Boxing Techniques Quotes

When we take permanent notes, it is much more a form of thinking within the medium of writing and in dialogue with the already existing notes within the slip-box

. . in Old Karate, you learned you Art through pain. You learned quickly that your techniques had to be fast or powerful or both. If you did not embrace pain and it's lessons adequately, you simply did not survive

What doesn’t work in the box 1. Trying to change others 2. Doing my best to “cope” with others 3. Leaving 4. Communicating 5. Implementing new skills or techniques

The difficulty, of course, with standing up to women was that it appeared to make little difference. At the end of the day,a man was no match for a woman.... The only thing to do was to try to avoid situations where women might corner you. And that was difficult, because women had a way of ensuring that you were neatly boxed in, which was exactly what had happened to him. He should have been more careful. He should have been on his guard when she offered him cake. That was her technique, he now understood; just as Eve had used an apple to trap Adam, so [she] had used fruit cake. Fruit cake, apples; it made no difference really. Oh foolish, weak men!

Every strength has a corresponding challenge and every challenge has a corresponding strength. The inattentive child may be a deep thinker. The uncooperative child may be a good leader. The emotionally-charged child may be gifted with exceptional empathy. The rule-defying child may be an out-of-the-box innovator. When faced with challenging behaviors, look for the corresponding strength, and focus on nurturing that gift while providing gentle guidance and coping techniques for the challenging areas. That is the essence of working with, instead of against, our children.

All of these techniques share an ontological purpose: to manipulate perceptions and to re-create reality. Once that Pandora’s box was open, there was no closing it again. The temptation was too great. For those who wanted to play God, there was the next best thing: one could play with the elements of creation in such a way that magical transformations would take place. As the men of the OSS, CIA, military intelligence and with Tavistock’s oversight developed from the armchair scholars that most of them were before the war years into soldiers fighting on all fronts of the Cold War, they became, in a very real sense, magicians. “The CIA mind control projects themselves represented an assault on consciousness and reality that has not been seen in history since the age of the philosopher-kings and their court alchemists.”9

Liv counted down from ten, picturing herself riding an elevator down. It was a technique she often used to get to sleep.

The secret of all new and innovated animation is to think outside the box and explore new frontiers of idea and expression.

but the only criterion is the question of whether something adds to a discussion in the slip-box. The only thing that matters is that it connects or is open to connections.

The slip-box is designed to present you with ideas you have already forgotten, allowing your brain to focus on thinking instead of remembering.

The only permanently stored notes are the literature notes in the reference system and the main notes in the slip-box.

The slip-box is the shipping container of the academic world.

The only thing that matters is that these notes provide the best possible support for the next step, the writing of the actual slip-box notes.

As part of the animal sentinel program, going back to 1999, scientists had been making great progress training honeybees to locate bombs. Bees have sensing capabilities that outperform the dog’s nose by a trillion parts per second. Using Pavlovian techniques, scientists cooled down groups of bees in a refrigerator, then strapped them into tiny boxes using masking tape, leaving their heads, and most of their antennae, poking out the top. Using a sugar water reward system, the scientists trained the bees to use their tongues to “sniff out” explosives, resulting in a reaction the scientists call a “purr.” After training, when the scientists exposed the bees to a six-second burst of explosives, some had learned to “purr.

When The Matrix debuted in 1999, it was a huge box-office success. It was also well received by critics, most of whom focused on one of two qualities—the technological (it mainstreamed the digital technique of three-dimensional “bullet time,” where the on-screen action would freeze while the camera continued to revolve around the participants) or the philosophical (it served as a trippy entry point for the notion that we already live in a simulated world, directly quoting philosopher Jean Baudrillard’s 1981 reality-rejecting book Simulacra and Simulation). If you talk about The Matrix right now, these are still the two things you likely discuss. But what will still be interesting about this film once the technology becomes ancient and the philosophy becomes standard? I suspect it might be this: The Matrix was written and directed by “the Wachowski siblings.” In 1999, this designation meant two brothers; as I write today, it means two sisters. In the years following the release of The Matrix, the older Wachowski (Larry, now Lana) completed her transition from male to female. The younger Wachowski (Andy, now Lilly) publicly announced her transition in the spring of 2016. These events occurred during a period when the social view of transgender issues radically evolved, more rapidly than any other component of modern society. In 1999, it was almost impossible to find any example of a trans person within any realm of popular culture; by 2014, a TV series devoted exclusively to the notion won the Golden Globe for Best Television Series. In the fifteen-year window from 1999 to 2014, no aspect of interpersonal civilization changed more, to the point where Caitlyn (formerly Bruce) Jenner attracted more Twitter followers than the president (and the importance of this shift will amplify as the decades pass—soon, the notion of a transgender US president will not seem remotely implausible). So think how this might alter the memory of The Matrix: In some protracted reality, film historians will reinvestigate an extremely commercial action movie made by people who (unbeknownst to the audience) would eventually transition from male to female. Suddenly, the symbolic meaning of a universe with two worlds—one false and constructed, the other genuine and hidden—takes on an entirely new meaning. The idea of a character choosing between swallowing a blue pill that allows him to remain a false placeholder and a red pill that forces him to confront who he truly is becomes a much different metaphor. Considered from this speculative vantage point, The Matrix may seem like a breakthrough of a far different kind. It would feel more reflective than entertaining, which is precisely why certain things get remembered while certain others get lost.

What does help for true, useful learning is to connect a piece of information to as many meaningful contexts as possible, which is what we do when we connect our notes in the slip-box with other notes.

writers, we approach the question of keywords differently. We look at our slip-box for already existing lines of thought and think about the questions and problems already on our minds to which a new note might contribute.

Let me tell you something about the beauty of destruction. There is a distinct art in boxing, because there is method, strategy, technique rules and all the bells and whistles that the general public knows. However, since the beginning of time mankind was destined to appreciate the art of combat; and that is the mortal sacrifice - you put yourself out there and display a virtual painting, an interactive canvas that portrays the nature of the human body and what it’s capable of, and as an outcome, the object of combat is not to sacrifice yourself to entertain spectators, no, but to make the other bastard sacrifice himself to entertain spectators - thus comes the art of honor. It’s not a thirst for blood, not at all - but an astonishment, an appreciation for the capabilities of a human that bares his soul naked for the art of combat using strictly his body. That’s entertainment.

A unique degree of physical development, equally strong blows from both hands, the ability to discover an opponent, as well as quickly perceiving the discovered places on his body and the simultaneous ability to immediately deal blows, contribute to the success of his tactics, almost always leading to a decisive victory.

Therapies administered included but were not limited to: turning things off, then on again; picking them up a couple of inches and then dropping them; turning off nonessential appliances in this and other rooms; removing lids and wiggling circuit boards; extracting small contaminants, such as insects and their egg cases, with nonconducting chopsticks; cable-wiggling; incense-burning; putting folded-up pieces of paper beneath table legs; drinking tea and sulking; invoking unseen powers; sending runners to other rooms, buildings, or precincts with exquisitely calligraphed notes and waiting for them to come back carrying spare parts in dusty, yellowed cardboard boxes; and a similarly diverse suite of troubleshooting techniques in the realm of software.

Expanding further on his own observations of Prince’s writing style(s) during the course of the album’s recording, fellow Paisley Park engineer Eddie Miller, who engineered the recording of ‘Electric Chair’ among other Prince recordings during the Batman era, recalled that “he would write all sorts of ways. I have to admit that I listened to some of his cassette demos that he would sometimes bring into the studio to reference (as I remember, he would hold the cassette player up to his ear, so you couldn’t really hear it.). They were fascinating. His cassette demo technique was extremely crude but ingenious—it’s like something you’d do if you had no access to any equipment. He’d use two cheap cassette recorders. If he wanted to hear drums, he’d record a human beat box rhythm for the length of the song—and most likely, he’d have the form of the song in his head while he was recording this. By the way, it was the same in the studio when he’d do his one man band approach to recording a song. He’d know the song in his head, and start out recording the drums for the song (it would essentially become the ‘click track’—the way a click track should be). Back to the cassette demo—he’d then play his beat box groove over the speaker on the cassette recorder and sing the bass line while recording all this onto the second cassette machine. He’d build up a rhythm track this way, and then add vocals. And there’s your demo.

For instance, when it came to developing his art of jeet kune do, he delved not just into standard martial arts for inspiration and information; he looked at Western boxing, fencing, biomechanics, and philosophy. He admired the simplicity of boxing, incorporating its ideas into his footwork and his upper-body tools (jab, cross, hook, bob, weave, etc.). And from fencing, he began by looking at the footwork, range, and timing of the stop hit and the riposte, both techniques that meet attacks and defenses with preemptive moves. From biomechanics, he studied movement as a whole,

During direct examination it is wise for the lawyers to be out of sight and focus attention on the witness, particularly one like Reynolds. I make it a practice to stand at the far end of the jury box while questioning. The jury’s heads naturally turn in the opposite direction toward the witness. After a while the lawyer is blotted out of view, only his voice being heard. In cross-examination, the technique is different. I walk forward toward the witness, often stand in front of the jury, and permit them to observe the emotions of both the lawyer and the witness. Every reaction of the duelists plays upon the other and gives the jury a better insight into the truth.

A.N. Kolmogorov and Yasha Sinai had worked out some illuminating mathematics for the way a system's "entropy per unit time" applies to the geometric pictures of surfaces stretching and folding in phase space. The conceptual core of the technique was a matter of drawing some arbitrarily small box around some set of initial conditions, as one might draw a small square on the side of a balloon, then calculating the effect of various expressions or twists on the box. It might stretch in one direction, for example, while remaining narrow in the other. The change in area corresponded to an introduction of uncertainty about the system's past, a gain or loss of information.

The night before, Um-Nadia came over with her small wooden box stuffed with handwritten recipes, dishes Um-Nadia hadn't prepared or eaten in the thirty-five years since she and Mireille had left Lebanon. Some were recipes for simple, elegant dishes of rice pilafs and roasted meats, others were more exotic dishes of steamed whole pigeons and couscous or braised lambs' brains in broth. And they discussed ingredients and techniques until late in the night. Um-Nadia eventually fell asleep on the hard couch in the living room, while Sirine's uncle dozed across from her in his armchair. But Sirine stayed up all night, checking recipes, chopping, and preparing. She looked up Iraqi dishes, trying to find the childhood foods that she'd heard Han speak of, the sfeehas- savory pies stuffed with meat and spinach- and round mensaf trays piled with lamb and rice and yogurt sauce with onions, and for dessert, tender ma'mul cookies that dissolve in the mouth. She stuffed the turkey with rice, onions, cinnamon, and ground lamb. Now there are pans of sautéed greens with bittersweet vinegar, and lentils with tomato, onion, and garlic on the stove, as well as maple-glazed sweet potatoes, green bean casserole, and pumpkin soufflé.

[...]Telecomputer Man is assigned to an apparatus, just as the apparatus is assigned to him, by virtue of an involution of each into the other, a refraction of each by the other. The machine does what the human wants it to do, but by the same token the human puts into execution only what the machine has been programmed to do. The operator is working with virtuality: only apparently is the aim to obtain information or to communicate; the real purpose is to explore all the possibilities of a program, rather as a gambler seeks to exhaust the permutations in a game of chance. Consider the way the camera is used now. Its possibilities are no longer those of a subject who ' 'reflects' the world according to his personal vision; rather, they are the possibilities of the lens, as exploited by the object. The camera is thus a machine that vitiates all will, erases all intentionality and leaves nothing but the pure reflex needed to take pictures. Looking itself disappears without trace, replaced by a lens now in collusion with the object - and hence with an inversion of vision. The magic lies precisely in the subject's retroversion to a camera obscura - the reduction of his vision to the impersonal vision of a mechanical device. In a mirror, it is the subject who gives free rein to the realm of the imaginary. In the camera lens, and on-screen in general, it is the object, potentially, that unburdens itself - to the benefit of all media and telecommunications techniques. This is why images of anything are now a possibility. This is why everything is translatable into computer terms, commutable into digital form, just as each individual is commutable into his own particular genetic code. (The whole object, in fact, is to exhaust all the virtualities of such analogues of the genetic code: this is one of artificial intelligence's most fundamental aspects.) What this means on a more concrete level is that there is no longer any such thing as an act or event which is not refracted into a technical image or onto a screen, any such thing as an action which does not in some sense want to be photographed, filmed or tape-recorded, does not desire to be stored in memory so as to become reproducible for all eternity. No such thing as an action which does not aspire to self-transcendence into a virtual eternity - not, now, the durable eternity that follows death, but rather the ephemeral eternity of ever-ramifying artificial memory. The compulsion of the virtual is the compulsion to exist in potentia on all screens, to be embedded in all programs, and it acquires a magical force: the Siren call of the black box.

The eyes from Burma, from Tonkin, watch these women at their hundred perseverances—stare out of blued orbits, through headaches no Alasils can ease. Italian P/Ws curse underneath the mail sacks that are puffing, echo-clanking in now each hour, in seasonal swell, clogging the snowy trainloads like mushrooms, as if the trains have been all night underground, passing through the country of the dead. If these Eyeties sing now and then you can bet it’s not “Giovinezza” but something probably from Rigoletto or La Bohème—indeed the Post Office is considering issuing a list of Nonacceptable Songs, with ukulele chords as an aid to ready identification. Their cheer and songfulness, this lot, is genuine up to a point—but as the days pile up, as this orgy of Christmas greeting grows daily beyond healthy limits, with no containment in sight before Boxing Day, they settle, themselves, for being more professionally Italian, rolling the odd eye at the lady evacuees, finding techniques of balancing the sack with one hand whilst the other goes playing “dead”—cioé, conditionally alive—where the crowds thicken most feminine, directionless . . . well, most promising. Life has to go on. Both kinds of prisoner recognize that, but there’s no mano morto for the Englishmen back from CBI, no leap from dead to living at mere permission from a likely haunch or thigh—no play, for God’s sake, about life-and-death! They want no more adventures: only the old dutch fussing over the old stove or warming the old bed, cricketers in the wintertime, they want the semi-detached Sunday dead-leaf somnolence of a dried garden.

Most disconcerting of all were those experiences in which the patient's consciousness appeared to expand beyond the usual boundaries of the ego and explore what it was like to be other living things and even other objects. For example, Grof had one female patient who suddenly became convinced she had assumed the identity of a female prehistoric reptile. She not only gave a richly detailed description of what it felt like to be encapsuled in such a form, but noted that the portion of the male of the species' anatomy she found most sexually arousing was a patch of colored scales on the side of its head. Although the woman had no prior knowledge of such things, a conversation Grof had with a zoologist later confirmed that in certain species of reptiles, colored areas on the head do indeed play an important role as triggers of sexual arousal. Patients were also able to tap into the consciousness of their relatives and ancestors. One woman experienced what it was like to be her mother at the age of three and accurately described a frightening event that had befallen her mother at the time. The woman also gave a precise description of the house her mother had lived in as well as the white pinafore she had been wearing—all details her mother later confirmed and admitted she had never talked about before. Other patients gave equally accurate descriptions of events that had befallen ancestors who had lived decades and even centuries before. Other experiences included the accessing of racial and collective memories. Individuals of Slavic origin experienced what it was like to participate in the conquests of Genghis Khan's Mongolian hordes, to dance in trance with the Kalahari bushmen, to undergo the initiation rites of the Australian aborigines, and to die as sacrificial victims of the Aztecs. And again the descriptions frequently contained obscure historical facts and a degree of knowledge that was often completely at odds with the patient's education, race, and previous exposure to the subject. For instance, one uneducated patient gave a richly detailed account of the techniques involved in the Egyptian practice of embalming and mummification, including the form and meaning of various amulets and sepulchral boxes, a list of the materials used in the fixing of the mummy cloth, the size and shape of the mummy bandages, and other esoteric facets of Egyptian funeral services. Other individuals tuned into the cultures of the Far East and not only gave impressive descriptions of what it was like to have a Japanese, Chinese, or Tibetan psyche, but also related various Taoist or Buddhist teachings.

Rhys smiled a bit, but the amusement died as he said, 'Tamlin was younger than me- born when the War started. But after the War, when he'd matured, we got to know each other at various court functions. He...' Rhys clenched his jaw. 'He seemed decent for a High Lord's son. Better than Beron's brood at the Autumn Court. Tamlin's brothers were equally as bad, though. Worse. And they knew Tamlin would take the title one day. And to a half-breed Illyrian who'd had to prove himself, defend his power, I saw what Tamlin went through... I befriended him. Sought him out whenever I was able to get away from the war camps or court. Maybe it was pity, but... I taught him some Illyrian techniques.' 'Did anyone know?' ... 'Cassian and Azriel knew,' Rhys went on. 'My family knew. And disapproved.' His eyes were chips of ice. 'But Tamlin's father was threatened by it. By me. And because he was weaker than both me and Tamlin, he wanted to prove to the world that he wasn't. My mother and sister were to travel to the Illyrian war-camp to see me. I was supposed to meet them halfway, but I was busy training a new unit and decided to stay.' My stomach turned over and over and over, and I wished I had something to lean against as Rhys said, 'Tamlin's father, brothers, and Tamlin himself set out into the Illyrian wilderness, having heard from Tamlin- from me- where my mother and sister would be, that I had plans to see them. I was supposed to be there. I wasn't. And they slaughtered my mother and sister anyway.' I began shaking my head, eyes burning. I didn't know what I was trying to deny, or erase, or condemn. 'It should have been me,' he said, and I understood- understood what he'd said that day I'd wept before Cassian in the training pit. 'They put their heads in boxes and sent them down the river- to the nearest camp. Tamlin's father kept their wings as trophies. I'm surprised you didn't see them pinned in the study.' I was going to vomit; I was going to fall to my knees and weep. ... Rhys merely continued. 'When I heard, when my father heard... I wasn't wholly truthful to you when I told you Under the Mountain that my father killed Tamlin's father and brothers, I went with him. Helped him. We winnowed to the edge of the Spring Court that night, then went the rest of the way on foot- to the manor. I slew Tamlin's brothers on sight. I held their minds, and rendered them helpless while I cut them into pieces, then melted their brains inside their skulls. And when I got to the High Lord's bedroom- he was dead. And my father... my father had killed Tamlin's mother as well.' I couldn't stop shaking my head. 'My father had promised not to touch her. That we weren't the kind of males who would do that. But he lied to me, and he did it, anyway. And then he went for Tamlin's room.' I couldn't breathe- couldn't breathe as Rhys said, 'I tried to stop him. He didn't listen. He was going to kill him, too. And I couldn't... After all the death, I was done. I didn't care that Tamlin had been there, had allowed them to kill my mother and sister, that he'd come to kill me because he didn't want to risk standing against them. I was done with death. So I stopped my father before the door. He tried to go through me. Tamlin opened the door, saw us- smelled the blood already leaking into the hallway. And I didn't even get to say a word before Tamlin killed my father in one blow.' 'I felt the power shift to me, even as I saw it shift to him. And we just looked at each other, as we were both suddenly crowned High Lord- and then I ran.' He'd murdered Rhysand's family. The High Lord I'd loved- he'd murdered his friend's family, and when I'd asked how his family died, he'd merely told me a rival court had done it. Rhysand had done it, and- 'He didn't tell you any of that.

The purpose of this experiment as George Kelly put it is “…to realize here and now that our innermost personality is something we create as we go along rather than something we discover lurking in our insides or imposed upon [us] from without.” (George Kelly, Fixed-Role Therapy) As we attempt this experiment we will slip out of character from time to time, but the important thing is to return to acting as our second self as quickly as possible. To help us at these crucial moments we may find it useful to devise a ritual which symbolizes and facilitates our transformation into our second self. Todd Herman, author of the Alter Ego Effect and a peak performance coach, cautions that this technique will only work if the ritualized actions we select are performed exclusively when we need to activate the transition into our second self. One example of a ritual that Herman recommends is to carry around a box of Tic Tacs and to pop one each time we need to get back into character.

Mandarin, and technical English for a while. Therapies administered included but were not limited to: turning things off, then on again; picking them up a couple of inches and then dropping them; turning off nonessential appliances in this and other rooms; removing lids and wiggling circuit boards; extracting small contaminants, such as insects and their egg cases, with nonconducting chopsticks; cable-wiggling; incense-burning; putting folded-up pieces of paper beneath table legs; drinking tea and sulking; invoking unseen powers; sending runners to other rooms, buildings, or precincts with exquisitely calligraphed notes and waiting for them to come back carrying spare parts in dusty, yellowed cardboard boxes; and a similarly diverse suite of troubleshooting techniques in the realm of software.

In order to ensure the defensive position of the chin, which should be carefully protected from impacts, the head is slightly inclined downwards; the fist of the left hand on the level of the shoulder joint, the elbow lowered, the hand should be held without tension, bent in the elbow joint; a fist with the back surface of the metacarpal bone in half a turn on the outside and up. In relation to the forearm, the fist takes a typical position for the moment of dealing a blow.

In a broad sense, boxing techniques include: the ability to move quickly and lightly around the ring, which allows the boxer to choose the right moment for attack and defense in fast-changing battle situations; mastering all the attacks of the attackers, based on precise coordination of the movement, performed unexpectedly, quickly, precisely with indispensable sharpness and strength; persistent messages and habits in the field of defense actions, protecting against enemy blows; mastering counter-kill techniques, combined with one or another defense.

Fighting in the ring requires a lot of attention from the boxer. The attention of the boxer should be marked by vigilance, continuity and perseverance. The boxer must at the right time see how the opponent's preparatory moves change, he must be able to guess the character of the intended attack or defense from them.

For example, the champion of the USSR in heavyweight, Algierdas Szocikas, sticks to the ring in a straight, balanced, right-hand position, allowing him to move lightly and quickly in the ring and with stronger effects use a stronger left hand. His tactics, based on surprising attacks from a distance, favors exceptional agility in moving around the ring.

The observation sense and the correct assessment of the opponent's properties, the ability to choose the right moment for the attack, the ability to react at the right moment and in the right way to the opponent's actions, allow Bulakov to box economically, and as if without haste.

boxer with a stronger right hand stands with the left side of the torso forward (in half-turn to the opponent), thus providing his right hand with a more favorable starting position for dealing strong blows. The left leg, advanced forward, rests on the floor with the entire foot. The right foot is just a small step behind and on the right step sweat, parallel to the left, touching the floor with your front part. In relation to the opponent, the feet are returned half a turn to the right. The weight of the body is evenly distributed on both legs, with slightly bent legs, which gives the possibility of free stepping with any foot in any direction. Torso straightened to facilitate balancing while moving around the ring.

The scheme of elements of the boxers moving around the ring clearly illustrates the boxer's desire to maintain an indispensable space between the feet after each step, in order to maintain stability. In this way, the boxer can freely take the next step in any direction. By practicing moving around the ring during a free fight, the boxer achieves a high degree of technical perfection of leg movements. When moving around the ring during a fight, the muscles of the body of the boxer should not be excessively stretched. The increased speed of the boxing step, combined with the attacker's blow or defense action, is achieved by quickly moving the body towards the step being taken. Each step is performed without first transferring body weight to the leg, which the boxer bounces at the given movement, directly from the boxing position. The weight of the body is directly relevant to the progressive movement

It is very important to teach the boxer how to maintain the direction of the boxing position in relation to the constantly changing opponent's place. This is achieved by returns. Returns are made on the front of the foot, bearing the weight of the body. Returns can be made on any leg. If, for example, you want to lean on the right leg around which the turn is made, the left leg is set aside towards the opponent. In this way, the combat direction of the position relative to the opponent is obtained (Figure 3). A quick turn of the torso around the leg, on which the weight of the body rests, facilitates the movement of the other leg, moved forward or backward.

How does the slip-box, the heart of this system, work? Strictly speaking, Luhmann had two slip-boxes: a bibliographical one, which contained the references and brief notes on the content of the literature, and the main one in which he collected and generated his ideas, mainly in response to what he read. The notes were written on index cards and stored in wooden boxes.

experimenter. For instance, when it came to developing his art of jeet kune do, he delved not just into standard martial arts for inspiration and information; he looked at Western boxing, fencing, biomechanics, and philosophy. He admired the simplicity of boxing, incorporating its ideas into his footwork and his upper-body tools (jab, cross, hook, bob, weave, etc.). And from fencing, he began by looking at the footwork, range, and timing of the stop hit and the riposte, both techniques that meet attacks and defenses with preemptive moves. From biomechanics, he studied movement as a whole,

experimenter. For instance, when it came to developing his art of jeet kune do, he delved not just into standard martial arts for inspiration and information; he looked at Western boxing, fencing, biomechanics, and philosophy. He admired the simplicity of boxing, incorporating its ideas into his footwork and his upper-body tools (jab, cross, hook, bob, weave, etc.). And from fencing, he began by looking at the footwork, range, and timing of the stop hit and the riposte, both techniques that meet attacks and defenses with preemptive moves. From biomechanics, he studied movement as a whole, seeking to understand the physical laws of motion while understanding biological efficiencies and strengths. And within philosophy, he read widely from both Eastern and Western writers, such as Lao Tzu, Alan Watts, and Krishnamurti, while also picking up popular self-help books of the day. He was open to all inspiration and all possibilities—his only limit being the limit of his own imagination and understanding.

It is more certain to use a deviation to the left in conjunction with the "direct" counterpart, with the right hand in the head, or in the torso. In this case, cover the chin with the outside, the side of the left hand chin, and the elbow - the torso. As a "direct" counterpart on the left, it can be used to cross the right-handed blow in the head. The name of this blow comes from the fact that the hands of the boxers are crossed when they inflict it. This blow can be inflicted if the opponent often attacks with a straight left blow to the head. Noticing the beginning of the opponent's blow, the boxer quickly leans forward to the left, passes his opponent's left hand over his right shoulder and deals a straight blow to the head, over the opponent's outstretched hand, while stepping forward with his left foot. The success of this blow depends on whether the boxer measures the exact distance to the opponent.

3) Departure by making the right leg to the right with the return on it to the left to face the opponent. He shakes his right hand lightly while asking;) blow his hand. opponent to the left, and the left takes the starting position to the counter-mission of "defense". The space on the opponent's body revealed at the moment determines the choice of a counter-blow (a blow or a blow from the bottom). With the right hand you can ask a "direct" counter-part from the bottom in the torso under the opponent's hand giving blow, or a simple blow to the head.

Going left is done by taking a sliding pace or getting away. In both cases, the departure must necessarily be combined with the task of "direct" counter-parting right in the head, in order to anticipate the possible blow of the opponent's right hand. When leaving to the left, it is also possible to task the opponent with a "direct" counter-part right down the head or in the torso. Going back. The movement of this defense starts with the left leg kicking off the floor and step back with your right foot. Performing a backward move, the boxer should, by assessing the body position of the attacking opponent, determine the exposed target and choose the type of counter-part. Just the right leg will touch the floor, the boxer, without spreading the weight of the body on both legs and without losing the right moment, should step forward quickly to target the counter-target of "defense".

Tactical combat actions should be thought out and organized. To build a battle plan is easy only in this case, if the opponent is known in advance, if the boxer knows his way of fighting, his favorite technical means and his personal qualities. But if the boxer does not know the opponent completely, then in the fight with him always have to pose the task of conducting a thorough, preliminary diagnosis. Every fight with any opponent always requires reasonable precautions. In practice, there were quite a few cases that the boxer lost the fight only because he started decisive actions, without first noticing the characteristics and character of the opponent's actions. When planning a fight, the relationship of strength must always be judged soberly; you can neither underestimate nor overestimate your opponent's strength. To fight against a known enemy, prepare yourself to use your abilities with the greatest success. The boxer, depending on how the opponent can act, what his blows are the most dangerous, what technical measures he uses most in combat, should think about the system of defense activities. Knowing what types of defense the opponent uses most effectively, the boxer should avoid using blows that the opponent can easily paralyze. If, finally, the opponent used to fight for a certain distance, the boxer should impose a fight at a distance to which he was not used, and put him in the least favorable conditions.

Having defined the battle plan at the beginning of the pre-match training, the boxer is specially prepared for it, choosing the necessary methods and means for this purpose and perfecting them during the training.

The diagnosis should be especially careful in the first round. Fighting lightly and carefully, try to explore your opponent's combat capabilities, reaction speed and other properties as closely as possible. Through deceptively masked actions, you can get an idea of ​​the opponent's way of fighting, his favorite blows and types of defense, his ability to lead a half-distance fight. During the reconnaissance, be careful and avoid unexpected blows of the opponent. Diagnosis should be made imperceptibly, so that the opponent does not recognize the boxer's distinctive tactics and by misleading actions did not evoke from his side an incorrect idea of ​​his intentions and manner of conducting the fight.

Mastering, perceptiveness and correct judgment on the properties of the opponent help the broker to act decisively in the fight. The ability to conduct reconnaissance is obtained in training battles with various combat-related characteristics of the partners. Based on the diagnosis, the main task before the boxer is to plan the fight in tactical terms. But before the decisive action begins, the boxer should set a clear goal. Comparing your own advantages with the opponent's combat characteristics gives you the opportunity to sketch a specific plan, the path to victory and the use of this or that tactic.

It is important to recognize the opponent at the right time, there may be a helpful second person, who during the breaks gives the boxer his observations. Recognizing the weaknesses of the opponent, his weakly protected places, one should quickly find the right methods of attack, choosing for this purpose and misleading preparatory activities, and essential blows. The boxer should be ready at any moment to develop the attack with a series of blows. The fast pace of the fight requires that the decisions made in the fight should be carried out without hesitation.

The tilt of the torso with the right-hand turn to the left and the forward fist move simultaneously. At the moment of the blow, the left leg is half-bent in the knee joint and rests on the front floor; part of the foot. It is indispensable not to lose balance in the case of a miss when the opponent leaves the back. In contrast to the straight left punch in the torso, usually used as a punctured punch, the right straight line is the strongest. After the right blow in the torso (as in the case of a blow to the head), it is possible to develop the attack with a left blow, with a reflection of the left leg. The counter-light curtain should be especially careful, because the left torso of the torso reveals parts of the body, nothing is secured from the opponent's right-hand strike. The left hand should cover the left side of the head with the palm of the hand and the torso with the lowered elbow. To protect himself from a counterattack, the boxer who missed should first of all take a defensive position, facing the opponent.

THE RIGHT BLOW IN THE HEAD The blow, as with all other blows, with the right hand, almost never starts an attack. It follows a blow (mark or normal), deal with the first hand, a task that is to break down the opponent's guard and create the ability to deal a blow with his right hand. The left-hand position of the opponent's body, which is in the boxing position, naturally creates a veil for the chin from the side blows. In order to cause the opponent to unveil, punched blows are used in the torso, forcing the opponent to defend the trunk, and thus weaken the head defense. As a punctured punch, you can apply simple or left-left eros in the torso.

At the time of the blow, the torso turns to the right and straightens simultaneously. The hand, dealing a blow, bent at the elbow at an acute angle, performs a fast movement from bottom to top at the blow (forearm directed in a straight line to the target). The fist, with fingers pointing towards each other, touches the target with the heads of the metacarpal bones. The right hand protects the chin with the open hand, and the elbow is lowered - the right side of the torso.

Whenever he read something, he would write the bibliographic information on one side of a card and make brief notes about the content on the other side (Schmidt 2013, 170). These notes would end up in the bibliographic slip-box.

When we are in high-stress situations, large doses of cortisol and adrenaline are released, which activates the ‘fight, flight or freeze’ response. The average person is unable to control this process, but the Navy SEALs are capable of doing so because they have been trained to, and depending on the situation, their responses to stressful situations could mean the difference between life and death. They use several techniques to do this, including box breathing. When a SEAL starts feeling stressed or overwhelmed, they focus on their breath to regain control. They take a series of breaths for four seconds at a time—they breathe in, hold their breath, and then breathe out. This process is repeated until the heart rate returns to normal

Wing chun involves the concept of “wedging out” punches more often than other styles because it uses a square-shouldered stance instead of keeping the power hand back. This means any incoming strikes that happen to travel along the outside of the arms will be redirected away from the head without the need for active blocking. In muay Thai clinch fighting, you use the same wedging process to get your arms on the inside and gain control of your opponent. The “cross counter” is another example of wedging that has been used successfully in boxing and MMA. There are many variations to the technique, but the basic premise involves extending your right cross over the top of your opponent’s left jab. Since your shoulder is below your head, a successful cross counter will direct the jab down and away from your head as your fist approaches your opponent’s chin.

Wing chun involves the concept of “wedging out” punches more often than other styles because it uses a square-shouldered stance instead of keeping the power hand back. This means any incoming strikes that happen to travel along the outside of the arms will be redirected away from the head without the need for active blocking. In muay Thai clinch fighting, you use the same wedging process to get your arms on the inside and gain control of your opponent. The “cross counter” is another example of wedging that has been used successfully in boxing and MMA. There are many variations to the technique, but the basic premise involves extending your right cross over the top of your opponent’s left jab. Since your shoulder is below your head, a successful cross counter will direct the jab down and away from your head as your fist approaches your opponent’s chin. If you want a simple example to test out using a wedge at home, have a friend of similar height approach you with two arms outstretched, as if to do the Hollywood-style two-hands-on-the-windpipe choke. As he approaches you, keep your shoulders square and extend your own arms, reaching for his neck or face, while ensuring your hands are on the inside. As he gets closer, the shape of your extended arms will clear his hands away from your neck, and you will be free to put your hands in his face. Figure 4-5. Diagram of a wedge. The applied force comes in from above and is split in two separate output forces, each pushing away from the wedge.

By being able to observe the trauma from the calm, mindful state that IFS calls Self (a term I’ll discuss further in chapter 17), mind and brain are in a position to integrate the trauma into the overall fabric of life. This is very different from traditional desensitization techniques, which are about blunting a person’s response to past horrors. This is about association and integration—making a horrendous event that overwhelmed you in the past into a memory of something that happened a long time ago. Nonetheless, psychedelic substances are powerful agents with a troubled history. They can easily be misused through careless administration and poor maintenance of therapeutic boundaries. It is to be hoped that MDMA will not be another magic cure released from Pandora’s box.

Box squat. The box squat helps you become familiar with proper squat mechanics while simultaneously providing a degree of safety and structural support in the bottom position. This version of the box squat is used to teach proper hip action in the squat, teaching you how to sit back and load your hips while keeping tension in the hips. To perform this exercise, stand in front of a sturdy box or chair with feet shoulder-width apart or slightly wider (see figure 7.8a). Lower to touch your buttocks and upper hamstrings to the top of the box without actually sitting on the box, keeping your weight on your heels and keeping full control of your body (see figure 7.8b). Inhale as you descend and exhale as you stand up. When done correctly, you will properly engage your hips and make your squat less of a knee-dominant movement. KEY PRINCIPLES Do not collapse on the box; it is only a focal point to reach for. Use the paradoxical breathing technique (inhale as you descend and exhale as you stand). As you become comfortable with the movement and feel your spinal stability improve, you can switch to anatomical breathing (exhale as you descend and inhale as you stand up). Maintaining a neutral spine (slightly arched lower back) along with creased hips is the key to both performance and injury prevention.

In the summer of 1961, Segal taught an adult painting class in New Brunswick. The class was encouraged to make use of odd and unlikely materials in assemblages, and one woman brought to class a box of surgeon's bandages. Segal took some home, with the intention of wrapping them around one of his chicken wire framworks. Then a thought occurred to him: why not dip the cloth bandages in plaster, and apply them directly to the body? Segal sat on a chair and instructed his wife to cover him in soaked bandages. The new technique led to a few anxious moments when the plaster began to harden, heat up, and contract, and the artist lost a good portion of his body hair in the course of frantically removing the casts. With great difficulty, he was able to reassemble the pieces into a complete figure which he then placed on a chair. Next Segal provided an environment for his plaster effigy. The chair was moved up to a table, to which was nailed an old window frame. The result, entitled Man Sitting at a Table, marked the discovery of a new sculptural technique and a turning point in the artist's career. Segal has never looked back.

3.1 The Toolbox We need four tools: • Something to write with and something to write on (pen and paper will do) • A reference management system (Zotero, Citavi or whatever works best for you) • The slip-box (paper or digital). • An editor (Word, LaTeX, Google Docs or whatever works best for you). More is unnecessary, less is impossible.

Lysenko had publicly come out in favor of a technique of close planting of crop seeds in order to increase output. The theory was that plants of the same species would not compete with each other for nutrients. This fitted in with Marxist and Maoist ideas about organisms from the same class living in harmony rather than in competition. “With company, they grow easy,” Mao told colleagues. “When they grow together, they will be comfortable.” The Chinese leader drew up an eight-point Lysenko-inspired blueprint for the Great Leap Forward, and persecuted Western-trained scientists and geneticists with the same kind of ferocity as in the Soviet Union.

To get a good paper written, you only have to rewrite a good draft; to get a good draft written, you only have to turn a series of notes into a continuous text. And as a series of notes is just the rearrangement of notes you already have in your slip-box, all you really have to do is have a pen in your hand when you read. If

When we extract ideas from the specific context of a text, we deal with ideas that serve a specific purpose in a particular context, support a specific argument, are part of a theory that isn’t ours or written in a language we wouldn’t use. This is why we have to translate them into our own language to prepare them to be embedded into new contexts of our own thinking, the different context(s) within the slip-box. Translating means to give the truest possible account of the original work, using different words – it does not mean the freedom to make something fit. As well, the mere copying of quotes almost always changes their meaning by stripping them out of context, even though the words aren’t changed. This is a common beginner mistake, which can only lead to a patchwork of ideas, but never a coherent thought.

Writing notes and sorting them into the slip-box is nothing other than an attempt to understand the wider meaning of something.

the slip-box is the medium we think in, not something we think about.

using the box-breathing technique she had learned along with everyone else during their first group session. She emptied her lungs of air. Then, she breathed in through her nose for four seconds; held it for four seconds; exhaled for a four-count; held that for four more seconds and began again.

There is this story where NASA tried to figure out how to make a ballpoint pen that works in space. If you have ever tried to use a ballpoint pen over your head, you have probably realised it is gravity that keeps the ink flowing. After a series of prototypes, several test runs and tons of money invested, NASA developed a fully functional gravity-independent pen, which pushes the ink onto the paper by means of compressed nitrogen. According to this story, the Russians faced the same problem. So they used pencils (De Bono, 1998, 141). The story itself, unfortunately, is an urban myth, but the lesson of it encapsulates the core idea of the slip-box: Focus on the essentials and don’t complicate things unnecessarily.

Semantic search, as a concept, has been around since Tim Berners-Lee, the man who is frequently called the father of the Internet, wrote an article about it in 2001 in Scientific American. There he explained that the essence of semantic search is the use of mathematics to get rid of the guesswork and approximation used in search today and introduce a clear understanding of what words mean and how they connect with what we are actually looking for in the search engine box.

The Democrat Party has engaged in, and in numerous instances implemented, obvious and blatant fraud-inducing techniques to sabotage elections, and accused those who question these techniques as racist, supporters of voter suppression, and election deniers. These efforts include eliminating voter identification laws; eliminating signature and date requirements for absentee ballots; universal mail-in voting; automatic voter registration; preregistering voters under the age of eighteen; voter harvesting; voter drop boxes; early voting; extended voting; illegal-alien voting in local elections; the distribution of driver’s licenses to illegal aliens; etc. Since the objective of these recent changes to the election process is to actually incorporate fraud into the law, it becomes difficult if not impossible to establish “evidence of fraud.” Hence, if you ask about the outcomes of elections that use one or more of these voting devices, especially in close elections, you are said to be “an election denier.” And if a Republican state legislature takes steps to repeal or reform these notorious election devices, the legislature is accused by the Democrat Party and its surrogates of racism—“Jim Crow 2.0.”37

Techniques Phase 1 Night is the time to practice this technique, as you will require deep, undisturbed concentration, and the airways are less likely to be cluttered during the dark of the day. You will be using the visualization function initially, but instead of retaining internalization, you are going to externalize your consciousness (as in shapeshifting). Seat yourself in your usual working position. Go into meditation to center yourself. Visualize yourself standing directly in front of where you are. Observe the back of your head, your height, your stance—everything about yourself that you can see. It is not possible to observe your own face in this context, just as it is not possible to observe your own physical form (except in a mirror), as we are aware only of our internalized externalization of image and not the way we appear to an observer. Next you are to project your consciousness into your body. By this I mean that you are no longer the person observing, but the person being observed. Look around your immediate environment. Go to the doorway and walk around the room, looking at everything: look behind objects, inside cupboards and boxes, look closely at books, pictures, everything. Continue this exercise nightly until you are familiar with your immediate surroundings. Always reenter your prone material body the way you left. Phase 2 Begin with meditation. Go with the process of projecting into the externalized image of yourself. You may now proceed to leave the room with which you have oriented yourself over the preceding nights and travel around the house in which you live, observing at all times and remaining aware of all things your senses perceive. If there are other people in the house, you may pick up on their emotions, moods, dream patterns, etc., but at this stage, do not work at having them become aware of your presence (they may become aware of you anyway, especially if they are asleep and traveling close to their physical habitat). Continue with this exercise until you are familiar with the process. Phase 3 Begin with meditation. Project your consciousness into your self-image. You can now leave the house and move around outside. Be aware of the time. Observe all that is around you. Now you can begin the process of expanding your entity. If you bend your knees and jump, you will discover that you are weightless and can keep rising into the atmosphere as long as you desire. You can also think your astral body from one place to another without necessarily following a familiar route. Practice this often, but don’t forget to follow the return-to-body procedure! I tend to stress this like a mother-hen. I’ve had horrible postastral dysfunction occur due to both interruption and lack of experience, and it has sometimes been days before I stopped feeling dizzy and/or nauseous and disoriented. Sleeping lots tends to fix it, though.

Helpful skills and techniques aren’t very helpful if they’re done in the box. They just provide people with more-sophisticated ways to blame.

Even if they do all the ‘right’ things interpersonally — even if they apply all the latest skills and techniques to their communications and tasks—it won’t matter. People ultimately resent them and their tactics. And so they end up failing as leaders — failing because they provoke people to resist them.

We were enduring the consequences of poorly made decisions. We had no idea how to help our friends go through their terrible trials. We were disappointed weekly by the church's avoidance of tough topics, or the black-and-white binary boxes. The church gave us cat-poster clichés or pulpit-pounding guilt-trips. So we adopted the self-improvement techniques of culture, which turned out to be self-improvisation, and it only made us worse.

Imagine you can see your breath, like when it's cold outside. You can see it floating. Now imagine that you can see your breath going in through your nose, filling up your lungs, and exiting your mouth. See the breath go out. This technique is called "Following Your Breath" because you are literally going to watch the breath go in

She leaned forward and placed her chin on her fist. 'So. Can you tell me in a sentence or two how I can fix my life using vaastu shastra techniques?' He smiled. 'You'll be surprised to hear that I can. These things may be complex on the surface, but they are built on very simple truths.' He leaned back and joined his fingertips together, looking up and thinking for a few seconds. 'Let me put it like this. Consider your desk, whether it is an office desk, or a table at home where you receive and write letters. What happens at that desk? Answer: every day, a number of letters are received. Or faxes. Or advertisements. These are all items with potential energy applications. They are all bits of paper urging you to react in some way—to buy a product, or respond with a phone call, or change the way you do something. Now what we should do is to react to that potential energy transaction in some way—and thus burn up the energy in it. We should either fulfill it, by doing what it says, or we should make a decision that we are not going to fulfill it, but instead throw the paper away. But, instead, we take that piece of paper and we balance it on our desk, unwilling to make an immediate decision. This happens to a number of pieces of paper every day, and then before we know it, there is a huge pile of pieces of paper on the desk. When it gets too high, we take the pile of paper and we tuck it into a drawer. When the drawer gets so full it cannot close, we tuck the paper into a cardboard box and stick it under the desk. Soon our desks are jammed with paper—underneath, inside & on top.' 'Good God! You've been spying on me!' 'Alas, it is what most people's desks look like.' 'What's the effect of all these unfulfilled bits of paper? What did you call it—potential energy transactions?' 'I shall tell you. The day comes when you arrive at your desk, and you have lots of work to do, but you can't do it. You feel an incredible amount of inertia. You can't get started. And you have no idea why.' 'You peeping Tom! You've been staring at me through my office window.' 'The reason why you can't get started is that your desk is swamped with frozen energy. It is lying there, waiting to be handled. But the inertia infects everything you do, so that you end up unable to do anything.' She shook her head. 'It's awful, but it all rings true. What about computers? I use mostly email these days.' 'They're just the same. The only difference is that instead of physical letters arriving at your desk, emails arrive in your inbox. Again, each of them is a potential energy transaction. And again, the right thing to do would be to delete each one, or reply to each one—and then delete it. But that's not what we do, is it?' 'It is not.' 'We leave them there in our inboxes.' She nodded guiltily. 'And soon there are 600 emails in our inboxes.' '800.' 'And eventually, we select them all and stick them in a file called "archive"—which is simply the computer equivalent of the cardboard box under the desk. And the result is the same. Our email systems become full of frozen energy, & inertia spreads out of it. We find ourselves unable to do any useful work.' 'I've often wondered why I feel like I am walking in treacle. So what should one do about all this?' Sinha waved a bony index finger at her. 'This is what I recommend. Divide all your paperwork into 2 piles. One of stuff that is useless and should be thrown away. And one of stuff which you think may be of use one day. Then you throw both piles away.' 'Both piles?' 'Both piles. By that stage, you will have started to feel the benefits that clarity can bring.' 'And I suppose one should delete all one's emails as well.' 'Exactly. Even if you don’t, that nice Mr. Gates has arranged for the computer to crash every few years, so that all your stuff gets wiped out anyway.

This is not to say that eyewitness testimony is worthless; quite the reverse. In certain circumstances it is invaluable in order to secure convictions. Rather, it is to say that memories should be coaxed out of witnesses with sensitivity to the biases that might otherwise contaminate the evidence. The tragedy is that the techniques used by police, until recently, had little of this sophistication.

The practice of “drive-bys,” for example, has been used and abused for decades: this is where an eyewitness is taken by police to see a suspect on the street, or at their place of work. Given that the witness knows that the police have suspicions about the person—why else would they be going there?—the technique is dangerously suggestive.

We will also discover the techniques to identify them and break them down, freeing us from their grip and fostering knowledge.

It was while at the Toyota plant that he had a revelation. Toyota has a rather unusual production process. If anybody on the production line is having a problem or observes an error, that person pulls a cord that halts production across the plant. Senior executives rush over to see what has gone wrong and, if an employee is having difficulty performing her job, she is helped as needed by executives. The error is then assessed, lessons learned, and the system adapted. It is called the Toyota Production System, or TPS, and is one of the most successful techniques in industrial history. “The system was about cars, which are very different from people,” Kaplan says when we meet for an interview. “But the underlying principle is transferable. If a culture is open and honest about mistakes, the entire system can learn from them. That is the way you gain improvements.

learn some healthy stress management techniques: deep breathing, meditation, counting, mantras, taking a walk,

We actually have a misperception of reality. And what we're doing through meditation is training in being able to perceive reality correctly. Enlightenment is perceiving reality with an open, unfixated mind, even in the most difficult circumstances... You could say it's as if we are in a box with a tiny little slit. We perceive reality out of that little slit, and we think that's how life is. And then as we meditate - if we train in gentleness, and if we train in letting go, if we bring relaxation as well as faithfulness to the technique into the equation; if we work with open eyes and with being awake and present, and if we train that way moment after moment in our real life - what begins to happen is that the crack begins to get bigger, and it's as if we perceive more. We develop a wider and more tolerant perspective. It might just be that we notice that we're sometimes awake and we're sometimes asleep; or we notice that our mind goes off, and our mind comes back. We begin to notice - the first big discovery, of course - that we think so, so much. We begin to develop what's called prajna, or "clear wisdom." With this clear wisdom, we are likely to feel a growing sense of confidence that we can handle more, that we can even love more. Perhaps there are times when we are able to climb out of the box altogether. But believe me, if that happened too soon, we would freak out. Usually we're not ready to perceive out of the box right away. But we move in that direction. We're becoming more and more relaxed with uncertainty, more and more relaxed with groundlessness, more and more relaxed with not having walls around us to keep us protected in a little box or cocoon. Enlightenment isn't about going someplace else or attaining something that we don't have right now. Enlightenment is when the blinders start to come off. We are uncovering the true state, or uncovering buddha nature. This is important because each day when you sit down, you can recognize that it's a process of gradually uncovering something that's already here. That's why relaxation and letting go are so important. You can't uncover something by harshness or uptightness because those things cover our buddha nature. Stabilizing the mind, bringing out the sharp clarity of mind, needs to be accompanied by relaxation and openness.

This is why it is so much easier to remember things we understand than things we don’t. It is not that we have to choose to focus either on learning or understanding. It is always about understanding – and if it is only for the sake of learning. Things we understand are connected, either through rules, theories, narratives, pure logic, mental models or explanations. And deliberately building these kinds of meaningful connections is what the slip-box is all about.

Luhmann’s slip-box contains about 90,000 notes, which sounds like an incredibly large number. But it only means that he wrote six notes a day from the day he started to work with his slip-box until he died. If you, by any chance, don’t have the ambition to compete with him in terms of books per year, you could settle for three notes a day and still build up a significant critical mass of ideas in a very reasonable time. And you could settle for less than one book every twelve months. In contrast to manuscript pages per day, a certain number of notes a day is a reasonable goal for academic writing.

Luhmann would add the number of one or two (rarely more) notes next to a keyword in the index (Schmidt 2013, 171). The reason he was so economical with notes per keyword and why we too should be very selective lies in the way the slip-box is used. Because it should not be used as an archive, where we just take out what we put in, but as a system to think with, the references between the notes are much more important than the references from the index to a single note. Focusing exclusively on the index would basically mean that we always know upfront what we are looking for

This crucial element of surprise comes into play on the level of the interconnected notes, not when we are looking for particular entries in the index. Most notes will be found through other notes. The organisation of the notes is in the network of references in the slip-box, so all we need from the index are entry points. A few wisely chosen notes are sufficient for each entry point. The quicker we get from the index to the concrete notes, the quicker we move our attention from mentally preconceived ideas towards the fact-rich level of interconnected content, where we can conduct a fact-based dialogue with the slip-box.

The search for meaningful connections is a crucial part of the thinking process towards the finished manuscript. But here, it is dealt with in a very concrete way. Instead of figuratively searching our internal memory, we literally go through the file-box and look for connections.

two slip-boxes: a bibliographical one, which contained the references and brief notes on the content of the literature, and the main one in which he collected and generated his ideas, mainly in response to what he read.

Whenever he added a note, he checked his slip-box for other relevant notes to make possible connections between them.

He would then add another note to his slip-box, on which he would sort a topic by sorting the links of the relevant other notes. The last element in his file system was an index, from which he would refer to one or two notes that would serve as a kind of entry point into a line of thought or topic. Notes with a sorted collection of links are, of course, good entry points.

3. Make permanent notes. Now turn to your slip-box. Go through the notes you made in step one or two (ideally once a day and

4. Now add your new permanent notes to the slip-box by: a) Filing each one behind one or more related notes (with a program, you can put one note “behind” multiple notes;

Stevie looked around for Janelle to help her, but Janelle was busy demonstrating proper sand-in-bottle technique to some kids. Some would have called this "doing her job," but to Stevie, this was abandonment.

All he did was take brief notes about the ideas that caught his attention in a text on a separate piece of paper: “I make a note with the bibliographic details. On the backside I would write ‘on page x is this, on page y is that,’ and then it goes into the bibliographic slip-box where I collect everything I read.” (Hagen, 1997)11 But before he stored them away, he would read what he noted down during the day, think about its relevance for his own lines of thought and write about it, filling his main slip-box with permanent notes. Nothing in this box would ever get thrown away. Some notes might disappear into the background and never catch his attention again, while others might become connection points to various lines of reasoning and reappear on a regular basis in various contexts.

Her kitchen was full of memories. This was where she demonstrated the god-given talent and craft that had made Sugar a success when she’d founded it at the age of twenty. This was where she had perfected her techniques and recipes---the dense Detroit pound cake, the light-as-air pastries, her signature champagne torte, and the bestselling kolaches had all been developed here in the homey old-fashioned kitchen. Biscuits, she often said, were the purest test of a baker’s skill. The ingredients were simple and technique was everything. Use flour from winter wheat and sift it twice. Keep a cube of butter in the freezer and shred it with the box grater. Wet your fingertips with buttermilk and handle the dough as if it were as fragile as a soap bubble.

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Without structure, we cannot differentiate, compare or experiment with ideas. Without restrictions, we would never be forced to make the decision on what is worth pursuing and what is not. Indifference is the worst environment for insight. And the slip-box is, above all, a tool for enforcing distinctions, decisions and making differences visible. One thing is for sure: the common idea that we should liberate ourselves from any restrictions and “open ourselves up” to be more creative is very misleading indeed (Dean 2013, 201).

Rhys smiled a bit, but the amusement died as he said, 'Tamlin was younger than me- born when the War started. But after the War, when he'd matured, we got to know each other at various court functions. He...' Rhys clenched his jaw. 'He seemed decent for a High Lord's son. Better than Beron's brood at the Autumn Court. Tamlin's brothers were equally as bad, though. Worse. And they knew Tamlin would take the title one day. And to a half-breed Illyrian who'd have to prove himself, defend his power, I saw what Tamlin went through... I befriended him. Sought him out whenever I was able to get away from the war camps or court. Maybe it was pity, but... I taught him some Illyrian techniques.' 'Did anyone know?' ... 'Cassian and Azriel knew,' Rhys went on. 'My family knew. And disapproved.' His eyes were chips of ice. 'But Tamlin's father was threatened by it. By me. And because he was weaker than both me and Tamlin, he wanted to prove to the world that he wasn't. My mother and sister were to travel to the Illyrian war-camp to see me. I was supposed to meet them halfway, but I was busy training a new unit and decided to stay.' My stomach turned over and over and over, and I wished I had something to lean against as Rhys said, 'Tamlin's father, brothers, and Tamlin himself set out into the Illyrian wilderness, having heard from Tamlin- from me- where my mother and sister would be, that I had plans to see them. I was supposed to be there. I wasn't. And they slaughtered my mother and sister anyway.' I began shaking my head, eyes burning. I didn't know what I was trying to deny, or erase, or condemn. 'It should have been me,' he said, and I understood- understood what he'd said that day I'd wept before Cassian in the training pit. 'They put their heads in boxes and sent them down the river- to the nearest camp. Tamlin's father kept their wings as trophies. I'm surprised you didn't see them pinned in the study.' I was going to vomit; I was going to fall to my knees and weep. ... Rhys merely continued. 'When I heard, when my father heard... I wasn't wholly truthful to you when I told you Under the Mountain that my father killed Tamlin's father and brothers, I went with him. Helped him. We winnowed to the edge of the Spring Court that night, then went the rest of the way on foot- tot he manor. I slew Tamlin's brothers on sight. I held their minds, and rendered them helpless while I cut them into pieces, then melted their brains inside their skulls. And when I got to the High Lord's bedroom- he was dead. And my father... my father had killed Tamlin's mother as well.' I couldn't stop shaking my head. 'My father had promised not to touch her. That we weren't the kind of males who would do that. But he lied to me, and he did it, anyway. And then he went for Tamlin's room.' I couldn't breathe- couldn't breathe as Rhys said, 'I tried to stop him. He didn't listen. He was going to kill him, too. And I couldn't... After all the death, I was done. I didn't care that Tamlin had been there, had allowed them to kill my mother and sister, that he'd come to kill me because he didn't want to risk standing against them. I was done with death. So I stopped my father before the door. He tried to go through me. Tamlin opened the door, saw us- smelled the blood already leaking into the hallway. And I didn't even get to say a word before Tamlin killed my father in one blow.' 'I felt the power shift to me, even as I saw it shift to him. And we just looked at each other, as we were both suddenly crowned High Lord- and then I ran.' He'd murdered Rhysand's family. The High Lord I'd loved- he'd murdered his friend's family, and when I'd asked how his family died, he'd merely told me a rival court had done it. Rhysand had done it, and- 'He didn't tell you any of that.

Instead of having different storage for different ideas, everything goes into the same slip-box and is standardised into the same format. Instead of focusing on the in-between steps and trying to make a science out of underlining systems, reading techniques or excerpt writing, everything is streamlined towards one thing only: insight that can be published.

In the fight for half-distance, the boxer works faster than in a distance fight; great speed of short blows and fast change - situations greatly hinder the boxer's orientation: in a half-distance fight he should specifically guess the intended actions of the opponent, immediately anticipating them, finding convenient starting positions, both for short blows and for defense. Therefore, the boxer should learn and learn exactly the defense and counteracting, used in the fight for half-life. All counters are divided into "direct" defense. The "blows" are called those blows that anticipate the opponent's attack (Figure 26). These blows anticipate the opponent's attack and due to the fact that they are unexpected for the opponent, they are considered the most effective. "Direct" blows can be combined with almost all types of defense. The ability to use them gives the boxer the option of permanently keeping the initiative in combat in his hands. In actions against the attacking boxer, the basic ones are "direct" counterits; you can stop them and paralyze aggressive actions of the opponent