あり、中西忠太の二男にして伊藤一刀斎の伝統を継ぎ上達の人と云、予之を聞き喜び往て試合を乞う。果して世上流行する所の剣術と大いに異り、外柔にして内剛、精神を呼吸に凝して勝機を未撃に知る。真に明眼の達人と謂(いひ)つべし。これより試合する毎に遠く及ざるを知る。(小倉 2001, 91)

I further trained myself for about 20 years, but never reached to a satisfactory state of martial arts. I was ever more keen and searched for a true Master of the sword with crystal-clear perception, but in vein. However, I happened to hear about ASARI Matashichiro of the Itto-ryu style, the second son of NAKANISHI Chuta. As I heard that he is a great Master inherits the tradition of ITO Ittosai, I was glad and asked him to have a training match. As I wanted to see, his martial arts were so different from the ones we constantly saw. He was soft in appearance and hard in himself. He sharpens his mind to perceive the breathing, and knows the moment of victory before he strikes. He is the true Master with crystal-clear perception. Every time I had a match, I realized I was much below him.


■Personal participations and the situation

The psychiatrist cannot stand off to one side and apply his sense organs, however they may be refined by the use of apparatus, to noticing what someone else does, without becoming personally implicated in the operation. His principal instrument of observation is his self -- his personality, him as a person. The processes and the changes in processes that make up the data which can be subjected to scientific study occur, not in the subject person nor in the observer, but in the situation which is created between the observer and his subject. (Sullivan 1970, 3)


■Involvement, integration, coincidence, and reciprocity

Psychiatry studies interpersonal relations, which occur only in interpersonal situations; such situations imply something more than the presence of two people somewhere; they concern two people who are involved with each other -- and that we call integration. … Thus one may say that the interview situation, or series of situations, is integrated by coincident reciprocal motivation of interviewee and interviewer. (Sullivan 1970, 50)


■Alertness

Thus one learns to devote an immense amount of alertness to the work at hand -- a sort of watchful clarity as to what happens. That doesn't mean that the interviewer acts as if he were afraid that the stranger will blow up in his face, or anything like that. People can be so alert as to have a microscopically correct record of small events and yet engage congenially in all sorts of things that doesn't require any particular attention. And the interviewer learns that there is communication by gesture, broadly conceived, an interchange by expressive movement other than speech. (Sullivan 1970, 68)


■Primarily vocal, not verbal alone

The beginning of my definition of the psychiatric interview states that such an interview is a situation of primarily vocal communication -- not verbal communication alone. (Sullivan 1970, 5)

It would be a quite serious error to presume that the communication is primarily verbal. The sound-accompaniments suggest what is to be made of the verbal propositions stated. (Sullivan 1970, 7)


■気ざしを、敵のせぬ内に見知りて (Noticing a sign)

枕をおさゆるとは、かしらをあげさせずと云心也。兵法勝負の道にかぎって、人に我身をまわされてあとにつく事悪し。いかにもして敵を自由にまわし度(たき)事なり。然によって、敵もさやうに思ひ、我も其心あれども、人のする事をうけがわずしては [=相手の出方を察知することができなくては] 叶がたし。兵法に、敵の打所をとめ、つく所をおさへ、くむ所をもぎはなしなどする事也。まくらをおさゆると云は、我実(まこと)の道を得て敵にかかりあふ時、敵なにごとにてもおもふ気ざしを、敵のせぬ内に見知りて、敵のうつと云ううつのうの字のかしらをおさへて、跡をさせざる心、是枕をおさゆる心也。たとへば、敵のかかると云かの字をおさへ、とぶと云との字のかしらをおさへ、きると云きの字のかしらをおさゆる、みなもっておなじ心なり。敵我にわざをなす事につけて、訳にたたざる事をば敵にまかせ、役に立ほどの事をばおさへて、敵にさせぬやうにする所、兵法の専也。是も敵のする事を、おさゑんおさゑんとする心、後手也。先(まず)我は何事においても道にまかせてわざをなすうちに、敵もわざをせんとおもふかしらをおさへて、何事も役にたたせず、敵をこなす所、是兵法の達者、鍛錬の故也。枕をおさゆる事、能々吟味有べき也。(宮本武蔵「火之巻」『五輪書』西山・渡辺・郡司 (1972, 365))

To get the opponent at his pillow is not to let him even raise his head. In martial arts battles, it is bad to be controlled by the opponent and follow him. It is by any means important to control him as you please. But as the opponent also thinks the same way, you cannot do so even if you mean to, unless you know his action in advance. Martial arts tell you to stop the strike, attack and tackle of the opponent. To get the opponent at his pillow means that if I know the true Way and face the opponent I will know a sign of whatever intention he has before he knows it. When the opponent intends to strike me, I notice a sign of the intention and stop him even before he realizes his own intention and I let him do nothing. Whether he intends to attack, jump, or use the sword, I stop him before he realizes his intention. When the opponent does anything to me, I let him do useless actions but I stop all effective actions of his -- this is important in martial arts. However, if my mind is fixated on stopping whatever action the opponent is going to do, I will be controlled. I just trust the Way in whatever I do, and as the opponent intends anything, I stop him at the sign of the intention, let him fail anything effective, and control him. This is achievable by mastering martial arts through disciplined training. You should carefully undertand what it means to get the opponent at his pillow.


■兵法は (Terminate the evil and protect people)

兵法は人をきるとばかりおもふは、ひがごと也。人をきるにはあらず、悪をころす也。一人の悪をころして、万人をいかすはかりごと也。(柳生但馬守平 「殺人刀(せつにんとう)」『兵法家伝書』 西山・渡辺・郡司 (1972, 309))

If you think that martial arts are only about killing people, you are wrong. They are not to kill people, but to terminate the evil. They are methods of protecting tens of thousands of people by terminating the evil in one person.


■無敵 (no enemy)

相手があり敵があって、それより強くなりそれを倒すのが武道であると思ったら違います。
真の武道には相手もない、敵もない。真の武道とは、宇宙そのものと一つになることなのです。(高橋 1987, 192)

If you think that in martial arts you always have opponents and enemies and you have to be stronger to beat them, you are wrong. In the true martial art you have no opponents or enemies. The true martial art is to be one with the universe itself.


■学問としての武道 (Budo as an academic inquiry)

相手の武力を制するばかりでなく、自分の我意我慢、怯懦(きょうだ)、粗暴乱雑を律し、おこないを糺(ただ)し、人格を陶冶することのできる武術というものは、それはすでに学問として存在する。(黒田鉄山(2004, 45)
 If Bujutsu is more than about controlling the violence of the opponent, and includes controlling one's egocentricity, cowardice, brutality, rectifying one's behavior, and cultivating one's character, then it is an academic inquiry.
 

■Plurilingualism

Plurilingual and pluricultural competence refers to the ability to use languages for the purposes of communication and to take part in intercultural interaction, where a person, viewed as a social agent has proficiency, of varying degrees, in several languages and experience of several cultures.?This is not seen as the superposition or juxtaposition of distinct competences, but rather as the existence of a complex or even composite competence on which the user may draw. (Council of Europe 2001, p. 168)


■Monolingualism in EFL/ESL

Despite its acceptance of?interlanguage,?much?SLA?research has continued to measure L2 users against native speakers. Inevitably what L2 users do is seen as a mistake whenever it fails to conform to the language of monolingual native speakers and the L2 users’ level of language proficiency is seen as deficient rather than different: It’s all right if your English accent proclaims you come from Newcastle upon Tyne but not from Paris.
http://homepage.ntlworld.com/vivian.c/Writings/Papers/MCentry.htm



■Multi-competence

But what term should be used to describe people who are?multicompetent? People who acquire their first language are not regarded as L1 learners for the rest of their lives. Why should people who know more than one language be treated differently? Calling people L2 learners seemed to confirm their subordinate status. Hence the more neutral term ‘L2 user’ was introduced.
http://homepage.ntlworld.com/vivian.c/Writings/Papers/MCentry.htm



■無刀 (no sword)

無刀とて、必しも人の刀をとらずしてかなはぬと云う儀にあらず。又刀を取て見せて、是を名誉にせんにてもなし。わが刀なき時、人にきられじとの無刀也。いで取て見せうなどと云事を本位とするにあらず。
一 とられじとするを、是非とらんとするにはあらず。とられじとするをば、とらぬも無刀也。とられじとられじとする人は、きらふ事をばわすれて、とられまひとばかりする程に、人をきる事はなるまじき也。われはきられぬを勝とする也。人の刀を取を芸とする道理にてはなし。われ刀なき時に、人にきられまじき用の習也。(柳生但馬守平 「殺人刀(せつにんとう)」『兵法家伝書』 西山・渡辺・郡司 (1972, 336))

No sword approach does not necessarily mean that you have to take away the sword of the opponent. It does not mean, either, that you are honored if you take it away. It is just an approach not to get hurt when you have no sword.
No sword approach is not to take away the sword by any means when the opponent resists. When he resists, he forgets to strike you. In his obsession with the sword, he cannot use it to strike you. You win if you do not get hurt. It does not make sense to take pride in taking away the sword. No sword approach is for self-defense when you have no sword.


■常に其身になつて、能々工夫すべし (Examine what is written on your body)

此書付ばかりを見て、兵法の道には及事あらず。此書にかき付たるを、我身にとって、書付を見るとおもはず、ならふとおもわず、にせ物にせずして [=物真似をするのではなく]、則(すなわち)我心より見出したる利にして、常に其身になつて、能々(よくよく)工夫すべし。(宮本武蔵「水之巻」『五輪書』西山・渡辺・郡司 (1972, 365))

Reading this book alone does not lead you to the Way of martial arts. Embody what is written in this book. Do not think that you are reading or learning from a book. Don't mimic what is written, but project it to your body. Examine what is written on your body as something your own mind has found.


■自得、以心伝心、教外別伝 (Self-embodiment, non-verbal teaching, teaching the unteachable)

我がいふ所此に止る。只自反して、我に求むべし。師は其事(わざ)を伝へ、其理を暁(さと)すのみ。其真を得ることは我にあり。是を自得と云。以心伝心ともいふべし。教外別伝ともいふべし。教をそむくというにはあらず。師も伝(つたゆる)こと能はざるをいふなり。只禅学のみにあらず、聖人の心法より、芸術 [=技芸] の末に至るまで、自得の所はみな以心伝心なり。教外別伝也。教というは、そのをのれに有て、みずから見ること能はざる所を、指して知らしむるのみ。師より是を授るにはあらず。教ることもやすく、教を聞こともやすし。只をのれにある物を、慥(たし)かに見付て、我がものにすること難し。これを見性といふ。悟とは、妄想の夢の悟(さめ)たるなり。覚(さむる)というもおなじ。かわりたる事にはあらず。(佚斎樗山(いっさいちょざん)『田舎荘子 下巻』中野(1990, 49)

As a teacher, I have to stop explaining here. You just have to reflect upon yourself and seek what you want in yourself. A teacher hands techniques on to the next generation and informs the Logos. You have to embody the Logos by yourself. This is self-embodiment. It is also known as "non-verbal teaching", or as "teaching the unteachable" . It is not that a teacher does not teach. He just cannot produce self-embodiment in his student for him. This is true not only in Zen buddhism but also in spiritual training of the sage and in skill acquisition. Self-embodiment is achieved by non-verbal teaching or teaching the unteachable. Education is to point at what a student already has, and yet cannot see in himself. A teacher cannot give what a student has. Teaching itself is easy to do and hear. But finding out what you have in yourself and master it is difficult. This is seeing into your true nature. Enlightenment is awakening from a dream of delusions. So is awareness. Enlightenment and awareness are no different.


■習を得たれば、また習はなくなるなり (learn to unlearn)

よろづの道を学ぶは、胸にある物をはらひつくさむ為也。はじめは何もしらざる故、一向に胸に不審も中々になき者也。学より入てより、胸に物がありて、其物にさまたげられて、何事も仕にくくなる也。其学びたる事、わが心をさりきれば、ならひ何もなくなりて、其道々のわざをするに、ならひにかかはらずして、わざはやすらかに成て、ならひにもたがわず、われも其事をしながら、我もしらずしてならひにかなふ物也。兵法の道、是にて心得べし。百手(ももて)の太刀をならひつくし、身がまへ、目付、ありとあらゆる習を能々(よくよく)ならひつくして稽古するは、格知(知を格(つく)す)の心也。さて、よく習をつくせば、ならひの数々胸になく成て、何心もなき所、格物(物に格(つく)す)之心也。様々の習をつくして、習稽古の修行、功つもりぬれば、手足身に所作はありて心になくなり、習をはなれて習にたがはず、何事もするわざ自由也。此時は、わが心いづくにありともしれず、天魔外道もわが心をうかがひ得ざる也。此位にいたらん為の習也。ならひ得たれば、又習はなく成也。(柳生但馬守平 「殺人刀(せつにんとう)」『兵法家伝書』 西山・渡辺・郡司 (1972, 311)

Skill learning in general is for throwing away your problems in your body-mind. At the beginning, you have no problems in your body-mind because you know nothing. As you learn, though, you begin to have problems and they affect your performance. However, if your learned problems go away from you mind, you unlearn everything you have learned, and when you do the skill, your performance will be fluent. Your performance is not against what you have learned, and it accords with what you have learned without you being consciousness of it. You should learn martial arts in this way. You learn one hundred techniques of the sword. You also learn stances, eye-movements and all sorts of techniques and train yourself. This is internal knowledge completion. If you learn well, your learned problems leaves your body-mind and you are not conscious of anything. This is action completion. If you learn various skills and go through disciplined training, then your performance manifests itself in your body, but not in your mind. You are free from, but not against, what you have learned. You are free in whatever you do. At this state, your mind is nowhere to be found and even the devil cannot read your mind. Skill learning aims to reach this state. If you learn well, you unlearn well.




3 Implications

3.1 Consciousness

Do we understand the functions of consciousness properly?
Do we understand functions of learners' grammar?
What do we mean by 'consciousness raising' or 'Focus on Form'?
Do we have 'maxims' for communication other than cliches?
What is the relationship between conscious mind and nonconscious body? (Anomalous monism)
Is the term the "empty mind" nonsense?
Do the world, your body and your mind perfectly synchronize?
How can students throw away their consciousness to throw away their consciousness?
Are students just to "speak out" without any use of consciousness?
Are we teaching or educating?



3.2 Emotions and feelings

Are our students 'moved' to have emotions and feelings to produce language?
Do our students 'move' as they are 'moved'?
Are our tasks authentic enough to produce emotions and feelings?
Is our English use vocal as well as verbal?
Is knowledge in the brain or the body?



3.3 Communication

Are students "free" in Eikaiwa?
Is communication one system or language production from the two sides?
Do we see a student in terms of the individual or someone in the interpersonal relation?
How do our students see us in the situation that is "integrated by coincident reciprocal motivation?"
Do we produce "power" of speech alone?
Do we understand the discrepancy among the biological, conscious, and communication systems?



3.4 Post-modernism

Are we influenced by dualism or monism?
Is Descartes still our hero? (How about Spinoza?)
Are we not biased for structural linguistics?
Which is your conceptual metaphor, modern competitive sports or traditional Budo?


3.5 EFL and ESL

Do we see the cultural differences between TEFL by Japanese teachers and TESL by native teachers?
Are we teaching language, language use in classroom, or linguistic communication in the real world?
Do we want our students to be native-like or plurilingual?
How do we deal with the competitive aspects of ELT?
Are we teaching English for the welfare of the life of our students, or for our living?
Are we to talk about the ethics of TEFL/TESL, or is it just hypocrisy?
Does the ethics have anything to do with skill performance?
Is the ethics about the mind or the body?





Bibliography to come later.