Monday, December 24, 2007

Marathon Candybar Equipment

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Saturday, December 15, 2007

Saw Palmetto And Cervical Mucus

The measure in fencing

publish a very interesting technical article of Maestro Giancarlo Toran. The article also reported on the sites schermaonline.com and schermaonline.it with interesting comments.

~ ° ~
The measure fencing

time, speed and far, the most important is the measure, said the old Masters. And also new: the preconditions for the success of fencing action have not changed.

If measure is so important, we must explain what is good, and how you train the ability to manage it.

Measurement, in fencing, the distance between the two opponents facing each other. A variable distance, depending on many factors. Not measured in inches, but you must know how to assess, manage, predict.

One of the first things that are learned in the halls of fencing, you get the right distance to take a shot. Stationary (without moving your legs, without stirring, as they say): that is narrowly ; with ' lunge, and then to the right size , od'allungo, od'affondo; walking , ie with a step following from sinking.
The opponent is stationary, it is estimated the distance, you need to decide the motion.
In classical treatises measurements for the exercises, are three listed above.
In more recent texts, rising to five: the sword but also in saber, you can hit the target with an advanced step forward and lunge ; in the sword, in particular, it is useful to practice the remittances to measure very close , on the edge of the melee.
But it is worth noting that these distinctions education: the reality is much more complex, and the nuances are endless.

To learn how to evaluate (to start learning), they give points of reference, which should take a flexible approach, given the possible difference between the pitches.

To la giusta misura, ad esempio, ai tempi di Masaniello Parise ci si metteva in guardia con l’arma in linea, e con le punte che superavano le cocce avverse di circa quattro dita.
Allora la guardia di base era più ampia, e l’affondo più corto: ci si muoveva meno velocemente, considerando non la moderna pedana, ma il terreno del duello, che non permetteva errori. Oggi, un buon riferimento iniziale, più pratico, potrebbe essere quello delle punte sulle cocce.

Un esercizio utile : si prende una certa misura, ad esempio mettendosi guard, weapon in line with the tips that touch the coconut adverse (or the elbow or the chest, or half of the blade of the other ...); then we switch places, taking the weapon in the first place. One of them, at this point, will find the extent established, looking at the other (and not many references on the platform). Finally, both remit the weapon online, and examine whether the measure is again the one intended.
What you see, in this case, for greater effectiveness? An interesting question that deserves an answer in-depth elsewhere.

Later learn to maintain a measure: when the opponent (or the teacher, or fellow-years) is a step forward, it takes a step back, or vice versa, to maintain the fixed distance. One of them goes first, the other below, promptly, but still after some time, albeit minimal: simple reaction time to a visual stimulus, about two-tenths of a second.
Essential to the effectiveness of this exercise is to check: the driver (who decides whether and when to go forward or backward) must frequently stop and check if the distance is still the same. Otherwise, you only exercise for the legs, but not for the mind.

Mantenere una data misura: quale, e perché?
Se l’avversario avanza per toccare, non basterebbe starne lontano il più possibile? No, e per due buoni motivi.
Il primo è evidente: non si può arretrare all’infinito, perché il terreno, la pedana, è limitata. Conviene arretrare quanto serve per non prendere la botta, ma non di più.
Il secondo lo è un po’ meno: la botta non si deve prenderla, ma bisognerà anche metterla, e per farlo si deve stare abbastanza vicini. Quando the adversary stops, or does not have the initiative, should be close enough to make us dangerous to ourselves.

Yeah, but how close and how far?
is not a matter of inches, we have already said, but security .
If the other hand, I do have time to get away.
space I need depends on the speed that he makes us go, and from what I takes me back to: I see it, react, and meanwhile he approached a little '; and I have to move backwards, to keep me out of reach when he pulls the shot.
we are genetically equipped to "feel" this space, and this time we just have to adapt to the instrument extending our arm, and be very careful, not to be surprised.

Exercise: my opponent throws a straight punch to the chest (in a lunge, or with one or two steps forward before the sinking, the choice of who throws the shot), and then back to guard, in an attitude of invitation.
I stepped back just enough to avoid it (the minimo possibile), e “rientro” con una botta dritta, quando lui torna in guardia, sempre sull’invito: in questo esercizio non si deve parare.
Per riuscire a toccarlo, devo essere pronto a ripartire, e questo richiede equilibrio e buona posizione di guardia (gambe ben piegate); e devo arretrare il minimo indispensabile.
Devo farmi quasi sfiorare dalla sua punta, se sono bravo: se ho un ottimo “controllo” della misura. Il gioco può continuare all’infinito (ottimo allenamento per le gambe) se il primo, a sua volta, dopo aver tirato il colpo, arretra per evitare quello del suo compagno di esercizi, e si tiene pronto per "Return" in turn.
So until one of them will fail to touch: Generally, what has best preserved the balance and distance, and got (to be approached more) for the other to download the all convinced of touch.

Stay away is easy and instinctive. Being close is more difficult: you have to train to do so.
When you become good, the measure will "feel" .
There is clearly a difference between the extent security, or control , el'esser "inside" the measure.

During the assault of fencing, will "enter" and "exit" from the measure.
When you enter (the real "right" measure: very close to that of Masaniello Parise) is a very short time: to end the strike, or to return safely after making a feint, or because conditions are (attitude, movement of the other) are not what we expected.
If I'm ready to go, because I prepared I situation, I can start immediately decisive action.
If I'm not ready, because it is more than prepared, I notice with a delay of the opportunity and are unlikely to be able to exploit it, unless it has already done it. Delay: as already mentioned, we are talking about an order of magnitude of around two tenths of a second, simple reaction time.

Hence the importance of ' initiative, and provocation.
The initiative is the first of those advances, the challenge effective (call, action on the iron, imitation - by the sword or with the body) is made for those who come into his own choosing or initiative, or decide the time he leaves the other (which sold its own) can enter.
The tight control (to limit entry to an extent) effectively allows a provocation.
As I have written elsewhere, from a tactical point of view are two important measures: the control, and the action .
Outside and inside, but just outside, if the check is good.
I called "critical area" or "critical point" the border area: where the work fake, for the various uses that it can do (to strike, probe, lock, program the other, etc.. ).
An athlete knows how to ask an expert on the edge of the critical zone, and stay there quietly.
From there it can hold the opponent under pressure, and punish him with ease and speed when they fail: and it does move, several times in both directions, to make it more wrong, and better ability to interpret and intentions.

And if both opponents are experts? Here we are in the midst of fencing, and samples provide , plan, and bet.
Although very often do not even realize to do so.

They plan: if I go to get to my opponent, who is not running, I will assess the travel distance. But as soon as I move to join him, he can also back, making it longer, or advance, shortening.
If surplus "to see", that is slowly l’altro può facilmente andar via.
Se attacco al massimo della velocità, l’altro può frustrarmi chiudendo la misura.
Se, però, gli ho dato i segnali giusti (più volte in precedenza, programmandone in qualche modo le risposte; o subito prima, ingannandolo sulle mie intenzioni alla partenza), posso prevedere quello che farà.
La certezza, però, non l’avrò mai.
Devo scommettere con me stesso che sarà così, e rischiare.
Se sarò determinato, capiterà often the wrong action to be successful, if hesitate, I can easily turn into error the right action.
Why? I try to clarify with an example. If I start decided backbeat (by faking the attack to an extent, to block the exit in time) but the other does not pull, I paro-load and complete the action by pulling the shot, I'll have a good chance, although wrong prediction, to score the knock: if the error is not due to the increased intelligence of the other, I will be the advantage of the initiative.
addition, if not stopped me with one against (a fake time, for example), almost certainly not even he expected, and then the rest is left to chance, and the automation.
If, instead, I just expected, but results so far coming in, my hesitation could fend me poorly, or give you time to correct the other in another way.
Moral: if you've decided, go and do not look back.
In other words, when you enter an extent, the actions become open circuit. No time to rework the feedback (as in those shares closed circuit). There is a time to process ( measure long) and a time to act ( measure short , or action).


Now, we can deepen a bit 'some other details.

If I have to prepare, or do I have to hit, the effectiveness of mine action will depend on the speed both.
It 's more difficult to parry a shot fast, rather than a slow (apart from the "wrong time", which is another thing). Check means to react after seeing (more in general after a sensory stimulus), according to a given program.
In fencing that often leads to move in the same direction as the other: if he moves forward, I stepped back, and vice versa, so that those who advance checks, to attack from the far right (and after finding the right conditions).
This means that the relative speed of an attack, which is what counts, can be drastically reduced, moving rapidly in the same direction, pulling back.
A stop sword (the weapon when the appreciable difference in time is determined by the stopwatch, ed è minima: metà di un decimo di secondo) al bersaglio avanzato, ad esempio, può essere tirato con una certa tranquillità, se siamo bravi ad arretrare rapidamente: perché la velocità relativa del colpo in arrivo diventa molto bassa.
Addestrare l’allievo a questo è importante: a volte, la fretta di arrivare prima porta a tirare il colpo troppo presto, col braccio contratto.
Non si fa a tempo ad angolare, ad opporre correttamente, o a dirigere bene la punta.
Bisogna addestrare l’allievo a sentirsi tranquillo (se le gambe sono pronte) con la punta dell’avversario ben vicina al own body or to pull back enough to a target, with only a few inches advantage: with a relative speed close to zero, it is more than sufficient to avoid double. To search for it, however, agrees to meet his opponent, adding the two speeds.
The same principles can be applied to parades, or attacks. Also require careful monitoring of the measure, and therefore the relative velocity: even, but not all.

If we are of different height and speed, the critical area will not be the same for both (Not counting the different depth that can hit, if there are advanced targets, which require special skills).
I feel safe at a distance, but it is too long for my opponent: To enter an extent, he should approach a bit 'more.
I will be an advantage if I can hold my opponent's critical distance between the two, mine and his: I will always be safe, he always in danger.
The higher cost, in terms of mental resources (attention is costly), I bear him; who have an interest to stay out of the increased critical distance, or overcome as quickly as the range that is the only one in danger.

------------------------ A> B
A. ...... <-------------------B


height and speed of both, determine the critical distance.
In general, who is smaller even faster, and somehow compensate for the difference.
But there is another factor, very important to consider: the psychological . <
the basis of everything, there is range finding, which is strongly influenced by anxiety.
We tend to feel safe from a distance greater than necessary, or just reads badly as those children who are drawing the largest coin, if they are poor.
Being able to feel comfortable and relaxed, but very responsive, at close range, is a great virtue: and we must work hard and well, even on other planes, to acquire or strengthen it.

It is clear now (I hope, at least) that the real battle, preliminary, there is no technical breach of the terms (I flush, you do the fake and disengagement), but in terms of the measure.
may be that both are convinced that he understood the intentions of others, agree with the entry to an extent at which point, comparing the technical, and it shows who has just provided.
As poker, in fact.
More often, you get into the measure after a battle: Who wins could determine the time, the exact time of entry to an extent, when the other is not ready.
From the measurement we arrived at time, but that's another topic, although closely linked to the former.

Giancarlo Toràn

Tuesday, July 10, 2007

Inchworm Lyrics For Toy

It 'disappeared Master Joseph Stefanelli

Rome - The Italian fencing master is mourning the death of Joseph Stefanelli, prematurely removed from the family affection from an incurable disease.
great figures of technical and educator, during his career has been able to forge Stefanelli samples that have brought success to success and gave Italian fencing in the world.
at this time of great sorrow, the Italian Fencing Federation, gathers in a great hug to the family Society and the Garden of Milan, where he taught Stefanelli.

Joseph Stefanelli, born in 1946, graduated from the Academy of Fine Arts of Brera. He began exhibiting in 1971 accumulated significant experience.
From youth training / technical pictorial Pippo Spinoccia, following courses at the School of the instigators, the deepening of art criticism by Raffaele De Grada during the academic studies, meeting up with the aesthetic / design by Bruno Munari Roberto Sambonet, whose friendship and encouragement convinced Stefanelli to expose the first staff in 1982.
This is followed by the successful collaboration with art critic Patricia Serra founded the art gallery in Milan that temporary space will present different personality. Stefanelli is also a fencing master, a discipline in which he won two world championships, and has worked with Rudolph Nureyev in the preparation of choreography of the battles of "Romeo and Juliet", staged at La Scala in Milan in 1981. The artistic
of Stefanelli starts from a solid to land the size figurative informal / material. For several years, research has focused on the relationship of the structure of writing in relation the rhythmic gesture of execution and the lyrical dimension in the rarefied space of the painted surface.
Since the '80s he teaches painting and composition whose methods are based on the anti-academic dimension of group relationship and the results have led to the development of various group exhibitions of paintings.
Stefanelli's works are part of public and private collections in Italy and abroad.

source: www.stefanelli.info