Matrixing Chi

Matrixing Chi

Al Case

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 Matrixing Chi

MONSTERMARTIALARTS.COM

Copyright © 2004 by Alton H. Case

! All rights reserved. No part of this book may be reproduced or transmitted in any
form or by any means, electronic or mechanical, including photocopying, recording, or by
any information storage and retrieval system, without the written permission of the author.

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 Matrixing Chi

introduction

! Chi is the simplest concept, and the most misunderstood con-

cept, in the martial arts.
! We’re going to fix that right here.
! We’re going to fix that by using Matrixing, which is the science of
how to analyze and handle force and flow.
! Matrixing is a study of physics, and you are going to find out that
there is a simple and easily understood physics when it comes to the
subject of internal energy, or as some people call it...Chi.

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A NOTE

! This book deals with matrixing energy for the martial arts. There
are meditative techniques which do other than what is in this book. But
the function of the energy in this book is designed to fulfill martial ac-
tion and intention. I have chosen to stay with what works over what
feels good, or fulfills other purposes.

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CHAPTER ONE

! I was fifteen and on vacation with my family. Now my family are

readers. We would visit family on vacation, borrow books for a year,
bring them back and borrow more.
! I was fifteen, up in the attic, and burrowing amongst the bags
and boxes of books.
! I went through dozens of boxes, lifting out books of all sorts and
size, inspecting them (mostly looking for comics) and replacing them.
! Finally, I had reached the end. I was digging through the last
box, and, in the bottom of the last box, the last book in the last box,
was The Grey Lensman.
! I had no idea what I had found, but I had found it. I intuitively
knew that this was the one. It spoke to me.

! I read the Grey Lensman, and my life was changed forever.

! I read it twice, thrice, found the other books in the series, read
them thrice, read them all three or four more times.
! I was back in school, flunking out of algebra because I was too
tired to concentrate. I was too tired to concentrate because I was stay-
ing up till five in the morning reading the Lensmen series.

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 Matrixing Chi

! Again and again and again.

! And, while I was flunking out of algebra, I was taking courses on
interstellar navigation, advanced intergalactic propulsion systems,
navigation of N space and worm holes.
! I was learning how to throw planets and negaspheres, how to
strategize vast battles between fleets of millions of spaceships.
! I was learning.
! Schooling stood little chance in view of this other and more real
education.

! Attack with beams of energy.

! Expand the beams and make them hollow tubes.
! Shear the tubes with planes of energy.
! Use the beams to link machines (spaceships) and create vast
spheres of energy. Link more machines together to create cones of
energy to engulf the spheres.
! Use inertialess drives to ‘throw’ a planet at the linked machines.
! When the defenders use pressors to push away the planets,
throw negaspheres instead, and the pressors act like pushers (tractor
beams)
! Construct a hyperspacial tube to throw the planet or negasphere
through.
! Deal with the effects of slowed time in the hyperspacial tube.

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! Do you see the geometry here?

! This is physics...and these physics, while so fantastic, breed in
the human mind, and are the stuff of the martial arts.

! In karate, ground the legs and create a motor. Explode the tan
tien and send out a beam (arm or leg) of energy.
! In kung fu, whirl the arms and create planes to cut the beams of
energy.
! Use pa kua to create a sphere to deflect the planes and beams.
! Use tai chi to create negative beams and planes and spheres.
! Not strikes, but tractors and pressers rule the battlefield.
! And, slow down time…

! Do you see it?

! Dealing with these concepts as a fifteen year old boy, I was
given the tools to create and understand whole systems of martial
arts.
! While the arts may be complex, they yet resolve to the simple
geometries and physics of interstellar combat.

! Thank you, Gray Lensman. thank you.

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 Matrixing Chi

CHAPTER TWO

! We’re going to have to go into some Neutronics if we are going

to understand internal energy.
! Neutronics is the study of motion from a fixed position.
! Now, a fixed position would appear to be a relative thing, but, in
actuality, it is an absolute.
! Take an object, a ball, or a planet, or some other small thing. It
does not observe, it is observed. A Neutron is not observed, except by
other neutrons, it is the observer...therefore it is the center of the uni-
verse.
! This is a prime rule of neutronics. That which observes is fixed in
space. It does not move, it moves space around itself.
! In the event of two observers, space is interchanged to give the
illusion of motion to both. This is an agreement.
! What is hilarious is when an observer, a bit of awareness which
is the Neutronic Viewpoint, thinks he is in motion. He runs, the wind
passes through his hair, he sweats, but he is really making all that up
so as to feel the illusion of motion.
! When one reaches the highest level of martial arts this becomes
a truth undeniable.

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! No matter that a million men, nay, a trillion men, move in swirling

kaleidoscopic motion...they are not moving, they are interchanging
viewpoint to create the idea of motion for all, to have an actual uni-
verse in which to have presence in...to be in.
! The universe does not move. It is moved, and a human being is
the center of the universe. He causes all motion, passes motion to his
fellow human beings, and yet, he, himself, never moves.
! The Neutronic Viewpoint is the only totally fixed, absolute and
undeniable thing in the universe.

!Being fixed in position, the neutron causes all motion. He !

causes it through dichotomy.
! This has actually been hinted at in The Tao, and I am a bit
shocked that no enterprising young engineer hasn’t pointed this out.
! There are two sides to everything, and it is the interaction be-
tween the two sides that causes perpetuation, energy, and all manner
of phenomena.
! An atom has an electron and a proton, and the interchange be-
tween these two items creates atomic energy and perpetuates the
universe.
! A cell has sodium and potassium, and the interchange between
these two elements causes energy on the cellular level. Thus is life
perpetuated through planet and animal.

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! Then there is a millstream, and the river turns the wheel. The
water coming in is positive, and the water going out is negative.
! A light bulb has electrons coming in and electrons going out, and
they squeeze through the filament creating a ‘motor’ of a glow.
! A motor will have two leads with electrons coming in and going
out, and there is a pole and coil wrapping and magnets and armature
and...and the thing is exactly like a planet.
! A planet spins. You have a pole, and the flow of electromagnetic
energy causes the planet to spin, and there is a balance between
gravity and centrifugal force.
! Heck, this is so obvious, and the extrapolations are so logical as
you increase the size of the motor, one is fair shocked that some
clever scientist hasn’t created a flying saucer with two poles that work
off the electromagnetic flow of the universe.
! Thus, it is the ebb and flow between, the tension between, the
push and pull between, which is a motor.

! The human body is a motor.

! It is constructed of cells, which are motors, and the organs have
inflow and outflow, and the thing is nothing but a motor.
! Unfortunately, human beings don’t know how to operate the mo-
tors that their bodies are.

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! The legs are the leads of the body/motor. They run current
through the tan tien (a point two or three inches below the navel)
which is actually the energy generator.
! The energy utilized is alternating current, though one could use
other types of flows fairly easily. Unfortunately, most other types of
energy flow, when applied to a body, are not very efficient or workable.
! Alternating current because as you walk (for instance) energy
goes up and down the legs, back and forth between the legs, back
and forth across the tan tien.
! And here we get into something interesting.
! The amount of weight the leg undergoes effects the amount of
energy created in the tan tien. This is an important item because this
directly relates to the stances of the martial arts.
! At any rate, deep stances equal more power, and that power can
be channeled to and used by other parts of the body.
!
! Now, there are several types of energy that the body uses. Thus
far we have been talking about the gross kind of energy.
! The mind can feel, and assess, and become accustomed to the
flow of gross energy. Thus, the mind becomes educated as to how to
handle energy, and, when the mind is sufficiently educated, it can start
handling finer types of energy.

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! The Neutronic Being can manipulate and handle any type of en-
ergy in the universe.
! But certain types of energy are resistant to handling. The Neu-
tronic Being has forgotten how, become accustomed not to, and there
are other reasons.
! But we don’t care about all the reasons we can’t do something;
we only care about what we can do, and so intently that we can over-
come reasons why we are not able to handle the intrinsic energy that
is known as chi.
!
! So we use the martial arts to run energy through the body, let the
mind become accustomed to such things, and then use the mind to
move finer and finer types of energy.
! Perhaps I should say different energy, but it is arguable, so we
shall just let ‘finer’ stand.

! We come to the crux of it all now: why haven’t we been able to

handle the intrinsic energy of chi?
! Because we grew up through little bodies and thought we
couldn’t handle...because society frowns upon the handling...and so
on.
! There are many reasons, all of which we are going to ignore.
! The point is this: the Neutronic Being does not handle the uni-
verse, he watches it.

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! So how does he make the motors function?

! Many ways, but what I am about to tell you is specific to the mar-
tial arts.
! The power of the Neutronic Being is in watching. The way he
watches, the power of his watching, that is what makes the universe
move, that is the power of the Neutronic Being, and it is a far greater
power than the inanimate universe.

! An animal does not have the mind to focus.

! A human has the mind to focus, but doesn’t know how.
! The martial arts provides a way to focus.
! A human being that knows he is Neutronically imbued...a
watcher, an observer, a Neutronic Being...shines the light of his
awareness on one ‘side’ of the machine, causing an imbalance, and
thus causing the machine to tilt the way he wants it to.
! There are other ways of doing this, but this is the best for rudi-
mentary understanding.

! The point is that if you wish to manipulate and handle the uni-
verse, you must grow your ability to watch it, focus your ability to
watch, until that watchingness becomes an actual light of awareness.

! The martial arts are a tool to help you do what I have told you in
this chapter.

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! Use them not to fight (although you must be able), but to focus
your energy, and then your awareness, and to grow the Neutronic Be-
ing that is you.
!

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CHAPTER THREE

! Just a brief word here.

! When you see martial arts instructors pushing students just us-
ing ‘chi,’ be wary.
! There is the real ability of the martial arts, where you throw bod-
ies this way and that through your technique.
! Some instructors, in their use of chi only to accomplish such a
thing, are sometimes guilty of nothing more than hypnosis.
! I am not saying one cannot throw people using just chi, they can,
but the way to tell whether an instructor is the real deal or not is sim-
ple. Just ask the question as to whether the only people he can throw
around are his students.
! If he can only throw his students, he is using hypnosis, the
agreement of the group he has trained.
! Past this there is the real deal, the person who can actually use
chi on anybody and everybody, and this is a measurable force, though
most people who achieve it will never allow anyone to measure it. Not
because it can harm people (the great reason the charlatans give for
not letting people measure their energy, or for using it against non-

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students) but because society turns quite rabid against a person who
starts to demonstrate any advanced abilities.
! First people will disbelieve, then, they will start to talk against,
and even rouse mobs. History is filled with this circumstance.
! The sad fact of the matter is that people, the masses of common
people, have been tricked into believing that to be above ordinary, to
be able to do something, is dangerous.
! There are reasons for this, and the main reason is that the peo-
ple build a huge machine, and owe allegiance to that machine, and
thus do not do anything against the structures of that machine.
! It is sad, but humanity has lowered itself to mob status.
! And the solution to this is to show vast ability.
! A dichotomy, a contradiction, an oxymoron, but there it is, the ul-
timate catch 22 of the universe.

! So the usual steps in learning to use the body to create energy,

and thus to awaken the neutronic person and enable him to use finer
energy, goes like this:

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Punch or throw using muscle

Punch or throw using less and less muscle

Punch or throw bodies using hypnosis

Throw bodies without muscle (using just chi)

Move universe using just chi

! I say usual, because abilities trip over abilities and create a dif-
ferent order sometimes.

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CHAPTER FOUR

! To start up the body and use it as a machine is actually quite

easy.
! The problem is that it takes a little patience; you are dealing with
abstract concepts which are not observable at first.
!
! Before I get into this subject at length, let me point out one thing
that explains how I came up with all this theory.
! If your toaster stops working. You look at it, get a screwdriver
and take the thing apart, find the problem, fix and repair.
! But this is possible because you are outside the toaster.
! If you were inside the toaster, stuck in the warming filaments,
could you fix the toaster?
! Nope.
! So people see something wrong with the body, or just can’t make
it work as I describe in this tome, and the problem is that they are not
outside of the body.
! By doing the martial arts long enough, and with an eye to certain
principles which I am explaining, I was able to be slightly out of my
body. Comfortably out of my body, and to see it as a machine.

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! Now, you are reading this book, and if you haven’t done enough
martial arts, and maybe don’t have the outside viewpoint, then you are
going to have have a little faith, and even translate some of what I say
from your viewpoint into the outside viewpoint.

! The preceding being said, let’s talk about making the body work
as a machine.
! A machine has to be screwed down. Motors are attached to the
floor, they have mounts and brackets and all sorts of things.
! You simply can’t generate power unless you fix the machine in
place.
! Thus, this is the purpose of stances: to fix the body in place.
! Fixing it in place, you can explore the two (dichotomous) abilities
of the body: to move or to ground.
! To move is to sudden push of energy through the body, down the
leg(s) to move the body across the face of the planet.
! To ground is to send (tractor) beams through your legs and into
the earth. This will fix you, and increase the flow of energy from planet
to you and you to planet.

! It is important to understand the relationship between your body

and the planet.
! Both your body and the planet are motors, and you can link them
together, and thus tap into the energy of the planet as you wish. A

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tractor beam is a beam of awareness channeling down the leg and

into the motor and energy of the planet.

! When you make a tractor beam in your leg, take a stance and let
somebody push on you so that their force is channeled through the
body and into the earth.
! Muscular effort is not conducive to tractor beams.
! Effortless resistance means that you are doing it right.
! The less you resist, the more internal energy you will have.

! And here we come up with one of the most fascinating facts of

internal energy.
! The less muscle you use...the more awareness you use.
! So you have to figure out how to relax the muscles, empty the
body and limbs, so that energy can flow through it.

! Like a light bulb glows best in a vacuum, energy flows and mani-
fests best in a vacuum of muscularity and tension. If you use muscle it
will act like a pole and collect the energy flow.
!
! You will have to breath to relax. Breath deep, to the bottom of the
lungs, and here you have your first lesson in channeling energy inside
the body.

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! Air will not pass through the diaphragm and through the guts to
the tan tien.
! Imagination will.
! So you learn the sensation of air sinking to the bottom of the
lungs, and then imagine that sensation continuing down and focusing
onto and into the tan tien.
! Awareness.
! Shine the light of awareness through this simple trick onto the
energy generator of your body, and thus learn to create energy in the
tan tien merely by thinking about it.

! As the tan tien starts to respond to your thought, channel the en-
ergy of the tan tien out to the body parts.
! The best way to understand this is simply to stand with the arms
outstretched and breath deep. You will feel your fingertips tingle
slightly in response to your breathing. (If you don’t, don’t worry, just
keep practicing until you can).
! This tingling is energy being channeled as a result of awareness.
! You can shine the light of your awareness on your fingertips and
cause them to tingle more.

! Now we come to a problem.

! People study the martial arts, and they focus their energy, and
this frequently means tightening the fist.

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! Tightening the fist sometimes kills the flow of energy, stops it,
because the energy travels to the fist and is stopped.

! Well, one could do tai chi, but there are problems inherent in at-
tempting to use energy only through making your body empty.
! Remember, this is a dichotomous universe, thus, you have to go
back and forth between methods of tightening the body, and methods
of loosening the body.

! So learn fist tightening methods, learn them well, for there is a

reality in the fact of a hard fist that cannot be denied.
! Then, as time goes by, learn how to hit without putting energy in
your fist, to merely extend the fist and let energy (and the light of your
awareness) run through it.
! Then explore Tai Chi and similar arts for their ability to train you
to empty the body.
!
! It is not learning one art that is important, it is learning two, and,
hopefully, all arts.
! Simply, you must have the viewpoint and understanding of both
the hard and the soft if you are going to go in the directions that this
book indicates.

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! Just an interesting aside: I thought long and hard, and still occa-
sionally entertain thoughts, concerning putting together a system
based on simple resistance methods, students pushing on students in
just the right way to create energy flow.
! I think I might explore this at some point…wouldn’t it be fun to
bypass simply everything through this method?

! In conclusion, ground your stance, breath to the belly,!l e a r n t o

move so that your weight aligns through the body and goes into the
target, and you will be well on your way to manifesting chi.

! This chapter has dealt with the fundamental practice of creating

chi. We will discuss how to channel chi into the body parts in another
chapter.

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CHAPTER FIVE

! One of the first things of substance that I observed, when I was a

kid, was that the body comes in halves.
! I think it was in the sixth grade, we were trying to put faces to-
gether.
! Some creative fellow had taken a bunch of faces of famous peo-
ple, sized the photos so they were all the same size, and cut them in
half.
! A couple of photos we kids could figure out quick and easy. But a
hundred photos, it was almost impossible to figure out which right face
went with which left face.
! Thinking about that, and realizing that people were right and left
handed, I began assessing the body as two sides.
! Right handed, left handed.
! Right brain, left brain.
! And so on.
! Two sides to the body.
! This brought me much introspection as I tried to figure out how to
make both sides the same. How do I have exactly equal muscles, right
arm to left arm.

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! How do I have exactly duplicate motions, right side to left side.

! The simple fact of sliding around a corner, using the right side
first, then the left side, brought me hours of intense thought.
!
! After a while, I realized that you could look at the bodies in other
ways. For instance, you could divide the body in half by top and bot-
tom.
! Without any clue to the existence of the tan tien, I would stand
for hours and look at a tree, and think about where the acorn went,
about the land being like the surface of the ocean, and a tree spread-
ing limbs through the dirt as well as through the air.
! You can imagine, me thinking in these odd manners, the joy I
experienced in coming in contact with my first Neutronic concepts.

! All that I have said in the last couple of chapters, however, was
more wonderment than actual functioning considerations.
! Functioning considerations began in my first year of karate. I was
studying kenpo at the time, and I realized that you could block a per-
son with the right or the left hand, that the sides, if your technique was
‘universal,’ or true, could be used no matter what the attack.

! An armbar, for instance meant that your body was in a certain

position, closing your opponents body.

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! But, if you set up your body in certain ways, that technique would
work no matter if you used it to close an opponent, or open him.

! In saying closing I am referring to pushing his arm across his

body to trap the rest of his body. In saying opening I am referring to
pushing his arm so that the body is more uncovered.
! If you push his right arm to your right, it will close his body.
! If you push his right arm to your left, it will open his body.

! This type of thought, right to left potentials, gave rise to other

thoughts.

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! Closing a person, you see, is superior to opening a person, stra-

tegically speaking.
! This meant that I had to concentrate on the opening techniques
until they were as efficient and functional as the closing techniques.

! And the point of all this is that I wanted to have choice as to what
happened in the martial arts.
! I was reading all sorts of things about this guy named Morihei
Uyeshiba, you see, and he could control bodies without regard to right
or left.
! So I needed to practice until, even in the middle of a fight, I could
choose whether I was going to close or open somebody, and then
choose the technique I wanted.
! This, of course, led through the entire spectrum of motion and
the martial arts. In the middle of a karate fight, I wanted to be able to
manipulate a person so that he would be set up for any art I wished to
use.
! If he punched with the right, no matter how quick or fast or
snappy, I wanted to be able to right or left him into the aiki technique
of my choice.

! I hope you understand this, and choose it for yourself, for it will
lead you all the way down to the conclusion of the martial path.

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! It will make you neutronic, and able to apply any art to any cir-
cumstance, and completely in line with your individual choice.

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CHAPTER SIX

! The first stage of learning how to build energy I learned at the

Kang Duk Won.
! At the Kang Duk Won we would throw thousands and thousands
of punches an hour.
! Bone busting, gut exploding, muscle cramping, screaming
punches.
!
! Now, I had thrown punches in Kenpo, but these were different
punches.
! In kenpo we did a lot of air snapping, and we spent a lot of time
memorizing the hundreds of stylistic techniques.
! And we were fed a dish of deadly, everybody would be scared of
us, the damage we were doing…
! Well, some of the guys were doing damage, the guys with an in-
tuitive feel for it all. The rest of us, we were just punching air.

! At the Kang Du Won it was different. These were full body

punches designed to mount intention.

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! We were driven, became obsessed to the point of insanity, with

putting our all into the strike.
! If we had one ounce of thought or consideration other than what
we were doing, well...it was wrong.

! Now, Kenpo was not quite right, and the Kang Duk Won
was...not quite right.
! Yes, you could find the art through those methods, but you
couldn’t find the True Art.
!
! I started watching my instructor, Bob Babich.
! The other fellows were the ones making it into muscle and exer-
tion and insanity.
! Bob, however, was beyond physical.
! He snapped his body like a whip, and it was empty, and only the
fist filled.
! Yet he didn’t correct us when we were too much, he merely held
that you just had to do the forms long enough, and that ‘A tight fist is a
heavy fist.’
! Hmmm.
! Just the fist.
! Kenpo had just the fist, but no body behind it.
! Kang Duk Won had the full body in the fist.
! Bob negated the body until only the fist existed.

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! You could describe him in Kenpo terms, but without the thou-
sands of hours of learning how to put the body into the strike, you
could never learn how to put just the notion of the body into the strike.
! Thus, Kenpo spoke right, but lacked basic training concepts to
make it a reality.
! Anyway, having surpassed the need for body helped Bob put the
notion of the whole body into the strike, and it made him different.
! Heck, of course it did.
! He didn’t fill his body with energy and effort, he filled it with a liq-
uid vacuumness. A notion of motion.
! Did he get there through the forms? Or did he get there because
he figured it out?
! And, of course, people get there because they get old, run out of
energy, and start doing it right.
! But however you get there...there is there.

! Now, here is a point to consider, when evaluating what I have

told you.
! I trained for several years, and it was slow going, and I always
felt like I was a washed sock. Wet and floppy and dragging with extra
weight.
! I couldn’t do what Bob was doing.
! So I did the fist thing, and kept working, but it never made sense
until I started doing Sanchin.

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! Sanchin is a grounding form, it is a power form. Remember...you

don’t have power until you ground the machine.
! Once I had done some sanchin, taken that type of grounding to
its conclusion, then everything started making sense. Then I started
being able to understand and look at other types of grounding.
! So even at the Kang Duk Won, as superior as it was, things were
being left out of the education. We were grounding, but we were lack-
ing exercises that grounded us, and enabled us to throw down the
tractor beam through our legs.

! Now, this is not to say that the data wasn’t there. It was. One of
the more famous war stories concerned a time when, after class, we
went over to a bar.
! Midway through the night one of the guys got rowdy and tried to
shove Bob off his barstool.
! He couldn’t.
! Suddenly, four guys were pushing on Bob, and he was sitting,
drink in hand, drunk, chuckling and grounding through the legs of the
barstool.

! But, that said, I never figured it out until I had the right form to
bring it out of me.
!

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! This is an admonishment for instructors to learn enough to teach,

and to be discerning enough to pick out the right tool at the right time.
! And, it is a warning to students: you must look to your own edu-
cation.
! Be true to your instructor, be truer to the art.
! Be willing to go beyond...and be willing, when you are an instruc-
tor, and encouraging, for your students to go beyond you.
! It is the only way.

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CHAPTER SEVEN

! The second thing I learned was sloshing energy.

! I have written a bit about this in an article on internal energy on
the website.
! The idea is that of sloshing water in the bathtub.
! The water goes side to side, and you try not to slosh over the
ends.

! I was practicing tai chi, spent a lot of time doing tai chi, and this
feeling started building.
! But, it wouldn’t have started building if I hadn’t known karate.
! And, it wouldn't have been too useful, and I probably wouldn’t
have pursued it, if I hadn’t been able to feel the sensation, translate it
into Karate forms and techniques.

! The sensation is that you simply stand in a front stance and shift
to a back stance, and then the front stance, and back stance, and so
on, while you do martial arts techniques.
! The first move of the tai chi form, ‘Ward off, roll back, press and
push,’ is exactly engineered for this sensation.

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! And this brings an interesting point: the old arts have evolved to
a certain point. The weakness is that they often leave things that were
beneficial to the original evolution in the dust.
! Thus, we are left with missing pieces, and an inability to under-
stand why the masters of old became legends.

! This is why Matrixing has such great effect, incidentally. With

Matrixing you don’t leave anything out. In fact, matrixing is how you
discover things that you didn’t know were there.
! It is a method for analyzing all the potentials of motion, even the
ones that aren’t described in any manner.
!
! Anyway, I went through all my forms, looking for places to throw
the weight down the leg so that I could slosh the energy in my body.
! It wasn’t long before I discovered that you could roll the body, ro-
tate it, in a manner that was conducive to sloshing.
! And, I discovered that virtually every technique of the katas, and
the forms of near every art, could be made to roll and slosh the en-
ergy, and move it through the body to the fist.

! So here is the summation.

! Throw the weight down the foot and activate the tan tien.
! Roll the body so that energy sloshes, or rolls around the inside.

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 Matrixing Chi

! Snap the body into proper alignment so that the sloshing energy
can go down/out the limb and into the fist (foot).

! Over time this would become incredibly refined, and the more it
refined, the less energy and intention I had to put into a strike or block
to make it effective.
! Indeed, I reached the point, rather quickly, actually, of having to
put some bit of energy into the technique, or slowing it down or stop-
ping it in some whit, so that the technique was imperfect and didn’t
flow so well that my strikes became inadvertently damaging.

! Throw the weight down.

! Activate the tan tien.
! Slosh the energy.
! Line up the motor.
! Shoot the energy out.

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 Matrixing Chi

CHAPTER EIGHT

! I keep talking about lining the body up, and this is incredibly im-
portant.
! It is important because so few people do it.
! Most people talk about hitting harder, and not about hitting more
efficiently.

! To align the body is to ground it from fist to foot.

! Stand in a stance with a punch out. Have somebody push lightly
on the fist.
! The energy should go through the body and into the ground.
! This enhances the ground.
! And, if you feel any part of the body that is weak, or in which you
have to put extra effort to make it withstand the push, then you have to
put that piece of the body into alignment so that you don’t have to use
effort or energy to withstand the push.

! This is amazingly simple, and overlooked, and it is the key to

discovering the true art all over again, for any art.

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 Matrixing Chi

! If you lose the true art, simply do this through your forms and
techniques, and you will find the true art.
! It is that simple.
! So simple it is overlooked, treated cavalierly, and so on.

! Now, there is more to this fact of alignment.

! In the last few paragraphs I described the fact of aligning the
body parts.
! But motion is an occurrence over time, and you must be able to
coordinate the motion of your body.
! To do this you must do three things.
! 1) start all motion at the same time
! 2) end all motion at the same time
! 3) understand the relationship of the various masses and sizes
and so on of the various body parts involved in any motion.
!
! Number three is the killer. That’s the one that takes concentra-
tion and intelligence. Yet it is not difficult if you just move all the pieces
at once, as one unit, from start to stop.

! In addition, you must not neglect the commonly overlooked

pieces of alignment.
! Breathing must go out when you expand, and contract when you
bring your body back into a tighter position.

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 Matrixing Chi

! You must relax all except the fist.

! You must understand that the power of the body comes from
thrusting, rotating, and dropping the weight.

! This whole concept is what I call CBM, Coordinated Body Mo-

tion, and it is the heart of the true art.
! CBM is when you coordinate the basic basics, and the three
elements of power.
! When you achieve CBM you have stopped across the threshold
into the True Art.

! What most people don’t realize is that you are stepping over the
threshold into the outside world.
! You are not stepping into a house.
! You built the house so that you could cross the threshold and go
outside and find the true freedom and ability that is possible through
the True Art.
! To step into the house is to stand in confines.
! To step outside the house is to escape the bonds.
! But you built it, you built the discipline and the structure so that
you could have bonds so that you would have a structure to support
you in your escape from the structure.
! Have I mentioned that this is a universe of dichotomy?

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 Matrixing Chi

CHAPTER NINE

! The next couple of chapters are going to be a little out of order.

This is the way I discovered it, and so this is the way I relate it.
! We are going up a ladder, you see, and I took the rungs out of
order. Bear that in mind as you put the art into the proper order in your
own mind.

! I was studying Karate and basically learning to explode the en-

ergy from the tan tien.
! A short time after I earned my black belt, and truly CBMed, I was
scouring the bookstores looking for anything and everything ever writ-
ten on the martial arts, and I came across Tai Chi Touchstones: Yang
Family Secret Transmissions,’ by Douglas Wile.
! This is a marvelous, little book. It is filled with poetry, concepts,
and the heart of Tai Chi.
! One of the things I kept going over was this thing called ‘solid’ or
‘empty.’
! In Karate it didn’t matter what stance you used, the idea was to
drop the weight and explode the Tan Tien.

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 Matrixing Chi

! Emptiness related to being relaxed before and after the strike.

This made sense and worked, and I was able to generate energy from
the tan tien.
! In reading Tai Chi I was reading about a different, or ‘more’ emp-
tiness, and I wanted that.
! But Karate was empty/solid on either leg, or both legs.
! The Touchstones, however, claimed that you had to stand on
one leg, never two legs, and strike with the other side arm.
! This made difficult going for me for the longest time. After all, it
flew in the face of some of the things I had experienced in Karate.
! And, it didn’t seem complete.
! What was happening was that I was reading about the same
phenomena from two different points of view.
! And I was putting more significance on Tai Chi, which skewed
the observations, weighted tai chi, and threw everything into confu-
sion.
! This was the danger of significance, and the danger of not un-
derstanding that though tai chi was deep, it was slow, and I had al-
ready bypassed certain theory.

! I had the whole thing, but couldn’t read it in halves.

! Things might never have resolved if I hadn’t come across the

form Sanchin.

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 Matrixing Chi

! Sanchin grounds on two legs, doesn’t even get deep, just de-
mands that you can throw a tractor beam down your legs and connect
with the planet.
! And the experience of Sanchin lined up sufficient with the expla-
nations of Tai Chi...and I managed to put the two halves together.

! You’ll understand later on, when I describe the channels, and the
Sanchin form.

! For now, let’s consider the sensation of nothing.

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 Matrixing Chi

CHAPTER TEN

! The sensation of nothing is the perception of emptiness in the

body. It is an actual sensation, but you’re going to have to look without
using the eyes. Don’t worry, it’s easy to do.

! Before we get into it, however, I want to explain that you’re going
to need to understand this stuff before we get into the actual forms.
! Understanding before you do is going to speed up your progress
by light years.

! So, how do you feel nothing?

! Close your eyes and touch something.
! What happened?
! To understand this you have to understand the relationship of
heat to cold.
! Something heats up, molecules get excited, and radiation (rays)
is given off.
! Something gets cold, molecules dumb down, and radiation (rays)
is sucked in.

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 Matrixing Chi

! The Neutronic rule here is that nature abhors a vacuum. The

rush of rays from one point to another results in direction, and a bal-
ancing act.
! So when you feel something there is excitation of molecules,
and, in place of rays, you have electrons rushing up the arm to the
brain and so on.
! If the molecules of the substance you are touching are not mov-
ing too fast, the sensation is translated as cold. And the reality can
give you frostbite. That is, the molecules are dumbed down so much
they stop motion, and the result is an ice cube.
! If the molecules of the object you are touching are excited, the
result is heat, excitation to your own body, and being burnt.
!
! Really, we are just talking about overloading the system. This is
understandable to anybody who understands the reality of a
punch...overload, and overwhelm, the other persons ’structure.

! Now, understanding all this, what is the sensation of nothing?

! Nothing is the absence of sensation, it is the absence of excita-
tion, it is the absence of less than excitation. So what is left to feel?
! Yourself, the bare fact of perceiving at all.

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 Matrixing Chi

! You see, you are not feeling something, you are feeling the ab-
sence of something, that is the sensation that you are looking for. But
how can you feel what isn’t there?
!
! The key to understanding all this is this: when you feel sensation
your body is a victim, receiving sensation. When you feel nothing, you
are creating the fact of sensation itself, without input. AND THIS
MAKES YOU CAUSATIVE!

! Or, to feel something means you are receiving...are victim...the

sensation. To feel nothing means you are not receiving...and are
therefore being cause over the fact of sensation.

! This flies in the face of life, experience, and everything that

makes sense in this stupid universe. We are trained, from birth, to
feel, not create with our feelings, not to feel our feelings.

! And, if you can understand being a victim as being an experi-

ence through the five senses, then you have to understand that you
are going to have to perceive without the five senses.
! If you negate the five senses, (or the sensation of being victim to,
say, pressure on your arm, then what are you perceiving the sensation
of being pressed upon with?

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 Matrixing Chi

! You are perceiving it as you, not as a body needing five senses,

but the neutronic being, which doesn’t need the five senses to per-
ceive.
!
! Now, having read the last bit that I wrote, I feel sorry for you. Not
even a good dictionary is going to make sense out of it all.
! A good work out, however, or a thousand, will make what I just
said as clear as glass.
! This is like saying, there’s a road, there’ll be a signpost in a
thousand miles, have a good trip.
! But it’s true.
! Read all the classics, analyze what I’ve said here (and in con-
junction with real physics), and work out. It’ll come to you.
! We feel something. Take away the something, and we feel that
we feel.
! Take away something is to not use the five senses, and you per-
ceive in reverse, or through the reverse of sensations, which is not
something, which is nothing.

! The bottom line is this: You don’t sense reality, you sense the
communication systems within your body, and use the body to reverse
the sensations to create something.
! You give off the rays.

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 Matrixing Chi

Touch something and the sensations go up your arm.

The universe is always pressing in on us, causing sensations,

making us victim to the sensations.

Become completely empty,

don’t use the five senses (and other senses)
and we start to radiate,
looking for sensation,
and thus are cause over what sensations we encounter
or accept.

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 Matrixing Chi

! Now, what does this feel like when you do it?

! More alive. Like there is a subtle vibration you just sort of sense
that is traveling through you.
! It’s not meditation, though you will find some people pushing
meditation to cause sensations like this.
! It’s an actual action, a reversal of the perception to create, to ra-
dar out, to feel outside your body.

! There are so many potentials here it is virtually impossible to

catalog.
! Figure this out, make your body into a terminal that sends out,
instead of receives, and the possibilities of life really open up.

! You are more than your body. You are everything. You just have
to learn to reverse your perceptions so you can radar out and start the
process of getting outside your skin.

! So you stand on the left foot and shoot the right hand.
! Do it slow, and take the mass out of your arm.
! Don’t worry about the legs right now, I’m going to cover them in
depth later. Right now all I want to do is get into the sensations of be-
ing empty or full.

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 Matrixing Chi

! Take the mass out of your arm, which means to not use muscle,
and, here comes the important part, if you feel any part of your arm
having points of resistance, heaviness, or anything like that, undo it
with your mind.
! At first you’re probably going to do it by relaxing, and this is not
right.
! You are emptying, as opposed to relaxing.
! Relaxing means limp.
! But you don’t go limp, you hold your arm in place and have it be
hollow.
! Get the feeling of not doing anything with your arm so strongly
that your perceptions reverse.
! Interestingly, this will, especially if you do forms, result in you be-
ing slightly out of your head.
! But the point is this: don’t do it through your body, just do it.

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 Matrixing Chi

CHAPTER ELEVEN

! At this point it is a good idea to do a form. This will enable me to

point at certain things that will make the data that I have given you
thus far workable.
! Theory is fine, but you have to tie it to something real or it is just
a bunch of gibberish.
! So here is the form Unsu.
! This is not the classical Unsu, but rather a few moves I took from
that form because they fit what I was trying to do with my art.
! It is the first form, the beginning form of the martial arts I cur-
rently teach.
! Now, I teach a lot of martial arts, but I usually try to teach a per-
son Matrix Karate, then Classical Karate of some sort, then into other
arts.
! How much I teach a person depends on the person. If they have
lots of classical art, I might teach them a lot...because they have to un-
learn.
! Sometimes I only have to teach them a little and everything fixes.
It depends on the student.

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 Matrixing Chi

! Sometimes I don’t teach them matrixing because I know they will

bang their head, so I just skip into the classical and add dabs of ma-
trixing until they can have it.
! That all said, Unsu has two moves in it. These moves set up mo-
tions which wave energy. I’m going to break down these two motions
for you before we do the form.
! Here is the break down for the first move.

! 1) Back stance with double outward middle blocks (palms up)

! 2) Push from the ground with the foot
! 3) Pull the hip back slightly (and move it in in conjunction with the
following moves)
! 4) Raise the shoulder slightly (and lower it in in conjunction with
the following moves)
! 5) Move the elbow out slightly (and move it in in conjunction with
the following moves)
! 6) Thrust the spearhand.

! This is a pulsing motion, and concentrating on moving the parts

of the body as I have just listed will start the pulsing of energy.
! Some people will get it right away, and some people will have a
more difficult time with it. Regardless, anybody can do it.
! You do have to be patient, and be willing to invest time, and use
actual thought to move the energy inside your body.

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 Matrixing Chi

! I have exaggerated the motions, and you would be advised to do

so in the beginning. Once the energy starts pulsing you should make
any external motion so subtle that nobody can see it.

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 Matrixing Chi

Back Stance.
Push with the leg.
Pull the hip back slightly.

Raise the shoulder slightly.

Bring hip forward, bring shoulder forward, round the elbow slightly.
Put hip, shoulder and elbow into thrusting the spear hand.

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 Matrixing Chi

! Note that you are bringing the rear hand in through an inward
middle block. The shoulders don’t turn square enough to support a
block, but the point is to develop the motion of the arm to properly
pulse.

! Though you are using muscle in the beginning, remember that

the body is a hollow tube, and that you are taking the sensation of en-
ergy (force) and moving it through slight motion and concentrated
thought.
! As you do this move, in the form there will be other sensations
that you will encounter, and I will describe them as we encounter
them. Remember, however, that everybody is different, even with the
same type of body, there is going to be different viewpoint of what I
am saying. Thus, understand if your perceptions are not the same as I
describe, and have just enough of an open mind to fit them to the
physics you are doing.

! Now let’s look at the second technique of the form Unsu.

! Please remember that the concepts and energy of the forms ac-
cumulate.
! Thus, my instructions may be simpler in certain respect, but that
is because it is expected that you have already mastered the pulsing
energy concept of the first move.

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 Matrixing Chi

! If you have trouble...look to the first move again, and then pro-
ceed to the second.

! Here is the break down of motion.

! 1) Step to set up block.
! 2) Move the body into the block slightly, then settle back into the
back stance and let the energy of the body go into the arm.
! 3) Move the energy of the body into a low block.
! 4) Cover the face while you execute a low inward forearm block.
This is the start of rolling the hands, which will be a crucial technique
throughout the martial arts. Close the hips slightly, which will set up
the next move.
! 5) Execute an outward middle forearm block. Let the hips open
slightly to achieve proper body alignment. This will set up the pulse of
the next move.
! 6) Execute a spear hand. This is the first move you learned, and
your pulsing should be in full effect.

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 Matrixing Chi

Move will usually be done with a step.

Step behind yourself for a block to the rear.
Execute a low block with an augmenting rear hand.

Cover the face and execute a right low, inward forearm block.
Continue motion to a middle outward block (palm up).
Pulse the rear hand to a spear thrust.

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 Matrixing Chi

! The key here is to understand that the body is a hollow vessel.

! Look, x rays go through it, right?
! So why not the concept of energy called Ki?
! So when you move the body slightly forward it is like sloshing
water in a bathtub, the energy is directed in that direction, and then
you pull the body back slightly and sink into the back stance.
! Go back...and let the energy go forward and into your blocking
arm.

! Okay, you’ve got the two moves, and the two concepts of energy
that go with them.
! 1) Pulsing energy from the foot through the body to (and out of)
the weapon by segmenting body parts.
! 2) Moving the body to create a moving mass of energy which
can be directed into (and out of) the weapon.
! So let’s put the form together. You can then practice changing
positions and moving in different fashion while pulsing and moving
energy.

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 Matrixing Chi

! Here’s a close up of the grab.

! You can see the angle of the hand on the wrist.
! You can also see the rear hand is in a claw.
! This is perfect for grabbing an arm and manipulating pressure
points.
! When you grab somebody by the arm you can press on the fol-
lowing points.

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 Matrixing Chi

FRONT HAND GRIPPING HIGH ON THE ARM

! 1) side of biceps
! 2) inside of elbow
! 3) funny bone
! 4) crown of biceps
! 5) radial nerve (on top of muscle two inches down from the
crotch of the elbow.
REAR HAND GRIPPING ON THE WRIST
! 1) inside wrist one inch above hand
! 2) sides of wrist
!
! You can also slide the arm to grip pressure points on the hands,
or different points of the arm.

! I usually stick with the obvious pressure points.

! A complete study (as in a Matrixing study) of pressure points is
called for, a study which utilizes those listed in Chinese arts, and rein-
forced by physics whenever possible.
! But, really, if you just keep practicing, feeling the arms when you
grab them, you will discover the useful and easy ones without the
need for any specialized study.
!

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 Matrixing Chi

UNSU

! To begin the form stand squarely in the

room, hands in front of Tan Tien.
! ‘To stand squarely in the room,’ is an old
Japanese saying, and it doesn’t mean to stand in
the geographical center, but rather, wherever you
stand...stand as if you are the center of the room,
your perceptions extending in all directions.

ONE
!
! Raise hands, bring energy up. You should
feel energy swelling in the chest.

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 Matrixing Chi

! Unfold arms as you extend right foot (back

stance).
! You should feel energy expand in front of
you as you unfold the arms. You don’t need to
concentrate on muscles, but rather the feeling of
moving energy about you.

TWO
! Bring the left hand inward, through an in-
ward middle block. It comes a couple of inches
from the right elbow, and is actually describing, if
you are looking down from above, a figure six.
The tail of the six comes when you extend the
spear.

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 Matrixing Chi

! Push with the left foot to start the wave of

energy. Rotate the hip back slightly, then raise
the shoulder, then let the elbow go out slightly,
then spear.
! Concentrate on feeling the mass of energy
come up the leg, build in the tan tien, and go over
the shoulder and out.

! Retract left hand.

! Make sure you coincide your breathing with
this motion. Breath out with the strike, in with the
retraction.

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 Matrixing Chi

THREE

! Turn the front foot out preparatory to step-

ping.

! Move through a cat stance. This is a half

moon step applied to a back stance.

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 Matrixing Chi

! Extend the left foot into a back stance.

Place the foot gently, as if stepping on eggs. No
sound, and no slippage.
! If your feet make sounds when stepping it
means they are hitting the earth, colliding with the
planet, and having impact.

! Bring the right hand through an inward mid-

dle block. You should feel a tensing sensation
move across the abdomen. It should be gentle.
Too hard and the tan tien will hide. To soft and the
tan tien won’t respond. Just right and the Tan tien
wakes up, blinks, says, ‘Oh, energy...I’m sup-
posed to do the energy thing.’ As stupid as this
sounds, it is accurate. But too soft or too hard
and you won’t know it.

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 Matrixing Chi

! Wave energy through the leg, hip, shoulder

and elbow to a right spear.
! At first you fully relax (empty) the arm to get
the sensation of power pulsing through the body.
! But, as you practice this move, you will find
that the arm gets fuller and fuller, and that your
old idea of emptiness doesn’t work. You’ll have to
get the idea of changing the way energy radiates
from your arm, reversing the actual ‘radiation’
sensation.

! Retract right hand.

! Hold the energy in the tan tien, let it bubble.
The arm relaxes, but the holding of the tan tien,
and the bubbling sensation, continue.

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 Matrixing Chi

FOUR
(Step forward and repeat the first move)
! Make sure you turn the left foot before
stepping into this stance. The idea here is that
you turn a foot without weight on it. To turn the
foot with weight on it grinds the foot and the
joints.

! Bring the right hand through an inward mid-

dle block. We are just repeating the first move of
the form here.

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 Matrixing Chi

! Wave energy through the leg, hip, shoulder

and elbow to a left spear. If you have ever
watched a dog shake water you will understand
what is happening here. The dog starts with the
head, goes to the neck, down the body to the tail.

! Retract that left hand. Don’t retract it by

feeling the arm...retract it by feeling the belly. If
you move from the tan tien, make that the source
of energy with your awareness, it becomes the
source of energy and will crete more energy.

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 Matrixing Chi

FIVE

Step to the rear. Here is the footwork.

! Here’s the completed step to the rear with a

back stance and a right low block with an open
hand. The next picture is a side view of this
move.

NOTE: Make sure you shift the body so you feel

the energy move one way, then shift back so it
snaps down the limb.

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 Matrixing Chi

! This is the side view. Remember, the en-

ergy shoots down the hand and it is like you are
flicking water off the hand.

! Roll the hands so as to shoot the outward

middle block from the tan tien. There will be a
slight turn of the body so you can turn the hips
into then out of the action.

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 Matrixing Chi

! Here’s the side view.

! Keep a light tension in the tan tien. Base the
hands from the tan tien. Breath with the motion
from the tan tien.
! The interesting thing is that you are thinking
of so many things at once, keeping them all bal-
anced, that it tends to remove you slightly from
the body.

! Turn the right hand to grip the opponent’s

wrist.
! Don’t just turn, but make a small circle and
come down with the claw.

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 Matrixing Chi

! Here’s a top view of the hand. Note how the wrist

turns to the right. This is for grabbing. If the wrist was
straight it would be for clawing.

! Here’s a side view of the grab. Circle the

grab slightly and come down, maybe an inch, to
simulate putting weight onto the grab.

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 Matrixing Chi

! Holding on with the grab hand, pulse from

the leg to the hip to the shoulder to the elbow to
the thrusting of the spear hand.

! Here’s the side view

! In real life, though I practice power in the
thrust, I would usually place my hand and insert
the fingers gently into a spot of my liking.
! Yes, I could probably strike with the fingers,
but I like to protect my hands.

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 Matrixing Chi

SIX

! Turn the right foot before you shift the

weight on it, move the right foot slightly, and
move the body to start the roll of energy inside.
!

! This is going to be more of a hip snap than

a full body roll to get the energy to snap down
into the limb.
! Feel the energy go down the arm, and let it
pop out of the hand.

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 Matrixing Chi

! When you snap the arm up into the middle

outward block, you will move it through a low, in-
verted forearm block.!
! You can use the other hand to guard the
face and make it a roll of both hands. This is op-
tional, and one must be careful not to put too
much emphasis on the rear guarding palm.
Roll to outward thrusting middle block (palm up).

! Turn the hand over in claw.

! You can make a stronger claw by doing
push ups on claws, that sort of thing, but remem-
ber that you are trying to create emptiness within
the body so that energy can flow. Don’t let the
two concepts, push ups on claws and emptiness,
disturb each other. Practice them separately and
be able to go from one to the other easily.

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 Matrixing Chi

! Turn the left hand over to grab.

! Pulse the spear.
! The pulse is the same throughout the form,
but having the opposite hand hold its position, or
turn over and claw, makes it totally different to the
mind.

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 Matrixing Chi

SEVEN
!
! Step to the right with left foot, shift weight to
move energy.
! Remember, it is like sloshing water in a
bathtub. The body is the bathtub and the sensa-
tion of mass moving inside the body is the water.

!
! Sink back into the back stance as you exe-
cute a right low block.
! Remember, you are flicking water off the
hand. This requires a delicate piece of emptiness
in your mind, and finding this emptiness tends to
move you slightly out of your body.
! Don’t be in a hurry, just keep doing it, and
the effects will accumulate, and one day you will
realize that you are different. How fast you do it depends on you and
how much and how effectively you practice.
!

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 Matrixing Chi

! It is optional to guard the face as you start

to roll the hands. The lower hand should slide
through the groin protection inverted forearm po-
sition regardless. This should start a little roll of
energy in the tan tien.

! Roll the hands to shoot an outward middle

thrusting block.
! Many people try to move the hand side-
ways, as if striking the incoming punch from the
side, but there is no body behind a block coming
in sideways.
! You have to angle the body slightly to the
side in real life, and shoot the block across the
incoming forearm.

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 Matrixing Chi

! Turn the hand over to grip.

! Angling the hand to the side puts the thumb
in position to really dig in to the arm you have
grabbed.

! Foot to hip to shoulder to elbow to Spear

thrust.
! Angle the elbow of the thrusting arm up and
to the side. It becomes an overriding block/strike.

! People train with blocks, but they never

work. You never see blocks in a fight. You do,
however, see a superior line of attack; the fellow
who shoots his arm at the same time and has a superior angle is go-
ing to come out on top.

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EIGHT
!
! Guarding the face, step 90 degrees to the
rear with the right foot.
! You are going to step and ground, then whip
the body to slosh the water (energy) inside).

! Use rotation instead of body shifting to

move energy into the low block.
! You’ve had a little bit of rotation in the previ-
ous moves of this type, but the emphasis has
been on the back and forth of the body.
! Now, because you stepped, you didn’t have
a chance to move the body back and forth, but
the turn of the body is sufficient, and will actually
develop into something far more efficient when it comes to transduc-
ing energy

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 Matrixing Chi

! Guard the face (optional) and the groin as

you start to roll the hands.
! If you study the motion of the hands you will
find a yin yang hidden in the overlapping geome-
try.
! This is a staple of the true art, because it
starts the tan tien to generating.

! Outward middle thrusting block with spear

(palm up).
! I usually have the back hand flat, palm
down. I place it directly over the tan tien, and this
tends to become a ‘roof’ against which the tan
tien bubbles.

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! Turn right hand over to grab.

! You can practice holding jars with your fin-
ger tips to improve your claw.
! Start with empty jars and fill them over
months.
! Then, start with empty jars and grease the
lips, and again, fill them over months.
! Success will come as you learn to relax.

! Pulse the spear hand.

! I like to place the index finger over the mid-
dle finger and have a ‘double strength’ finger
thrust.
!

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 Matrixing Chi

! Retract the right hand.

! Hold the energy in the tan tien.
! You should hold the muscles over the tan
tien taut the whole form, containing the tan tien,
holding it gently in place so you can bubble it.

! RETURN TO END FORM

! Bring your energy back to yourself.
! Close off the tan tien and tell it to rest.

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CHAPTER TWELVE

! As you practice forms you will find your body filling with warmth,
and you may experience flowing sensations, and you may experience
other phenomena.
! As I said, every person will have a different viewpoint, attach-
ments to different perceptions, and so on.
! The trick is to remember that they are nothing but sensations,
and nothing more than guideposts which can be used to teach us how
to move the bodies, how to use the bodies to generate energy, and so
on.
! You may find people appreciating one art over another. One per-
son may find the sensations waking up in Tai Chi, another in Pa Kua,
and that is fine.
! The most important thing is to wake them up, and the data I pro-
vide, while it is art specific, should not be excluded from one art or an-
other.

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! The only thing you really have to be careful of is the attitude that
the sensations are the product. They are not. They are only signposts
to be following, to be manipulated.
! Let me give an aside which you might find interesting.
!
! There is much significance given to the ‘Third Eye.’
! I’ve been through the third eye, and it is nothing but an inversion.
! You simply shift your viewpoint through the center of your fore-
head, everything inverts, and you get a fresh view of the universe.
! Well, okay.
! There’s value.
! The value is that somebody has done a difficult trick.
! And, that person now has an expanded viewpoint, and a fresh
viewpoint, on what he is...what the universe is.
! Should we start a religion based on this trick?
! Should we dedicate our lives to being able to do this trick?
! Should we point at ourselves and tell everybody to worship us
because we can do a trick?
! Do you understand?
! The trick has value, but it is limited value, and it can be used to
skew our sense of what is important and valuable in this universe.
! A person goes through the third eye and considers himself
significant...because he doesn’t really understand what he has done.
thus...there is a build up of mysticism.

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 Matrixing Chi

! Or a person understands the physics of the universe until he un-

derstands that the third eye is merely a trick. One with value, as it sig-
nifies that a person has enough power and knowledge to do a difficult
trick.
! Which is more valuable?
! Going through your skull until everything inverts and building a
mysticism around it...or understanding the physics involved and not
being trapped by the mysticism.
! Well, think on it, make up your own mind.
! As for me, it’s almost time to move into the second form. There
are a couple of things you have to know first, however.

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CHAPTER THIRTEEN

! There are many systems in the body. Some people make a big
deal about nerve channels, the effects of acupuncture, and so on.
! Nerve channels are neat, but they are like the electrical wiring in
a house. You can effect them, even by standing back and waving
some energy at them, but as a subject to be studied they are limited.
! It is good when the channels are open, for that is a healthy body.
A good regimen of martial exercise will open the nerves (and other
systems) and give a person good health.
! However, these channels are limited because they are inside the
body, and don’t have effect outside the body.
! Compare to muscles: when muscles are tightened (as in the fist)
the energy stops in the muscle (or body part being tightened).
! You don’t tighten the nerves, or other channels, but the effect is
the same, when you over-obsess on internal energy channels, in that
energy cannot flow from the nerve (or channel) to outside the body.
! Thus, the sole method of moving objects in this universe has
been through pushing the body, in greater or lesser degree, against
that object.

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! Move a rock, insert body and push (lift) the rock upward.
! Move a car, place foot on accelerator and push.
! Move a pencil, push on the yellow, number two Ticonderoga from
all sides, then push in a variety of directions.
! Move a rocket to the stars, push a bunch of people to push on a
bunch of tools until...zoom.
! And we never get outside our bodies.
! Well, maybe some ancient Egyptians did...or maybe they didn’t.
We won’t know until we master whatever arcane algebraic telekinisis
they were practicing.
! If they were.
! It’s up to you.

! Then there is the subject of this book.

! We shift body to create the sensation of weight, and channel that
mass, and...flick it outside of our body.
! Project it.

! Now, there are three stages here.

! One, you bash your body against an object to create motion.
! Two, you move energy and students fly in all sorts of martially di-
rected directions.
! Three, you move energy and effect the universe.

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! We have been bashing, pretty good at it, can even bash together
a rocket and fly to the moon.
! We’re ready for projection of energy, but...number two of the
above list is not part of the procedure.
! It indicates hypnosis.
! If the fellow can make a martial motion and throw somebody
WHO IS NOT HIS STUDENT!...then we have actuality.
! We have entrance into the third point on the above list...and that
is where we want to go.
! I can put out a candle at distance.
! Okay, I can effect air with my chi.
! Can I move a more solid object?
! Can I make waves in a pond?
! Or move a ball under glass?
! Or move a body without that persons willing aid?
! Do you understand where we are going?
! And the way to go is to understand the body as a machine, to
understand the energies it is capable of, and capable of effecting, and
grow those abilities.
! The key is in this book, and in dedicating yourself to a martial
practice.
! The key is in how much you practice and make the theories of
this book work.

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Generation of power
starts with the feet, and
there is only the right
foot, the left foot, or
both feet.

Open or close the hips

and surge the power to
either the right or left
hand. You could put it
in the shoulder, or
whatever but the full
pulse would be to the
hands.

Techniques usually
open or close (though
there can be others) so
you have to open or
close the hips for im-
pact or alignment.

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CHAPTER FOURTEEN

! There are two legs.

! The first thing you do, when you undertake to use the body as a
machine, is to push against the earth.
! This establishes tension.
! It is up to you to make the translation, in your mind, as to the dif-
ference between muscular tension and energetic tension.
! If you get tired, you are pushing with muscles. If you don’t get
tired, or at least not for a long time, then you are probably using en-
ergy.
! That said, there are three methods of pushing energy.
! In Unsu you played with two of the methods.
! Pulsing from one leg, and directing the energy out the same side
hand (first method).
! The second method is pulsing from one leg and out the cross
side hand. We touched on this with the second block of the second
method..
! Now, on the first method you can close the hips.
! On the second method you open the hips.

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! On the first method you move the hips into the motion.
! On the second method you move the hips so as to establish
proper alignment.
! Both methods, the power must come from the ground.
! One close the hips, one opens the hips.
! Now, I’ve ground upon this pretty thoroughly, and I have done so
because it is important.
! You pulse from the ground and slam the hips into the action, or
you move them out and then slam them into alignment with the action.
! However, because we are attempting to build energy and project
it, the slam is done with extremely subtle and slight motion.
! And it is best done with virtually no motion, and solely as a result
of mental concentration.
!
! And, all that being said, what is the third motion?
! The third motion is to use both feet to pulse.
! I know, Tai Chi says you don’t use both feet.
! Well, you don’t use both feet if you’re doing Tai Chi. You can use
both feet if you are doing another art.
! Tai Chi tends to specialize in balance, and balance can be ma-
nipulated if one is standing on two feet. So, strategically, there is a
weakness.
! But I think not knowing one of the three methods would be a big-
ger weakness.

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 Matrixing Chi

! And, knowing how to pulse from both feet will enable one to build
defenses and strategies much more effectively.
! It’s that thing I keep harping on...you can’t truly know the soft un-
til you know the hard.
! You can’t truly know balance until you know...imbalance.
! Just understanding the concept I have presented should go a
long way towards dealing with any weakness.
!
! Now, to use two feet to project energy is very simple, just do the
following items in order.
!
! 1) Push against the earth with both feet.
! 2) Rotate the hips back slightly, and then forward.
! 3) Corkscrew the energy across the back.
! 4) Over the shoulder.
! 5) Around the elbow.
! 6) Thrust the spear.

! Consider the following sequence of pictures.

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PULSING FROM TWO FEET

Push with the feet.

Start rotating the hips.
Corkscrew the energy across the back.

Move energy over the shoulder. (Hips rotating forward now)

Around the elbow.
Into the spear hand thrust.

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 Matrixing Chi

Push with the feet to create weight in the

legs. Don’t rise up.

Rotate the right hip back to translate the

energy from up and down to rotational.

Move the energy up the back and to the

shoulder.

Translate the energy over the shoulder

and into a forward motion.

Wave the energy through the elbow.

Pulse the energy out the arm.

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CHAPTER FIFTEEN

! There were two moves in Unsu.

! 1) Pulsing on the same side.
! 2) Pulsing on the cross side.
!
! And, there is the major method to be learned on Sanchin.
! 3) Pulsing from both feet.

! These are the three methods for pulsing energy. One foot with
either hand, or both feet.
! You can develop a both feet pulse with either hand, but only one,
the one from the back leg, works well.

! There are two other methods of energy manipulation inherent in

Sanchin. (This makes three energy techniques within Sanchin...these
are the ‘Three Battles,’in this author’s opinion, inherent in the name of
the form.)
! One is circling the energy in front of the body.
! 4) Pulsing energy in a circle edge on to the body.

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! The other is circling the energy in a circle face on to the body

! 5) Pulsing energy in a circle facing the body.
!
! There are a couple of other things that are going to happen in
the form, but these are the main concepts to be mastered. Let’s con-
sider these two concepts.

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PULSING ENERGY IN A CIRCLE EDGE ON TO THE BODY

A simple pulse to double spear hands.

Close the fists.
Pull the fists back, starting a ‘reverse rowing’ circle.

Continue the circle.

Raise the hands, opening them and relaxing them.
Spear.

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Thrust the spear hands.

Control the energy explosion.

Close fist and pull down.

Creates mass in the tan tien.

Open and raise hands.

Rippling sensation up the abdomen
(fills the chest).

Thrust spear hands.

Control the energy explosion.

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! There is more to the action than this, but as you do the form we
will encounter certain things which feed the form, and which aid this
generation of energy.
! The thing to realize is that you are pushing a circle in front of the
body.
! One big pedal to move one big...body.
! And, here is something most people don’t realize, some
geometric motions made with the hand make the same energeti-
cal motions inside the body.
! As you do this circling motion with your hands, you will start to
feel the energy circling inside the body. It moves in the same motion,
paralleling the hands, and you can feel energy warp through your
body. You might have to do it for a while, but it works. This is one of
the things I have looked for in isolating motions...finding the motions
which engender the similar flow of motion within the body,

! Following is the third concept in Sanchin, the fifth one for the two
forms we are doing.
! And, there will be different versions and deviations and so on as
we go through the forms here, and in future forms.
! These are the building blocks, however, for they deal with puls-
ing the energy up from the ground.
! In the following concept the circle of energy is face on, and you
are turning it like you are turning a big wheel.

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! PULSING ENERGY IN A CIRCLE FACE ON TO THE BODY

Start from a right low palm block and a left cross palm block.
Start circling arms by raising the right arm and lowering the left arm.

Continue circling the arms.

Pass through a right high block and left low block.

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Continue circling the arms.

Tighten the circle and bring the arms in.
The right hand is at the hips, and the left arm is at the armpit.

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! A couple of things about this last image and the concept of cir-
cling the hands as they are circled here.
!
! You should move the hands just fast enough to feel as if you are
pushing a warm, airy mass of energy. Too fast and your hands will
pass through the energy. Too slow and the energy won’t build. Takes
some practice, but when you feel the mass of energy I am talking
about you will know that are doing things right.

! The movement of the hands describe what is happening in the

tan tien. As you move the hands in this movement they overlap to
make a sort of yin yang geometry. This same geometry will happen in-
side your tan tien.
! Now, the trick is that you will feel the flow of energy described by
the hands and happening inside the belly, and it will be like the two
flows are slithering against, then around each other. This is the actual
motor of the tan tien starting up. Don’t force this, just keep doing it,
gently, and let the sensation of the motor starting increase gradually
and evenly.

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CHAPTER SIXTEEN

! We are about to do Sanchin, and there is something I want to

say.
! The original Sanchin came from the art of Pan Gai Noon in
China. The beginnings, including knowledge of who the creator was,
are no longer known.
! As Karate crept (dashed) through first Okinawa, then Japan, and
onward, there were several versions of Sanchin.
! As Sanchin came to these later systems laterally, and probably
by people who had never experienced the original training and con-
cepts behind that training, it is fair obvious that Sanchin is messed up.
! Uechi Ryu does it for Dynamic tension.
! Goju does it for breathing.
! Shotokan does it for technique.
! All three are lacking in their interpretation of this form.
! If you do the form for dynamic tension you are doing it for mus-
cular growth. But use of muscles stops chi from leaving the body.
! If you do the form for breathing...you are entering into other prac-
tices, and breathing, especially in the harsh method advocated by

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Goju, isn’t particularly combat oriented, and certainly not related to the
methods preached by this volume.
! If you do the form for technique...where went the fabulous power
of the original Pan Gai Noon...an art where one could kill an opponent
with but a single strike?
! Is my method the original method?
! Maybe, maybe not, but, disagree with me or not, I insist that the
motivations, building usable chi, projecting that chi, bypasses all other
methods. Which is to say that doing any variation, then stripping the
influences from it, will get you to my interpretation.
! And, you’ll get muscle, all the breathing you want, and there are
techniques galore...but there is also a central concept that is lacking in
other arts.
! That said, please be polite to those who practice the form with
other concepts in mind.
! Make a friend and share the art, that is the way.

! And, one last thing.

! The original Sanchin was taught over a period of more than two
years.
! A simple form, but the pieces were given out grudgingly, and only
when a person had achieved a certain skill.
! We don’t need to take so long, as long as we understand the
theory and apply it.

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! So make sure you understand what I am saying here, and San-

chin won’t take more than two years to learn, it should only take a
couple of months.
! But, regardless of speed of learning, it is a form which should be
done your entire life.
! Godspeed.

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CHAPTER SEVENTEEN
SANCHIN
ONE
! Stand squarely in the room.
! As I said earlier, extending your perceptions
in all directions.
! But, you should be able to control the den-
sity of perception, apportioning degree and inten-
sity of perception according to relative distance of
space.
! And, you are not listening with your ears or
seeing with your eyes. You are feeling, using that
invisible radar we all possess, but are not trained in and do not even
speak of.
! When the hairs on the back of your neck go up because some-
body is walking behind you, that is the radar of which we speak. Not
ear nor eye, just the sense of distance collapsing and the proximity of
another body.

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! Push with the feet without raising the body

to create an energetical connection with the
planet. Feel the sensation of weight inside the
feet and ankles without moving the feet nor an-
kles, except imperceptibly.

! Pulse the energy up, wave it up to the upper

body, then pulse it down from the shoulders to a
double spear strike.
! The key to this opening strike is to wave the
whole body, and the key to waving the whole
body is to learn to relax it, in piece and in whole.

! The purpose of this move is to connect you to the earth. If you

mess up a move, always start the form again, as you connection will
be broken.

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! Close the fists. Close them tight, as if clos-

ing them on the skin of your opponent’s belly.
Crush the flesh with your grip.
! Keep the tan tien lightly tight as you do so.

! Cross the fists.

! Tighten lightly on the tien with this motion.
! Feel the energy of the whole body duplicate
the motion of your hands.

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! Bring the crossed fists up, this will swell the

energy up through the chest and prepare it for
the next move.

! Bring the hands down and out to outward

middle blocks. This is like lowering a giant pot, a
great weight, and you should feel the sensation
of weight lowering through your body to the tan
tien.
! The real key, though, is that you are open-
ing the front of your body and letting the immense
sensation of weight unfold gently in front of you.

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TWO

! Twisting and pushing with the feet will bring

the energy up the legs.
! Bringing the hand in, in collusion with the
inward turn of the hip, will bring the energy into
the tan tien.

! Thrust from the tan tien, this will bring to-

gether the pulse of the foot to hip across back to
over shoulder to around elbow.

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! Retract. Keep control of the tan tien all

through the movement. Use it, but don’t explode
it, make it burn and focus the energy gently. After
time, the energy won’t be so gentle.

ABOUT THE STANCE

! You must grip the earth like fingers gripping an apple.
! Instead of taking a couple of years waiting for a student to learn
to ground in this manner, I push on the shoulder.
! The push goes into the shoulder, across the back and the hip,
down the leg and into the ground.
! Thus, when somebody is striking from this stance they are hitting
with the force of the planet.
! When they get struck, the person striking is hitting the planet.

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THREE

! Bring the right foot half way in towards the

left. In walking, be very careful not to lose your
connection with the ground. Not losing your con-
nection with the ground is the essence of this
‘half moon’ walk.

! Step out shoulder width, exactly the length

of one foot forward.
! If you brought your feet together the swell of
the ball of the foot would fit exactly into the indent
of the arch.

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! Bring the right hand in and back then strike.

! The key here is that setting the foot down,
even as gently as possible, will start a flow up the
foot which will start the tan tien.
! Touch foot and sensation up leg and tan
tien grunts. That is the key, and that is what your
timing must seek.

! The motion of the striking hand, when

viewed from overhead, actually looks like a figure
6, or half a yin yang.

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! Retract the striking hand.

! Bring the energy back into yourself. Make
sure your belly is taut and holding the tan tien
firmly but gently in place.
! You should feel the tan tien being stirred
when you go through this motion. Hold the tan
tien lightly, the belly turns gently, and the tan tien
is gently compressed and shifted and makes en-
ergy.

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FOUR
!
! Step forward with the right foot,place foot
and begin the blocking motion.
! People call this the moon step, the half
moon step, the crescent step, and so many other
terms. The essence is in keeping control of your
ground so that you cannot be pushed over, even
in the middle of stepping.

! Place the foot and become aware of the tan

tien. Even if you don’t feel the reaction of energy
up the leg, it is happening. You just have to at-
tune your awareness to feel the sensation. When
you finally feel it you can adjust your timing, then
forget about the sensation. It will be there to stay,
and it will do nothing but grow larger and more
insistent.

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! Retract the left hand.

! Use this moment to focus your relaxation,
seek out any body parts that aren’t relaxed and
make them relax.

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FIVE

! Step across in front of the right foot with the

left foot. (dragon stance)
! Two ways of doing this step. I actually pre-
fer placing my stepping foot so it is facing the
other way at this point.
! I would suggest starting out the way I’ve
pictured however, and let the other method hap-
pen with time.
! The main thing is to keep and control your ground.

! Pivot to face to the rear and drive the feet

down.
! Screw yourself gently into the ground.

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 Matrixing Chi

! As you screw into the ground the push of

the feet starts the tan tien which starts the block.
! You must adjust your timing so that the se-
quence of motion is like dominos falling.

! Move the swirl of power that has been

started in the tan tien up the back and around the
shoulder and through the elbow to the strike.
! Pulse the right spear hand, flicking energy
into the air in front of you.

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 Matrixing Chi

! Retract the right hand.

Side view of this sequence of movements

is available in Chapter Fifteen.

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 Matrixing Chi

SIX

! Half moon step with right foot. Step and feel

the perception to contact with the ground begin.
Follow it up the leg.

! Energy hits the tan tien, which bubbles gen-

tly. Your taut belly holds the tan tien motionless
so that the only motion possible is within the tan
tien.

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! You move the arm to condense the swirl of

energy within the tan tien.

! You extend the arm, expanding the body,

letting the energy go out and around your shoul-
der and elbow into the thrust.

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! Keeping control of the tan tien, retract the

left hand.

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SEVEN

! Left Half Moon Step, holding the tan tien

and making sure it moves as little as possible.
! The key is in making sure the tan tien stays
in the same position in space, and that actual
movements of the tan tien are accomplished in
slow but sure inches.

! The placement of the foot causes the chain

reaction--perception up the leg, bubble in the
belly, surge through the upper body and arm.
! Remember, you are doing a backwards mo-
tion for each of the pulsing parts, but you make
them so small they are imperceptible.
! Eventually, you won’t need to have the
counter motion. But you must start with it, and
proceed with it until energy is actually moving. Then you can eliminate
it and hide your energy production to all but those who can perceive
without eyes and ears.

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! Pulse the right spear hand.

! Energy follows the path of your perceptions.
! Your perceptions extend through that which
you have relaxed.
! Don’t just relax inside your body, cause a
bubble of relaxation to happen around your entire
body.

! Retract the right hand.

! Relax!
! Perceptions travel through the emptiness
creating by relaxation.
! It is perceptions that start this whole thing.

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EIGHT

! Half Moon Step with right foot.

! Always walk softly and silently. If your foot
causes sound, that is a manifestation of energy
created by the collision of your foot with the
planet. Thus, you must harmonize (match the
motion of) with the planet with every step you
take.

! The push of the feet starts the block.

! One thing I haven’t mentioned much is
breathing, and it is crucial. Breath in as your body
contracts, breath out when it expands.
! Breath out when you get struck, or strike
somebody.
! Use breathing to relax yourself.
! Breath in on this movement.

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! Pulse the left spear hand. Breath out as you

strike. But don’t breath out so hard you lose
breath, just breath out gently, keeping the belly
taut even as you strike.

! Retract the left hand.

! The relative tautness of the belly should
stay the same throughout the entire form.

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NINE

! Dragon Step the left with the right foot, Mov-

ing the tan tien straight to the side.
! The right foot moves in front of the left,
barely passing it, setting it up for the turn so that
it will be in exactly the right place...swell of the
ball of the foot directly next to the indentation of
the arch.

! Turn into the Sanchin stance. This pivots

the tan tien even as you keep it in the same posi-
tion in space.

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! When you bring the hand in, and breath at

the same time, it is as if the in breath is com-
pressing the tan tien.

! Pulse the Spear hand.

! When you breath out it is as if breath en-
ergy is traveling through the arm and into the fin-
gers. This is actually awareness moving, and the
awareness will eventually become energy, and
your movement will become as if steel, and yet
effortless and easy and requiring no effort.

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 Matrixing Chi

! Retract the striking hand.

! The interesting thing is that putting aware-
ness into your body ‘hollows out’ the body.
! Awareness wakes up the body, imbues the
material of the body with a health and well being
and tremendous energy. It sometimes takes a lit-
tle extra time, but understanding what I am say-
ing here should cut the time down immensely.
! This is a science, after all, and a science is nothing more than a
description of knowledge. Thus, study the science, and fill yourself,
body and soul, with knowledge.
! in this case, the real and workable knowledge of the martial
arts...which is translatable to everything in the universe, and every-
thing you do in the universe.

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TEN

! Step forward with the right foot in a Half

Moon Step and begin swirling the arm and swirl-
ing the energy.

! Pulse the spear hand.

! Remember, extend the energy in a compact
line, and not in a full blown explosion.
! Don’t waste energy, use it.
! Be a craftsman, an artisan.

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! Retract the left hand.

! Your body should be a vast, hollow vessel
within a short time, and you should feel the surge
and swell of chi, and be able to direct it confi-
dently and with accuracy.

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ELEVEN

! Double spear hand thrust.

! Control the explosion, control the thrust.

!
! Close fists tightly. Close the tan tien gently.

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 Matrixing Chi

! Pull down. Pull from the tan tien

! The sensation should be like filling up a big
tub (the tantien), then, as you go into the next
movement, pulling something up the washboard
of your abdomen.

! This is covered in Chapter Fifteen. Make a reverse rowing circle

with the hands, which will start a reverse rowing circle of energy inside
the body.

NOTE:
! I have the wrong foot forward in this double thrusting sequence.
! The right foot should have been forward throughout this thrusting
sequence. Sorry.

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TWELVE

! Step to a spot shoulder width behind the

right foot with the right foot, point the fingers in
the direction you are going (right, in this case) to
prepare for snapping them into position.

! Place the left foot where the right originally

was and snap the left to a cross palm and the
right to a low palm block.
! This effectively covers the whole of the
body.

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 Matrixing Chi

! Raise the right hand to pass through a high

block and lower the left hand to pass through a
low block.
! This swirling motion not only describes a yin
yang with the geometry of the hands, but causes
a yin yang swirling motion in the tan tien.
! This is a very interesting sensation, as it
feels like there are two flows of energy in the tan
tien, and they are working against one another: your belly will feel this
sensation exactly.
! This is fine, you are just rubbing energy against energy in the tan
to create a motor.
! Remember, a motor must have two terminals to cause tension,
and this is happening, and thus the body creates chi...the ‘invisible’ (if
you use only the eyes and ears types of senses) energy.

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 Matrixing Chi

! Continue the circle of the hands, and draw

them back--left hand to left armpit, right arm to
hip.
! This is a retraction of the big energy swirl
you have just been creating. Pull it all the way
back into the tan tien.

! Push the hands forward as if encountering

great weight.
! When you are beginning you should feel
like you are pushing a thousand pounds on this
move. As you get better, you should use less en-
ergy and concentrate on the feeling of pushing
mass of air with the hands. It doesn’t take vast
power, it takes sensitivity and patience.
! Don’t move too fast or you’ll not get it.

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 Matrixing Chi

THIRTEEN

! Step shoulder width behind the right foot

with the left foot.
! Point the fingers of the hands preparatory
for snapping.

! Finish the step and sink your weight as you

snap the left cross palm and the right low block
palm. The sudden ground should excite the tan
tien to snap the energy into the hands.

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 Matrixing Chi

! Let the energy retract (it will do so on it’s

own, remember, nature abhors a vacuum, and
you have just created an imbalance which will act
like a vacuum)
! You might want to take a half breath, let the
breathing cycle catch up, before you start a left
high and right low palm block.

! Continue the circle of the arms, and draw

them in. Left hand to the armpit and right arm to
the hip.
! This swirl of energy is like a funnel back into
the tan tien.

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 Matrixing Chi

! Push the hands forward as if encountering

great weight.
! Feel the whole body push, every muscle,
every fiber, from foot to tan tien out to the hands.

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 Matrixing Chi

FOURTEEN

! Point the fingers in the direction you are go-

ing (right) as you step back to the front with the
right foot.
! Breath in.

! Left foot steps to front with a left low palm

block and right cross palm block.
! Breath out.
! Take a moment and let the breathing cycle
catch up, or, if you have the idea of what is going
on, you can just adjust it on the fly.

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 Matrixing Chi

! Circle the hands with a right high block and

a left low palm block.
! These blocks can be used to hard block, to
ward off, or to suck somebody in (with slight
footwork).
! The effect on the tan tien deserves ten
thousand repetitions.
! Breath out.

! At the end of the circle retract the right hand

to the hip and the left hand to the armpit.
! Breath in and prepare for the push by emp-
tying the body parts that are too full.

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 Matrixing Chi

! Press the hands forward as if pushing a

great weight.
! Breath out.

! Return to natural position.

! Relax everything. Let the energy of the up-
per body drain into the tan tien, let the energy of
the lower body drain into the ground.

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CONCLUSION

! When you do the martial arts you should maintain a balance be-
tween energy and relaxation so that you don’t exhaust yourself, but
rather have enough energy to do this form multiple times.
! The idea of doing your forms totally full, all muscles contracted to
the maximum, is like saying a balloon only exists by being full.
! Heck, a balloon that is only full will eventually lose its air.
! And an art that proposes massive amounts of power is missing
an awful lot of data.
! A balloon exists by being empty and then full, and creating a cy-
cle.
! This is the function of a motor, to create a work cycle through
expansion and contraction.
! What we are trying to do is apply that work cycle to the concepts
of the body so as to generate (and be able to use) energy.

! A couple of other things you should know.

! I started with these two forms because they are basic forms, and
illustrate basic concepts of chi generation and control.

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 Matrixing Chi

! I usually do four more forms, Wankin, Hangetsu, Chinto, Seisan,

and other forms. Be careful, for they are not the classical that you
would expect, but have been altered by me for the purposes I adhere
to in this book.
! Which other forms is an interesting question. As I said in the be-
ginning of this book, which forms I choose depends on the student I
am teaching. So you should study this book, any that follow, and apply
the data to your own art, and make a list of forms, a lengthy list of
forms, you can draw on to teach your students.
! At any rate, you can find the forms I use in this book in either the
Temple Karate course, or the Pan Gai Noon course, and it would be a
good idea to know the form in a gross manner before using it to gen-
erate energy. Be warned, however, I am merely teaching the gross
forms and applications on those courses, not going into energy gen-
eration on those courses. Energy generation (chi), is the subject of
this book, and the ones that follow it.

! Second, I recommend doing the Master Instructor course. This is

the course that shows you how to have perfect form and perfect tech-
nique, and thus it prepares you exactly for the energy generating con-
cepts of this and future books.
! Quite honestly, your success or failure in this book may well
hinge upon your understanding of the data in the Master Instructors
course.

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 Matrixing Chi

! Lastly, I do Tai Chuan, and here is an interesting thing.

! Students tend to hit a plateau. They get the data, then go
through a boring phase, and then they manifest the form.
! You can structure your forms and teaching around this phenom-
ena, and it wouldn’t be a bad idea.
! But, that said, I also cross train.
! I train in Tai Chi especially when I am hitting a plateau. And I
train in other arts, often to merely break through the plateau I am stuck
on.
! Thus, I go back and forth from hard art to soft art and so on.
! Really, it is like a cycle, and I am not unperceptive to the fact that
there is a motor at work here, and that this motor pushes me onward
in art.
! So, do what you will, and I will talk to you later.
! ! ! ! ! ! ! ! Al Case

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 Matrixing Chi

! I am one of the few people in the world that can put out a candle
from over a foot away by projecting chi. I am on youtube under
aganzul if you wish to see me do this.
! If you are interested in learning how to generate chi and direct it
in this fashion, the following books/courses/subjects will be of interest
to you.

How to Put Out a Candle

The Punch!
The Kick!
The Master Instructor Course.
Neutronics
Books following this one (Matrixing Chi 2), etc.)

You can find out about these books/courses/subjects at:

MonsterMartialArts.com.

You can find out about Neutronics at:

ChurchofMartialArts.com

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