Articles on Karate Jutsu by Sensei Alan Platt 6th Dan
My Golden Rules of Kata
My Kata Rules Explained in Slightly More Detail.
Rule 1 part 1 : Counter offensive techniques, must incorporate a means by which they can suppress an unwanted invasion of your space, before it happens. An assumed response, could mean taking the initiative once an intent has been established. The Heian kata's are a catalogue of fundamental tactic designed for that purpose. The dynamics of kata, without which the tactic is useless, I've found, have to be addressed separately. Purely because the shape of kata is passed on regardless, as a pattern, devoid of the essential dynamics that support the potential of the tactic. That's one reason I think that basic kata technique's don't work for some people, when they are needed most. By fundamental principles, I mean 'on which the physics of any dynamic tactic is supported and which the advanced technique is structured off'.
These elements mentioned below are contributing elements of kata that can be interwoven. How we weave them determines the complexity of our knowledge as basic principles or advanced kata multiple element applications.
(1) Ne-waza - groundwork, grappling
(2) Nage-waza - throwing technique
(3) Shime-waza - strangling and choking techniques
(4) Kansetsu-waza (Tuite) - joint manipulation techniques
(5)Atemi-waza (Kyusho) striking techniques
.
"Science is built upon facts much like a house is built with bricks, but the mere collection of facts is no more a science than a pile of bricks is a house." Henri Poincare. "Thus it is when the techniques of karate are learned indiscriminately without understanding, they loose their meaning." Patrick McCarthy. These two quotations put thing into perspective I think. The reality is that the circumstances dictate the means not visa versa as Kata implies to the student.
Rule 1 part 2 : "Techniques perfected in a manner best suited to the practitioner" means that the practitioner finds the best way to execute ALL the fundamental techniques of kata, primarily through instruction and then by trial and error. It's pointless soldiering on in a karate class not really convinced that what your doing actually works. I've been there. Read the book, ate the pie and got a tee shirt to prove it. The practitioner should perfect those techniques that are best suited to them as a foundation to build on, before attempting any complex techniques. By "conclusive" I mean conflict-ending which one can interpret as in ikken hisatsu but more realistically taking control of the situation. For example, I can stop someone with my voice or a glare, I use contact as a last resort. I don't have to kill someone to take control of them.
Rule 2 : Taking Pinan Shodan/Heian Nidan as an example. The kata is mirrored, so some of the directional changes are transitional, however for example a tia toshi takes care of the 270' turns quite adequately. If it works on one it will work on them all with practice. The joint locks i.e. arm bar etc. are follow ups done standing or on the ground, practice of these type of techniques is lacking in most competitive styles of karate, I've found.
Rule 3 : "Are these repositioning moves of an aiki variety--repositioning while redirecting to "harmonise" with an attack, or are they more typical jujutsu locks and throws?" Harmonising with the use of 'Go Ju or Yin Yang' attributes of technique, absolutely. Every thing has to have balance fundamentally. To have a dynamic equilibrium is the key to all types of repositioning and redirecting applications.
Rule 4 : Needs no explanation other that it also works well with stamps and leg throws. You must be stable and mobile to kick effectively, take your leg above your waste and you become very unstable at close quarters.
Rule 5 : A technique presented in kata as a rigid block, such as a rising block (jodan age uke), that repeats many times in the kata's, must be viewed as variations on tuite techniques, throws or locks. Those type of blocks were not taught as basic blocks by Funakoshi. They were actually extracted from kata, interpreted as blocks and misused accordingly. Check this out on page 29 Karate-Do Kyohan. What was extracted wrongly was but back wrongly by whoever whenever. You have to look at the older kata to verify this. Any basic technique, extracted and practised alone repeatedly, absolutely presents radically different techniques in context with kata. Age-uke for example, in a fight is next to useless. Age-nagashi off center line, executed harmoniously, works very well. The golden rule for blocking is DON'T unless it's a last resort and it probably will be. Stop, parry or evade is the best solution, stop means 'stop the attack before it's fired'.
Rule 6 : 'Front and back stances are the application directional indicators and don't necessarily follow the prescribed pattern of the kata'. If your in front stance your going forward and when in backstance going backwards, sounds pretty natural. Pretty stupid if you were doing the reverse. Pushing or pulling whichever. Sometimes in kata you can start a manoeuvre going forward in backstance. The application suggests to me that you are responding to circumstances by going back in a sequence, not actually dynamically opposed to yourself. Kata is confusing this way but it can make prefect sense when it actually shows no sense at all. The hidden or secret techniques aren't obvious until you know they are there. The kata tells lies but don't tell Sensei .
Rule 7 : Cross legged stances, once you let go of the prescribed format make some of the best engineered manoeuvres, I've come across for turn and throw or snap limb. Also they can be used for dropping down and up whilst twisting around at speed.
Rule 8 : By two handed techniques I don't mean cross/scissor blocks, augmented blocks, mid-low combination blocks, double strikes/punches, block-punch or combinations. I mean they look like double blocks but they are not really. This one is difficult. Imagine the un-engaged hand or arm as a trap or grasp or a strike release. This train of thought may take you further than tieing up primary defensive weapons on blocking, (which is not a good idea).
Rule 9 "The primary directions of kata are Up, Down, Forward, Back & Around. Off of, or into the center line direction of engagement." All the other would seem inconsequential if we could perfect this one. If you imagine the embusen as a line of engagement rather than the pattern on the floor to adhere to, than the kata becomes alive. Avoid the line striking your center at all costs and strike the focus point of the line. The embusen should tell you the direction you are being attached from. You should not meet the attack head on, only a fool or a really big person would do that. If you cannot move, you must redirect it before it becomes potent, stop or parry, by the time you have blocked, projectile number two is over halfway to your head and travailing too fast to stop, or parry. In any conflict you MUST be in full control the center line. THE MOST IMPOTANT RULE is not being in line for attack.
Rule 10 : Never become a statue or get into a static posture. Leave that to the dead or those about to be. Every action leads off or on to the next reflexly. If you stop, you have to start again.
Well I hope it makes some sense to you. Probably it will really annoy your teachers if you ask them about it, it does mine. Then again I teach them now. You can't really improve on fundamental principles without making them a little abstract or too advanced.
- Each technique should be viewed as a 'counter offensive' and as a 'fundamental application' that must be perfected in a manner best suited to the practitioner and it 'must' be effective and or conclusive.
- Directional changes are best utilised as throwing or locking conclusions to most of the various applications found in kata.
- Jumps or airborne twists are probably repositioning manoeuvre's that are probably combined with throws or locks.
- Kicks are mostly aimed low at vital points for immediate effect or to reposition the head.
- There are no rigid blocks worth isolating that don't conclude with a Tuite technique, throw or lock.
- Front and back stances are the application directional indicators and don't necessarily follow the prescribed pattern of the kata.
- Cross leg stances are preparations for swift directional changes, more probably a throw or lock.
- Two hand techniques generally are release techniques, or pre-emptive applications to locking or throwing techniques.
- The primary directions of kata are Up, Down, Forward, Back & Around. Off of, or into the center line direction of engagement.
- Never become a statue or get into a static posture, leave that to the dead or those about to be. Every action leads off or on to the next reflexly. If you stop, you have to start again.
My Kata Rules Explained in Slightly More Detail.
Rule 1 part 1 : Counter offensive techniques, must incorporate a means by which they can suppress an unwanted invasion of your space, before it happens. An assumed response, could mean taking the initiative once an intent has been established. The Heian kata's are a catalogue of fundamental tactic designed for that purpose. The dynamics of kata, without which the tactic is useless, I've found, have to be addressed separately. Purely because the shape of kata is passed on regardless, as a pattern, devoid of the essential dynamics that support the potential of the tactic. That's one reason I think that basic kata technique's don't work for some people, when they are needed most. By fundamental principles, I mean 'on which the physics of any dynamic tactic is supported and which the advanced technique is structured off'.
These elements mentioned below are contributing elements of kata that can be interwoven. How we weave them determines the complexity of our knowledge as basic principles or advanced kata multiple element applications.
(1) Ne-waza - groundwork, grappling
(2) Nage-waza - throwing technique
(3) Shime-waza - strangling and choking techniques
(4) Kansetsu-waza (Tuite) - joint manipulation techniques
(5)Atemi-waza (Kyusho) striking techniques
.
"Science is built upon facts much like a house is built with bricks, but the mere collection of facts is no more a science than a pile of bricks is a house." Henri Poincare. "Thus it is when the techniques of karate are learned indiscriminately without understanding, they loose their meaning." Patrick McCarthy. These two quotations put thing into perspective I think. The reality is that the circumstances dictate the means not visa versa as Kata implies to the student.
Rule 1 part 2 : "Techniques perfected in a manner best suited to the practitioner" means that the practitioner finds the best way to execute ALL the fundamental techniques of kata, primarily through instruction and then by trial and error. It's pointless soldiering on in a karate class not really convinced that what your doing actually works. I've been there. Read the book, ate the pie and got a tee shirt to prove it. The practitioner should perfect those techniques that are best suited to them as a foundation to build on, before attempting any complex techniques. By "conclusive" I mean conflict-ending which one can interpret as in ikken hisatsu but more realistically taking control of the situation. For example, I can stop someone with my voice or a glare, I use contact as a last resort. I don't have to kill someone to take control of them.
Rule 2 : Taking Pinan Shodan/Heian Nidan as an example. The kata is mirrored, so some of the directional changes are transitional, however for example a tia toshi takes care of the 270' turns quite adequately. If it works on one it will work on them all with practice. The joint locks i.e. arm bar etc. are follow ups done standing or on the ground, practice of these type of techniques is lacking in most competitive styles of karate, I've found.
Rule 3 : "Are these repositioning moves of an aiki variety--repositioning while redirecting to "harmonise" with an attack, or are they more typical jujutsu locks and throws?" Harmonising with the use of 'Go Ju or Yin Yang' attributes of technique, absolutely. Every thing has to have balance fundamentally. To have a dynamic equilibrium is the key to all types of repositioning and redirecting applications.
Rule 4 : Needs no explanation other that it also works well with stamps and leg throws. You must be stable and mobile to kick effectively, take your leg above your waste and you become very unstable at close quarters.
Rule 5 : A technique presented in kata as a rigid block, such as a rising block (jodan age uke), that repeats many times in the kata's, must be viewed as variations on tuite techniques, throws or locks. Those type of blocks were not taught as basic blocks by Funakoshi. They were actually extracted from kata, interpreted as blocks and misused accordingly. Check this out on page 29 Karate-Do Kyohan. What was extracted wrongly was but back wrongly by whoever whenever. You have to look at the older kata to verify this. Any basic technique, extracted and practised alone repeatedly, absolutely presents radically different techniques in context with kata. Age-uke for example, in a fight is next to useless. Age-nagashi off center line, executed harmoniously, works very well. The golden rule for blocking is DON'T unless it's a last resort and it probably will be. Stop, parry or evade is the best solution, stop means 'stop the attack before it's fired'.
Rule 6 : 'Front and back stances are the application directional indicators and don't necessarily follow the prescribed pattern of the kata'. If your in front stance your going forward and when in backstance going backwards, sounds pretty natural. Pretty stupid if you were doing the reverse. Pushing or pulling whichever. Sometimes in kata you can start a manoeuvre going forward in backstance. The application suggests to me that you are responding to circumstances by going back in a sequence, not actually dynamically opposed to yourself. Kata is confusing this way but it can make prefect sense when it actually shows no sense at all. The hidden or secret techniques aren't obvious until you know they are there. The kata tells lies but don't tell Sensei .
Rule 7 : Cross legged stances, once you let go of the prescribed format make some of the best engineered manoeuvres, I've come across for turn and throw or snap limb. Also they can be used for dropping down and up whilst twisting around at speed.
Rule 8 : By two handed techniques I don't mean cross/scissor blocks, augmented blocks, mid-low combination blocks, double strikes/punches, block-punch or combinations. I mean they look like double blocks but they are not really. This one is difficult. Imagine the un-engaged hand or arm as a trap or grasp or a strike release. This train of thought may take you further than tieing up primary defensive weapons on blocking, (which is not a good idea).
Rule 9 "The primary directions of kata are Up, Down, Forward, Back & Around. Off of, or into the center line direction of engagement." All the other would seem inconsequential if we could perfect this one. If you imagine the embusen as a line of engagement rather than the pattern on the floor to adhere to, than the kata becomes alive. Avoid the line striking your center at all costs and strike the focus point of the line. The embusen should tell you the direction you are being attached from. You should not meet the attack head on, only a fool or a really big person would do that. If you cannot move, you must redirect it before it becomes potent, stop or parry, by the time you have blocked, projectile number two is over halfway to your head and travailing too fast to stop, or parry. In any conflict you MUST be in full control the center line. THE MOST IMPOTANT RULE is not being in line for attack.
Rule 10 : Never become a statue or get into a static posture. Leave that to the dead or those about to be. Every action leads off or on to the next reflexly. If you stop, you have to start again.
Well I hope it makes some sense to you. Probably it will really annoy your teachers if you ask them about it, it does mine. Then again I teach them now. You can't really improve on fundamental principles without making them a little abstract or too advanced.
Kata or Jumbi-undo
"If you are doing your Kata for someone else...you are NOT doing Kata."
Bruce Lee said something similar about style. This is an excellent point to investigate and acquire a deeper understand of IMHO. I think we shouldn't look to alter bunkai for varieties sake, appropriate and applicable bunkai alters kata consequently depending on the level of understanding. Kata is the flipside of bunkai so the same can be said of it, as a learning, not a teaching tool. Circumstances dictate the means. Set kata for set responses, depends on the level of understanding you approach it at.
Clarification maybe :) If you don't include or consider every expression related to fighting arts, or appreciate the proportions and properties that you as an individual can include or adequately express, subject to circumstances, then you are not considering your full potential. Kata can appear 2 dimensional to the new recruit, up, down, forward, back and around, kick, punch, block and evade, high, middle and low. This teaching method of form is set TOO rigidly IMHO by teachers who do not consider the other dimensions of, practical or originally intended application, from day one. I don't teach the same way I learnt, because I know better now. Understanding and methods of imparting knowledge must be relative.
After all, in time and with purposeful intent, with an understanding of success and failure one should acquire a reasonable understanding of kata and it's relationship with other kata, defence and combat scenario's. The same applies to karate technique. If you can accept some of the more recent discoveries and evidence that kata and karate technique has been misinterpreted and misunderstood big time. Then it's not unreasonable to assume that the set Kata has to be re-evaluated, re-interpreted to comply with and reinforce medical, scientific and anthropological research.
Clarification maybe :) If you don't include or consider every expression related to fighting arts, or appreciate the proportions and properties that you as an individual can include or adequately express, subject to circumstances, then you are not considering your full potential. Kata can appear 2 dimensional to the new recruit, up, down, forward, back and around, kick, punch, block and evade, high, middle and low. This teaching method of form is set TOO rigidly IMHO by teachers who do not consider the other dimensions of, practical or originally intended application, from day one. I don't teach the same way I learnt, because I know better now. Understanding and methods of imparting knowledge must be relative.
After all, in time and with purposeful intent, with an understanding of success and failure one should acquire a reasonable understanding of kata and it's relationship with other kata, defence and combat scenario's. The same applies to karate technique. If you can accept some of the more recent discoveries and evidence that kata and karate technique has been misinterpreted and misunderstood big time. Then it's not unreasonable to assume that the set Kata has to be re-evaluated, re-interpreted to comply with and reinforce medical, scientific and anthropological research.
My makiwara training
t is 5 foot tall 4 inches wide made of a tapered oak board 1" thick at the base and half that at the top. It is bolted two pieces of 2x4, 2 foot long one, of which is tapered 1" x 2" angling it off the wall at the top 7", I can adjust that to more by use of a wedge. If I lean on it, it will support my weight, if I push on it I can just make it touch the wall and it springs back hard.
There are a thousand ways to use it, here is one of my procedures and an explanation of why.
The initial strike is hard and requires some conditioning, wood can break bone! so good technique is vital. I was taught that leverage was the key and it works for me, there are other methods I use .
After the initial strike, knuckle on wood "hard!!", it moves, at this time I have to be in a position to lever against a progressively stronger opposing force until the wall naturally ends my technique and gives me a natural focus point. It makes no sense to me to punch "at" the target arm stretched out or twist the wrist on contact if it's too hard. If it doesn't move there is absolutely no point in hitting it other than to cause an adverse effect on my hands long and short term. You don't need big calluses and disfigured hands to break a jaw, nose, cheek bone, temple or ribs. Humans are soft fleshy things with places to hit and places not to hit.
One technique I use to gauge my punch power is to stand at 90' to the macky, left shoulder quite close to the wall, right hand on my right side with left hand on top of it, both elbows close to my body. Their height in proportion to the target, I want a direct hit not a glancing blow. I put my feet in a position that could support the return force and likewise a base to support force off. I keep in contact with the ground, because that's what I'm levering off. It's only when I include every thing from it that full power can be produced. I keep in mind the potential of the floor, myself and where my target is, if I let go or loose sight mentally of either one I can not succeed to cause an effect on my target.
In an action not dissimilar to hara kiri, with my left hand and elbow I produce a strong arc around my body keeping both shoulders down as if they were supporting a weight. As a consequence my right elbow wants to come round too, which I promote to it's full potential. I think of my hand as the bullet, my legs, hips, shoulders and elbows make up my gun, they explode to release my power and my bullet. I need to produce an explosive progressive force by which to propel my bullet to the target and past with the maximum amount of me behind it possible. I start off a single shot but my aim is to become an rapid fire automatic.
On contact I need an accelerated levered action to power through, to a focus point. A reverse action takes me back to reload my gun and fire again, I try not to let go of anything, I need to be in total control of every bone and muscle in my body. I try not to contradict the laws of force and motion by keeping a dynamic equilibrium before, during and after the techniques. I try to keep my breath proportionate to the action with "hasssssst" tongue behind teeth, diaphragm jump, internal contraction and maximum leverage off the ground to coincide with focus point.
Footwork, body positions and combinations are essential for progress but you can't expect to deliver power effectively without knowing the basic principles. The more efficient the leverage the more effective the punch. My master used to say his body was made up of many levers and through interconnection it was possible increase the potential of any technique. Some people punch like lightning, because they are disconnected and as a result may have reduced power.
As I think leverage is the key, it's that I'm training to produce more of. Damage during and after impact not just impact. Weight and directional force only contribute to the levers effect. As you would lever a weight off the floor or into the air by use of body levers, the power and technique needed is more important than the speed you do it. There is I think an optimum speed and power ratio giving maximum potential of both and this is what I need to know, how and what proportions I use them will depend on the circumstances.
I use the same procedure for knuckles, hands, elbows, shoulders, hips, knees, shins and feet, the head requires some adjustment and experience and is not recommended, although I've caused more damage with mine than my limbs have.
My makawara training tells me what I need to know and is an accurate measure of my effectiveness at any angle and at any height, "It" is my real teacher, "it don't tell lies" and it bites back.
I have tried to explain as I see it, some of the attributes needed in makawara training. It's a bit long winded but I think covers a lot of the key points I use. Trial and error, incorporating as many key points as possible progressively is the only way I think to achieve effective results. The appearance of your technique is irrelevant as long as it produces an effect, only as a consequence it should resemble a formidable punch. Then it can be defined as such and refined to your requirements.
There are a thousand ways to use it, here is one of my procedures and an explanation of why.
The initial strike is hard and requires some conditioning, wood can break bone! so good technique is vital. I was taught that leverage was the key and it works for me, there are other methods I use .
After the initial strike, knuckle on wood "hard!!", it moves, at this time I have to be in a position to lever against a progressively stronger opposing force until the wall naturally ends my technique and gives me a natural focus point. It makes no sense to me to punch "at" the target arm stretched out or twist the wrist on contact if it's too hard. If it doesn't move there is absolutely no point in hitting it other than to cause an adverse effect on my hands long and short term. You don't need big calluses and disfigured hands to break a jaw, nose, cheek bone, temple or ribs. Humans are soft fleshy things with places to hit and places not to hit.
One technique I use to gauge my punch power is to stand at 90' to the macky, left shoulder quite close to the wall, right hand on my right side with left hand on top of it, both elbows close to my body. Their height in proportion to the target, I want a direct hit not a glancing blow. I put my feet in a position that could support the return force and likewise a base to support force off. I keep in contact with the ground, because that's what I'm levering off. It's only when I include every thing from it that full power can be produced. I keep in mind the potential of the floor, myself and where my target is, if I let go or loose sight mentally of either one I can not succeed to cause an effect on my target.
In an action not dissimilar to hara kiri, with my left hand and elbow I produce a strong arc around my body keeping both shoulders down as if they were supporting a weight. As a consequence my right elbow wants to come round too, which I promote to it's full potential. I think of my hand as the bullet, my legs, hips, shoulders and elbows make up my gun, they explode to release my power and my bullet. I need to produce an explosive progressive force by which to propel my bullet to the target and past with the maximum amount of me behind it possible. I start off a single shot but my aim is to become an rapid fire automatic.
On contact I need an accelerated levered action to power through, to a focus point. A reverse action takes me back to reload my gun and fire again, I try not to let go of anything, I need to be in total control of every bone and muscle in my body. I try not to contradict the laws of force and motion by keeping a dynamic equilibrium before, during and after the techniques. I try to keep my breath proportionate to the action with "hasssssst" tongue behind teeth, diaphragm jump, internal contraction and maximum leverage off the ground to coincide with focus point.
Footwork, body positions and combinations are essential for progress but you can't expect to deliver power effectively without knowing the basic principles. The more efficient the leverage the more effective the punch. My master used to say his body was made up of many levers and through interconnection it was possible increase the potential of any technique. Some people punch like lightning, because they are disconnected and as a result may have reduced power.
As I think leverage is the key, it's that I'm training to produce more of. Damage during and after impact not just impact. Weight and directional force only contribute to the levers effect. As you would lever a weight off the floor or into the air by use of body levers, the power and technique needed is more important than the speed you do it. There is I think an optimum speed and power ratio giving maximum potential of both and this is what I need to know, how and what proportions I use them will depend on the circumstances.
I use the same procedure for knuckles, hands, elbows, shoulders, hips, knees, shins and feet, the head requires some adjustment and experience and is not recommended, although I've caused more damage with mine than my limbs have.
My makawara training tells me what I need to know and is an accurate measure of my effectiveness at any angle and at any height, "It" is my real teacher, "it don't tell lies" and it bites back.
I have tried to explain as I see it, some of the attributes needed in makawara training. It's a bit long winded but I think covers a lot of the key points I use. Trial and error, incorporating as many key points as possible progressively is the only way I think to achieve effective results. The appearance of your technique is irrelevant as long as it produces an effect, only as a consequence it should resemble a formidable punch. Then it can be defined as such and refined to your requirements.
Breathing
Breathing is an important part of every function we undertake. It is the fuel of life.
I think the only time you would not want to make a sound, is if you were trying to shroud your intent or presence or use sounds to distract or startle someone.
The breath alone makes no contribution other than to fuel our activates. However when you breath out you may 'feel' harder or heavier. When you breath in you may feel softer or lighter ??. Inhalation and exhalation are important aspects of certain tasks, the task dictates the serverity of the procedure, the mind can attribute an emotional response to the process of breathing. The breath is not the objective.
As a consequence of effort, breath can make varying types of sounds, the sounds themselves contribute only as a relative factor of an effort. In short the reproduction of a sound alone does not make a prescribed technique more powerful.
A specific sound may indicate that an effort has been made but is not a guarantee that and effect has been made.
Breath doesn't cause dynamics or compression power, quite the reverse, it's the dynamics and contractual or compression power that influences the breath.
Regardless of style of karate it's a false concept of breath power that leads to a constipated effect. Too much going in and not enough coming out, in relationship to a task.
Controlled breath for different applications i.e. running, throwing, lifting can be refined for greater efficiency but defiantly not over emphasized. With exception of diving where you may want to over oxygenate your blood for those occasions when oxygen is a bit scarce.
I think the only time you would not want to make a sound, is if you were trying to shroud your intent or presence or use sounds to distract or startle someone.
The breath alone makes no contribution other than to fuel our activates. However when you breath out you may 'feel' harder or heavier. When you breath in you may feel softer or lighter ??. Inhalation and exhalation are important aspects of certain tasks, the task dictates the serverity of the procedure, the mind can attribute an emotional response to the process of breathing. The breath is not the objective.
As a consequence of effort, breath can make varying types of sounds, the sounds themselves contribute only as a relative factor of an effort. In short the reproduction of a sound alone does not make a prescribed technique more powerful.
A specific sound may indicate that an effort has been made but is not a guarantee that and effect has been made.
Breath doesn't cause dynamics or compression power, quite the reverse, it's the dynamics and contractual or compression power that influences the breath.
Regardless of style of karate it's a false concept of breath power that leads to a constipated effect. Too much going in and not enough coming out, in relationship to a task.
Controlled breath for different applications i.e. running, throwing, lifting can be refined for greater efficiency but defiantly not over emphasized. With exception of diving where you may want to over oxygenate your blood for those occasions when oxygen is a bit scarce.