The Secrets of Scientific Street Fighting

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Scientific street fighting is all about understanding the human bodies physiological response to a fight and understanding the effectiveness of various street fighting strategies based on statistics.

Scientific street fighting may sound complicated but it’s not. It is actually quite simple. The best part is it is actually easier than learning a martial art. The key is that scientific street fighting eliminates showing difficult to do moves in favor of simple techniques that have a proven track record of success.

So here we go…

How Your Body Reacts To A Street Fight:

The first thing many people notice (and the most important things when it comes to fighting) is that your hands begin to shake. This is not a sign that you are scared; it is your body’s natural reaction to a life threatening situation.

What does this mean for scientific street fighting? It means that fine motor skills shut down, things like hand writing or complex martial arts moves (like joint locks that require several steps). This is critically important so pay attention.

Why in the world would your body shut down fine motor skills when your life is being threatened? The thing is your body sacrifices fine motor stills for increased strength and speed in gross (or large) motor skills. These are much more important things like running, jumping, punching, and kicking.

The key to scientific street fighting is understanding this reaction, and creating a fighting system that takes full advantage of your stronger and faster gross motor skills. Don’t even waste your time trying to learn complex moves your body simple won’t let you use in the heat of the moment.

The loss of fine motor skill is by far the most important part of scientific street fighting but here are a few more reaction that are pretty cool:

Your skin will go pale, because your body is restricting blood flow to the skin. This reduces blood loss from shallow cuts and scrapes you will likely receive.

To save energy you brain stops recording as many short term memories. This is why people often can’t remember exactly what happened after a disaster or fight.

There are a lot of other really cool things your body does to get you ready for a fight, but when it comes to scientific street fighting the number one thing to think about is focusing on gross motor skills.

Any move or technique that will work well in a street fight should be simple and easy to learn. In fact it should not take you more than a few hours to become proficient in any self defense technique.

I’m not saying you will master anything in a few hours, but you should be able to learn it well in this amount of time. If you can’t it’s probably based on fine motor skills that take tons of time to learn. These fancy moves are likely to get you hurt when you really need it.

Okay now for the scientific street fighting statistics…

The number one street fighting statistic you should learn and live by is that the average street fight last between 3 and 8 seconds. That’s right. No 5 minute street boxing scene from some movie, just 3 to 8 seconds of ugliness.

So if you are going to focus on scientific street fighting this means that you need to take care of business fast.

To further illustrate this point I like to use another statistic. The person who hits first is way more likely to win the street fight. If you haven’t figured it out yet hitting first means that for at least one or two of those 3 to 8 seconds you will be ‘winning.’

The last statistic is that after 12 seconds the fight will almost always go to the ground. Now most fights never get to this point. 12 seconds is a long time in a street fight, but if it does go that long it will go to the ground.

What does this mean for scientific street fighting? Well, first of all it means that you should try your best to end it in less than 12 seconds.

Going to the ground dramatically increases your chances of getting seriously hurt. I often tell people nothing good happens on the ground. You will get cuts, scrapes, lose skin on your palms, elbows, knees, and face, and don’t forget about having your head slammed into the concrete (and I didn’t even get to the part where bystanders or you attackers friends start kicking you).

Bottom line, try to end the fight in less than 12 seconds by hitting first, using gross motor skills, and dirty fight moves.

You should also realize that if the fight does go longer than 11 seconds you will need to know how to handle yourself on the ground. There are scientific street fighting skills that will dramatically improve your chances of winning on the ground but I’ll save that for another occasion.

Okay here’s a quick review of scientific street fighting:

  1. Don’t waste your time on fine motor skill moves, they won’t work in a street fight (This is not an opinion it’s a fact).
  2. Use gross motor skills like punching, eye gouging, ear slapping, head butts, kicks and only the simplest joint locks.
  3. Always hit first if you want to win a fight.
  4. Most fights end within 8 seconds so hit him with your nastiest barrage of attacks right from the start (using gross or simple motor skills of course).
  5. End a fight as fast as possible to avoid going to the ground.

For more scientific fighting tips check out my blog at Fightfast.com/blog.

Stay Smart and Stay Safe,

Bob Pierce

President, Fightfast.com

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Top 10 Aikido Techniques

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Aikido is derived from three Japanese words. Ai, to join, Ki means spirit, and Do means ways. Generally, aikido is a form of art that fuses the body, spirit and mind in order to find peaceful ways of overcoming challenges in life.

Morehei Ueshiba created the Aikido Japanese form of martial art. People in his area usually call him as O sensei, means the great teacher. Aikido techniques involve throws and joint locks. These techniques are developed from kenjutso and Jujitsu. Aikido’s way uses your opponent’s energy against themselves. Aikido’s method emphasizes the correct reaction against movements and dynamics of motion. Here are ten Aikido techniques.

Technique 1

Ikkyo. In this technique, control can be gain by gripping your opponent’s elbow with single hand and using the other hand to grip his wrist. This can result a leveraging opponent on the floor. Moreover, this grip applies pressure to the ulnar nerve.

Technique 2

Nikyo. This technique involves wrist lock that can bring the muscles together. The target may experience a painful pressure to the nerve and twisted arm.

Technique 3

Sankyo. Here, the wrist is turned, which results upward tightness. The motion advances all through the elbow, arm and shoulder.

Technique 4

Yonkyo. This is a shoulder control which is almost the same to Ikkyo. Except that, the forearm on the opposite side should be grip with both of your hands. Here, pressure is applied on the radial never of your opponent.

Technique 5

Gokyo. This is a variation of ikkyo, wherein the hand that grips your opponent’s wrist is reversed. In addition, shoulders and arm are rotated with a downward pressure which is applied to the elbow.

Technique 6

Kotogaeshi: A throwing technique which involves wrist locks and throws that stretches the extensor digitorum.

Technique 7

Iriminage. This technique is a throw that is known as the entering the body. Here you are going to move into the space occupied by your opponent. This method is a classic akin way of the clothesline technique.

Technique 8

Koshinage. A hip throw, wherein you have to position your hip slightly lower than your opponent’s hip. This can help you flip your opponent with a pivoting action.

Technique 9

Tenchinage. This is known as the heaven and earth throw. Here, you will have to move forward while sweeping one of your hands high which represent heaven. And the lower hand represents the earth. This can cause an unbalance body motion to your opponent which makes him topple over.

Technique 10

Kaitennage. This is a rotation throw, wherein you have to move your opponent’s arm backwards, until you lock his shoulder’s joints. Maintain this hold to apply more pressure.

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Why Sealing and Painting Does Not Eliminate Odors

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The property you are considering buying has the potential to make you a lot of money. Only it has one major problem, and this problem is the reason you are able to buy this property at such a bargain. The problem is odor, odor left behind by a host of pets.

Should you seal or paint the floors and walls to trap the odors? Will that solve the problem for you? Unfortunately, the answer is no.

Sealers are intended to block stains on walls from bleeding through and staining new paint applied to a wall. They are not designed to seal or block gases (odors) from escaping or passing through. Some-but not most-paints do produce a continuous membrane finish that is not gas permeable. Consider, however, that only one of many sides of an object like a piece of drywall or flooring is being painted, this approach offers limited odor control and success.

Both fire and tobacco smoke are exceptions. But even long-term contamination of walls and ceilings with tobacco smoke can be sealed in only after most of the tobacco tars have been washed away with Tri-Sodium Phosphate (TSP). The remaining tobacco smoke odor can be eliminated with chlorine dioxide gas. It is a small packet of powders that when exposed to water vapor, produces a gas called chlorine dioxide. This gas oxidizes the smoke residue and removes the odor completely in as little as 24 to 48 hours.

Sealing urine odors into flooring can work on plywood flooring, but a careful analysis of the process reveals some serious flaws. Sealing sheet flooring actually reduces the amount of water and water vapor getting to the urea salt (produced by the urine residue) so that the salt does not produce the odor in the form of mercaptan gas.

When the floor is put back in to service, however, small movements of the surface caused by occupant traffic and furniture will cause the sealers to crack and leak water vapor in and mercaptan gas out. The cracks are large enough to allow water vapor and mercaptan gas to escape, but too small to allow this and water liquid to get in to work on the urea salt. Also, floor boards have six sides. Sealing one side is not enough to fix the problem.

Using sealers or paint to seal concrete floors is more effective, but most sealers and paint are gas permeable. Additionally, scratches and wear spots in the sealer or paint will cause mercaptan gas to leak past the seal again, creating the problem mentioned above.

Heavily contaminated wood and concrete flooring present yet another problem. When the urea salt gets wet from water drawn from the wood or concrete, it expands and will actually lift sealers and paint off the floor. When these blisters burst, the odor returns.

So if sealing and painting doesn’t work, what does?

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Galactic Archaeologists Build A Stellar Family Tree

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Traditional archaeologists deny the many mysteries of our ancient human ancestors by digging for the lingering remnants of long-lost civilizations that can be excavated and observed today. Astronomers are now borrowing the same principles applied in archaeology and biology in order to piece together the mysterious family tree of the stars that stay within our Milky Way Galaxy. Galactic archaeologists do this by carefully tracing the history and formation of our Milky Way from detailed observations of the stars, gas and other structures that can be observed from our own planet today. In February 2017, a team of astronomers announced that by studying chemical signatures found in the stars, they have pieced together stellar evolutionary family trees by observing how the stars were born and how they are all connected to each other. The stellar signatures act as a proxy for DNA sequences in genetics.

In 1859, Charles Darwin published his revolutionary theory of evolution suggesting that all life forms on Earth are descended from one common ancestor. This theory has been the basis of evolutionary biology ever since. However, Darwin's theory is now being adopted by some scientists who are in an entirely different field. One such "adoption" happened as the result of a recent chance encounter between an astronomer and a biologist over dinner at King's College in Cambridge, UK. The conversation inspired the astronomer to entertain the possibility of applying what she had learned from the biologist about biological evolution to the host of dazzling stars that dance around within our large barred-spiral Galaxy.

Writing in Monthly Notices of the Royal Astronomical Society in London, England, Dr. Paula Jofre, of the University of Cambridge's Institute of Astronomy, describes how she went about creating a phylogenetic "family tree" that connotes a large number of stars that inhabit our Galaxy.

"The use of algorithms to identify families of stars is a science that is constantly under development. Phylogenetic trees add an extra dimension to our endeavors which is why this approach is so special. shared history, "Dr. Jofre noted in a February 20, 2017 University of Cambridge Press Release.

Stellar Generations

All stars are massive, roiling spheres of glaring, searing-hot mostly hydrogen gas. Hydrogen is both the lightest and most abundant atomic element in the Universe, and the stars transform their supply of hydrogen fuel into heavier atomic elements in their nuclear-fusing cores by way of a process termed stellar nucleosynthesis.

The first stars were not like the stars that we are familiar with today. The first stars were born directly from the lightest primordial gases – hydrogen and helium – which formed in the Big Bang birth of the Universe almost 14 billion years ago (Big Bang nucleosynthesis) . In fact, the only atomic elements that were manufactured in the wild, exponential inflation of the Big Bang are hydrogen, helium, and trace amounts of lithium and beryllium. All of the rest of the atomic elements, listed in the familiar Periodic Table , were created deep within the secretive, nuclear-fusing hot hearts of the stars, their stellar furnaces progressively fusing the nuclei of atoms into heavier and heavier elements – or, in the case of the heaviest atomic elements of all (such as gold and uranium), in supernovae blasts that mark the violent demise of massive stars.

Without these heavy atomic elements, created within our Universe's vast multitude of stars, there would be no life. The oxygen we breathe, the carbon that is the basis for life on Earth, the elements that compose the stones and sand that we walk upon, were all manufactured in the hidden hearts of hot ancient stars – billions and billions of years ago. We are the dust of stars. When massive stars perish, they meet their inevitable doom brilliantly and explosively. It is thought that the first stars to dance around in our Cosmos were huge, possibly weighing-in at hundreds of times solar-mass. When massive stars go supernova they violently hurl their batch of newly formed heavy elements out into interstellar space. Because the first stars were so huge, they lived fast and paid for it by dying young. The more massive the star, the shorter its "life". When the first generation of stars died in horrific supernova blasts, they tossed out into the space between stars the very first batch of heavy elements – so necessary for the emergence and evolution of life in the Universe.

Pristine primordial hydrogen and helium were coupled together to form knots of gas that were bound by gravity. The cores of the first generation of newborn baby stars (protostars) made fabulous fire within the frigid dark hearts of these very ancient knots of pristine gas. The dark tightly bound knots collapsed under the relentless pull of their own gravity, until their raging nuclear-fusing stellar fires at last ignited.

The sparkling members of the first generation of stars are termed Population III stars. Our own Sun is a member of the youngest generation of stars, and is a Population I star. Sandwiched between the oldest generation of stars (Population III) and the youngest (Population I) stars, are the Population II stars.

Population III stars did not ignite until approximately 100 million years after the Big Bang, and their ancient birth is one of the greatest mysteries in scientific cosmology. It is currently thought that the Population III stars were not only very massive, but also brilliantly bright, and their birth is primarily responsible for causing a sea-change in our Cosmos – changing it from what it was into what it is . The so-called "ordinary" atomic matter that formed first in the Big Bang fireball, and was later manufactured in the hot hearts of stars, is made up of protons, neutrons, and electrons. Protons and neutrons are glued together into atomic nuclei encircled by a cloud of electrons. Hydrogen is composed of only one lone proton and one electron. Helium is composed of two protons, two neutrons, and a surrounding cloud of electrons. The nucleus of a carbon atom is made up of six protons and six neutrons. The nuclei of heavier atomic elements, such as iron, lead, gold, and uranium, contain larger numbers of protons and neutrons.

The metallicity of a star describes the percentage of its matter that is made up of chemical elements heavier than helium. Because stars account for most of the visible matter in the Cosmos, and are mostly composed of hydrogen with smaller amounts of helium, scientific cosmologists (for convenience) use the general term metal when they are referring to all of the atomic elements listed in the Periodic Table that are heavier than helium. Therefore, the term metal in astronomical jargon is not defined the same way that it is in chemistry. A nebula (cloud) that has been abundantly gifted with nitrogen, carbon, oxygen, and neon would be termed metal-rich by an astronomer, even though those elements are not defined as metals by a chemist.

Stellar metallicity can reveal the well-kept secret of a star's true age to the prying eyes of curious astronomers. When the Universe first came into existence, its supply of atomic matter was almost entirely hydrogen. However, through the process of primordial nucleosynthesis , an abundant amount of helium formed, as well as very small quantities of lithium and beryllium– but nothing heavier . Therefore, the older generations of stars– Populations II and III – have fewer metallicities than bouncing stellar babies, like our Sun, that are designated Population I.

The stellar generations I, II, and III , exhibit decreasing metal content with increasing age. Therefore, relatively young stars, like our Sun, show the highest metal content when compared to their ancient forebears. The first generation of stars (Population III) were born completely barren of metals. Population II stars are very ancient, but they came after the first generation of stars (Population III) , and before reliably youthful Population I stars. Population II stars are not barren of metals because they inherited the freshly forged metals manufactured by the primeval Population III stars.

Even though the most ancient stars contain lower metal contents than their stellar descendants, the fact that literally all of the stars so far observed by astronomers contain at least some small quantity of metals is a perplexing puzzle. The current favored theory proposals that Population III stars must have owned the baby Cosmos in order for these heavier atomic elements to have been manufactured – even though not one Population III star has ever been observed. According to this explanation, in order for the ancient Population II stars – which have been detected – to contain their reliably puny quantities of metals , their metals must have manufactured in the nuclear-fusing hot hearts of an earlier generation of stars- -the Population III stars. Soon after the Big Bang, the Universe had no metal content. For this reason, theory suggests that only stars with masses hundreds of times that of our own Sun could have been born in the primeval Cosmos. As they approached the grand finale of their hydrogen-burning (main-sequence) "lives", the Population III stars fused the first 26 atomic elements listed in the Periodic Table by way of the process of stellar nucleosynthesis.

As later generations of stars were born in the Cosmos, they became increasingly more and more metal enriched. This is due to the gas-laden natal clouds – from which the later generations of stars emerged – contained metals cooked up in the stellar cauldrons of earlier generations of stars. The youngest generation of stars – like our Sun – have the largest metal content. However, all stars – of any stellar generation – are mostly composed of hydrogen. Even metal -rich stars contain only small amounts of any element heavier than helium. In fact, metals (according to the definition used by astronomers) make up only a small fraction of the total chemical composition of the Cosmos.

Going On A Stellar "Dig"

Galactic archaeologists work on a wide range of areas and problems within the general theme. These include:

-understanding the dynamic and chemical properties of various stellar populations lying within our Milky Way Galaxy.

-hunting for very metal -poor stars. Stars with low metallicity include the most ancient stars– Population III –that were born early in the history of our very ancient Galaxy.

-discovering the mysterious origins and characteristics of globular clusters , which are very common spherical stellar clusters.

-Hunting for our Milky Way's retinue of satellite galaxies.

-apping our Milky Way's structure. This would include the stellar streams and substructure that developed during the accretion of neighboring galaxies.

-investigating the properties of the Large and small Magellanic Clouds. This nearby duo of dwarf galaxies are reliably close neighbors of our Milky Way.

Galactic Archaeologists Build A Stellar Family Tree

Dr. Jofre's team chose twenty-two stars, including our Own Sun, to study. The astronomers carefully measured the stars' chemical elements, based on information derived from ground-based high-resolution spectra, grouped by large telescopes located in the north of Chile. Once the stellar families were identified, using the chemical DNA, their mysterious evolution was investigated – using what was known of their true ages and kinematical properties that had been obtained from the space mission Hipparcos.

A space observatory of the European Space Agency (ESA), Gaia is the successor to the Hipparcos mission. Designed for astrometry, Gaia's goal is to create the most precise, as well as the largest, 3D space catalog ever constructed – totalling approximately 1 billion astronomical objects including stars, planets, asteroids, comets, and quasars among others. The spacecraft will monitor each of its target stars approximately 70 times over a five year span to study the exact motion of each star relative to our Galaxy. This will include about 1% of the Milky Way's population with all stars brighter than magnitude 20 in a broad photometric band that spans most of the visible range. Part of ESA's Horizon 2000+ long-term scientific program, Gaia was launched on December 19, 2013 by Arianespace using a Soyuz ST-B / Fregat-MT rocket soaring from Kourou in French Guiana. In addition, Gaia is expected to spot thousands to tens of thousands of Jupiter-sized exoplanets in orbit around stars beyond our own Sun, 500,000 quasars, and tens of thousands of new comets and asteroids within our own Solar System.

Stars are born when specifically dense blobs, embedded within their natal giant, cold molecular clouds collapse under the merciless and powerful tug of their own gravity. A duo of sister stars with the same chemical compositions were probably born within the same natal molecular cloud. Some lucky stars "live" longer than the age of the Universe, and because of their longevity, they can serve the important role of fossil records revealing the composition of the gas at the time they were born. The oldest star in the sample analyzed by Dr. Jofre's team is estimated to be almost ten billion years old, which is more than twice the age of our 4.56 billion year old Sun. The youngest star studied by the team is a "mere" bouncing baby at 700 million years old.

According to Darwin's theory of evolution, all organizations on Earth are linked together by a pattern of descent with modification as they evolve. Because stars are not living, they are very different from living organizations on our planet. However, stars do have a history of shared descent as they are born from their natal giant, cold molecular clouds of gas and dust. The stars, in a way that evokes a comparison to living things on Earth, carry their history in their chemical structure. By applying the same phylogenetic methods that biologists use to trace descent in plants and animals on Earth it is possible to investigate the mysterious "evolution" of stars dwelling within our Galaxy.

"The differences between stars and animals is immense, but they share the property of changing over time, and so both can be analyzed by building trees of their history," explained Dr. Robert Foley in the February 20, 2017 University of Cambridge Press Release. Dr. Foley is of the Leverhulme Center for Human Evolutionary Studies at Cambridge.

With more and more datasets being made available from both Gaia and more advanced telescopes on Earth, as well as on-going and future large spectroscopic surveys, astronomers are progressing ever closer to being able to assemble one stellar family tree connecting all the stars in our Milky Way.

The new research is published by Monthly Notices of the Royal Astronomical Society, DOI 10.1093 / minras / stx075 , under the title Cosmic phylogeny: reconstructing the chemical history of the solar environment with an evolutionary tree (Paula Jofre et al .).

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The Pros and Cons of Using Oil Pastels

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When it comes to painting with pastels, you have a choice of different types that you can use. If you are used to or have been using soft pastels, using oil pastels will open a whole new world for your creative energy. Below I’ve listed some of the pros and cons of how to paint using oil pastels:

The Cons

Because of their oily texture, oil pastels are not as easy to remove from the surface of your paper. Fine detail and extreme precision is something that you will find difficult to accomplish with these pastels. Oil pastels are more difficult to blend because their oil causes them to quickly adhere to the paper, which additionally leave less room for error. They take a longer time and require more pastels to fill in large areas of your scene, portrait, or whatever the artwork is that you’re creating. Their oily texture makes the darker colors prone to smearing, which makes it difficult to add the lighter colors.

Simple Remedies to the Cons

Choose the area that you want to color first and then outline sketch it. It will leave less room for error when it comes time to add your oil pastel colors. Choose a painting style, object, and scenic choice that doesn’t need fine or intricate details or use another instrument (such as an eraser’s edge or blending tool) to scrape in the fine details.

For the areas that need lighter color, outline them with a white pastel to ensure that no smearing occurs. If smearing does occur when adding the darker colors, simply scrape back to the white area for an easy fix. Choose smaller painting sizes to eliminate the need for filling in large areas of space, or choose colored paper to begin with instead of white paper, which creates the illusion of fuller color.

The Pros

Because of their soft texture, oil pastels make bold, vibrantly color works of art. They don’t have a dry, dusty texture, so the vibrant color won’t diminish if bumped. Unlike the flaking that occurs with soft pastels, fixative sprays will create a glossy sheen on oil pastel paintings and keep them safe from smearing. There is a wide variety of surfaces (such as cardboard, wood, or canvas) on which they can be used. Oil pastels don’t require the use of lots of supplies, such as brushes, palettes, easels, and turpentine (or other cleanup supplies), and so on that other mediums have the need for.

Coming out of your soft pastels comfort zone may not be what you wanted to try right now, but this type of pastel may just what you need to help with artist’s block and free up your creative imagination. The pros and cons speak for themselves. After reading this article, you may still not be convinced that using oil pastels is right for you. Don’t take my word for it. Try it for yourself. A picture is worth a thousand words!

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Premium Performing Arts Schools of the World

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Many organizations and individuals have contributed and created a name for themselves across the world in performing arts. Most of these people have honed their skills and talents from the very start as they seek for professional training and studies from various performance arts schools all over the world.

Performing arts centers range from the most classical and conservative settings to the hip and modern-day artistic rendition of different art forms. Knowing the world's most famous performance arts institutions would give you a thousand peak at how the genre has evolved from then most raw talent to the most sophisticated performances.

Here are some of the world-renovated performance centers to note:

Curtis Institute of Music

Centuries-old music and high-caliber musical performance are what define the Curtis Institute of Music. Filtered by its strict compliance to value and excellence, Curtis Institute of Music has continued to produce world-class geniuses in the field of music and performance arts. Curtis Institute of Music is Philadelphia's main attractions. It has unsurpassed guidelines for acceptance, which is the key to its high-caliber graduates. It is known to have twice as low acceptance rate as that of Julliard School and thrice of Ivy League institutions. Its conservatory setting is crucial to the expertise and artist exhibited by the music geniuses it produced.

Juilliard

America's greatest performance arts school is born out of Americans' need for a highly professional performance arts and music school. It has mold Juilliard's principles and goals in making a name for American actors, actresses, and performers across time. The Juilliard School has become a historical entity in American performance arts industry. Juilliard School made a stone in performance arts history. It started from the idea that Americans would not be required to travel to Europe if only to study different arts genres. From the first 100 American students, Juilliard has made Americans aware of its need for a serious and highly professional musical training. Right now Juilliard has scattered itself over many areas in the US and continuously produces Hollywood status talents.

Brent Street Studios

Brent Street Studios is the premier performance arts school in Australia, starting place for some of Australia's finest performers. Located right in the heart of Sydney, Brent Dance Studio has first rate amenities that are valuable aids in honoring the best artist there is in the performance arts field. Australia's best performance arts school, Brent Dance Studio has produced a number of world-class performers ending into Hollywood fame. More than being blamed for its high-quality performances, Brent Dance Studio has made a name for Australia in the international arena for this genre as well. With its ultra large dance studios, many international events such as rehearsals and auditions were held in its walls.

BRIT

A one of a kind combination of arts and technology, BRIT School for Performing Arts and Technology brought a new perspective of arts integrating it to an equally significant social aspect: technology. BRIT School has extended noble help to Britain's youth's awareness of performance arts, as it in integrated in their curriculum. The school is a fertile breeding ground of future performance artists that have a wide perspective of their art. BRIT School for Performing Arts and Technology is a stand-alone performance arts institution, being state funded, with a thrust of integrating arts to technology. It has not only developed arts as a skill-based genre; it managed to incorporate arts in its curriculum, a uniquely designed concept.

NPAS

An ultra-modern performance arts variety is provided by the National Performing Arts School or NPAS. Anyone who believes that performance arts evolved with time and that there are more to consider in the classical genres as dance, drama, and singing can find the best lessons in NPAS. From the dance sports variety to their own salsercise, NPAS has ventured out into art genres that more and more people consider as unique, highly engaging, and enhancing a good cultural preservation. National Performing Arts School or NPAS is a performance arts school that spells out variety, ingenuity, and creativity at its best in all its lessons offered. NPAS has been honoring talents for world-class status in its major lessons on drama, singing, and dance to its modern-day genres on musical theater, salsa, tango, Bollywood, and its latest addition salsercise, a combination of salsa, dance, and exercise.

Stagecoach

Award-winning Stagecoach Theater Arts has the most number of centers in different parts of the globe. The performance arts center has devoted its excellent training and performance arts awareness through varying cultures, enhancing every genre in every way. Stagecoach Theater Arts is the world record holder for "largest simultaneous performance of one show" given by Guinness World Records. Other than that, Stagecoach also has the most number of performance art centers around the globe, having 600 centers alone in the United Kingdom. Stagecoach made arts reachable for people of all races, without sacrificing its performance quality.

Dance and performance arts centers around the world have made significant milestones in the history of arts. They are the bloodline that continues to strengthen peoples and communities.

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Rangoli Designs – What Is Their Significance?

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Rangoli designs are made on the floor and the only way to do it is to squat, bend over or sit on the floor. Early in the morning, the women of the home bathe and then indulge in the rangoli ritual. This provides an excellent exercise to the abdominal muscles and arms. More importantly, the process of joining dots and lines is pretty complicated. So, when you make a design, you cannot help but concentrate on the art. This provides a kind of meditative effect early in the morning and purifies the entire body and mind.

Secondly, art is a therapy. It is a great way of reviving dull spirits and spreading cheer in the body and mind. Performing an art form, be it of any kind including music, dance, painting or rangoli, is a deeply satisfying. Happy hormones are triggered in the brain which spread a feeling of wellbeing in a person. Also, this art form enhances creativity in a person. When a woman begins her day by making a rangoli, her creative juices are triggered and they help her manage her household more efficiently. There can be no better way to begin your than indulging in an artistic form and Indian culture has naturally created a way to make this happen. So, these designs are not just for making your house look welcome; they are also meant to purify and energize your body, mind and soul.

Thirdly, the mythological importance of rangoli designs cannot be subjugated. It is believed that these designs welcome deities who bring luck, wealth and prosperity to a household. In a way, this concept can be proved scientifically as well. If you relate luck, prosperity and wealth to positive energy forms, the mystery unravels. This art form uses bright colors which are instantly captivating. When a person visits your home and sees the design at your doorstep, he feels good about the art and so, the negative energies in him are subdued. Also, the use of antiseptic natural materials such as turmeric in the designs spread positivity in the air and keeps negative energies at bay. Finally, there is no ill will because of this art form even from little creatures such as ants because they are happy and satisfied with the rice flour used in making rangoli. Universal coexistence is promoted.

The symmetric shapes, the beauty and the uniqueness of these designs bring only goodness into the home. It does help that making rangoli designs is great fun as well. You are cheered and you feel good every time you see your artwork. It really helps to keep your home happy and positive in its own way. The profundity of Indian culture and deep rooted traditions is astounding. Practicing the rituals definitely leads to better health and a happier life.

For more visit Rangoli

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Source by Jennie Kakkad

The Difference Between Combative Training and Martial Arts

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Getting the facts straight

 

Recently, I was checking the sales ranking for my book on Amazon.com, when I noticed I have finally received a customer review on Amazon. After reading the review, I found myself humbled and dumb founded. The customer who reviewed my book on military knife and hand to hand combat was obviously a practicing martial artist.

He appeared to be one of the “Know it all” types as well. Although much of his review on the layout of my book may be spot on; I was amazed at his blatant ignorance in not knowing the difference between combative training and martial arts. In his own words,”Though the author may know what he is doing in this book, you may already as well. If you took some sort of M.A. class for any period of time that was worth anything, then you would have learned most if not half of these techniques for knife fighting. “ I must agree with him on this.

If you take some sort of  martial arts class for any period of time; that is worth anything; eventually you may learn half of the techniques in the book. Although I clearly state in the book that my attempt is not to teach specific techniques, but use techniques as a vehicle to drive home principles; and  I admit that there are countless numbers of techniques one can learn, not simply limited to my book. This guy  “Cliff” is the example of how many can not distinguish the difference between martial art and combative training.

Distinguishing the difference  

Before one can truly distinguish between a martial art or combative training, they must reflect upon the origin of today’s practiced martial arts. The term “martial art”, refers to a war like art; with martial referring to war. It is true that ages ago during the conception of today’s martial arts, the countless numbers of systems and styles were born from military drills and close quarters battle of the time. During the ancient times without the aid of today’s modern weaponry and fire power, soldiers were forced to engage in battle with clubs, swords, daggers, spears and often hand to hand. Warriors of those times began to develop tried and true systems of both armed and unarmed combat, much like today. They understood that military units must gain muscle memory in their tactics of choice and saw the need for regimented systems of combat. The methods and techniques of their day required ways to dismount riders off horse back and break or penetrate wooden armor. It is quite obvious that in today’s combat environment those techniques would be obsolete. Through out generations and over the centuries the ancient arts have been passed from master to student and master to student. The once effective and powerful combative training of the ancients has become an antiquity.

Today the ancient techniques of Samurai and  the fighting monks of China can be seen being practiced through training hall windows all over the world. The ancient forms and techniques that were once practical battle tactics have been manipulated by popular media and business ideology. Many practice the ancient martial arts for a plethora of reasons. Some of their reasons are for the very same reasons that the training was developed. People practice for fitness, protection and hobby. Others train simply to preserve the art. 

After World War II, the west was introduced to the Asian martial art craze. Soldiers, Sailors and Airmen were exposed to the Asian fighting arts of the Japanese and Philippines and wanted to learn. Many of the indigenous instructors or gurus realized the opportunity to make a buck from the naive westerners and began teaching watered down versions of the fighting arts. Often masters would draw out the training and add flashy, intricate and complicated techniques to the curriculum. It was the flash that would sell to the new western market. Soon even Hollywood would make movies with actors such as Bruce Lee and Chuck Norris demonstrating their athleticism and prowess on screen.

Belt ranking systems were added to help new students feel as if they were progressing and not quit. The once effective techniques for ancient combat were reduced to nothing more than acrobatics with some self protection value. Many of the hidden techniques which were the pride of warriors of old were lost through the simple process of supply and demand. Modern technology and weapons only aided in losing the practical fighting techniques and turning the martial arts into a lucrative but provocative industry. Today there are martial art companies that place their clients on programs known as “black belt plans.”

People are forced into contracts that they can not afford to breach for a certain amount of time until they receive their black belts. During the early 20th century the “black belt” rank was respected by many for holding fighting prowess. Today that rank has lost much of that respect. All too often we hear about the black belt who got beat up by a boxer or street fighter. All too often a white belt student can completely annihilate their “black belt” Karate  or Kung Fu master during sparring in the training hall. Today the sport of Mixed Martial Arts has proven that the martial arts of old are obsolete to even today’s modern training methods. The MMA athletes of today , that hold no belt in any martial art would dominate over more than half of the practitioners of traditional martial arts.

Traditional martial artists often rely on archaic training methods and spiritual philosophies of a much more primitive time. Where MMA athletes rely on the most up to date drilling and scientific training ideologies. Much more is known today by the general populous on the matters of psychology, physiology, anatomy, physics and the economy of motion. It is the lack of the most up to date sciences that make much of the traditional fighting arts obsolete and inefficient. In essence it is the tradition itself that makes many martial arts training methods in effective and inefficient. Now that we have identified the martial arts, we should compare it to today’s modern combatives.

The combative training of today is a product of the military machine. Today’s military is more efficient and productive than any in history. The philosophy of doing the most with the least drives the war machine. In World War II Colonels Eric Anthony Sykes and William Fairbairn began to develop a new type of training for soldiers  based from their experience in Shanghai and the trenches of World War I. Close Quarter Battle (CQB) or Hand to Hand Combat was the norm in trench warfare and the soldiers fighting it needed to be able to quickly and efficiently kill and immobilize their adversaries. The two men realized that they needed to develop a system for training or ideology of training that would enable masses of troops with no prior experience in martial arts to learn hand to hand combat quickly in a matter of days, not the years often required by martial arts training. This training had to not only be learned quickly, but retained and trained quickly as well. Soldiers on the front and behind the lines needed to be able to react without thinking, relying on muscle memory. In combat the heart rate exceeds 180  beats per minute and all fine motor skills go out the window.

Sykes and Fairbairn realized that many of the extravagant “pressure points” used in traditional martial arts  would not be effective. They realized that pressure points were not effective for two reasons. One, the enemy may not feel it under the influence of adrenaline and two; the soldier will more than likely not have the ability of fine motor skills needed in order to strike the target. Therefore the modern combative training was simple easy to retain and concentrated on gross motor skill movement. Because in combat soldiers are all too often sleep deprived and under nourished the techniques taught needed to not rely on physical strength or athletic prowess. Today’s combatives are often known for the dirty fighting aspect, not found in traditional martial arts. The warrior codes from long ago no longer apply today, chivalry is dead. Because the combative techniques are taught to such a variety of fighting men who’s bodies are not conditioned to desensitizing training; the trainees are taught to strike with only the most structurally stable weapons of the body. A soldier can not afford  broken hands and feet on the battle field. It is for many of these reasons that combative training stands far apart from traditional martial arts.

In summary  

 

The traditional martial arts, practiced today  was actually the combative training for the military of it’s time. Just as time changes, so did the training. Societies became more educated; moral values and codes have been altered. The world is not as spiritually guided or involved with mysticism as it was during the time traditional martial arts were conceived. The once effective combative techniques of their time, have evolved into an art form surrounded in mystique and the legends of old; enhanced by modern media. Today’s combative training is based completely on modern science and need for efficiency. It is of the utmost importance for combative training to adhere to these rules.

 – Simple general Principles  must be taught

 – Must not rely on power or athleticism

 – The focus is on destroying whatever the principal comes into contact with

 – Efficiency and economy of motion

 – Be able to be learned and applied in a very limited amount of time (Days or weeks)

In conclusion

 

 Combatives training today most definitely contains many of the techniques that one will learn in the traditional martial arts if they attend classes for any period of time. One might think of the two types of training as steak. One is chuck full of fat that is unnecessary and could clog your arteries, the other is a lean hybrid, that contains only the necessary nutrients to keep you going. After reading the review from this guy “Cliff” I immediately went to his profile to learn more about his point of view, so I could see where hes coming from. I wanted to know if his bashing of my book came from arrogance or ignorance. Where he was asked to type a blurb about his interests, contained one phrase.This was his interest“Wing Chun and the variety of ways it is spelled.” I immediately realized by this and the number of books with titles like “Kung Fu of Caine” Referring to the Caine from the TV series (Kung Fu), that this fellow was not completely familiar with the differences between martial arts and combative training. Therefore I wanted to write this article, with my best effort to demonstrate that when comparing martial arts training to combative training; it is like comparing apples to oranges.

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Source by Andrew Curtiss

Christmas Card Fonts – Which Do You Like Best?

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Isn’t it interesting how things such as paper quality, ink color, and even fonts can affect how we emotionally react to printed material? It’s all in the presentation and during this holiday time of year, that is clearly evident in the Christmas cards we send out to those we love and want to remember. It’s a generally happy season, and so we want to only utilize effects that will evoke joy in our recipients.

Ever wonder about fonts? Who creates them…how they are developed…what goes on in the mind of those who do bring them into being? It’s clearly an art form, something that never existed before – and then is. When I think about creation, things such as music and literature are easy enough to process. We put together words, and come up with something someone else reads and reacts to. We string together sounds, and the result is music that can stir someone else’s soul, or make them want to run and hide with their hands over the ears.

Yet fonts, while they truly are art, take an existing reality-a letter-and that letter is developed into various shapes, sizes, and formats to bring about a completely different set of visualizations for that one previously-simple reality. It’s almost like a math equation. Take one letter, add one shape and another slant, and the final count is a completely different creation.

The best-recognized fonts used for the Christmas holidays are often the traditional ones, those we have adjusted ourselves to seeing year after year. Times New Roman or something old-fashioned like Bookman Old Style, or a script such as Royal Classic-these bring to mind, somehow, turn-of-the-century snow rides, cocoa by the fireplace, Victorian houses decorated in fir trimmings and snowmen in the big front yards…and Currier and Ives-esque lifestyles.

Then there are singularly-recognizable Christmas fonts, created just for the holidays…fonts called Snowcaps and Snowdrift, both with the images of dripping white at the top of each bold and solid letter; or Christmas Regular which shows letters drawn inside of tree ornaments; or of course the so-traditional Christmas Tree or Christmas candy letters or snowflakes, all of which are self-explanatory and logical to the mind’s eye.

Fonts created out of recognizable pictures are more literally artwork than developed fonts, and it becomes your choice to decide if you’re looking for something which compliments the holiday artwork, or which becomes the holiday artwork. There are many sites online these days offering free fonts, and they can be beneficial to someone who wants to develop their own Christmas cards with an online printer. Find that font that speaks directly to you, go to your printing choice, and use the online options to design your own cards.

Your creativity is limited in today’s world only by that which your imagination-or your search engine-can bring to your mind. And, really, we don’t have to understand the art of fonts to appreciate them and the senses they create in our hearts and minds. Mix it up and make something unique for this holiday season!

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Source by Linda J. Alexander

Take Care If Your Tattoo Machines Hit Too Hard

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The strength of tattoo machines is very crucial to the process of tattooing. Many tattoo artists are paying highly attention to the working strength when they are choosing their new machines. The most important reason why working strength is so essential is that it has a close relation to the pain extent and skin damage from the customers and as well as the final artistic value which is presented by the tattoo patterns in the later.

We all know with our basic logical thinking that hard things could often easily break or make damage to the objects, which surely suits to the working theory of tattoo machines, too. Those with too hard working strength would cause more severe damage to the human skin, leading the result to the scales of fester of the skin. During the process, customers would feel much stronger pain than those working with soft strength. There is another account that the tattoo artist are highly caring, which is, if using hard strength tattoo machines to practice, the final tattoo pattern will be lighter than normal, due to the structure of hard strength machines keeping needles dip less ink than normal ones.

So when a experiences tattoo artist got his new tattoo machine, the first thing he would do is to check out its working strength, and make proper adjustment, which, often involve in such below steps: check out if the coils have worn down to the contact of the armature bar. Keep the armature bar away from the coils with a distance of about a papers width. Please note that the armature bar should be given a distance just as the gap between the contact screw and the spring.

Usually, coils inside the tattoo machines are made with different materials from different origins, which could also affect the working strength of the machines, because if a 10 wrap actually contains of 14 layers of wires, it would easily cause your tattoo machine hit hard and fast. The last thing which needs your attention is the capacitor, a factor influencing the speed and working strength, too.

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Source by Joshua Rowe